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VIRTUOSITY: VR killer on the loose 



K JW *Wi 



Jim Carrey 

unmasked* 

.ininhibited 




THE 
CUPBOARD 
Fantasy tales 

!CIES 
Alien 
instincts 

Stan Winston 

Creature 

king 

if Denise 

Crosby 
Life 
after 
TREK 



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NUMBER 218 

SEPTEMBER 1995 

THE SCIENCE FICTION UNIVERSE® 




Thanks to blue-screen magic, The Indian 
in the Cupboard lives (see page 36). 



COMPONENTS 



27 



32 



36 



40 



46 



50 



52 



57 



69 



72 



6 MEDIALOG 
8 VIDEOLOG 
10 GAMELOG 



12 BOOKLOG 

19 COMMUNICATIONS 

22 FANLOG 



24 BRIDGE 



64 CLASSIFIED 78 
82 LINER NOTES 



ESSENTIALS 

FOREVER RIDDLER 

What's green & red & crazy all 
over? The answer's Jim Carrey 

VIRTUAL VIRTUOSO 

Brett Leonard brings a maniac 
to virtual life in the movies 

FILMMAKING FANTASIES 

Producing imaginative tales is 
Kathleen Kennedy's specialty 

WATERWORLD CHRONICLES 

Making this watery SF epic 
was an adventure in itself 

GORILLAS BY WINSTON 

Stan Winston creates killer 
apes & creature comforts 

PLASTIC HEROES 

It's quite strange to have 
your very "own" action figure 

LIFE AFTER TREK 

Denise Crosby reflects on the 
days after Tasha Yar's death 

THE PRODUCER FROM 
THE BLACK LAGOON 

William Alland deserves credit 
for that well-known Creature 

IMPOSSIBLE MAGICIAN 

On television, Sutton Roley 
made the fantastic plausible 

SOPHISTICATED EVIL 

Battling Indiana Jones, Paul 
Freeman found film fame 

BREEDING "SPECIES" 

Dennis Feldman says it's all 
a biological imperative 



STARLOG- The Science Fiction Universe is published monthly by STARLOG CROUP, INC., 475 Park Avenue South, New York, NY 10016. STARLOG and The Sci- 
ence Fiction Universe are registered trademarks of Starlog Croup, inc. (ISSN 0191-4626) (Canadian CST number: R-124704826) This is issue Number 218, 
September 1995. Content is © Copyright 1995 by STARLOC GROUP, INC. All rights reserved. Reprint or reproduction in part or in whole without the pub- 
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NUMBER 6 SCRIPTS 

Mere's the best news there could ever be 
about PolyGram's big-screen film ver- 
sion of The Prisoner. Patrick McGoohan — 
who starred in, produced and created the 
series in addition to writing some of the cult 
classic's 17 episodes (under a pseudonym) 
and directing others — will script the movie. 

Updates: Fox's new Space series isn't 
actually NASA-based. It's about space 
cadets embarking on intergalactic war with 
an alien race. The show, which will shoot in 
Australia, may get a title change. 

At presstime. Sliders wasn't officially 
cancelled. It's alive for possible 
mid-season use. 

CBS. meanwhile, has green- 
lighted a genre series — The Tomor- 
row Man. produced and created by 
former STARLOG contributor Alan 
(Sledge Hammer!) Spencer. Julian 
Sands stars. And the WB Network 
will also be airing its animated 
Adventures of Pinky & the Brain 
Sunday nights at 7 p.m. (as well as 
on its new WB Kids Network). 

Genre TV: Unsold genre pilots 
this season — concepts that didn't 
get bought (as of yet) for series — 
include a TV version of The Omen 
(for NBC); White Dwarf (pre- 
viewed in SF EXPLORER #8) for 
Fox; Them (aliens on Earth) and 
Star Command (STARLOG #217) 
for UPN (both of which remain in 
development for mid-season); and 
Shock Treatment (computer super- 
hero) on CBS. 

ABC's sitcom Life as We Know 
It (John Lithgow and fellow aliens 
observe life on Earth), now known 
as Third Rock from the Sun, has 
been picked up as a mid-season 
replacement by another network 
(NBC), which ordered 13 episodes. 

Fox is officially going ahead with The 
Invaders TV movie and a new version of The 
Ministers (for Halloween broadcast). Speak- 
ing of monsters, Fox has made The Kindred 
a mid-season replacement. It's more or less a 
vampire soap opera. 

Guest stars early in the run of Deadly 
Games (premiering on UPN late this month 
or early next) include L.A. Raider Tom Rath- 
man, Shirley Jones and LeVar Burton. 

There will be cast changes (again) on 
seaQuest. 

Character Castings: James Spader. 
Holly Hunter and Rosanna Arquette will star 
in Crash. David Cronenberg's movie version 
of J.G. Ballard's novel. 

Also in Mel Brooks' Dracula: Dead and 
Loving It are Peter MacNicol (STARLOG 
#148), Lysette Anthony, Amy Yasbeck, Clive 
Revill and Harvey Korman. 

Genre Films: TriStar picked up the 
riahts to Rob Liefeld's comics creation 



Prophet. Liefeld will produce the live-action 
film. 

New Line Cinema, in the meantime, is 
filming fellow Image founder Todd McFar- 
lane's Spawn. Alan McElroy is scripting for 
director Mark Dippe and producer Clint 
Goldman. ILM will create the special FX. 

L. Ron Hubbard's Fear is targeted for a 
movie — possibly to star John Travolta. 

Universal Pictures has acquired Josh 
Richmond's script From Behind the Sun as a 
possible Ron Howard directorial project. It's 
a tale of a new kind of human species. 

Robert Carradine is making his director- 
ial debut on Area 51 . a documentary-like SF 
thriller about the government facility in 
Nevada where the Air Force is rumored to be 
re-creating a captured UFO. 

Mutant Chronicles is also heading 



heim will write a few new _ the 

movie musical. 

Wes Craven will helm the new movie ver- 
sion of Shirley Jackson's The Haunting of 
Hill House, as adapte; \ Ed the Swensen 




FILM FANTASY 
CALENDAR 

All dates are extremely subject to change. 
Movies deemed especially tentative are 
denoted by asterisks. 

August: Mortal Kombat. Virtuosity, 
Lord of Illusions, Dr. Jekyll & Ms. Hyde. 

October: Halloween 6. 

Fall: Loch Ness. Strange Days*. 

X-Mas: Goldeneye. Toy Stoiy, Mission: 
Impossible. The Nutty Professor, Mary 
Reilly. 

1996: The Hunchback of Notre Dame, 
Dragonheart. Independence Day, All Dogs 
Go to Heaven II. 

1997: Star Wars: Special Edition. 



Lorraine Bracco and Short Circuits Fisher Stevens 
deal with computer renegades, the Hackers, in the 
cyberpunk thriller opening this month. 



towards the screen. Steve Norrington will 
direct from a script by Phillip Eisner. 

Genre People: Next up for director John 
Landis: The Stupids. Filming is now under- 
way with Tom Arnold starring. Daryl Han- 
nah and Christopher Lee are in it, too. 

Luc Besson — who made Le Dernier 
Combat (which he discussed in STARLOG 
#85) — returns to the genre with an Ameri- 
can-made SF epic, The Fifth Element, star- 
ring Bruce Willis. 

Stan Winston, profiled on page 46, may 
direct the movie version of Peter Benchley's 
White Shark. 

Tim Burton and Stephen Sondheim are 
joining forces. Burton will helm the film 
adaptation of Sondheim's justly acclaimed. 
Tony-winning Broadway musical Sweeney 
Todd: The Demon Barber of Fleet Street, the 
bizarre tale of a razor-wielding serial killer 
and his female partner (who disposes of the 
bodies in her gourmet "meat pies"). Sond- 



(who has contributed scripts to The Next 
Generation and Tales from the Darkside). Of 
course, there's already a classic film version, 
directed by Robert Wise. Julie Harris, Claire 
Bloom, Russ Tamblyn and Richard Johnson 
starred in that 1963 movie. 

Burt Ward's autobiography. Boy Wonder: 
My Life in Tights, is scheduled to be in book- 
stores now. 

Sequels: Rutger Hauer will return as the 
sightless swordsman in Blind Fury 2 for 
Showtime broadcast. 

George Lucas has confirmed he's now 
involved in the writing of the first three Star 
Wars chapters. The trio of movies is planned 
to shoot back to back in 1997 (with some 
second unit and FX slated to lense next year) 
with the initial film due for 1998 release. 
Lucas may direct one of them. 

Looks like Brannon Braga and Ronald D. 
Moore will encore as writers of the second 
Next Generation movie. 

Another Highlander movie sequel is 
planned. This one won't include Christopher 
Lambert. It's Highlander: The Immortals. 

The Boys from Brazil aren't quite dead 
yet. A follow-up's being prepared which will 
focus on the surviving children, now grown 
up to be neo-Nazis. 

The Crow: City of Angels is that sequel's 
title. Vincent Perez stars. 

With Roland Emmerich and Dean Devlin 
busy with Independence Day (which will 
star Will Smith), a StarGate movie sequel is 
very, very far away. That's why Emmerich 
and Devlin have authorized three paperback 
sequels to be written by Bill McCay. Roc 
publishes the first volume. StarGate: Rebel- 
lion, in October. 

That long-awaited Freddy Krueger vs. 
Jason movie is revving up. For more on this 
horror heavyweight clash, see FANGORIA 
#144. 

Rick Moranis will return in another 
Honey. I... movie. This one will be direct-to- 
video, probably for 1996 release. No word 
yet on what he'll do to the kids this time. 

— David McDonnell 



6 STARLOG/September 1995 



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Episodes #67-70 of Star Trek: The Next 
Generation will be materializing on your 
video dealer's shelves this month. In "Cap- 
tain's Holiday," Picard's vacation is disrupted 
by beautiful adventuress Vash (Jennifer Het- 
rick), who lures him into a search for a deadly 
weapon from the future. The Enterprise deals 
with a new life form in "Tin Man." Barclay's 
(Dwight Schultz) obsession with the 
Holodeck endangers the Enterprise in "Hol- 
low Pursuits." And, finally. Data gets col- 
lected by Kivas Fajo (Saul Rubinek) in "The 
Most Toys." Each episode is priced at S14.95 
in VHS or Beta. 

Patrick Stewart hosts and narrates what 
Paramount Home Video describes as a sight- 
and-sound interstellar adventure, From Here 
to Infinity, The Ultimate Voyage (SI 4.95 in 
VHS). There's no story, but you can think of 
it as an extended music video with images 
from NASA space probes as well as ground- 
based optical and radio observatories set to 
music by Gustav Hoist, Richard Wagner, 
Richard Strauss and Claude Debussy. 




Visit Wicked City on videocassette, 
courtesy Streamline Pictures Orion Home 
Video. 

Spunky Lori Petty seizes the action in 
Tank Girl, coming this month from 
MGM/UA Home Video. The videocassette 
version will be priced for rental, but you can 
get the laserdisc version for S34.98 in CLV 

Television: Reaching back into the 
1960s. Columbia House has resurrected a 
.classic fantasy series in / Dream ofJeannie: 
The Collector's Edition. Each volume 
includes four original, uncut half-hour epi- 
sodes transferred from the best archival 
sources available. The introductory volume 
features the pilot episode, containing the 
original theme music which was eventually 
replaced. For further information call Colum- 
bia House at (800) 638-2922. 

BBC Video and CBS/Fox are expanding 
their Doctor Who video line with the release 
of six complete multi-episode stories. Begin- 
ning with two Dalek stories — "The Dead 
Planet" and "The Expedition" — the series 
continues with an extended version of "The 
Silurians." These double-cassette releases 
are priced at S29.98 each. Other single cas- 



sette stories (SI 9.98 each) include: "The 
Invasion," "The Two Doctors," "Terror of the 
Autons" and "Vengeance on Varos." 

Alien Nation: Dark Horizon, the TV 
movie reunion (STARLOG #207), has just 
appeared from Fox Home Video, priced for 
rental. 

Animation: Long a staple of under- 
ground video pirates, the 1981 animated 
anthology Heavy Metal may actually come to 
home video legitimately if Columbia TriStar 
Home Video can clear all of the necessary 
permissions from the various music publish- 
ers. As yet, there is no pricing or official 
release date. 

Anime fans have reason to celebrate with 
the current crop of Japanimation releases 
from Orion Home Video. Liberally mixing 
horror, fantasy and science fiction, these 
adventure thrillers have gained a very loyal 
following. New this month from Orion and 
Steamline Pictures are: Wicked City, Crying 
Freeman 5, Doomed Megalopolis, Volume 3, 
"The Gods of Tokyo," Doomed Megalopolis, 
Volume 4, "The Battle for Tokyo" and the 8- 
Man After Perfect Collection. All are VHS 
only and priced at SI 9.98 each. 

Laserdisc: One of the most anticipated 
releases in the history of the Criterion Col- 
lection, RoboCop has finally arrived from 
Voyager and yes, it was worth the wait. Robo- 
Cop, described by the makers with tongue in 
cheek as the story of a sensitive cyborg with 
an identity crisis, is perhaps more accurately 
pinned by director Paul Verhoeven as the 
story of a man who loses both body and soul 
and regains his soul. In addition to presenting 
the unrated director's cut, the secondary 
audiotrack features continuous commentary, 
keyed to the on-screen scenes, by director 
Verhoeven, co-writer Ed Neumeier and pro- 
ducer Jon Davison. What they have to say 
about the project's evolution, the problems of 
production and Verhoeven 's own revealing 
perspective on American culture is intriguing 
to say the least. In addition, there are a num- 
ber of storyboard-to-film comparisons and an 
extensive behind the scenes still frame sup- 
plement chronicling the production. The Cri- 
terion Collection edition of RoboCop is 
S99.95 from Voyager. 

Star Trek Generations has just debuted on 
laser in both widescreen and cropped pan- 
and-scan editions. Both versions are priced at 
S44.98 in CLV. Though widescreen usually 
outsells the cropped version by three to one, 
Pioneer apparently feels that there's enough 
demand for the cropped square in order to 
continue making them. 

Cheap: Barry Levinson's Toys starring 
Robin Williams as the fun-loving adult who 
must save his late father's toy factory from 
his evil uncle has been re-priced to S9.98 
from Fox Home Video in VHS only. 

All three RoboCop movies have been 
reduced to S 14.98 each in SPmode and S9.98 
each in the EP mode. Presumably, Orion 
Home Video wants you to vote with your 
wallet about whether you can tell the differ- 
ence between regular high speed version and 
the economy slow speed one. 

— David Hutchison 



SEPTEMBER '9 = 3 =218 
Busi-s<= i \z-.z- = :— :ss: 



NORMAN .A" = S 

Executive . :e --?. : re-: 

RITA EISENS-: '. 



Associate Pjc s-e- 

MILBURN SMITH 

V.P./Circulation Director 

ART SCHULKIN 

Executive Art Director 

W.R. MOHALLEY 



Editor 

DAVID MCDONNELL 

Managing Editors 

MARC BERNARDIN 
MICHAEL STEWART 

special Effects Editor 

DAVID HUTCHISON 

Contributing Editors 

ANTHONY TIMPONE 
MICHAEL CINCOLD 

Consultants 

TOM WEAVER 
KERRY O'QUINN 



Senior Art Director 
JIM MCLERNON 



YVONNE JANC 

EVAN METCALF 

LUIS RAMOS 

FREDDY COLLADO 



West Coast Correspondents 

MARC SHAPIRO 
BILL WARREN 

Financial Director: .; = - Sae" 
Marketing Director: =-=-■ '.' -.z-r.er 
Circulation Manager: Maria Damiani 
Typesetter: jea- E <-e.c 

Staff: Kim Lannpariello. Debbie Irwin. Dee Erwine, 
Katharine Repole. Jose Soto. Michael updegraff, Jen- 
nifer Leahy, Timctn> K < rs. 
Correspondents: J. ==: .a-kiewicz. Jean-Marc & 
Randy Lofficier: <N V Dav z - rsch. Michael McAvennie, 
Joe Nazzaro, lan Spelling Steve Swires, Dan Yakir; 
(Chicago) Jean Airey. Bill Florence, Kim Howard John- 
son; (Boston) Will Murray; (VA) Lynne Stephens; (NM) 
Craig Chrissinger: (FL) Bill Wilson; (WV) John Sayers; 
(Canada) Peter Bloch-Hansen. Mark Phillips; (England) 
Stan Nicholls; (Inter) George Kochell, Michael Wolff; 
(Cartoon) Kevin Brockschmidt, Bob Muleady; (Book- 
log) Scott W. Schumack: (CCorner) Mike Wright. 
Contributors: William Alland. Alyssa Andrews. John 
Antosiewicz, Susan Ciccone, Kevin Conroy, Denise 
Crosby, Tom Crudup, Robert DoQui, Michael Dorn, 
Bette Einbinder. Terry Erdmann, Dennis Feldman, 
Mike Fisher, Dave Fulton, Howard Green, John S. Hall, 
Mark Hamill, David Hanson, Jennifer Hetrick, Ernie 
Hudson, Karen Jones, Kathleen Kennedy, Penny 
Kenny, James D. Kester, Fumi Kltahara, Wayne Knight, 
Mary MacVoy, Amanda Marashinsky, Frank Marshall, 
Kerry McAleer, Juanne Michaud, Tom Phillips, W.C. 
Pope, Peter Rader, Ted Raimi, Sutton Roley, Anne 
Marie Stein, David Twohy, Guy Vardaman, John Vester, 
Jeff Walker, Garrett Wang, Stan Winston, Jason Yung- 
bluth. 

cover Photos: Waterworld: Copyright 1995 Universal 
City Studios; Species: Copyright 1995 MGM; Virtuosity: 
Copyright 1995 Paramount Pictures; Batman Forever: 
Trademark & Copyright 1995 DC Comics, Inc./Courtesy 
Warner Bros. 

For Advertising information: 
(212) 689-2830. FAX (212) 889-7933 
Advertising Director: Rita Eisenstein 
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For Advertising Sales: The Faust Company, 
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8 STARLOG/September 1995 



Interstellar Adventure at its grittiest and most realistic! 





l-^fTT' 



frStf 



ini nuns 



Four issues, chronicling the third season of 
DEEP SPACE NINE, the on-going STAR TREK saga! 
Action-packed with interviews, both with stars and the 
behind-the-scenes creators, writers, designers and 
directors. Complete episode synopses, plus giant- 
size foldout pinups. Dozens of color 
photos, 68 pages! 




Relive 

the 

Adventures 

of the First 

and 

Second 

Seasons in 

These 

Back 

Issues! 



ISSUE #1 

Premiere issue — 

Gold cover! Interviews: 

Co-creator Rick Berman, makeup 

wizard Michael Westmore, director 

David Carson. "Emissary" synopsis. 

Posters: Colm Meaney, Avery 

Brooks, Siddig El Fadil, the cast. 

$10. 

ISSUE #2 

Interviews: Brooks, Nana Visitor, 

Terry Farrell, Armin Shimerman, 

El Fadil. Posters: Farrell, Rene 

Auberjonois, Visitor, Armin 

Shimerman. $7 

ISSUE #3 

Interviews: Co-creator Michael 

Filler, designer Herman Zimmerman, 

director Paul Lynch. Synopses from 

"Past Prologue" to "Q-Less." $7 



ISSUE #4 

All-synopsis issue, 

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the cast. $7 

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FullThrottle Art: Trademark & Copyright 1994 LucasArts Entertainment 




REBELS WITH A CAUSE 

Dark Forces (S54.95) are at work on your 
IBM CD-ROM drive, thanks to 
LucasArts Games, and you're the guy who 
has to set things right. As a member of the 
Rebels' covert operations division, you're to 
infiltrate the Empire and destroy their plans. 
Of course, you can't just walk in and take on 
the Empire: tact and guile are called for.. .but 
since they're not in town, you'll just have to 
make do with any of the 10 weapons you can 
get your hands on. 

Upon receiving your mission objectives, 
you'll have to consult with your PDA (Per- 
sonal Data Assistant), which displays text 
regarding your mission briefing and objec- 
tives, a map and weapons and inventory sta- 
tus, and HUD (Heads Up Display), which 
offers vital signs and shield status infor- 
mation. Unfortunately, you'll have plenty of 





Dark Forces have come to claim your IBM 
CD-ROM. 

reasons to check on your HUD, including: 
stormtroopers, Imperial officers and com- 
mandos: gun turrets; probe and interrogation 
droids, as well as remotes; Bossk, a reptilian- 
looking Trandoshan bounty hunter who 
works occasionally for Lord Vader; Grans, 
three-eyed hand-to-hand fighters who won't 
mind tossing thermal detonators at you to 
carry out Jabba the Hutt's orders; Gam- 
morean guards, piglike beings out to give you 
and your mission the ax: dianoga. sewer crea- 
tures who can easily pierce your shielding; 
and, last but not least, Boba Fett (need we say 
more?). 

Battling Dark Forces from a first-person 
perspective will continue to entertain you as 
you fight for your life. The graphics — as is 
usually the case with LucasArts games — are 
terrific, and the interactive environments — 
complete with moving platforms and morph- 
ing walls and floors — are top-notch. 
Needless to say. Dark Forces will light up 
vour PC for some time. 



You'll pop a 
wheelie when in FullThrottle. 



Bike Madness: If you think LucasArts 
only concentrates on Star Waw-related items, 
then your IBM CD-ROM hasn't been 
exposed to Full Throttle (S54.99). Murder, 
mayhem and motorcycles are the name of 
this game, in which Ben — hardcore biker and 
leader of the biker gang known as the Pole- 
cats — is framed for the murder of Corley 
Motors founder Malcolm Corley. Unfortu- 
nately, you're Ben, and you're not doin' so 
hot at this point. Your hawg's hash, your 
gang's in jail, and you're on the run from the 
law. All this because one guy wants to turn 
Corley Motors into a mini-van manufacturer, 
and plans to go through you to do it. 

Looks like your options are clear: You've 
got to clear your name and save Corley 
Motors from a fate worse than death. To do 
that, you have to find the real killer and con- 
vince the late Mr. Corley 's rebellious daugh- 
ter, Maureen, to save the company. Of course, 
you'll also have to ride around Melonweed's 
highways and byways, as well as places like 
the Corley factory, the Kickstand, the junk- 
yard and hideouts for rival biker gangs like 
the Rottwheelers, Vultures and Cavefish. 
You'll also have to deal with truckers who see 
bikers as roadkill, chainsaws and tire irons, 
not to mention flunkies like Bolus and 
Nestor, who work for the villain behind this 
corporate takeover. Adrian Ripburger. And 
despite needing a lot of brawn, Ben's gonna 
have to rely on his brains and choose which 
path is best to take sometimes. Hmm. This 
game could go on for quite some time. . .. 

Mixing first- and third-person perspec- 
tives with 2-D and 3-D animation, Full 
Throttle kicks into high gear via the dazzling 
INSANE (INteractive Streaming ANimation 
Engine) — the same engine used in Lucas- 
Arts' wildly popular Rebel Assault. The 
engine allows the view to swing to the front 
to show Ben and his opponent fighting side- 
by-side while the background races by. The 
futuristic vehicles — which include motorcy- 
cles, hovering limos, trucks and a gigantic 
cargo plane — are all rendered in 3-D. and are 
on display through the game's screen saver 
feature. Best of all, in addition to a kickin' 
digital score from the biker band, the Gone 
Jackals, Star Wars aficionados will be thrilled 
to learn that the voices of Ripburger, 



deranged fertilizer trucker Emmett and can- 
tankerous junkyard owner Todd are all pro- 
vided by Mark Hamill. 

Tank Time: Generally, rebels are per- 
ceived as macho, tough-guy male types, but 
there are exceptions, as West End Games 
proves with The World of Tank Girl (S20). 
While the film may have indeed "tanked" in 
the box office, a futuristic wasteland where 
water means everything is an ideal roleplay- 
ing game setting. As part of West End's Mas- 
terBook game series, The World of Tank Girl 
introduces gamers to the Earth of 2029, home 
to desert bandits, bikers, mutants, the Big 
Business Corporation and its subsidiary, the 
Department of Water and Power, led by the 
power- thirsty Kesslee. 




Beer and bloodshed make up The World 
of Tank Girl. 

This 160-page book is broken down into 
seven chapters and contains character pro- 
files. Chapter one explains just how Comet 
Taylor came a-crashin" to Earth, and tells you 
everything you need to know about Johnny 
Prophet and the Rippers, the BBC and the 
Wastelands. From there, you'll learn all 
about "Tank Girl and Friends." complete with 
descriptions, game stats and Ripper shag- 
ging. You'll also learn about Jet Girl, Sub 
Girl, Kesslee, Booga, T-Saint and more. Fur- 
thermore, you'll learn how to build your own 
characters and make 'em tough enough to 
hang out with the ultimate party girl! Of 
course, to make 'em tough, you gotta teach 
'em how to ace their enemies, both one-on- 
one and through whatever vehicle or gear you 
can get your hands on. A mini-adventure 
entitled "The Lost Convenience Store" will 
help you figure out just how much you've 
actually learned, and if that's not enough, you 
even get templates for 18 characters. So, 
whattaya waitin' for? Shell out your water 
credits and take a walk on the weird side 
already! 

— Michael McAvennie 



10 STARLOC/September 1995 



SCIENCE FICTION 

MODEL 



Superbly-detailed figures! 






CTHULHU From the mind of H.P. Lovecraft comes 
one of the greatest horrors of our time. Already popu- 
lar as a role-playing game and computer game, now 
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JUDGE MM 

THE ULTIMATE 
LAWMAN 

A stunning 

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Figure bears the 

likeness of 

Sylvester 

Stallone, star of 

the blockbuster 

film. Comes with 

semi-circular 

base. 1/9 scale. 

S24.98 



THE MEAN MACHINE ANGEL 

Accurate replica of the character 
seen in the JUDGE DREDD 
movie. Comes with semi- 
circular base. 1/9 scale. S24.98 




ZEN, THE INTERGALACTIC NINJA Requires only 
minimal trimming. Easy assembly is ideal for beginning 
modelers. Colors match character's color scheme. Metal 
staff is lead free. 1/6 scale, soft vinyl. S39.95 

JUDGE DREDD ©1995 Cinergi Pictures Entertainment Inc. and Cinergi 
Productions N.V. Inc. All Rights Reserved. JUDGE DREDD TM & © 1995 
Egmont Foundation. All Rights Reserved. STARGATE TM & © 1994 Le 
Studio Canal+ (U.S.). All Rights Reserved. TM designates a trademark of 
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headed 

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and the 

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Stargate with constellation artwork. 

Over 9" tall, unpainted, 1/9 scale. S24.98 



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Witches' Brew by Terry Brooks (Del Rev, 
hardcover, 204 pp, $22) 

Peace has reigned for two years in the 
Magic Kingdom of Landover. During that 
time, Mistaya (daughter of human High Lord 
Ben Holiday and Willow the sylph) has 
grown physically into a girl of 10 with the 
intellect of one much older. A somber child, 
she's loved by Holiday and the members of 
his court, and coveted by an enemy who 
plans to use Mistaya as the instrument of her 
father's destruction. 

Terry Brooks' fifth Landover novel, 
Witches' Brew revitalizes the series with an 
elegantly crafted, meticulously planned plot 
for revenge. Although the villain's main 
motive — humiliation — lies in the previous 
novel, The Tangle Box, this and many other 
instances of continuity are deftly handled and 
explained for the newcomer without taking 
away from a follower of the series' enjoy- 
ment. 

The novel's taut pace (a race against time 
to locate the kidnapped Mistaya) makes for 
quick reading, although the sections where 
Holiday and Willow continually reaffirm 
their undying love for one another do border 
on the saccharine. As with his Shannara 
series. Brooks works best with the elements 
of "dark fantasy" which increase as Ben Hol- 
iday finds himself deeper and deeper entan- 
gled in his foe's web of deceit. 

—John S. Hall 

Dead Girls by Richard Calder (St. Mar- 
tin's Press, hardcover, 208 pp, $19.95) 

Dead Girls, a book about teenage vam- 
pire love slaves on a murder spree, has some- 
thing for everyone: blasphemy, obscenity, 
racism, sexual violence, violent sex and writ- 
ing so beautiful it almost outweighs the 
horror. A sexually-transmitted nanotechno- 
logical plague is ravaging England, changing 
pubescent girls into beautiful, murderous 
cyborg vampires — life-size Barbies with 
fanged vaginas. 

A love compounded of cruelty, hatred and 



humiliation binds Ignatz to Primavera. a 
'■Doll." a dead girl capable only of murder, 
sex and looking beautiful. They flee a rotting 
England for the vice empires of the Far East, 
but they can't escape the forces out to destroy 
them, or the secret Primavera carries in her 
sterile womb. 

Packed with fascinating speculation on 
tomorrow's economics and technology. 
European Romanticism and quantum reality, 
Dead Girls is a stunning achievement. The 
plotting is haphazard, and after the incredible 
build-up the climax is, inevitably, a letdown, 
but this is a terrific first novel and a great start 
to a trilogy that should enthrall those readers 
who survive the first volume. 

— Scott W. Schumack 

The Magnificent Wilf by Gordon R. Dick- 
son (Baen, trade paperback, 304 pp, $21) 

Tom and Lucy Parent, an amiable and 
resourceful Earth couple, along with their 
Great Dane Rex, become freelance trou- 
bleshooters for a galactic federation of con- 
genial aliens; naturally, Earth's future hangs 
in the balance. 

Dickson has chosen to tread the path trav- 
eled by Eric Frank Russell: humorous sci- 
ence fiction, emphasizing a ''Human Uber 
Alles" theme. Dickson's sense of satire is not 
quite as biting as Russell's, but he more than 
makes up for that with emotion. Tom and 
Lucy are that rarest of items in SF: an honest 
to God, genuinely endearing, loving married 
couple. The galactic universe depicted here 
owes more to the Star Kings of the 1940s 
than the Larry Niven type of alien culture, 
but nevertheless forms a colorful and inter- 
esting background. 

Women readers may feel that, despite 
Lucy's heroic actions in the book's grand 
finale, her character is not only underdevel- 
oped, but constantly patronized by her hus- 
band. One cannot escape the feeling that 
women remain a little alien to Dickson, as 
guilelessly indicated by the book's title — a 
"Wilf is an alien being who just happens to 
look like an Earth woman. 

That aside, The Magnificent Wilf is an 
amusing romp, entertaining and clever, a 
jolly good read. 

— Jean-Marc Lofficier 



Merlin's Bones by Fred Saberhagen (Tor, 
hardcover, 384 pp, $22.95) 

This offbeat Arthurian fantasy starts well, 
promising new insight into the old tales, but 
it soon loses its way and fails to deliver. 

Young Amby is part of a troupe of enter- 
tainers fleeing a tyrant in the years after the 
death of Arthur. They take refuge in a strange, 
abandoned mansion with unseen servants and 
sealed rooms, and Amby soon has visions of 
Merlin and Morgan Le Fay. 

"Meanwhile," in the 21st century, scien- 
tist Elaine Brusen finds her lab, where she is 
working with reality-warping technology, 
invaded by folks claiming to be the Fisher 
King, Morgan and Modred, and is that the 
wounded Arthur waiting in the parking lot? 

As long as Fred Saberhagen focuses on 
Amby and his friends, the story is a gripping 
historical fantasy, but once the narrative starts 
wandering in space and time, it loses its 
anchor. The interactions of past and future 
aren't that interesting, the revelations about 
the true identities of various characters aren't 
too surprising and the mix of fantasy and SF 
is ultimately disappointing. 

— Scott W. Schumack 



12 STXRLOG/September 1995 





The Faery Convention by Brett Davis 
(Baen, paperback, 281 pp, $5.99) 

On an alternate Earth (it better be an alter- 
nate or there's a massive cover-up under- 
way), the supernatural creatures of myth and 
legend came out of the woods and tried to 
become part of the melting pot. The experi 
ment has failed though, and a convention is 
being held to cede the supernatural a land of 
their own. But someone (or several some- 
ones) wants the conference to fail. It's up to 
half-elf Joe Cork to figure out who and why. 

Fans of biting satire will enjoy this book, 
and hey, there's even a story to go along with 
the satire. Some of the supporting characters 
(meaning the female love interests and one 
villain) have no real reasons for their behav- 
ior. They're minor characters though, so it 
doesn't hurt the story. Brett Davis also goes 
off on tangents — interesting tangents, but 
tangents, just the same. Still, he gets back on 
track before any damage is done. Recom- 
mended. 

— Penny L. Kenny 




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Queen City Jazz by Kathleen Ann Goonan 
(Tor, hardcover, 416 pp, $23.95) 

' It's hard to come up with new takes on old 
themes, but Kathleen Ann Goonan has suc- 
ceeded wonderfully in Queen City Jazz, a 
virtually indescribable, impossible to sum- 
marize novel, which makes a nightmare trip 
through post-apocalyptic USA, the threats 
and promises of nanotechnology (an area 
usually left to hard SF writers), jazz music, 
counter-culture and a number of other 
themes. 

The novel's heroine, Verity, inhabits a 
world where a nanotech plague has deci- 
mated the population. She lives in a town 
which has rejected technology because it 
caused the end of the world, yet she is moved 
by her yearning for lost knowledge to embark 
upon a quest. Her journey takes her to the city 
of Cincinnati, but a Cincinnati unlike any 
other futuristic city ever envisioned: a quasi- 
living, nanotech hive where pop culture rules. 
Aided by a cast of colorful characters and the 
implanted memories of Cincinnati's 
designer, Verity ultimately discovers her true 
purpose. 

Queen City Jazz never goes for the easy 
route of settling into an simplistic, formulaic 
plot. It surprises us and challenges some of 
our preconceived ideas about nanotechnol- 
ogy. Goonan shows fascinating insights wor- 
thy of an Arthur C. Clarke or a Cordwainer 
Smith, two approaches to SF that normally 
don't mix, but here happily meet and blend in 
an amazing display of style and intelligence. 
Highly recommended. 

— Jean-Marc Lofficier 

King Pinch: The Nobles (Book One) by 
David Cook (TSR, paperback, 316 pp, 

$4.95) 

Pinch is a thief who also has ties to the 
throne of Ankhapur (closer links than even he 
realizes). He's forced to return from self- 
imposed exile and become a player in the 
nobles' political games. It's his job to make 
sure the right man gets the throne. But the old 
king isn't as dead as he should be, and he has 
plans for Pinch that the thief isn't going to 
like. 

The story has all the elements of a swash- 
buckling fantasy. It's David Cook's style of 
writing that pulls the story down and keeps it 
from being all that it could be. He continually 




refers to Pinch as "the old rogue" (which 
quickly becomes a fingernail-on-the-black- 
board type of thing) and points out how 
sneaky and self-preserving the thief is. Cook 
wants to emphasize all Pinch's faults so he'll 
look more noble later. It doesn't work. Pinch 
isn't likable as rogue or hero or even as a 
character halfway between. The action 
scenes drag. too. King Pinch is a disappoint- 
ment. 

— Penny L. Kenny 

Arrow From Earth by F.M. Busby 
(AvoNova, paperback, 418 pp, $5.50) 

To escape the sexual advances of her 
mother's lecherous lover, young Mamie 
Allard decides to stow away aboard the star- 
ship Arrow, the Exec Officer of which is her 
father. Clancy. The Arrow travels at near light 
speed, which means that time aboard it 
appears to move slower than on Earth. It 
remains, however, linked to its homeworld 
through "gates" that involve going through 
the "aleph continuum." 

All this provides a solid background for a 
series of mostly clever episodes illustrating 
Mamie's growing up process. Some adven- 
tures involve old foes from Earth, others 
mysterious creatures who may live in the 
aleph continuum. Eventually, Marnie sur- 
vives, matures and finds love. 

F.M. Busby has proved to be a past mas- 
ter at this type of yam: Rissa Kerguelen (per- 
haps his best novel) and Zelde M'Tana also 
dealt with young, gifted females growing up 
in tough environments. However, both of 
these earlier books provided more challenge 
to their respective protagonists than Arrow 
does. Despite Busby's best intentions, his 
efforts to inject thrills and suspense into 
Mamie's life often fall flat. If Arrow from 
Earth had been novella length, the undis- 
puted charm of its heroine would have been 
enough to carry the day. But at 400-plus 
pages, the pacing often slacks. 

— Jean-Marc Lofficier 

The Knights of Cawdor by Mike Jefferies 
(Harper Prism, paperback, 345 pp, $5.99) 

Former Chancellors terrorize the country- 
side and turn peaceful citizens into angry 
mobs as the kingdom of Elundium falls back 
into darkness. A crippled chimneysweep, a 
band of gentle gardeners and two old soldiers 
are drawn together to find the lost kingdom 
of Cawdor and save the land. But can they 
escape the mobs and Chancellors who want 
their heads? 

The answer is yes and it takes less effort 
than the book cover implies. There's more 
time spent on getting characters together than 
getting them to Cawdor. It's definitely time 
well spent, though. 

Knights is the perfect place for readers 
who haven't read the first three books to 
jump on; a new story arc is beginning. 
Enough background is given to make readers 
comfortable without rehashing everything. 
Jeffries also writes sympathetic and interest- 
ing characters. He's good at writing quiet 
scenes that show character, as well as excit- 
ing action scenes. Recommended. 

— Pennx L. Kenny 




Mall, Mayhem, and Magic by Holly Lisle 
and Chris Gunn (Baen, paperback, 250 
pp, $5.99) 

Any clerk who has read as much SF and 
fantasy as this novel's hero should know bet 
ter than to read aloud spells from a book that 
mysteriously appears in his bookstore. But 
read he does, and in the process he unleashes 
a demon, thieving elves and an evil wizard 
nearly destroying the world. To think this all 
started just because he wanted to date another 
clerk! It doesn't help that she has ties to the 
wizard — and he's very possessive. 

The best parts of Mall involve the elves 
and their confrontations with mall culture. 
You'll love their reaction to Barbie dolls. 

The final confrontation scene is overlong, 
while the resolution comes too quickly. How- 
ever, those are minor flaws. Jim, the hero, is 
the most developed character. The authors 
have given him motives for his actions that 
seem reasonable. The little digs at con- 
sumerism and literary tastes will also 
brighten many readers' day. 

— Penny L. Kenny 

Once Around the Realms by Brian Thom- 
sen (TSR, paperback, 307 pp, $4.95) 

One might alternately call this novel 
Around Faerun in 80 Days, considering its 
fantasy take on the adventures of Phineas 
Fogg. When master traveler Volothamp Ged- 
darm's reputation is disputed, he accepts an 
archmage's challenge to travel around the 
Forgotten Realms without ever doubling 
back on his tracks. Accompanied by his 
recently acquired traveling companion, the 
rotund thespian Passepout, Volo embarks on 
an adventure of global proportions. 

Tongue planted firmly in cheek, Brian 
Thomsen has written a book so light-hearted 
pun-laden and filled with humor as subtle as 
a pie in the face that it ought to take place in 
Piers Anthony's Xanth. Many of TSR's most 
popular Realms characters, from Storm Sil 
verhand to Drizzt Do'Urden, make cameo 
appearances, and sly pop-culture references 
abound. To name but a few, these allusions 
range from Gilligan's Island to Fantasy- 
Island, Mutiny on the Bounty to Moby Dick, 
and spaghetti Western actors to the Marx 
Brothers. 

Those who prefer their fantasy "straight 
up" will probably not enjoy Once Around the 
Realms and be more than eager to dismiss it 
as "poppycock" (or worse). Readers with a 
taste for the absurd and irreverent may get 
some chuckles out of the novel, however. 

—John S. Hall 



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LIMITS OF OPINION 

...After reading the articles on Sliders and ihe new 
Outer Limits in STARLOG SF EXPLORER #7, I 
find it sad to realize that the one man who is the 
most qualified to revitalize the dark, cynical, heart- 
felt view of the world that The Outer Limits had is 
Tracy Torme... who's not working on the show. 

Instead, we now get a show bearing the name 
of The Outer Limits with none of the spirit: a bland, 
desperate, smiley-face short of show aimed at 
politically-correct thirtysomething parents instead 
of riders on the cutting edge. 

I think it's time to produce a show for the rest 
of us. A show perhaps not called The Outer Limits. 
but which is just that. 

Roger Hill 

237-A Spalding Drive 

Beverly Hills, CA 90212 

...I was wondering a few things. First of all. I 
would like to know what your other readers think 
about this: There's supposedly a fourth Indiana 
Jones movie in the works, although there's virtu- 
ally been nothing heard about it except that it 
exists. We can (probably!) safely assume that this 
will be the final adventure with Harrison Ford as 
Henry Jones Jr. I am of the opinion that the only 
way to complete the series is to have Karen Allen 
return as Marian Ravenwood! She is the only Jones 
female co-star to be a real match for Indy. by far. 
Not to mention that Allen is an extremely under- 



CUH4T ARE THE 
*NEXT GENERATION 5 
•SX4R5 POIH& CUJTHOOT 
STAB TREK'- 



rated actress. Didn't Steven Spielberg and George 
Lucas see her in Starman! She was excellent! 

What happened to her after Raiders of the Lost 
Arkl She was not included in the sequels so Indy 
could seem more of a rogue, having a new girl for 
each movie, and Kate Capshaw and Alison Doody 
stepped in to be his "flavors of the month." 

Well, that was fine for awhile, but I think if 
they're going to end the series, it wouldn't hurt to 
have Indy mature a little and get back together with 
the woman who's obviously the best one for him. 
Ford and Allen had a great chemistry, a chemistry 
that did not even come close to being equalled in 
Temple of Doom or Last Crusade. 

On to another subject: There seem to be many 
letters from people. Trekkers or not, who dislike 
Star Trek: Deep Space Nine. It almost feels like a 
trendy thing to bash that particular show. Every- 
one's entitled to their opinion, of course, but I just 
don't see what there is not to like about it. 

Yes. it's quite different from Next Generation 




^ 



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t H»VS&- 






^ HORN/ 




though. It's this Antonia person. Who is she? Is she 
a Nexus-induced figment of Kirk's imagination, 
like Picard's kids? Or, is she a real person that he 
knew? If the latter is true, wouldn't it have been 
just as easy to make the woman someone we 
know? I mean, we never actually see Antonia. 
except from an unrecognizable distance. Why 
couldn't Kirk have said Edith. Carol, or Mirama- 
nee? Ronald Moore and Brannon Braga. who were 
so faithful to continuity in "Relics" with Scotty's 
references to events in the original show, could 
have done that very easily. Why didn't they? Now, 
since Kirk is dead, we'll never find out about this 
mysterious person whom he cared about so much 
that she almost kept him in the Nexus. 

Scott D. Shriner 

1964 Burlington Road 

Akron. OH 44313 




Art: James D. Kester 

and Voyager. No. it was not created by Gene Rod- 
denberry. These seem to be the major complaints. I 
happen to be a fan of Deep Space Nine. I think it 
has a terrific cast that has improved immensely 
over the three years that it has been on the air. most 
notably Siddig El Fadil. Terry Farrell and Avery 
Brooks especially. There's a lot of action and sus- 
pense, but there is also an excursion into myth and 
intrigue that you don't get from the other Treks. 

If people have specific problems with DS9, 
OK. But people shouldn't keep comparing it to the 
other Treks. It's different. It's supposed to be. 

And. about the letters page in issue #214 — I 
have one question. How could you be a Star Trek 
fan and not have enjoyed Generations'! It really 
gets on my nerves when people say that Kirk dying 
was part of Rick Berman's "plot" to "usurp" Rod- 
denberry's creation. First of all. Berman is not the 
only person to take Roddenberry's place as a pro- 
ducer. Harve Bennett was responsible for Wrath of 
Khan and Voyage Home: Roddenberry had very lit- 
tle to do with their development. Yet. these are two 
of the most popular Trek adventures of all time. 

Gene Roddenberry created Trek: without him it 
would not exist. But if it weren't for people like 
Bennett. Berman. Michael Piller and others, it 
would not continue. If you don't like what they are 
doing with it. nobody says you have to watch it. 

One thing about Generations bothers me. 




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delicate situation they are in. there is bound to be 
flouting. The Bajorans care for their home and the 
Federation is trying to help restructure their society 
after the Cardassian Occupation; Sisko acts as a 
builder and mediator between the two. Voyager 
will build on the conflict and the flouting of 
Starfleet rules, because some of the crew is made 
up of Maquis personnel. Conflict is a good thing. 
Just because the TNG people didn't have it, 
doesn't mean it's wrong. Star Trek doesn't begin 
and end with TNG you know. Ever heard of IDIC? 
Know what it means, since you're familiar with 
Star Trek? Well, apply it. 

In the process of disliking DS9, you discredit 
the work of wonderful actors: Rene Auberjonois. 
Nana Visitor. Armin Shimerman and Avery 



3NDIAMA 30WES AND THE RW€RS of Lo5 AM&ELgS j 



...To all those people who don't like Star Trek: 
Deep Space Nine and are not willing to give it a 
chance, all I can say is: what is your problem? As 
Amber Pippin pointed out in issue #211, she didn't 
find any of the characters or the stories appealing, 
the show doesn't reflect the values of Star Trek, the 
characters "constantly bicker" and "disobey and 
defy Starfleet." Well, really. 

So, what are Star Trek's values? The key one 
that everyone knows is that it looks at a positive 
view of humanity and the future. It looks at human 
values and traits, and DS9 continues that value, not 
necessarily doing it by traveling from place to 
place, but by staying in one place and dealing with 
ongoing conflicts there. Unlike the convenient for- 
mat of Next Generation, where one planet is saved 
every week, the DS9 characters are forced to stay 
and involve themselves in situations and live with 
the consequences, instead of warping across the 
horizon to a new adventure each week. The char- 
acters bicker? And, you don't in your work place, 
in your community? What real chance is there that 
people will evolve by the 24th century to the point 
no one has flaws? People will always argue. Aren't 
we arguing right now? In an episode of DS9. Sisko 
says that Earth may be a paradise in the 24th cen- 
tury, but the rest of the galaxy isn't. My God, if you 
don't bicker and fall out and argue with your 
friends over discussions and decisions, then that's 
a rare thing. As the producers of the show and the 
characters point out, more conflict generates more 
humor, as with Odo and Quark. Bashir and 
O'Brien. And it generates strong relationships like 
Sisko and Kira, Kira and Dax. Conflict isn't a bad 
thing or a taboo, it is part of what makes us human. 
And. the officers flout Starfleet orders? Excuse 
me, but DS9 is run by Federation officers and Bajo- 
ran officers who are not Starfleet. Because of the 



TOWARDS THE END, 
"DEEP THROWS' 
BEHAVIOUR dECME 
INCREASINGLY ERRftTlC 



YOU CALLED ME OUT 
HERE 10 TELL ME 
THE SECRET CF THE 

mmLKmr/ 




Brooks. You ignore brilliant episodes, such as 
•Emissary," "Captive Pursuit." "Progress." "Duet." 
"Cardassians." "Necessary Evil." "The Collabora- 
tor" and "Blood Oath," and the work of the pro- 
duction and writing people. You ignore the great 
characters like Minister Jaro. What other genre 
show has such a strong, rounded supporting cast? 
You don't get that in Next Generation. There, you 
get omnipotent and convenient villains like Q. In 
DS9. you get real villains to identify with like Kai 
Winn and Gul Dukat. and good characters that pro- 
vide a foil for the regulars like Bareil. Garak. Rom 
and Keiko. You ignore some of the strongest 
women of any Star Trek show (continued in Voy- 
ager). Deep Space Nine isn't "doing a Bosnia" as 





Art: Mike Wright 



' =30*. I think" we need t© Have 3 
TaLk 3boot your selection process.' 



you Americans keep putting it. It is about dealing 
with a political and religious situation, and DS9 
does good political and religious stories. Oh yes. 
Star Trek is about space chases and action, as in 
TNG, but DS9 isn't. It is about looking at human 
values and DS9 is strict to those values, with some 
leeway. Conflict and humor, just because they 
don't exist in Next Generation, are here and are 
integral elements in any drama. Science-fiction 
flim-flam is not enough. DS9 offers a complex and 
powerful alternative to conventional and conve- 
nient Star Trek. 

DS9 is Star Trek, and it really stretches the for- 
mat. Hate it all you want, stick to your own closed 
views of Star Trek, views that don't belong because 
Gene Roddenberry was always looking to create 
liberal and accepting opinions. You are missing 
out. That is your loss. So. stop bleating around in 
your own one-dimensional way. There is no sym- 
pathy for you here. Grow up! 

Tommy Wong 

Middlesex. England 



I'm sorry to find out that the Star Trek fans I 
joined seven years ago have branched off into two 
groups: the stubborn, closed-minded, selfish clas- 
sic and only classic Trekkers: and the true fans of 
Star Trek, those who love everything Star Trek. 

Those people who say. "I refuse to watch Next 
Generation. DS9. Generations, or Voyager," really 
make me sick. If you don't like them, don't watch 
them! True Trekkers will keep Star Trek alive. We 
won't insult Gene Roddenberry by saying things 
like that. If you say you don't like the writers or 
producers because they're not "living up to Gene 
Roddenberry 's dream." then why don't you get a 
job in television writing! Impress us with your ver- 
sion of Gene Roddenberry's dream and stop com- 
plaining! Stop barking and start biting! 

How does one of the Communications writers 
in this magazine. John E. Payne, get to say that 
Dennis McCarthy isn't a good composer? The 
acoustics at the theater Payne was at must have 
been mighty poor! McCarthy is one of the best 
composers of the '90s! 

I'm taking up for Gene Roddenberry because 
Rick Berman's creations are the extensions of 
Gene's dream. I'm sorry some of you don't see 
that. 

R.W. Hobbs. Jr. 

Address Withheld 

Art: David Hanson 




11 WfiSERWIUEOBlW-... UH,ttE\JERMlHDi' 



...I would like to start by giving a big amen to 
Joseph Villapaz's letter [in STARLOG #214]! He 
said a bunch of things I have wanted to say. I have 
not read many letters in this column about the opin- 
ion of teenagers concerning Star Trek, so here it 
goes. 

Even though I can't say that I grew up with the 
original Star Trek series. I can say that I have seen 
everv episode and every motion picture thus far. 
I've -een Next Generation through all seven sea- 
sons, and even though I haven't been as true to DS9 
as I should have been. I am excited about Voyager. 




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Oklahoma City. OK 

Ogre-Con 

P.O. Box 300076 

Midwest On OK Ti T40 

(405)741-3210 

BGuardian@aol 

Guests: Anthony 













VISIONS '95 

August 13 
Cape Codder Hotel 
Hyannis, MA f 
Infinite Visions 
See earlier address 
Guest: Brent Spiner 



Ainley. John Peel 

I H ! 



! 1 



STARMAN 
"THE RETURN- 
ADVENTURE 

August 11-14 

Hotel TBA I s 

Portland. OR 

Todd Andrews J 

2221 SWDolphCouf 
Portland. OR 972 



(503) 244-6575 
STARMAN@aol.eom 



TOY CON 

August 13 
John A. Oremus 
Community Center 
Bridgeview, IL 

Terry Mannix 
r-*- 1022GS. Ridgeland Avert ui 
Apt.A6 

Chicago Ridge. IL 604 15 
(708) 425-7851 r 

STARQUEST '9 



\ f I 



'95 






AUGUST 

BOTCON 

August 5-6 ! 

Dayton Convention Cei 

Dayton, OH 

BotCon 

1 177B Georges Places 
Columbus. OH 43204-1085 : 
(614)885-5313 \ "1 j 

CENCON 

August 10-13 j 

MECCA Convention Center 
Milwaukee. WI 
GenCon Game Fair 
201 Sheridan Springs Road 
Lake Geneva. WI 53 14 ; 
Guest: James Doohan. Roger 
Zelaznv 



BUBONICON 27 

August 11-13 

Howard Johnson East 

Albuquerque. NM 

NMSF Conference ; 

PO. Box 37257 f 

Albuquerque. NM 87176 

(505) 266-8905 

Guests: Harry TurtledoveJSimoi 






Hawke. Rick Stembach 



VISIONS '95 

August 12 r ~„. ....; 

Hynes Convention Center 

Boston. MA I 




August 18-20 
: Red.Lionlnn 
San Jose* CA 

'■ — SlacQuest'95 

P.O: Box 56412 

□HaywardjCA 94545.6412. 
(SilO) 441-2351 
starquest@shakala.com 
Guests: Michael O'Hare. Walter; — I r~- 
~j Koenig. Kevin Anderson I 







SEPTEMBER; RISING STAR 4 

LEGENDS { "' ^-—"'September 29-October 1 

COLLECTORS J r £ S« S ' H 

September 2-3 Rising Star ; 

Lakeshore Mall 545 Howard Drive 

Gainesville, GA , , j M Salem. VA 24153 : 







i I i H — i i 



DARK SHADOWS 






MOUNTAIN ME 
CON 

August 11-13 
Sheraton Denver 
Lakewood, CO 

Mountain Media Con 
P.O. Box 33001 

Northglenn. CO.S02.B 3g01_ J 
tashamccoy@ aol.cqm 




* — . | I — 



FESTIVAL 

August 18-20 
Marriott Marquis 

. : New York, NY 

| Dark Shadows Festival 



514 Broad Street 
Rome. GA 30161 ■ ■: 
<706) 234-8201 

NJ COMICS & SF 
CON 

September 3 
Holiday Inn, 
Tinton Falls, NJ 

620 Westwood Avenue 
Long Branch. NJ 07740 
(908)571-5316 _J 

TACY7C0N 

September 8-10 

North Orlando Hilton & Towers 

Altamont Springs. FT 

TacyTCon 

c/o Sherri Wetherill '"" 

1227 Waterview Blvd. \V. 

Lakeland, FL 33801 

(813)665-0388 

Guests: Neil Gaiman. Bernie 

Wrightson, David Prowse 




; Guests: Grace Lee Whitney. Patti 
Yasetake. Deanna Lund. Spice ; 
Williams. Bnnke Stevens; 

OCTOBER 

BANFFCON '95 

October 6-8 
Banff Park Lodge 
Banff, Alberta 

BanffCon '95 

P.O. Box 20001 

Bow Valley Postal o|l~. 

Calgary. Alberta 

„_Z/ra>i4H3 

;Canada~' 

banffcon95(Seopenhagen: 

cuug.ab.ca 

! Guest: Terry Pratcheo _ 



NECRONOMICON 

October 13-15 

OWestshore Hotel 
Tampa, FL ; 
r Necronomicon '95 



P.O. Box 2076 
TREKFEST 1995 ;Riverview. FL 33569- 



Infinite Visions J 

P.O: Box 904 

S. Yarmouth. MA 02664 L_ i 

1-800-662-TREK , ■ 

Guesr: Brent Spiner 

MALLWORLD '95 

August 12-13 
Florin Mall 
Sacramento. CA! 

:---v''v.vv. 

L'.S.S. Defiance 
Admiral Janis Moore"' 




;; 





P.O. Box 188993 
Sacramento. CA 95818-8993 
(916)447-0856 




P.O. Box 92 ! 

plewood. NJ 07040 
Guests'. David Seiby. Lara Parker. 
Roger Davis, Kamryn Leigh Scott 

HORIZON 

August 19-20 

Oregon Convention Center j 

Portland, OR 

Horizon Convehtibi 
P.O. Box 4138 
Butbank.CA 91503^1138 



September 9 
Holiday Inn 
Houston, TX 

Starbase Houston 

P.O. Box 981701 
, Hauston.TX 77098 -i70 1 
j (713)527-WARP 
: Guests: Max Grodenchik, : 



: L 




'"" ! (813) 677-6347 

!' ""74273. 1 607@compiisen-e.com t 
Guesis Terry Pratchett Ben Bova 



PRIMEDIA 

October 27-29 
Ramada Hotel 



Jyltke Barr, Bill Hughes 5 fj r — -.Ra 

* — * | L™™-J i — E — j \ U™~*J Toronto. Ontario 

I UADI7AM hJ 







- ! 1- 



■ (818)841-TREK 
: Guest: Brent Spiner 



i M 



r 



HORIZON 

September 23-24 
Meydenbauer Center 
Believue, \YA 

Horizon Conventions- - ; 
P.O.Box4138 
Burbank-CA 91503-4138 
C8i8)84T-TREK 



iprimedia- 
• i *303r32 : 10La< 



.venueEast 

■■-■ Scarboroiighi ONr™"™^ ; 

- 1 - ] ivf4AlL^ ?""""' 

UGanada- ' ' 
Guests? Spider & Jeanne Robin- 
son, Nigel Bennett. Peter;Bloch- 
H arisen 



22 STARLOG/September 1995 



Art: Bob Muleady 



exHtvt 







e5f -me ij*a fo^ 




Art: Bob Muleady 



CALCASIEU AREA TREKKERS 
SOCIETY 

A fan club devoted to the true nature of Star 

Trek and Gene Roddenberry's philosophy. 

Sanctioning: None. 

Address: Calcasieu Area Trekkers Society 
USS Lafitte NX-8735 
Lake Charles, LA 70602-7282 

Dues: Please send SASE for information. 

Membership Includes: Club newsletter. 

Trek news, artwork and cartoons. 

SCIENCE FICTION MUSEUM 

An organization dedicated to preserving SF 

memorabilia. 

Sanctioning: None. 

Address: The Science Fiction Museum 
Edward Steiner, Chairman 
PO Box 18091 
Salem. OR 97305-8091 

Dues & Membership: Send SASE for info. 





FRAtKEHSfE!r4 - uHPiuaeep. 



...OILSPIU. .., OIL SPILL •■■ OIL SPILL. 



INTERTWINED 

A Forever Knight, Quantum Leap. Beauty 
the Beast, Starsky & Hutch info outlet. 
Sanctioning: None. 
Address: Intertwined 

PO Box 49 

Savoy, IL 61874 
Dues: Send SASE for info. 
Membership Includes: Info on fan clubs 
and merchandise. 

TEKWAR FAN CLUB 

A club for younger TekWar fans. 

Sanctioning: None. 

Address: Teklabs 

Mitch Nozka 

253 South Main Street 

New Britain, CT 0605 1 

Dues: None. 

Membership Includes: Send SASE for 

info. 



'evERYBopy zew ? rrs qowa cmm^-I " 



TREXPERTS 

A monthly letterzine for fans of Star Trek 

ST.TNG, Deep Space Nine & Voyager. 

Sanctioning: None. 

Address: Valerie Herd 

7459 Nasrullah Crescent 
Niagara Falls. Ontario L2H 2M4 
Canada 

Subscription price: Three issues S5 (US), 

S6 (Canada). S7 (Overseas). 




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This Moment in Time 

If you had been born 100 years ago, the concept of space travel would be a distant fan- 
tasy. After all, 100 years ago. the Wright Brothers had not even designed the first air- 
plane, so the notion of leaving Earth's atmosphere in 1895 and traveling into the 
cosmos was as much of an impossible dream as. say, time travel is in 1995. And if you 
were born 100 years in the future, or any time beyond, space travel would be as common 
as air flight is today. 

A short step into the past, and the conquest of space would be a dream. A short step 
into tomorrow, and that conquest would be primitive history. But this particular moment 
in time is when the concept of space travel has been taken so seriously that it is becoming 
reality. We are living in a most exciting point along the timeline of humanity! 

We are evolving from Earth-bound children into unbounded adults. We are becoming 
the god-like heroes we have always admired. We are seeing our potential and learning 
our power. 

I never tire of seeing and learning about our exploration of the high frontier. Recently. 
I enjoyed a full afternoon of examining that lofty challenge, while celebrating our inge- 
nuity and courage in meeting it. I visited Space Center Houston. NASA's privately- 
funded public-participation facility at Johnson Space Center. 

The last time I toured the Johnson Space Center was in 1982 (see "The Morning 
After."' STARLOG #65). Because I was with Nichelle Nichols and Harve Bennett on that 
tour, we received VIP attention and got to go places and do things not normally available 
to visitors. We even met with the program's top man. Chris Kraft (now retired from 
NASA). This time, however. I wanted to see the new Space Center Houston (open less 
than three years) just as a regular tourist. I arranged my visit through Jennifer Casey, 
NASA public relations, but once I entered the enormous central atrium. I was totally on 
my own — free to explore in all directions, like a kid. 

One of the first things I noticed was a crowd of youngsters and parents gathered 
around an elevated platform with a satellite suspended overhead. On the smooth platform 
surface floated a reclined seat, like a dentist's chair, with a boy strapped securely into the 
padded contours. It was a Manned Maneuvering Unit, moving on a frictionless surface of 
air, with controls on each arm. The boy was attempting to position himself so that he 
could repair the satellite — before his fuel ran out. 

I then saw several dark passageways, lined with dozens of computer screens and other 
lighted displays — a hi-tech game arcade. Here, you can actually sit down and adjust 
"Shuttle Orientation" or attempt "Orbital Rendezvous" or even "Land the Shuttle." 
Nearby, you can climb into a full-size Shuttle mock-up and explore the living quarters 
and flight deck. 

A panoramic stage, built to show all the living and working facilities of our future 
space station, had attracted a lively audience. A volunteer girl visitor was demonstrating 
how astronauts will wash their hands, brush their teeth and shower in zero-g. Another 
exhibit featured 200.000 Lego bricks constructed into several space-themed models, with 
a play area for those who want to build their own Lego creation. 

Elsewhere, you can try on a variety of space helmets as you read astronaut Michael 
Collins' dramatic words from his book Liftoff: "A space flight begins when the technician 
snaps your helmet down into your neck ring and locks it into place. From that moment 
on, no'outside air will be breathed, only bottled oxygen; no human voice heard, unless 
electronically piped in through the barrier of the pressure suit. The world can still be 
seen, but that is all — not swallowed, or heard, or felt, or tasted." 

There are many more treats — including a cafe, gift shop, displays, murals, photo 
opportunities galore, even a tram tour of Mission Control and other real-and-working 
facilities of the Johnson Space Center— but for me the emotional highlight was found in 
two Space Center movie theaters. The huge IMAX movie, Destiny in Space (alternating 
with Ron Howard's Apollo 13), features never-before-seen footage from the Hubble 
Space Telescope servicing and repair mission. The other theater shows On Human Des- 
tiny and includes news clips from the entire manned space program, guaranteed to create 
tingles. After the movie. I walked through a many-room gallery that let me feel what it's 
like to stand on the Moon, be inside Spacelab and touch a Moon rock (in the lunar sam- 
ples vault — the largest exhibit of Moon rocks on Earth). 

To see our brief history in space, the most uplifting achievement of the 20th Century, 
in a single afternoon, is probably as inspiring as any SF fan can wish for. 

Thededication plaque outside Space Center Houston says: "For the dreamers and the 

explorers who look to distant horizons." Hey. that's you and me! Come celebrate the fact 

that we live at this special moment in time — the moment when the doorway to space is 

first flung wide. 

— Kerry O'Ouinn 



Explore the History of Science Fiction in 




Order now while issues last! 



Note: All issues include numerous articles & 
interviews. Only a few are listed for each entry. 



#2 Gene Roddenberry. 
Space: 1999 EP 
Guide. Logan's Run. 
War of the Worlds. 
S50. 

#3 Space: 1999 EP 
Guide. Nichelle 
Nichols. George Takei. 
DeForest Kelley. S35. 

#4 3-D SF Movie 
Guide. Richard 
Anderson. Outer Limits 
EP Guide. S50. 

#5 3-D Film history. 
UFO & Space: 1999 
EP Guides. S15. 

#6 Robert Heinlein on 
Destination Moon. 
Animated Star Trek. 
S25. 

#7 Star Wars. 
Rocketship X-M. 
Space: 1999 Eagle 
blueprints. Robby. S35. 

#8 Harlan Ellison. Star 
Wars. The Fly. S25. 

#10 George Pal. Ray 
Harryhausen. Isaac 
Asimov. S20. 

#11 CE3K. Prisoner 
EP Guide. Incredible 
Shrinking Man. Rick 
Baker. S20. 

#12 Roddenberry, 
Doug Trumbull & 
Steven Spielberg. 
CE3K. Dick Smith. 
S10. 

#13 David Prowse. Pal 
on The Time Machine. 
Logan's Run EP 
Guide. S5. 

#14 Project UFO. Jim 
Danforth. Saturday 
Night Live Trek. S5. 

#15 Twilight Zone EP 
Guide. Galactica. 
Richard Donner. This 
Island Earth. S5. 

#16 Phil Kaufman. 
Fantastic Voyage. 
Invaders EP Guide. 
S5. 

#17 Spielberg. 
Roddenberry. Joe 
Haldeman. Ralph 
McQuarrie. S5. 

#18 Empire. Joe 
Dante. Dirk Benedict. 
Richard Hatch. S5. 

#19 Roger Corman. Gil 
Gerard. Star Wars. 
Body Snatchers. CE3K 
FX. S5. 

#20 Pam Dawber. Kirk 
Alyn. 0uc*r Rogers. 
Superman. S5. 

#21 Mark Hamill. Lost 
in Space EP Guide. 
Buck Rogers. S5. 

#22 Lome Greene. 
Veronica Cartwright. 
Special FX careers. 
ALIEN. S5. 

#23 David Prowse. 
Dan O'Bannon. Dr. 
Who EP Guide. Day 
Earth Stood Still. 
ALIEN. S5. 



#24 STARLOG'S 3rd 
Anniversary. William 
Shatner. Leonard 
Nimoy. S6. 

#25 Ray Bradbury. 
Star Trek: TMP. Thing. 
S5. 

#26 Ridley Scott. H.R. 
Giger. ALIEN. Gerry 
Anderson S5. 

#27 Galactica EP 
Guide. ST: TMP. 
ALIEN FX. Nick Meyer. 
S5. 

#28 Lou Ferrigno. 
Wonder Woman EP 
Guide. S5. 

#29 Erin Gray. Buster 
Crabbe. S5. 

#30 Robert Wise. 
Chekov's Enterprise. 
Questor Tapes. 
Stuntwomen. S15. 

#31 Empire. 20,000 
Leagues Under the 
Sea. Chekov's Ent. 2. 
S5. 

#32 Sound FX LP. 
Buck Rogers & Trek 
designs. Chekov's Ent. 
3. S6. 

#33 Voyage EP Guide. 
Ellison reviews Trek. 
S5. 

#34 Tom Baker. Irv 
Kershner on Empire. 
Martian Chronicles. 
Buck Rogers. S15. 

#35 Billy Dee Williams. 
Empire & Voyage FX. 
$5. 

#36 4th Anniversary. 
Nichols. Prowse. Glen 
Larson. Yvette 
Mimieux. S6. 

#37 Harrison Ford. 
Terry Dicks. First Men 
in the Moon. S5. 




#38 CE3K. Buck 
Rogers EP Guide. 
Kelley. S5. 

#39 Buck Rogers. Tom 
Corbett. Erin Gray. 
Fred Freiberger. 55. 

#40 Hamill. Gil Gerard. 
Roddenberry. Jane 
Seymour. Freiberger 2. 
Empire FX. S4. 

#41 Sam Jones. John 
Carpenter. S5. 

#42 Robert Conrad. 



Mark Lenard. 
Childhood's End. 
Dr. Who. $6. 
#43 David 

Cronenberg. Jeannot 
Szwarc. Altered States 
FX. Hulk EP Guide. 
S5. 

#44 Altered States. 
Bob Balaban. S5. 

#45 Peter Hyams. 
Thorn Christopher. 
Escape from NY. S5. 

#46 Harry Hamlin. 
Blair Brown. Superman 
II. G American Hero. 
S5. 

#47 Takei. Sarah 
Douglas. Doug Adams. 
Outland. S5. 

#48 5th Anniversary. 
Harrison Ford. Lucas. 
John Carpenter. Bill 
Mumy. S6. 

#49 Adrienne Barbeau. 
Kurt Russell. Lucas. 
Takei. 007 FX. 
Raiders. S15. 

#50 Spielberg. Sean 
Conner/. Lawrence 
Kasdan. Lucas. Ray 
Walston. Heavy Metal. 
Dr. Who. S50. 

#51 Shatner. 
Harryhausen. 
Roddenberry. Jerry 
Goldsmith. Kasdan. 
Batman. S5. 

#52 Blade Runner. 
Shatner. S5. 

#53 Bradbury. Patrick 
Macnee. Blade 
Runner. S5. 

#54 3-D Issue. Bob 
Culp. Connie Selleca. 
Terry Gilliam. Leslie 
Nielsen. Raiders FX. 
Trek bloopers. S5. 

#55 Quest for Fire. Phil 
K. Dick. Culp 2. Ed 
(UFO) Bishop. 
Trumbull. Trek 
bloopers. S6. 

#56 Zardoz. Triffids. 
Trek bloopers. S5. 

#57 Lost in Space 
Robot. Conan. 
Caroline Munro. Ron 
Cobb. S10. 

#58 Blade Runner. 
The Thing. Syd Mead. 
Trek bloopers. S10. 

#59 The Thing. 
Kirstie Alley. Merritt 
Butrick. Arnold 
Schwarzenegger. S35. 

#60 6th Anniversary. 
Star Trek II. Carpenter. 
Ridley Scott. TRON. 
S6. 

#61 Trek II Pt.2. Walter 
Koenig. Sean Young. 
Road Warrior. S1 5. 

#62 Ricardo 
Montalban. Koenig. 
James Doohan. Ken 
Tobey. Dr. Who. S5. 

#63. Spielberg. Nimoy. 
Kurt Russell. Rutger 




Hauer. James Horner. 
S25. 



#64 David Warner. 
Peter Barton. Dr. Who 
EP Guide. S75. 

#65 Arthur C.Clarke. 
Hamill. E.T. FX. Dark 
Crystal. S5. 

#66 Dark Crystal. 
Frank Herbert. Frank 
Marshall. S5. 

#67 TRON. "Man Who 
Killed Spock." Trek II 
FX. $5. 

#68 Octopussy. Never 
Say Never Again. 
Harve Bennett. 
Richard Maibaum. S5. 

#69 Anthony Daniels. 
Tom Mankiewicz. Jedi. 
S5. 

#70 Man From 
U.N.C.LE. Debbie 
Harry. Chris Lee. John 
Badham. S5. 

#71 Carrie Fisher. 
Judson Scott. Dan 
O'Bannon. V. S5. 

#72 7th Anniversary. 
Hamill. Shatner. Roger 
Moore. Bradbury. June 
Lockhart. S6. 

#73 Cliff Robertson. 
Robert Vaughn. Roy 
Scheider. Jason 
Robards. Hamill 2. S5. 

#74 Molly Ringwald. 
Michael Ironside. 
Malcolm McDowell. 
L. Semple 1. S5. 

#75 Nancy Allen. John 
Lithgow. McQuarrie. 
George Lazenby. 
Semple 2. S5. 

#76 Buster Crabbe. 
Sybil Danning. S6. 

#77 Phil Kaufman. 
Chuck Yeager. Tom 
Baker. Trumbull. 35. 

#78 Ferrigno. Scott 
Glenn. Nick Meyer. 
Arthur C. Clarke. 
Trumbull 2. Lance 
Henriksen. S5. 

#79 Dennis Quaid. 
Kershner. Jon 
Pertwee. David 




Hasselhoff. S5. 

#80 Billy Dee Williams. 
Anthony Ainley. Jedi 
FX1.S5. 



#81 Alan Dean Foster. 
Fred Ward. Veronica 
Cartwright. Greystoke. 
Buckaroo Banzai. S5. 

#82 Schwarzenegger. 
Max von Sydow. Chris 
Lloyd. Faye Grant. Dr. 
Who. Jedi FX 2. S4. 

#83 Kate Capshaw. 
Robin Curtis. Fritz 
Leiber. Marshall. Dr. 
Who. V. S10. 

#84 8th Anniversary. 
Nimoy. Frank Oz. 
Chris Lambert. Marc 
Singer. B. Banzai. Jedi 
FX 3. V. S6. 

#85 Jim Henson. Joe 
Dante. Jeff Goldblum. 
Bob Zemeckis. Ivan 
Reitman. $5. 

#86 Peter Weller. 
Lenard. John Sayles. 
Chris Columbus. Rick 
Moranis. Jedi FX 4. 
S75. 

#87 Ghostbusters FX. 
Kelley. Prowse. David 
Lynch. 2010. B. 
Banzai. S5. 

#88 Terminator. 
Schwarzenegger. 
Kelley 2. Keir Dullea. 
V. Dune. Gremlins. S6. 

#89 Jane Badler. 
Helen Slater. Patrick 
Troughton. Jim 
Cameron. Irish 
McCalla. Starman. B. 
Banzai. Terminator. S5. 

#90 Scheider. Karen 
Allen. Ironside. Dean 
Stockwell. Pinocchio. 
S75. 

#91 Koenig. Michael 
Crichton. V. Dune. 
Gremlins. Terminator. 
S10. 

#92 Carpenter. Tom 
Selleck. Gilliam. Brazil. 
Barbarella. S5. 

#93 Donner. Lithgow. 
John Hurt. Robert 
Englund. Simon Jones. 
Dr. Who. Jedi FX 5. 
M. Python. $10. 

#94 Doohan. William 
Katt. Sayles. John 
Barry. Michelle Pfeiffer. 
V. JediFXS. S5. 

#95 Grace Jones. 
Butrick. Hauer. 
Matthew Broderick. 
Mad Max III. Cocoon. 
S5. 

#96 9th Anniversary. 
Peter Cushing. Roger 
Moore. Jonathan 
Harris. Tina Turner. 
John Cleese. Cocoon. 
Jedi FX 7. S6. 

#97 Mel Gibson. Scott 
Glenn. Ron Howard. 
River Phoenix. Donner. 
Chris Walken. BTTF. 
S10. 

#98 Michael J. Fox. 
Dante. George Miller. 



Guttenberg. S5. 

#99 Anthony Daniels. 
Zemeckis. "Cubby" 
Broccoli. Mad Max. S5. 

#1 00 Lucas. Nimoy. 
Carpenter. 

Harryhausen. Ellison. 
Matheson. 
Roddenberry. Irwin 
Allen. Nichols. 
Cushing. S6. 

#101 Ellison. Ridley 
Scott. Sting. Roddy 
McDowall. Macnee. 
Takei. Fred Ward. S5. 

#102 Spielberg. Mel 
Blanc. Michael 
Douglas. Allen 2. Alley. 
Doug Adams. Peter 
Davison. S5. 

#103 Daryl Hannah. 
Hauer. Bennett. Bottin. 
Elmer Bernstein. S5. 

#104 Peter Mayhew. 
Stephen Collins. Ken 
Johnson. V. Outer 
Limits. T Zone. S5. 

#105 Lambert. Colin 
Baker. Jonathan 
Pryce. Grace Lee 
Whitney. Planet of the 
Apes. l/EP Guide. 
Japanimation. S5. 

#106 Nimoy. Tim 
Curry. Clancy Brown. 
Terry Nation. ALIENS. 
Japanimation. S5. 

#107 Henson. Tom 
Cruise. Terry Dicks. 
W.D. Richter. Jean M. 
Auel. ALIENS. S5. 

#108 1 0th Anniversary. 
Roddenberry. Martin 
Landau. Chuck Jones. 
Kurt Russell. Rod 
Taylor. David Hedison. 
Michael Biehn. BTTF. 
V.$6. 

#109 Henson. 
Carpenter. Sigourney 
Weaver. Ally Sheedy. 
Takei. Melanie Griffith. 
S5. 

#110 Bradbury. 
Cameron. Cronenberg. 
Nimoy. Geena Davis. 
Bob Gale. S5. 

#111 Columbus. Sarah 
Douglas. Nick 
Courtney. Martin 
Caidin. Trek IV. StO. 

#113 Doohan. Robert 
Bloch. Rick Baker. The 
Wizard. Little Shop of 
Horrors. Starman TV. 
S25. 

#114 Nimoy. Guy 
Williams. Robert Hays. 
Gareth Thomas. S50. 

#115 Kelley. Chris 
Reeve. Jenette 
Goldstein. Tom Baker. 
Carpenter. ALIENS. 
S125. Very rare. 

#116 Nichols. Majel 
Barrett. Robin Curtis. 
Whitney. Paul Darrow. 
Ray Russell. Dr. Who. 
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PYI 



> 







Manic Jim Carrey 

brings his gift 

for rubber faces 

to Gotham's , 

Prince of 

Puzzlers. 







By WILL MURRAY 



really had a thing for Catwoman ," Jim 
Carrey freely admits. "A big sexual fanta- 
sy thing going on when I was a kid with 
Julie Newmar and the tight leather suits. 
Everybody who played Catwoman was pret- 
ty all right with me." 

It's an interesting revelation, but the 
question posed to the comic actor now star- 
ring in Batman Forever is whether or not his 
character, the Riddler, was his favorite of the 
many outrageous Batman TV villains. But 
that's Carrey. Always on. Turning serious, he 
takes another shot at answering before he 
starts sounding as if he's after Michelle 
Pfeiffer's job. 

"As far as the male characters go," Carrey 
allows, "the Riddler was kinda perfect. It 
was a great surprise when I got the call that 
they wanted me to do it. I couldn't ask for a 
more absolutely perfect casting opportunity 
for me. It's just amazing. The puppet masters 
are going to work again." 





"I read a lot of the comics," Carrey says 
of the lengths he went to research his 
puzzling character. 

Carrey also freely admits to being a huge 
fan of the Batman TV show. "I used to watch 
it before I went to bed," he says. "Every 
night. Without fail. My parents used it to 
make me wash behind my ears. 'If you don't 
wash properly, you can't watch Batman.' 
And that was it." 

Comparisons are inevitable in this 
film. How will the new Riddler stack 
up against the unsurpassed TV inter- 
pretation of impressionist/actor Frank 
Gorshin (CS PRESENTS #1)? Carrey 
meets the tricky topic head-on. 

WILL MURRAY, veteran STARLOG cor 
respondent,' writes Gold Eagle's Destroy- 
er novels (#100, Last Rites, $4.99). He 
profiled Russell Mulcahy in #205. 

28 STARLOG 



"I tried not to do Frank Gorshin," he 
asserts. "Because he's so strong at it. He real- 
ly laid down the gauntlet for it. He was the 
Riddler. I didn't try to outdo him or anything 
like that. I just tried to approach it like this is 
me. Edward Nygma is me going insane. 
What would I do? Where would I go? So, I 
tried to keep concentrating on that. But he's 
an amazing, amazing character." 

Enigmatic Origins 

In preparation for the role as Batman's 
puzzling nemesis, the actor sifted through 
every kind of Riddler source material look- 
ing for fresh angles on the character. 

"I read a lot of the comics. Actually, I 
wasn't crazy about a lot of the Riddler stuff. I 
was surprised to find that he had a cane. 
Apparently, the John Astin version of the 
Riddler had one. I loved the cane, it was so 
"My name is Jim Carrey 
and I want you to 
buy this 
blender!" 
Seriously 
folks, Carrey 
is launching 
his villainous 
career as the 
Riddler in 
Batman 
Forever. 



"Ace is nursed back to health by monks, 
so he fancies himself a holy man," reveals 
Carrey of the sequel to, Ace Ventura: Pet 
Detective. 

much fun. It took a while to learn it. I para- 
lyzed my arm a few times just whacking 
myself with the stupid thing." 

Much of Batman Forever deals with the 
Riddler's origin. In this version, he's Edward 
Nygma, a Wayne Enterprises research scien- 
tist with delusions of becoming Bruce 
Wayne's business partner. 

"It's a progression," Carrey reveals. "I 

think what happens is at a certain point, 

Edward Nygma loses 

Edward Nygma. He 

gets wrapped up in 

Bruce Wayne's 

i«b, success and 

tJ 



In one scene, the Riddler 
demolishes the Batcave with 
these "Batty Bombs," and Carrey walked 
through the fire— himself. "It was exciting." 

his grandiose world. So many people do that. 
They see the carrot dangling out here and 
they forget about themselves — that they have 
talent of their own and their own directions. 
That's what he does. He's a genius. But he 
loses himself because he covets somebody 
else's world, and somebody else's trip." 

Carrey reveals he took some inspiration 
from a surprising source — Elvis Presley. "I 
wanted to go to Elvis. Elvis in Vegas with the 
eagle on his back. In Vegas, the art wasn't 
coming from inside Elvis any more. It was on 
the outside. 'Look at my diamond rings. 
Look at my eagle and my glasses.' You start 
adorning the outside. That's what I wanted 
the Riddler to do. He needed that because he 
had no identity." 








Playing counterpoint to Carrey's Riddler 
is another longtime Bat-foe who also seeks 
revenge on the Dark Knight — Tommy Lee 
Jones' Two-Face. Both are extremely force- 
ful actors, and neither is above chewing the 
scenery. "Tommy Lee is an amazing actor," 
Carrey declares. "He scared the hell out of 
me and basically, he's a pain in the ass." 

Carrey is smiling his infectious Jim Car- 
rey grin, so it's hard to tell how seriously to 
take his disarmingly casual assessment until 
he goes on in the same vein. 

"He's not somebody you want to hang out 
with for too long. He's just a complex, trou- 
bled individual and that's basically where it's 
at. So, I used it. I had fun with it. and that was 
it. Tommy Lee comes from a different place 
than I do, so it was kinda fun, actually. It was 
kinetic and interesting. Like two rams smash- 
ins into one .^m«^^ another." 




roQgrly, you can 
atman.-j 



* 



Rumors of scene-stealing on the set 
abound — with Jones' Two-Face coming out 
second best to Carrey's Prince of Puzzlers. 
"To a certain extent, it's chemistry." Carrey 
suggests. "The Riddler uses Two-Face. The 
Riddler is more intelligent than anybody on 
Earth — in his mind. To even think he's on the 
same level as Two-Face would be ridiculous. 



So, he patronizes him as much as he can. He 
gets what he needs — which is strength — 
from Two-Face. So that put me in that 'I'm 
going to toy with you now' kind of place. 
"And you can whack me too, but it won't 
really matter because I'll spit at you with my 
last breath.' " 

Puzzling Tales 

Batman Forever boasts the biggest budget 
of any film that Carrey has ever made, and 
he relished the experience. "You learn that 
you're not going to have to fight for every 
single idea or dollar," he explains. "With 
many projects, it is a creative war. And 
that's what you do. You go in knowing 
they don't have S80 million to spend and 
you fight it out. 'Yeah, I do want a mon- 
ster truck in this scene. It's a funny 
idea and it's really good." And you 
fight and fight. If you lose, you lose. 
This movie, it's insane. You can go to 
them and say, 'I think I should have 
solid gold testicles in this scene, and 
they'll go. 'Call the Prop Department. 
Get the testicle master on the phone! ' " 

Carrey had a great deal of input into 
the story via director Joel Schumacher, 
and happily ticks off several of his ideas. 
"The costume for the movie's ending. 
The sequence in the cave. All the lines. I 
didn't wing it. necessarily. Sometimes I 
did. Many times before we would go do 
a take. I would think of certain things 
and run them by Joel. It kept the 
vibe fresh." 



- ::-.-; j ; 



/ 



» • 



-• • •' 



••.• •; 



"Will I ever be able 
to portray a normal 
guy?" wonders Car- 
rey, who will suit up 
to play the Mask 
again in Revenge 
of The Mask. "If I 
don't, then I don't." 



J 



much fun," Carrey enthuses. 
"1 paralyzed my arm a few 
times just whacking myself 
with the stupid thing." 




The actor also did 
some of his own stunts, 
including the maniacal 
rampage where he 
demolishes the Bat- 
cave with "Batty 
Bombs." despite 
all the personal 
risks involved. 

"It was exciting," he enthuses. "Wow! 
Sure, you worry about it. If you take one 
wrong step when there are explosions 
around, you're wiped. I was as conscious as 
you can get knowing there are things explod- 
ing around you. At the same time, I had to do 
the cane moves and think of the lines and 
play the scene, which is hard to do. And you 



don't get a second chance because it would 
take them three hours to set it up again." 




Carrey's most recent roles have tended to 
slip into a well-defined lunatic groove in 
which the Riddler seems perfectly suited. If 
the specter of typecasting looms over his 
future, the actor expresses no outward con- 
cerns about essavina the Riddler. 




"It's just another thing to play," he says. "I 
can't say I can totally play my career to the 
point where I say, 'I'll play dark. And light. 
Then this. And that. Here I'm going to be a 
bit on the shady side. But I have a sense of 
humor that will kill you. And then — ' " 

Carrey has slipped into one of his trade- 
mark histrionic riffs. Catching himself, he 
continues in a more subdued tone. "You take 
them as they come. It just happens that many 
of my characters are crazed, over-the-top 
guys. I just want to do stuff that's different. 
Even if it's My Dinner with Andre. I want to 
be able to sit there and hold the spoon in a 
way that's going to make the audience go, 
'I've never seen anyone do that!' " 

Mysterious Methods 

Next up for Carrey is a reprise of his 
breakout character, Ace Ventura, in a movie 
sequel due out this fall. "Ace is going 
through a catharsis," Carrey reveals. 
"Something very tragic happens to him at 
the movie's beginning. He's nursed back to 
health by monks, so he fancies himself a holy 
man. You can kinda get the idea what his lit- 
tle inner conflict might be in that one. I've 
even got my own Gregorian chant, which is 
kinda cool." 

Comparisons between his performance as 
the Riddler and his equally insane Mask 
character (which he discussed in CS #45) are 
also unavoidable, especially now that Carrey 
has signed to reprise the latter role in 
Revenge of the Mask. Cameron Diaz rejoins 
Carrey in this sequel, scripted by Brent 
Forester. Charles Russell once again directs, 
with production to begin in November. 

"Will I ever be able to portray a normal 
guy?" Jim Carrey concludes with frank 
thoughtfulness. "I'm not really concerned 
about it. If I don't, then I don't. What the hell. 
Things aren't so bad. But I think I will, 
because life is pretty darn interesting. Just the 
normal things we do. That's where most of 
this stuff comes out of. 

"Much of the stuff I do in these wild char- 
acters are things that just popped out in real 
life. I just save 'em up. I'm not really afraid. 
That's me. That's just what I am. Everybody 
plays himself in some way or another. I 
mean, Clint Eastwood has been doing 'Clint 
Eastwood' for a long time. And people 
haven't gotten tired of it. Who knows? 
Maybe I'll get lucky and they won't get tired 
of me. I don't think they'll ever totally figure 
me out. I hope not." •^ 



30 STARLOG 



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and costumes! Wf- To order child sizes 

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BATMAN FOREVER 

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BATMAN 

Child's Batman Forever costume AF125 S25 

sm md Ig 

Child's costume (rubber mask, cape, 2 pc. 

bodysuit, polyfoam silk screen front 

BR150S80.00 

md Ig 

Child's set (deluxe rubber mask, cape) 

BR152S30.00 

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Complete adult costume (includes all 

Batman Forever items below) 

BR100S400.00 

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ROBIN 

Child Costume AF1 26 $25 

sm md Ig 

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Virtual reality as an idea is so broad." 
says director Brett Leonard. "It's about 
extensions of ourselves being played 
out insanely in front of us. I think with Virtu- 
osity, the hardware side of VR is being put to 
rest. We're now dealing with the question of 
how the human community is dealing with 
the emerging technology." 

MARC SHAPIRO. STARLOG's West Coast 
Correspondent, is the author of an upcoming 
book on the Eagles. He profiled Chris 
O'Donnell in STARLOG #217. 



And just how does the director of The 
Lawnmower Man and Hideaway deal with 
emerging technologies? "'When you're work- 
ing 22-hour days every day like I am, you just 
don't have the time," Leonard sighs. "I don't 
even have the time to input new information 
onto my computer. In a sense, I've been taken 
totally out of the loop of technology." 

You wouldn't guess that was the case to 
look at the giant video walls and overall 
sense of advanced technology present on the 
set of Virtuosity, which is being filmed in the 
long-abandoned Los Angeles Hughes Air- 



"What attracted me to the project was the 
idea that here was a bad guy made of 183 
different serial killers," Leonard says of 
SID 6.7, played by Russell Crowe. 

craft plant. In the middle of yet another "22- 
hour day," the Virtuosity company, following 
a morning in which the movie's mad scien- 
tist, Daryl Lindenmeyer (Stephen Spinella). 
had a VR sexual encounter up against a mas- 
sive video wall, breaks for lunch. 

Leonard came to his current project by 
way of several VR scripts that came his direc- 
tion in the wake of The Lawnmower Man. "I 
had seen a lot of VR scripts and most of them 
weren't very good. Cyber-sex was at the core 
of most of them, and you can't make a whole 
movie about that. What I was looking for was 



32 STARLOG/September 1995 



a simple, mythical storyline and something 
that had a lot of action elements to it." 

When Virtuosity landed on his desk, 
Leonard knew he had his next movie. "What 
attracted me to the project was the idea that 
here was a bad guy made up of 183 different 
serial killers and villainous psychological 
profiles. And suddenly, he's out and on the 
loose. You can't really get beyond that." 

Virtual Settings 

Virtuosity, directed by Leonard from a 
screenplay by Eric Bernt, takes place in Los 
Angeles in the not-too-distant world of 1999. 
Crime is running so rampant that a govern- 
ment-funded lab, Law Enforcement Technol- 
ogy Advancement Center, has created a 
police training device, dubbed SID 6.7, that 
allows police trainees the opportunity to test 
their mettle against a state-of-the-art artificial 
intelligence that's a composite of the worst 
criminal tendencies. SID manages to escape 
his computer environment, takes on physical 
form and begins a seemingly unstoppable 
crime spree — until ex-cop Parker Barnes, 
recently released from prison, is brought in 
by the government to stop him. Aided by 
criminal behavior specialist Dr. Madison 
Carter, Barnes begins the inevitable cat-and- 
mouse hunt through the city that bounces 
between the virtual world and the real world. 

Denzel {Crimson Tide) Washington stars 
as Barnes, Kelly {Desperate Hours) Lynch 
plays Dr. Carter, Russell (The Quick and the 
Dead) Crowe is the monstrous SID 6.7. Also 
featured are William (Dick Tracy) Forsythe 
and Louise (VR.5) Fletcher. 

Leonard says, with conviction, that "this 
is not a horror film. It's science fiction and 
action, but it's not far-flung future stuff. This 
is definitely near-future." And, explains the 
director, Virtuosity's science fiction back- 
ground is definitely on the cutting edge of 
science fact. 

"There's a great deal of research going on 
about artificial intelligence, personality and 
life. There's a lot being done that echoes the 




"The first thing you do to avoid characters just going along for the ride is to cast 
Denzel Washington, who never just goes along for the ride," raves Leonard. 



idea we explore in this film of using behav- 
ioral models to inhabit certain computer pro- 
grams. The idea of those models getting out 
is the kind of leap of faith they took in Termi- 
nator and that we're taking by having our 
model inhabiting a nano-tech android. What 
we're doing is nowhere near what the real 
science is at the moment, but it was some- 
thing I wanted to incorporate into this film." 

Virtuosity is also taking certain liberties 
with virtual reality. "Virtual reality is not the 
big gimmick in this film," confides the direc- 
tor. "It basically takes a backseat to what else 
is happening. We deal with the science in an 
almost offhand way. You can't pick up a 
newspaper today and not know what virtual 
reality means, and so we don't talk about it 
the way we did in Lawnmower Man. 

"In fact, I had to fight to get the term used 
in the movie at all, because the marketers 





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5 

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The Lawnmower Man was Leonard's first 
foray into VR, and the tales of author 
Stephen King's animosity were exagger- 
ated. "King liked Lawnmower Man." 

were terrified at using a term that people 
didn't know about. So we 're just calling it VR 
and assuming it's just part of everyday life. 
The whole idea of nano- technology gets a lit- 
tle bit more of an explanation, but there won't 
be a whole stretch of dialogue explaining 
what it's all about. 

"One of the key things for this movie is 
that many of the FX are very subtle. We're 
dealing with the idea of virtual reality being 
very real, so all of the tools we're using are 
focused on doing very subtle effects." L2 

START CCKentPmher /995 33 




Photo: Bruce Birmelin 



"Usually in this kind of film, the heroic 
characters tend to come off as a little 
wishy-washy," the director states. "Denzel 
has lent a real solidity to the role." 

his virtuosity. He grew up wanting to be a 
composer, but he ended up composing soft- 
ware instead of music. He's a real interesting, 
disturbing character — typical of the type of 
people who focus only on codewriting. I 
know I've met many people over the years 
who do this kind of work, and who are 
socially dysfunctional." 

Principal photography on Virtuosity 
began on January 25 in and around Los 
Angeles for what Leonard describes as a 
"very intense, rough and challenging shoot. 

"Every scene in this film has been a bat- 
tle, and the reason it was so rough was that 
this was a technologically very complex film. 
I have the biggest video walls in the history 
of video walls. We have 30 major FX shots 
that we shot the bluescreen for at the shoot's 
beginning, and then played the completed 
shots back two months later on giant video 
screens. Logistically, it has been truly daunt- 
ing. It has been nothing but action. We have a 



Communications, formed by Leonard and 
Michael Lewis, created all the computer- 
generated FX. 

Synthetic Characters 

Virtuosity is, to a large extent, a commen- 
tary on where law enforcement is heading in 
the near-future. "The main concept of this 
film is. that a lot of funding will be going to 
law enforcement and very little else. The film 
postulates that in the year 1999, we're going 
to be waging a war within our own borders. 
Instead of fighting a cold war overseas, we're 
going to be fighting an urban insurrection in 
the United States." 

The director concedes that a film like Vir- 
tuosity could have easily been an exercise in 
paper-thin characterization. "The first thing 
you do to avoid characters just going along 
for the ride is to cast Denzel Washington, 
who never just goes along for the ride. The 
roots of this movie are in the human truth, 
and the truth of Parker Barnes is the human 
tragedy he has been through. He has been in 
prison for five years, he has lost his family 
and he has killed innocent people. His story 
is like a dark James Cagney kind of thing. He 
brings such a human presence to this movie 
that all you have to do is point a camera at 
him. Usually in this kind of film, the heroic 
characters tend to come off as a little wishy- 
washy. But Denzel has lent a real solidity to 
the role." 

According to Leonard, so have Crowe as 
SID 6.7 and Stephen Spinella as his creator. 
Lindenmeyer. "SID is totally synthetic and, 
because he's made up of so many different 
personality profiles, he's totally out of touch 
with reality. And the way Russell plays him. 
he's a fun villain — the perfect bad guy you 
love to hate. Russell has also been quite suc- 
cessful at bringing a sense of humor to SID. 

"Lindenmeyer is very much the Dr. 
Frankenstein of this piece," Leonard contin- 
ues. "He's very real, he's a very disturbed 
person who can only express himself through 

34 STARLOG/September 1995 



"You can't make a whole movie about 
[cyber-sex]." 



Photo: Sidney Baldwi 




"Evary 3D3iia in this film has ~h= 
batUs," La'jnurd orlara. "1! iiU3 List 
ti'jiiiiiiy buSiicli'ju." 




Leonard's second 
experience with 
literary adapta- 
tions came with 
the Jeff Goldblum 
near-death thriller 
Hideaway, based 
on Dean Koontz's 
bestseller. 



Wm 




helicopter gun battle on the top of a sky- 
scraper in "the middle of downtown Los 
Angeles, and getting that shot was like 
mounting a military campaign. We worked in 
a Metrolink subway station that sits right in 
the middle of five freeways, with the trains 
constantly moving. Nobody had ever shot 
there before. 

"It was just insane the lengths we went to 
create new images and to find unique loca- 
tions. People don't really understand what 
goes into making something truly unique. 
There's a lot of obsessive, compulsive behav- 
ior involved and many people going com- 
pletely nuts in the process." 

Real Nightmares 

One element of madness that Leonard 
avoided on Virtuosity was the wrath of an 
irate author — a situation that the director 
experienced on both Lawnmower Man and 
Hideaway. "Stephen King liked Lawnmower 
Man," he says. "He was just pissed with the 
way New Line Cinema marketed the film. 
King and I get along fine. 

"Dean Koontz was a nightmare. The guy- 
never saw the film. He came to a screening 
and walked out five minutes into it. The audi- 
ence was cheering the whole death journey- 
sequence and he walked out when King's 
name was mentioned. In our test screenings, 
the audience members who had read the book 
thought it was a fairly faithful adaptation. 
Koontz. without seeing the film, wanted to 
hate it." 




The cyber-criminal SID escapes from his computer confines to wreak havoc on the 
real world, and it's up to Barnes and Dr. Madison Carter (Kelly Lynch) to stop him. 



Leonard, who came to prominence in 
1989 with the low -budget horror film The 
Dead Pit. claims that the ground-breaking 
TRON set him on his current course. "I was 




totally impressed. I thought that TRON was a 
movie that was way ahead of its time. What 
they were doing then was so much more dif- 
ficult to do. That was a film that affected me 
and got me looking into this stuff. 

"My influences? Stanley Kubrick, and 
then everybody else. I've never met him and, 
given all the wacky things I've heard, I prob- 
ably wouldn't want to. But I'm making films 
because of 2001 : A Space Odyssey. I saw that 
film when I was seven years old and I thought 
it was slamming." 



"Virtual Reality is not 

the big gimmick in 

this film." 



Leonard characterizes himself as a film- 
maker on the cutting edge. "Messing with the 
audience is definitely something I like to do. 
Whether it's a psychic connection or a tech- 
nological tie, I enjoy stories about characters 
who explore extreme edges. I then like to be 
able to play visually with things that don't 
employ normal narrative logic. I'm definitely 
into pure visual cinema. I see my films more 
as experience films than narrative films." 

In line with his vision of telling caution- 
ary tales. Brett Leonard also sees Virtuosity 
as a not-too-veiled warning as we near the 
year 2000. "I think the myths that have been 
created around how technology impacts us 
are very important right now," he concludes. 
"That mythology is very much a part of my 
work. I like to track where the technology is 
now and where it's going to be around the 
corner. It's important as a storyteller to tell 
cautionary tales right now... before it's too 
late." it 

STARLOG/September 1995 35 



'-•i^^l ^aSHM^ \*mf+&' " "$> [ * 

rroaucercift 





One of the goals that Kathleen Kennedy 
and her husband Frank Marshall had 
when they began their Kennedy/Mar- 
shall production company was to create 
worthwhile films designed primarily for chil- 
dren. They have several animation features 
already in the works and Kennedy's produc- 
tion of The Indian in the Cupboard, directed 

Frank Oz, now in theaters. '- 

To turn Lynne Reid Banks' novel into a 
screenplay, Kennedy chose Melissa Mathi- 
son, whose screenplay for E.T. was so instru- 
mental in transforming that film into the 
gigantic hit it was and classic it is. Kennedy 
says, "I find that I'm always attracted to 
good, quality books with a potential for 
movies, primarily geared toward children, 
that have a certain amount of content, along 
with beingfun and entertaining. 

"I found that Indian in the Cupboard was 
a story that's widely read, and loved, by kids. 
It was actually a 12-year-old who initially 
told me about the book. When I read it, I 
could see why kids were so attracted to it, 
because it speaks to them in their own 
language, and at the same time, I think it 
projects material that many adults relate to, 
in terms of reflecting back on their child- 
hoods.", 

Lynne Reid Banks is a British author who 
writes f^r both children and adults; her adult 
novel, Tgg L-Shaped Room, was filmed in 
1963. The Indian in the Cupboard was first 
publish©! in the United States in 1981, where 
it immediately became popular, and won 
many rnajor awards for distinguished writing 
in children's fiction. It was named the best 
children's novel of 1981 by the New York 
Times, was selected as. a "Distinguished 
Book" by- the Association of Children's 
Librarians and won other awards such as i 
the Rebecca Caudill Young Reader's I 
Book Awards, and "young reader" awards 
in several states across the country. In 
addition to other children's books like 
The Adventures of King Midas, The Far- 
thest-Away Mountain and The Magic 
Hare, Banks has written several Indian 
sequels: The Return of the Indian, Mys- 
tery of the Cupboard and The Secret of 
the Indian. 

"Basically" says Kennedy, "it's the 
story of-Qmri, a young boy who's given 
a gift bjfiiis best friend Patrick of a small, 
antique Indian character, a plastic fig- . 
urine about three.inches.talL Also, for his 
birthday, one of his older brothers gives 
him a present of a cupboard to keep his 
toys in, arid his mom gives him an old key ' 
so he can keep it locked, so his brothers " 

36 STARLOG 



can't get at his toys. Omri puts the cupboard 
in his bedroom and sets the Indian inside the 
cupboard at night — and the Indian comes 
alive. Omri then goes through a whole adven- 
ture with the Indian, not only the obvious 
adventure, but something that also gives him 
insight into the Onondaga-Iroquois tribes. He 
introduces other characters,, such as Boone, 





By BILL WARREN 




the cowboy that Patrick brings to life. That 
creates its own conflict, as you can imagine. 
At one point, he brings back to life a small 
World War I medic at a time when there's a< 
skirmish that develops and somebody needs 
medical care. 

"Omri goes through an emotional jour- 
ney, in that he becomes very attached to this 
Indian character, Little Bear, and eventually 
recognizes the responsibility of having to 
send him back to his own time." 

Indian Chief 

Hn the very well-written book, Banks 
introduces the concepts of responsibility and 
respect for others, as Omri has to provide for 
Little Bear (and his horse), and also deal with 
his charge as a human being. Little Bear is a 
proud, dignified man, three inches tall 
though he .may be, and is not always the eas- 
iest person to deal with. He has a sense of 
humor, and a vividly depicted personality. 

"I think adults will want to see this," 
Kennedy says hopefully. "For me, I love fan- 
tasies and I love stories that tap into the 
memories of my childhood that I enjoyed. So 
I think on that level, adults will relate to this 
movie. I don't know for sure, though; why 
did people tap into E.TP. I don't exactly 
know. I guess it had something to do with 
relating to memories of your own child- 
hood." 

Finding a director for a project like this 
one, which required a delicacy when it came 
to the story's odd fantasy elements, an under- 
standing of children^ and a familiarity with 
the elaborate FX required to populate a 
movie with full-sized children and three-inch 
Indians and cowboys,. wasn't easy. "We met 
with a number of directors," Kennedy ex- 
plains, "and Frank Oz expressed a real sensi- [ 

. tivity to the material. Frank really doesn't, 
want to define himself as a director of chil 
dren's films, so his initial response was to sa; 
that he didn't want to direct this movie. Bujj 
when he read Melissa's script, he realized 
went was beyond being just a children's ft 
and was something he genuinely connect 
with and wanted to do." 

Although.other directors might have bo 
qualified to direct the movie, Kennedy feeS 
Oz brought "a real, genuine sensitivife^M 
understanding of that kind of fantasy world, 
of climbing inside the imagination of a c 

- who" so much wants to believe. I th 
Frank's experience with theMuppets, and 
being a-master puppeteer, helped him under- 
stand that. Of course, he's comfortable with 
the FX." Kennedy also agrees that Oz has a 
sharp wit, not just a sense of humor, which he 





brings to The Indian in the Cupboard. "In 
combination with Melissa's screenplay. 
that's what elevates this to a level that makes 
it so much more than a children's movie." 

Also out in this summer is Casper, anoth- 
er film for children that Kennedy was 
involved in, at least in its early stages. She 
says it would be unfair to compare Indian to 
Casper, but does admit that "I think there's a 
level of content to Indian that crosses over 
demographics more than Casper." Kennedy 
— who discussed Jurassic Park and other 
films in STARLOG #127 & #191— was also 
very busy during 1994 and early 1995 pro- 





Kennedy chose E.T. screenwriter Melissa Mathison for the task of turning Indian, the 
book, by Lynne Reid Banks, into Indian, the movie, directed by Frank Oz. 



"I found that Indian in the Cupboard was 
a story that's widely read, and loved, by 
kids," Kennedy says, so she made it into 
a movie starring Hal Scardino as Omri. 



ducing or helping to produce two other major 
summer films, Clint Eastwood's The Bridges 
of Madison County and Marshall's Congo. 
Marshall's movie, in fact, was being shot 
simultaneously on the same lot at Sony Pic- 
tures with The Indian in the Cupboard. 

Western Cowhand 

Hal Scardino plays young Omri, and 
Kennedy is enthusiastic about his perfor- 
mance. "I've had the good fortune of work- 
ing with so many wonderful kids," she says, 
"and Hal is right up there. He's one of these 
kids who has the remarkable instinct of being 
able to step in and really get you to believe 
that he's focused and involved in the scene. 



Little kids don't have a reservoir of training 
that they can tap into; Hal is remarkable in 
his ability to seem real. He played the other 
child chess genius in Searching for Bobby 
Fischer; we thought he was terrific, and we 
sought him out. He and his family live in 
London now; his mother is an economist, his 
dad's a journalist. We finally tracked him 
down on a family vacation and begged them 
into letting him come in to audition. When 

BILL WARREN, veteran STARLOG corre- 
spondent, is the author of 'Keep Watching the 
Skies, Volumes 1 & 2 (McFarland, $45, 
$45.95). He profiled Frank Marshall in 
STARLOG #217. 





Omri is given a magic cupboard that 
turns toy figures into living three-inch tall 
beings, including Little Bear (Litefoot) and 
a WWI medic. 

they were finished with their vacation — fair- 
ly close to shooting — we brought him in. and 
he just did a wonderful job, and was clearly 
the right child." 

Litefoot, the Native American rap star, 
plays Little Bear. "We went on a massive 
search looking for a young Indian brave," 
says Kennedy, "and he came in to audition. 
He's actually a Cherokee from Oklahoma, a 
rap singer; he goes to various American Indi- 
an reservations and really tries to motivate 
young kids into believing that they can do 
more with their lives than they perhaps think 
they can. He tries to put himself up as a role 
model for them. 



"So. Litefoot took this movie very seri- 
ously in terms of the character's authenticity. 
He spent a lot of time with advisors from the 
Onondaga tribe outside of Saratoga. I think 
he's really wonderful in the movie, especial- 
ly for someone who has never really done 
anything like this. To act in the movie and to 
go through the extensive FX work that he had 
to is pretty remarkable." 

Because Little Bear is three inches tall 
throughout the movie, Scardino and Litefoot 
didn't actually have any scenes together, but 
they did meet often. "We went through a cou- 
ple of weeks of readings and rehearsals" 
says Kennedy, "so they met then. Also, we 
were doing the blue-screen work on a stage 
very near the first unit crew, so they would 
see each other regularly, every day, and 
whenever he could, Litefoot would come 
over during the day and do the off-camera 
work with Hal. He was quite wonderful." By 
"off-camera work." Kennedy means that 
Litefoot would read his lines off camera, so 
Scardino could react to the character of Little 
Bear more appropriately. 

David Keith plays Boone, the plastic 
cowboy that Patrick unwisely brings to life. 
Keith went through the usual audition 
process but. Kennedy says, "he did an excep- 
tional job in the reading. He was very, very 
funny, and really understood the character 
and the whimsy. He's done a terrific job with 
it." Others in the cast include Lindsay Crouse 
and Richard Jenkins as Omri's parents. Ryan 
Olson and Vincent Kartheiser as his older 
brothers, and a debuting Rishi Bhat as 
Patrick. Not a star in sight, and yet the film 
cost S45 million. 

"That's a substantial budget for a film like 
this one. partly because we had a fair amount 
of money tied up in rights. This book had 
been floating around for some time." 



Kennedy points out. "We had Scholastic as a 
producing partner, though. Obviously, there 
was a fairly massive FX budget, because 
every single shot involving the Indian or the 
Cowboy with any of the other characters is, 
of course, an FX shot." 

Industrial Light & Magic handled the FX 
for The Indian in the Cupboard, under the 
direction of Eric Brevig. "It's primarily blue- 
screen," Kennedy explains, "with some over- 
sized set pieces, some transparencies. It 
really involved a lot of different bits and 
pieces of existing FX. Very little computer 
graphics; there is some computer technology 
involved in the blending of images, but that's 
about it. We found that the characters, their 
size, and the ability to move something like 
that in a way that would make it believable, 
required blue-screen work." 

Although, as noted, the novel The Indian 
in the Cupboard has several sequels, the pos- 
sibility of a series isn't what led Kennedy to 
choose the book for filming in the first place. 
For one thing, "the other books would be, I 
think, somewhat difficult to translate into 
film, so I'm not sure whether we would pro- 
ceed with further movies or not. We got inter- 
ested in the material based on the first book." 

African Explorer 

Bridges of Madison County was the pro- 
ducer's first release of the summer, followed 
by Congo. As Marshall told STARLOG last 
issue, the aspect of the film that pleased 
Kennedy the most was Amy, the "talking" 
gorilla. "We were so scared that we couldn't 
come up with a character that you would gen- 
uinely believe in and immerse yourself in 
emotionally. The fact that we succeeded with 
that is extremely satisfying." 

Beyond his being her husband, Kennedy 
was pleased to have Marshall direct Congo. 



38 STARLOG 





One of the last projects that Kennedy worked on at Amblin was Jurassic Park, 
a pretty nice addition to any producer's resume. 



Third time's a charm. First Jurassic Park, 
then Congo, and now Kennedy (left) is 
producing Twister, from an original script 
by mega-author Crichton and his wife 
Anne-Marie. 

"Because Frank comes from a producing 
background, it's real nice to work with him 
as a director: he understands all aspects of the 
filmmaking process. He's very open and 
easy, and makes it a nice working atmos- 
phere. It's important to be relaxed on a set; 
when you're dealing with such a logistically 
difficult movie and a long production sched- 
ule, you really must find a pace for everybody 
to follow. I think Frank's very good at that." 

They had talked about Congo for a long 
time, even while still partnered with Steven 
Spielberg in Amblin. "There are so many 
wonderful elements to the book that really 
lend themselves to a movie, beginning with 
the character of Amy, juxtaposing the 
advanced technology with a jungle environ- 
ment, the volcanoes — it had a variety of 
things within a genre framework that we real- 
ly hadn't done before. So. it offered those 
kinds of creative challenges along with being 
a good, solid action-adventure piece. If 
there's something unique and new, that's 
challenging, that often attracts us." 

As she's being interviewed. Kennedy is in 
her car preparing to return to the Midwest 
location of her newest film. Twister, being 
directed by Jan (Speed) De Bont. a movie 
that would seem to present these same chal- 
lenges, as it concerns tornadoes. "It's based 
on an original idea of Michael Crichton's," 
she says, "not from a book. He and his wife 
Anne-Marie wrote the script. It's an action- 
adventure story set in the world of storm- 
chasers. It has no science fiction elements: 
it's grounded in reality." Twister stars Helen 
Hunt, Cary Elwes and Bill Paxton. and will 
be released by Warner Bros. 

Films for children have been "an area of 
our interest for a long time. We have the 
rights to The Lion, the Witch and the 
Wardrobe by C.S. Lewis, which we're in the 
midst of developing. And we have rights, to 
The BFG. the Roald Dahl book; 'BFG' 
stands for 'big friendly giant." Roald Dahl is 
a very popular writer for kids, with James 
and the Giant Peach and Charlie and the 
Chocolate Factory, which was filmed years 




"Because Frank comes from a producing background it's real nice to work with him as 
a director," Kennedy offers. 



ago as Willy Wonka and the Chocolate Facto- 
ry. The Giant Peach is coming out from Dis- 
ney. Dahl's Matilda is being done by Danny 
DeVito." 

Personally, after the rigors of doing so 
many films in such a short period of time. 
Kennedy and Marshall are going to take "a 
little bit of a break, and then we have a num- 
ber of things in development, which we'll 
sort through and analyze in terms of a pro- 
duction schedule, as to what will go next." 

"I think adults will 
want to see this." 

They have three major animation projects in 
the works, from Clive Barker's The Thief of 
Always through Trumpet of the Swan and 
Sign of the Seahorse. All of these are in vari- 
ous stages of pre-production and storyboard- 
ing, with Barker himself being "extremely 
involved, and really terrific in pulling the 
script together and overseeing and supervis- 
ing the storyboarding. Isn't he the greatest?" 
Another film planned for production by 
Kennedy/Marshall is Relic, based on the 
novel by Douglas Preston and Lincoln Child. 
"That's just starting to come together now," 
Kennedy says. "There's a hope if we can get 
the rewrite done in time, we could be shoot- 
ing that this fall. Peter Hyams will be direct- 
ing. He's somebody whom we've admired 
over the years as a filmmaker. He came in 
with a unique point-of-view on the material, 
a real passionate desire to do it. The story 
focuses on the American Museum of Natural 



History in New York, and Peter grew up right 
across the street, so he was very, very pas- 
sionate about doing this, and that often says a 
lot in terms of how you go about choosing 
the right people." Asked if the story is about 
a monster loose in a museum, Kennedy's 
momentarily hesitant, as if perhaps she had a 
more dignified description in mind, but with 
her characteristic candor laughs and admits. 
"Yeah, that's pretty much what it is. I would 
like to use ALIEN as the model." 

Often asked if she plans to direct, 
Kennedy is uncertain about it. "The process 
of going into that tunnel, and not really being 
able to deal with much else — I'm not sure I 
want to do that. I like the ability to handle 
many different things: going into directing, I 
would have to give all of that up, and I'm not 
sure I want to. But if the right thing came 
around, I would consider it." 

Kathy Kennedy is obviously honestly sur- 
prised when she's asked about a little-known 
accomplishment of hers: throwing javelins. 
"It was a fluke thing, and it was a while ago 
now. Frank used to like to compete in the 
National Masters Championships, because 
he has run quite a bit in his life, so I went 
with him, but I didn't want to just sit in the 
bleachers and watch. He gave me a sheet of 
paper showing all the events. I thought I had 
always been able to throw, so maybe I could 
do the javelin. I bought one and went to 
UCLA, and got somebody to at least show 
me what to do. Then. I competed — and I won 
the National Championship!" she finishes 
with a whoop of laughter. "That part of my 
career is over." in 











It's the most talked-about movie of the 
year. It's the most expensive movie ever. 
Peter Rader thinks it's all wet. 

He should know. Rader first came up with 
the idea for Waterworld nearly 10 years ago 
and is seeing his vision realized this sum- 
mer — on a scale greater than he ever imag- 
ined. 

Waterworld is a story that is mythic in 
nature, explains the screenwriter, and con- 
tains many elements common in legendary- 
tales. Rader wrote the first versions of Water- 
world on speculation many years ago. He 
sold the script to producer Larry Gordon and 
did several rewrites. Rader had been trying to 
break into show business as a director when 
he decided to start writing. 

"I had actually directed a couple of B- 
movies, including a horror film called 
Grandmother's House, but they weren't real- 
ly creatively satisfying," he says. "When I 
was looking at projects to direct, they were 
all very limited in scope. It was always, 
'Well, gee, what locations do I have access 
to?' or, 'What can I do that takes place in one 
house?" I had been thinking along those lines 
for years, and I felt like this was the sort of 
creative girdle I was ready to get rid of. Iron- 
ically, it was a meeting I had with Roger Cor- 
man's company in '86 that stimulated the 
idea. I met with Brad Krevoy — who went on 

KIM HOWARD JOHNSON is the author of 
Life Before (And After) Monty Python (St. 
Martin's, $15.95). He profiled Ron Howard 
in issue #217. 

40 STARLOG/ September 1995 



to produce Dumb and Dumber — and he 
offered me money to write and direct a Mad 
Max rip-off. 

"I started thinking about other visions of 
the future, and I guess I was thinking about 
planets whose moons were all water. I 
thought. 'What about a future where the 
entire planet is flooded?' I said, 'Hey, Brad; 
how about we do the whole movie on water?' 
He said, 'Are you out of your mind?! A 
movie like that would cost us S5 million to 
make!' I ended up writing it on my own, 
because I really fell in love with the idea. 
And it ended up as Waterworldl" 

The writer explains that he wrote it in 
1986, then shelved it until 1989. "I read it 
and thought it wasn't bad, so I polished it and 
sent it out," says Rader. "I sent it to Andy 
Licht and Jeff Mueller, who wanted to pro- 
duce it." 

During the next few years, a number of 
interesting production scenarios arose, 
including an attempt to make it "on the 
cheap" with a talented but unknown Norwe- 
gian director named Nils Gaup, whose only- 
previous feature was the only movie filmed 
entirely in the Lapp language. (He later 
directed the adventure film Shipwrecked for 
Disney.) Desperate to lower the budget, they 
made a suggestion that shocked the scripter. 

"The super-tanker in the movie was 
always the great set piece of the film," says 
Rader. "The final battle is over this gigantic 
super-tanker, and the super-tanker was 
always in all of the drafts, and was the culmi- 
nation of everything. At one point, they were 




■ 




Water, water everywhere, and somehow 
the makers of Waterworld found a way to 
blow it up. Peter Rader takes fans inside 
the writing of this SF epic. 




"I started thinking about other visions of 
the future," Rader explains. "I thought, 
What about a future where the entire 
planet is flooded?' " 

saying, "We've gotta find a way of making 
this cheaper — can you get rid of the super- 
tanker?' It was the centerpiece of the movie! 
You need something huge like that when 
you've got people floating on rafts through 
the whole movie— you've gotta deliver 
something really spectacular." 

Tidal Tales 

Director Kevin Reynolds and star Kevin 
Costner first displayed some interest in the 
project in early 1992. "At that point. I had 
done six or seven drafts, and they decided 
that they wanted to bring in a new voice, 
because I was so burnt out on the whole 
thing," says Rader. "I was bummed out and 
disappointed, but it's just the nature of the 
beast." 




Breathing life into Rader's character creations 
are Kevin Costner as the heroic Mariner and 
Dennis Hopper as the evil Deacon. 




Even though the two Kevins brought in 
another writer, David Twohy, and later had 
script doctor Joss Whedon rewriting on the 
set, having a star like Costner interested in 
his movie boosted his spirits. "That was a 
real kick to me," says Rader. "The selling of 
the script was an unbelievable dream for me, 
and the next moment I had like that was 
when Costner wanted to play the part." 

Rader says that although the script went 
through many changes over the years, the 
general storyline is basically not much differ- 
ent. "It's kind of a Western," he says. "It's a 
classic, mythic story. It's set on Earth after 
we melted the ice cap through environmental 
catastrophe. On this flooded planet is a com- 
munity with a mysterious little girl named 
Enola, who was found as an infant in a row- 
boat that contained palm fronds, which no 
one had ever seen before. She's adopted by a 
woman named Helen [Jeanne Tripplehorn]. 
The legend states that Enola will lead people 
back to dry land when she comes of age, 

ST ARLOG/ September 1995 41 





Waterworld revolves around a small girl, 
Enola, who according to legend will lead 
mankind to dry land. The Mariner must 
protect her and Helen (Jeanne Tripple- 
horn) from the evil Smokers. 

Mariner unique in my script was that he actu- 
ally had a white horse on his boat, which was 
a river barge at that point. It was surreal — he 
wouldn't show anyone the horse, he would 
always hide it. 

"Also, birds were in very high demand, 
because they could detect something big 
nearby, possibly land. We kept those ele- 
ments in until the Kevins got involved. When 
they got involved with the production, they 
decided it would be too much of a headache 
to have all of those animals around. They 
took out almost all of those lighter elements." 



"Obviously, the Mariner had to be a huge movie star," states Rader. "It's a larger-than- 
life, epic role, so I was really happy when Kevin Costner took the role." 



aided by a tattoo on her back that may be 
some kind of map. 

"The movie is about a drifter named the 
Mariner, played by Kevin Costner, who is a 
member of the first generation of humans 
that are mutating to survive in the water — he 
has webbed feet, and the beginnings of gills 
behind his ears, which allow him to stay 
underwater for extended periods without 
breathing. He's very self-conscious about 
these things. He comes to a floating town to 
trade, and is attacked by a band of pirates 
called the Smokers, led by Deacon [Dennis 
Hopper]. They devastate the community, and 
take everything of value. Helen and Enola 



42 STARLOG/September 1995 



stow away on the Mariner's boat to avoid the 
Smokers. They're forced to live together, and 
the Mariner slowly warms to the idea of hav- 
ing a family and being with other people. 
After the girl is kidnapped by the Smokers, 
there's a whole rescue story." 

Rader notes that the biggest change in the 
story involves its tone. "In my original draft, 
there were a lot of capricious and cartoonish 
elements. For instance, my pirate leader actu- 
ally called himself Neptune, and he had a tri- 
dent and sat in a clamshell throne. There 
were all sorts of very odd, funny touches like 
that. There were also some very surreal ele- 
mentss. One of the things that made the 




When director Kevin Reynolds (who pro- 
duced along with Costner and later left 
the film) stepped in, "they took out many 
of the lighter elements," offers Rader. 












/ 



Rader says he did his homework in devel- 
oping this world, and only stretched the truth 
in one major area. "In point of fact, if all of 
the ice caps melted, the ocean would only 
rise 46 feet, to it's not exactly realistic from a 
scientific point-of-view. But in these movies, 
I think you're allowed one huge leap of faith, 
and once you're beyond that, everything is 
forgiven. So. I said, •What if it went up to 
maybe 12,000 feet, so that all but the very- 
tallest mountains were completely sub- 
merged?' You would have maybe 50 small 
islands on the entire planet, and the vast 
majority of people would have never seen 
land. 

" 'Are you out of your 

mind?! A movie [on 

water] would cost us 

$5 million to make!' " 

"Generations have grown up without 
land, and basically adapted their whole mode 
of survival on that premise. They scavenge 
and recycle everything. Many things float, so 
they come across all kinds of great debris, but 
land is really a myth at this point. There's a 
whole level of mythology and even Biblical 
imagery — like finding the child adrift on 
water — that elevates the movie onto this 
mythic plane. I loved the Mad Max movies, 

Aside from the Mariner, "the other parts 
weren't as important, other than having a 
great villain," Rader says. Even in the 
future, pirates have eye patches. 

STAKLOGISeptember 1995 43 




thousand ships," Rader reveals. "If anyon 
could break the Mariner, it would be her." 



BBS .-*•*. 



especially the first one, but this movie has 
incredible scope. There is something very 
visceral about the whole water world 
premise, and I think they did a good job of 
selling that. The designer on this movie 
[Dennis Gassner, SF EXPLORER #9] did an 
incredible job — everything in this society 
would have to have been scavenged, or man- 
ufactured through some process that they had 
access to." 

Storm warnings 

Rader says he did not write the script with 
any specific actors in mind. "Obviously, the 
Mariner had to be a huge movie star," says 
Rader. "It's a larger-than-life, epic role, so I 
was really happy when Kevin Costner took 
the part. The other parts weren't as impor- 
tant, other than having a great villain, like 
Dennis Hopper." 

In addition to Mad Max, the writer says 
there were numerous other influences on 
Waterworld. "There is certainly Biblical 
imagery, especially Old Testament stuff," 
says Rader. "Helen is named after Helen of 
Troy (from The Iliad), the face that could 
launch a thousand ships. I always thought 
that was very key, that she should be so 
strong a woman. If anyone could break the 
Mariner, it would be her, because she's basi- 
cally unflappable. I love Greek mythology." 

Rader hasn't seen a great deal of edited 
footage, but says he likes what he has seen. "I 
think it's great. It's stunning. There are going 
to be some visual sequences in this movie the 
likes of which no moviegoer has ever seen 
before or will ever see again." 

Waterworld has received much negative 
press, in part due to its huge budget, but 
Rader disregards some of the attacks mount- 
ed against the production. "Any press report 
that uses loaded words like 'disaster' or 
'bomb' is totally irresponsible, because it's 



completely hypothetical," says Rader. "No 
matter what elements you have in a movie, 
no one in the history of filmmaking has ever 
been able to predict whether or not it's going 
to be successful. There's that completely 
intangible magic that happens between a 
movie and its audience, and to prejudge a 
movie — regardless of what it costs — is irre- 
sponsible. 

"Now, if the press wants to report on fac- 
tual matters, like how problematic it is to film 
on water, that's fine — it's a fact that most 
water-based movies go over budget. But to 
prejudge the quality of the movie and predict 
how well it's going to do is absurd. I think the 
press likes to single out one movie in the 
summer crop and use it as a punching bag, 
and Waterworld is it. 

"My own prediction is that this movie's 
going to do very well," he says. "I think 
there's huge ' wanna-see' for this film, and by 



the time this movie opens, there will be an 
even huger 'wanna-see.' People will say, 'If 
this is the most expensive movie ever, I sure 
wanna see it! ' I think the first weekend of the 
movie will be enormous, and it has all the 
elements of a successful movie worldwide! 
This is a movie that translates well, because 
it has universally appealing mythic ele- 
ments — it does not have a local flavor to it." 
Waterworld is unique, concludes Peter 
Rader, and has something that very few other 
films have. "This movie, at its core, has 
magic. It not only has a great epic story, but it 
also has a world that we've never, ever, seen 
before. We've seen outer space, we've seen 
other worlds, but we have never seen a movie 
that takes place entirely on the water, and 
there's something very unique about that. 
Waterworld does what it should do — it trans- 
ports you. and takes you someplace you've 
never been before." 




"It's kind of a Western," the screenwriter explains. "It's a classic, mythic story." 



44 STARLOGISeptember 1995 



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Adding the heart to Congo, Stan 
Winston & company created that 
most realistic of movie apes, Amy. 



By BILL WARREN 



I was first approached by [producer] Kathy 
Kennedy on the set of Jurassic Park;' says 
FX maestro Stan Winston. "We were actu- 
ally doing the T. rex main road sequence. She 
asked me if I had read Michael Crichton's 
novel Congo, and if I hadn't, to get a copy 
and read it. I hadn't read the book, but I was 
familiar with it. It was a project that people 
had been trying to get made for many years. 
So I read it. and was very excited about the 
concept. 



"That was probably six months to a year 
before it came to fruition, and I got the call 
from Kathy and Frank Marshall to come and 
talk about it. We started our discussions of 
how to go about the task not quite a year 
before we started shooting. And that's how I 
was introduced to the project." 

Winston is being interviewed in his San • 
Fernando Valley studio, where creations of 
the Stan Winston team line the walls like gar- 
govles: the Predator is in one corner, with 



Pumpkinhead — much larger than you might 
expect — above it. Edward Scissorhands 
stands near a gnome named Gnorm; there are 
the villains from Batman Returns, several 
stages of the Terminator and Lestat from 
Interview With the Vampire. The head of the 
Tyrannosaurus rex from Jurassic Park looms 
over the creatures from The Monster Squad: 
there's even a two-foot statue of Godzilla 
from the proposed big-budget American 
movie about the Japanese giant. There are 




Guiding director Frank Marshall and producer Kathleen Kennedy through 
the primate wilds of Congo is FX maestro Stan Winston. 

46 SYARLOGlSepteniber 1995 




two different groups of figures from 
Congo — Amy and the adult male silverback 
at one end of the room, and several of the 
''grey gorillas" resting overhead, frozen in 
action poses. 

Winston agrees with others on the Mar- 
shall-directed film that the major difficulty in 
getting Congo made was not the murderous 
grey apes, but Amy, the adolescent gorilla 
who figures prominently throughout the film. 
"Amy had to carry the movie." Winston 
asserts. "She was not a gorilla we would see 
in one scene doing a specific thing. Given the 
proper choreography and the proper lighting, 
we could create a real image of Amy for a 
particular scene. Amy is the lead character in 
Congo, so it was necessary to create a gorilla 
that was totally real, as real as anything 
we've seen previously on screen — but with a 
greater range of performance capabilities 
than we had ever seen, with fewer straps than 
we have ever had." Amy had to take direc- 
tion, she had to be able to be shot from any 
angle, to be fully mobile and highly expres- 
sive. And, she had to convince audiences she 
was a real gorilla. 

Winston, a soft-spoken man with silver 
hair and a neatly trimmed beard, leans back 
in his chair at the head of the long table, sur- 
rounded by his creations. Over the years, 
Winston has won four Oscars, two Emmys 
and several other awards for his work and 
that of his large team of collaborators. Win- 
ston has overtaken both Rick Baker and Rob 
Bottin in the amount of his output, as well as 
the prestige of the projects with which he has 
been associated. At times, it seems as though 
almost every big-budget film requiring this 
kind of work has been done by Winston and 
his studio. 

He's extremely conscientious: he knows 
his very position as the head of his company- 
can lead the uninitiated to assume he does all 
the work himself, but throughout this talk. 
Winston repeatedly points out that he has a 
large team of experts who make him look 
good. He cites other makeup giants, particu- 




"Technically, we made certain breakthroughs in the areas of facial animation and 
articulation," Winston says. 



larly Baker, as a source of inspiration for 
him, whose work was the foundation upon 
which Congo was built. Though Winston is 
very skilled at this work himself, he's cau- 
tious about sounding too boastful. He's 
secure in his position, but he is also very 
aware of how he got there, and scrupulously 
honorable about giving credit where it is due. 
In fact. Winston avoids copyrighting innova- 
tions created by his shop, wanting others to 
follow his lead. He feels that by sharing, all 
of their art is advanced. 

Real Gorillas 

When he's asked as to what makes Amy 
so convincing, as opposed to gorillas in other 
movies. Winston quietly replies. "I take 
exception to that, because I feel that the 
gorillas that Rick Baker did in Gorillas in the 
Mist were completely convincing. I believe 
that what makes Amv convincing is cumula- 



tive — it's many things. I pulled together the 
team that I knew would be successful with 
Amy — people who had already been there, 
like Stuart Artingstall. the head of our hair 
department. [Stuart was also involved in the 
hair suits for Gorillas in the Mist and 
Greystoke.] Karen Mason, on the set. was in 
charge of the body suit, the muscle suit 
underneath. It was a matter of looking at all 
the brilliant work that had been done in the 
past and then asking. 'What can we do to 
improve it? Where can we take it from here?' 
"Artistically, Amy is done. I believe, as 
correctly as any gorilla we've seen in the 
past. In fact, that's not strictly true. If there is 
one thing about Amy that is not as real as it 
should be, it would be because of the artistic 
license we took in creating her. Amy is sup- 
posed to be an adolescent female mountain 
gorilla." Winston says, going on to explain 
how her facial features were somewhat mod- 





Winston and company have designed 
more movie monsters than you may 
know — Pumpkinhead, the Predator and 
the Terminator. 



STARLOGlSeptember 1995 47 




ified. Mountain gorillas, the largest apes, 
have relatively long faces: lowland gorillas, 
the kind you see in zoos, have shorter, "cuter" 
faces, more appealing to the human eye. 

"We opted to design Amy's face with a 
slightly shorter snout." Winston says, "push- 
ing her face to being half the face of a low- 
land gorilla, but with everything else about 
her being that of a mountain gorilla. She's a 
crossbreed." He laughs at the suggestion that 
she's a "foothill gorilla." 

"Ninety-nine percent of the audience will 
accept her as a real gorilla because every- 
thing about her has been based on reality — 
she has a perfectly real face, it's just not a 
mountain gorilla face. We cheated," he says 
with a quiet smile. 

Like all the apes in Congo, Amy is really 
an elaborate costume with an animatronic, 
radio-controlled head. Winston, explains that 
the option of suits-and-heads gorillas was no 
option at all: it was the only decision. "At this 
stage in the CGI world," he goes on, "we 
aren't capable of creating a completely life- 
like, computer-generated, animated fig- 
ure... with hair. Hair can be simulated in the 
CG world, but as of yet, a photo-realistic 
character with hair and movement is still on 
the drawing boards. 

"The idea of training real gorillas was not 
even an option. You can't train real, full-sized 
gorillas, especially silverbacks. There are no 
adolescent female mountain gorillas in cap- 
tivity, much less trainable ones. 

"And to create a completely animatronic 
body of a basically humanoid figure makes 
no sense, because the basic form, with cer- 
tain changes, can be simulated close to per- 
fectly by a man in a suit. That has been 
proven in a couple of films, historically. The 
wonderful characters created by Rick Baker 
for Greystoke. and the perfectly believable 
gorillas in Gorillas in the Mist, also created 
by Rick, were men in suits with animatronic 
heads. So, we followed the old adage: if it 
ain't broke, don't fix it. There was no neces- 
sity for us to reinvent the wheel." 



Once the decision was made to use these 
detailed suits and complex heads, Winston 
and his team did advance these techniques. 
"Technically, we made certain breakthroughs 
in the area of facial animation and articula- 
tion," he says. "Those breakthroughs include 
a couple of different things — some internal 
operational methods that have been designed 
and developed in the mechanical department 
here, such as servo-linkages that move much 
smoother, to allow more organic movement 
and flow, and more exacting immediate 
response from operator to the servo's move- 
ment. 

"A chimpanzee will rip 
your arm off and beat 
you to death with it." 

"The skin itself is no longer foam rubber, 
which, until today, has given us the most life- 
like movement," but at the expense of a cer- 
tain rubbery look at times. "There is no 
rubbery look at all to Amy. because there's 
no rubber used with Amy whatsoever. We've 
come up with our own formulation of sili- 
cone to create, I believe, the most lifelike and 
organic movement of any synthetic skin that 
we've seen so far on the screen. The combi- 
nation of these breakthroughs has allowed 
Amy to reach a greater range of expressions 
than I've seen in the past." 

When a great range of expressions was 
required from an animatronic head-and-suit 
creature in the past, often several heads were 
used. One might be a happy face, that could 
go from a mild frown to a big grin: another 
might be an angry face, that could move from 
a furious roar down to that mild frown. It was 
rare for one head to cover the full range of 
necessary expressions. But, Winston says. 
"Amy is Amy; she reached 99 percent of all 
of her performance based on who she was. 
She could go from sad to happy to angry at 
the director's whim at any point in the movie. 



For Congo, the filmmakers not only 
needed convincing gorillas, they wanted 
to stage a full-blown hippopotamus attack 
with animatronic hippos. 

She had a full range of ability and expres- 
sion." 

The final key element in making Amy 
seem real. Winston says, was the most impor- 
tant: "The performances of the actresses who 
played Amy, Lorene Noh and Misty Rosas, 
under the direction of Peter Elliott, our goril- 
la choreographer. The performance of our 
actresses under that direction was spectacu- 
lar, flawless. We had approximately six 
months of rehearsal; our actresses became 
Amy. and our actors who played the gorillas 
became gorillas. When you realize — if 
you're in the frame of mind I am — that the 
most important thing in any character, no 
matter what technology we bring to the 
screen, whether it be as simple as a prosthet- 
ic makeup or as extensive as a Tyrannosaurus 
rex robot, the most important aspect of these 
characters is their performance. Was Tom 
Cruise a believable Lestat? Absolutely. Was 
the T. rex a believable T. rex? Absolutely. 
Was Amy a believable gorilla as the lead 
character in this movie? Absolutely. Most of 
the accolade needs to, and always should, go 
to the actors, the performances." 

Killer Apes 

This emphasis on performance coming 
from someone who often buries actors in 
latex and silicone isn't really surprising, 
when you consider Winston's background. 
He grew up in Virginia, majoring in art at the 
University of Virginia, but became interested 
in acting and decided to come to Hollywood 
to try his hand at that profession. While wait- 
ing for his debut as a movie actor, Winston 
took an apprenticeship in makeup at the Dis- 
ney studios. Three years later, he won an 
Emmy for the astonishing full-suit and appli- 
ance makeups in the TV movie Gargoyles. 
He hasn't had the time to return to acting 
since, though he has directed two films. 
Pumpkinhead and The Adventures of a 
Gnome Named Gnorm, and hopes to direct 
more. He has done second-unit directing, pri- 
marily on the films of his friend and Digital 
Domain partner, James Cameron. 

With Amy, Winston says, it wasn't just 
the actors inside her. but those on the outside 
that led to the creation of her remarkably 



48 STARLOG/September 1995 



convincing performance, those who were 
coordinating her facial animation to coincide 
with the movements of Noh and Rosas. 
"Those are the brilliant technicians and 
artists who created her face. Richard Joseph 
Landon, who basically designed the bulk of 
Amy's facial and mouth articulation; Jon 
Dawe designed all of the eye movement 
aspects, and operated her eyes. N. Brock 
Winkless IV wasn't part of the initial design 
team, but was a key puppeteer — he was 
Amy's mouth, jaw and lips, which were so 
critical to her performance. All this under the 
direction of Peter Elliott, with Frank Mar- 
shall spouting his directions through me as to 
what Amy needed to do for the scene." 

There are other gorillas in Congo besides 
Amy, although she is by far the film's most 
prominent ape character. There's a small 
band of mountain gorillas that Amy wants to 
join, for example. "Even though they're only 
in a couple of scenes," Winston says, "they're 
extremely important, because so much of the 
heart of Amy, and what this movie is about 
from Amy's perspective, has to 
do with these mountain gorillas. 
This is a family that she wants to 
join; there's a rejection, and later 
there's an acceptance. The end of 
the movie has Amy, with the 
mountain gorillas, as part of the 
family. For me, that's an extreme- 
ly poignant and important part of 
the film." 

Although their appearance in 
the film is relatively brief, the 
core and climax of Congo centers 
on the mystery and terror of the 
grey gorillas, whom the band of 
heroes meet in the Lost City of 
Zinj. The apes originated in the 
novel, of course, and Winston is 
punctilious about giving primary credit to 
Crichton "for everything about this, the ulti- 
mate, primary imagination." In the novel, 
however, the apes are simply grey gorillas, 
bred centuries ago to protect King Solomon's 
Mines from intruders. Though their masters 





All of the people who work at this studio [the Stan Winston Studio] continue to dazzle 
me, and make me want to go, 'Look what I did,' " he raves. 

Apollo Photo: Digital Domain/Copyright 1995 Universal City S tudios, Inc. "Knowing this about the great 

apes, we sort of decided that our 
grey gorillas would be chimps on 
steroids. The greys have a lot of 
chimp characteristics, mutated with 
the physicality and strength of a 
gorilla. Chimp-like, but with the 
power and body structure and cer- 
tain characteristics of gorillas." 
Furthermore, since these are fanta- 
sy creations, not duplications of a 
real species, Winston felt free to go 
a step further. "We added the most 
terrifying aspect any animal can 
have — the eyes of a human being." 
The idea (not really expressed in 
the film, oddly enough) was that 
the keepers of the Zinj mines had somehow 
interbred gorillas, chimpanzees and human 
beings, resulting in the distorted hybrids of 
Congo. 

He acknowledges that it's actually easier 
to get an audience to believe a fantasy cre- 
ation than the most exacting special FX 
duplication of a real animal. "But you still 
have the job to be specific to a reality," he 
claims. "With the grey gorillas, every ele- 
ment is taken from somewhere in nature that 
is real, something that's alive. A tumor 
should look like a real tumor. Do whatever 
you want, as long as what you are basing it 




Digital Domain, the FX company in which 
Winston is partnered with Jim Cameron, 
did the visual FX for Apollo 13. "I am so 
proud of it." 

are long gone (apparently killed by the apes 
themselves), the gorillas have guarded the 
city ever since, each new generation 
killing any human beings who stumble 
upon it. 

However, Winston realized that a 
real gorilla is a peaceful vegetarian, "a 
pretty spiritual animal, they're great 
family people — I've always thought of 
myself as a gorilla. Chimpanzees, on the 
other hand, are aggressive, nasty little 
characters. Within a split second, a 
chimpanzee will rip your arm off and 
beat you to death with it. They are war- 
ring, aggressive, territorial animals that 
you don't want to mess with. They're 
cute, and wonderfully cuddly when 
they're babies, and they're wonderful to 
train when they're young, but you had 
better be some other place than a room 
with an adult chimpanzee. 

Winston is quick to share the credit 
with his talented crew. "I've been 
very lucky to have the people who 
work here, who make me look good, 
show after show, year after year." 



on, in the final analysis, is real." 

Other Effects 

While Congo was in production, Winston 
was also involved, if peripherally, with Ron 
Howard's Apollo 13. "I can't wait for every- 
one to see the work Digital Domain has done 
on Apollo 13" Winston says proudly. "It's 
the most beautiful, most perfectly real simu- 
lation of the space experience that I've ever 
seen. You're there. It's a brilliant piece of 
work; you should talk to Rob Legato, the FX 
supervisor for the project. Digital Domain, 
my company with Jim Cameron and Scott 
Ross, did the movie, but I was totally an 
(continued on page 66) 

STARLOGISeptember 1995 49 



Photo: Pat Jankiewlcz 



ByPATJANKIEWICZ 




"If I were a dinosaur, that would not be the first thing I would eat on me," says 
Jurassic Parts Wayne Knight of his " Dino Damage Arms" action figure. 



Action figures — what an amazing con- 
cept! Brightly painted toys wearing 
sneers, grimaces, capes, cowls, battle 
armor and razor-sharp weapons. Cyborgs, 
superheroes, vigilantes, mutants and aliens 
are now running wild on toy store shelves. 

In the early 1960s, toy makers sought to 
create a "Barbie" for boys. The result was 
G.I. Joe. Instead of buying accessories like 
dresses and Corvettes, young boys could pick 
up camouflage outfits and Jeeps. Captain 
Action (with changeable superhero guises), a 
Planet of the Apes line and others followed. 
The real birth of the action figure came in 
1977, when Star Wars gave Kenner Toys one 
of the most successful toy lines in history. 

Since then, almost every major SF and 
fantasy film and TV show has made it into 
action figures. The successful ones — like 
Batman, Jurassic Park and Star Trek — go 
through multiple toy lines, while the fail- 
ures — Dick Tracy, The Shadow and Dune — 
end up at your local discount store's toy 
remainder bin. This summer's contenders 
include, of course, Batman Forever, Judge 
Dredd and Congo. 



It's a weird experience 

to play with your own 

action figure. 



Performers in genre movies and TV 
shows have a unique experience offered to no 
other actor. They're forever immortalized, 
and not just on celluloid. What's it like to be 
confronted with your own likeness, every 
contour and detail etched out in two inches of 
molded plastic? It's a question posed to sev- 
eral notable genre actors. 

Ernie Hudson: "It was kind of unique!" 
exclaims the actor who portrayed Winston 
Zeddemore in Ghostbusters. "To see a toy 
figure of me was an unexpected surprise. 
They made another action figure of me for 
Congo, but I haven't seen that one yet. Other 
people have, so I'm really curious to see what 
they've done with me." 

Bill Paxton: "I've been flattered by the 
role in many ways," Paxton notes of his 
ALIENS character Private Hudson, "Whether 
they make a doll out of me, that's not some- 
thing I set out to do," he laughs. 

"I never said, 'God, wouldn't it be great if 
I went to Hollywood and did a great science 



PAT JANKIEWICZ, veteran STARLOG cor- 
respondent, profiled Bill Pullman in issue 
#216. 

50 STARLOC/September 1995 




fiction movie, and then THEY MAKE A 
DOLL OUTTA ME! Wow!' Here's my doll, 
on my shoulder. I can set him up there and 
[does Mickey Mouse voice] have him talk for 
me!" 

Ted Raimi: "On Patriot Games, I acted 
with Harrison Ford and James Earl Jones. It 
was like being with living Star Wars action 
figures! Getting a doll made of me [as 
seaQuest'% Lt. O'Neil] was cool! My brother 
[director Sam Raimi] and I used to blow up 
dolls with firecrackers as kids," Raimi 
explains. "When I saw mine, I thought, 'The 
measure of your success is not how much 
money you make, or how big you think you 
are. It comes 10 years after you think you 
were a success, when you go to a garage sale 
in Des Moines, Iowa, and there, buried 
among G.I. Joe dolls, is your action figure, 
missing an arm and a" leg. Then, you know 
you've made it! ' 

"The only reason to have an action figure 
is so you can blow it up with a firecracker. 
I'm sending one of mine to my nephew so he 
can blow it up." 

Michael Dorn: "Having my own action 
figure as Worf makes me uncomfortable," 
Dorn admits. "It's a joke, but it's also odd 
because growing up, you remember all the 
dolls and action figures you had as a kid, but 
now YOU are an action figure. It's just an 
odd, grown-up feeling." 

Mark Hamill: Besides portraying Star 
Wars' Luke Skywalker (subject of many 
action figures) and voicing the Joker on the 
animated Batman and the Hobgoblin on Spi- 
der-Man, Hamill is also an avid action figure 
collector. "Obviously, it's tough when you 
become a mythic figure, an icon copyrighted 
by someone else, but as far as action figures 
go, with the cartoon Joker and Luke, I'm two 
for two and looking for a third," he laughs. "I 
was amazed [to be made into an action fig- 
ure]. The idea of me even being on a bub- 
blegum card was remote, since I wasn't a 
baseball player! 

"The other day at the store, I saw Star 
Wars bendy figures." He isn't surprised any- 
more about seeing himself as a toy. "I have 
adjusted myself to look at it in the abstract. 
I'm able to look, assimilate the information 
and see the product," he shrugs. "It's a matter 
of having lived with it since 1977." 

"When I go after these figures I collect, 
I'm at Toys 'R' Us a lot. Kids are sharp; they 
come up, know it's me, and say, 'Do the Joker 
voice! Do it, do it, do it!' So, I say, 'Turn 
around' and they get really suspicious, like 
I'm gonna run away! If they won't turn 
around, I do. I turn my back when I do the 
Joker's voice [in public] because I don't want 
to compromise the character or destroy the 
illusion. 

"[Being mobbed at the store] is a great 
experience, because you can see the power 
you have. A mother will go, 'Do you know 
who this is?' and the kid, like seeing Santa at 
the mall, hides behind her. They don't want to 
see some middle-aged guy with a Visa card in 
his hand! I had fun when this lady told her 
child, 'He's Luke, he's Luke! ' and I'm out of 
costume and don't have my light saber — the 
usual problems." 



Jonathan del Arco: "I was excited when 
they finally made a Hugh the Borg figure," 
del Arco admits. "I got one for my parents. I 
thought it was cool to be an action figure — 
looking at it, the first thing I thought was, 
'How can I breathe in that little plastic case?' 
First, they had a regular Borg, then a Borg 
with a different paint job. I always thought if 
they do Hugh, he has to have that hologram 
eye— Hugh's the only one with that eye!" 

Wayne Knight: The actor's clearly 
stunned when presented with his Jurassic 
Park action figure for the first time. "The 
'Dennis Nedry action figure with Tranq 
Spray and Dino Damage Arms?!' The 
dinosaurs can tear off my arms? If I were a 
dinosaur, that would not be the first thing I 
would eat on me," he jokes. 

"This action figure looks nothing like 
me! It looks more like [baseball player] Steve 
Garvey. I'm not the most lovable guy in the 
movie, so luckily, kids can fixate on it and 
when they run into Steve Garvey, they can 
beat him up! 

"I'm just afraid that kids will try to pull 
my arms off! What is that I'm wearing?" 
Knight muses, studying the figure and read- 
ing the blister box. " 'Dennis Nedry with all 
this bullshit on.' I never have a canteen, black 
gloves or turtleneck sweater in the movie. It's 
cool that they put sunglasses on me, but for 
what reason?" 

Garrett Wang: "It's very strange to get 
your own action figure," says Wang, who 
plays Harry Kim on Star Trek: Voyager (its 
action figures are in the works). "It hasn't 
really hit me yet. It's a concept which not that 
many people really have to think about! Still, 
I'm fairly well-grounded; my parents taught 
me well, so I take it as it comes." 

Robert DoQui: "When I saw the toy of 
me," says DoQui, Sgt. Reed from the Robo- 
Cop movies, "I found it hilarious! I said, 
'Make it a voodoo doll and my ex- wife will 
use it!' It was great to see that my character 
was important enough to have a doll, as long 
as they made him handsome, strong and 
debonair!" 

Photo: Lisa L. Orris 





Star Trek: The Next Generation's Michael 
Dorn was uncomfortable seeing the first 
Worf action figure. "It's an odd, grown-up 
feeling." 



Mark Hamill is the king of the action figure 
actors, not only are there countless Luke 
Skywalker figures, but ones for the Joker 
and Hobgoblin as well. 

Kevin Conroy: "For my birthday," 
explains Conroy, the voice of the animated 
Batman, "some friends gave me a cake with a 
Batman on it and an upside-down Styrofoam 
cup set up as the Batcave!" 

Jennifer Hetrick: "I have a story about 
what happened before they made an action 
figure of me. I'm from Columbus, Ohio and I 
was back there visiting my parents. My Mom 
is driving me and I say to her, T want to stop 
at the Trek store in Columbus.' A six-year old 
told me there was a Next Generation Vash 
action figure," she smiles. "Six-year olds are 
usually very reliable! They know everything 
about these shows! 

"I wanted to see this figure, so I went to 
the shop. I was bowled over by all the Star 
Trek stuff; big cardboard standees, coffee 
mugs, everything. I see the action figures and 
look through them but don't see mine, so I go 
to the counter and ask, 'Uh. Do you have any 
Vash dolls?' The clerk goes [snotty], 'No. We 
don't! ' She then says, 'There will be 14 new 
action figures released next year; maybe you 
will have one then!' She recognized me! I 
was so embarrassed," Hetrick laughs. "I said, 
'Come on, Mom! Let's go!' Thejy must have 
thought I was arrogant. I felt like such a fool, 
'Where's my doll?!'" 

But, of course, Playmates soon did 
release a Vash, delighting Hetrick. "It's a real 
trip to have an action figure," she says. "I 
mean, I was blown away just to be on the 
trading cards! It's weird to know that I'm 
now an action figure with plastic hair! I'm 
happy, though — maybe now I can show my 
face back at the Starbase Store in Columbus 
without being laughed off the planet! " & 




Tasha Yar is dead. Long live Tasha Yar." 
Those were words spoken by many a 
Next Generation fan following the 
demise of tough-as-nails security officer 
Tasha Yar in the first season episode "Skin of 
Evil," all the way back in 1988. Now, seven 
years later, Yar and Denise Crosby, the 
actress who brought Tasha to life, took her to 
her grave, then brought her back again ("Yes- 
terday's Enterprise"), and again ("All Good 
Things..."), and who even played Tasha's 
daughter Sela in "Redemption I & II" and 
"Unification II," both remain popular with 
Trek fans around the world. 



Only in Star Trek, right? 

"Absolutely," laughs Crosby. "This is 
such a unique situation for an actor, to be 
involved in Star Trek. There are so many lit- 
tle tributaries that go along with this huge 
body of water. There are magazines 
like STARLOG. There are the conventions. 
There are bookmarks, action figures and all 
of the other marketing and merchandising 
things. The show plays continually, every 
day, somewhere. So, it's still going on, even 
though I really haven't been a part of it for so 
long. 

"I just think that Tasha had a very strong 



In the 24th century, no' 

forever... not even deai 

Crosby, she fought her way"back from „ 

beyond on Star Trek: The Next Generation. 



effect on people because they could relate to 
her. There was something troubling about 
her, something rough around the edges. She 
wasn't so polished and slick in that world 
where everything seemed so antiseptic to me. 
Everybody seemed so perfect. Everything 
had worked out for everybody and they all 
knew what they were doing. Tasha wasn't 
any of that, and that was even alluded to by 
the other characters when Tasha wasn't on 
screen. Tasha also had a certain spirit and 
energy that was just appealing to people. I 
think she represented a little bit of unpre- 
dictability on the show. That's what I was 



STARLOG 




TashaYar's first return to Star Trek came 
alongside Richard Castillo (Christopher 
McDonald) and a ship from the past with 
"Yesterday's Enterprise." 

four or five episodes put together. When 
you're investing the kind of hours you have to 
put in on a series, you have to love it and you 
have to want to be there," she insists. "I was 
there 14 or 15 hours a day, frustrated, bored 
and feeling unused and unfulfilled as an 
actor. It was a gamble to leave because you 
don't know what's on the other side. There 
are many other professions to go into if you 
want security guarantees. 

"I remember a scene I had to do at my 
audition, which really showed you what the 
character could have been, what I thought 

Crosby was able to stay in Paramount's 
employ with the 1989 Stephen King 
thriller Pet Sematary, in which she starred 
with Time Tratfs Dale Midkiff. 



always going for, from day one when I read 
the character's bible. 

""It had been explained to me that she 
came from what would be considered a 
ghetto. She had to fend for herself. That made 
her street smart and rough and, to me, inter- 
esting. And being on the Enterprise gave her 
a real sense of family, gave her discipline, 
gave her a routine and a sort of security that 
she had never before had in her life. So, it was 
always ironic to me that this insecure woman 
was the Chief of Security on the Enterprise." 

Of course, that's all in hindsight. At the 
time, during Next Generation's first season, 
Crosby had grown increasingly dissatisfied 
with both her screen time and Tasha Yar's 
development. The character, the actress felt, 
had so much potential that was too often 
going to waste. In interviews past 



(STARLOG #151), Crosby recalled her con- 
versations with Trek creator and then-Next 
Generation executive producer Gene Rod- 
denberry, who agreed to free her from her 
contract so that she could pursue other acting 
opportunities. That led to Yar's sudden, con- 
troversial and supposedly permanent death in 
"Skin of Evil," in which Yar was killed by 
Armus, a remorseless oil slick of an alien. 

Tasha's Death 

Looking back on her decision to exit Next 
Generation, Crosby says that, unquestion- 
ably, it was the right one to make, the only 
one she could make. "It was just such a lim- 
iting part. Too many shows went by with 
Tasha simply standing there in the back- 
ground. I ended up getting more to do in my 
guest appearances than I would have in any 



osby's exit came with 



'fiifb d-jittii iiJJd D/ 
"Sj'Jij os B'J)L"""!hiii 'j'fiis Jbty D/JiSJifeiiis 1 
I'jrj, boiifjy b'd'j'/. vn ii HoW/Jjia -dwlmut 
dldr/i hii'73 jj b'usihsa iu I'joi iuf mt" 




Crosby returned to The Next Generation for the last time with "All Good Things...," 
asTashaYar circa "Encounter at Farpoint." Can you guess which photo is from the 
ies finale? (The one on the left.) 




Tasha was going to be. It was an extraordi- 
nary scene, and it was a shame that it never 
appeared in any of our shows. I don't really 
know why it didn't. It was a scene in which 
Tasha had real problems on the ship. She 
idolized Picard [Patrick Stewart]. He repre- 
sented a father figure to her, and he embodied 
all the perfect patriarchal power and together 
male things that she never had in her life. 
Because she endowed him with such power, 
she had problems dealing with him. He 
scared her and she felt very insecure around 
him, even though she deserved to be in her 
position. She's sent to Troi [Marina Sirtis], 
who was really acting as shipboard shrink in 
this scene. They try to get to what Tasha's 
problem was about. Troi, out of the blue, asks 
Tasha. 'When was the last time you had sex?' 
Tasha says, "What?!' and Troi asks it again. 

'Tasha asks how that applies to the prob- 
lem. Troi says, 'No, no, no. You've got to let 
go. You've got to be normal. You've got to 
have some time off for yourself.' Basically. 
Troi told Tasha, 'Go and get laid for a few 
days, then come back and tell me how you 
feel' It was an extraordinary scene. Marina 
and I used to talk about that all the time. 
Where the hell was the scene? Why didn't we 
ever get to do it? It allowed the two of us to 
interact, which we rarely ever did in my 20- 
something shows. Marina and I never had 
more than a few lines to say to each other. 
That would have been a very insightful scene. 
It was that kind of thing that we didn't do 
with Tasha that made me feel I had to leave 
the show if I was going to grow as an actress. 
Fortunately, Gene understood what I was 
feeling and let me leave." 

Depart Crosby did, and she was soon to 
turn up in such films as the well-regarded but 



little-seen cautionary tale Miracle Mile and 
the hit horror flick Pet Sematary. Still, dead 
never really means dead in the Star Trek Uni- 
verse and, in 1990, during Next Generation's 
third season, Tasha returned in "Yesterday's 
Enterprise." The alternate-timeline episode, 
in which Tasha is alive and the Enterprise-C 
is moments from destruction, is widely con- 
sidered to be one of Next Generation's finest 
outings. Ultimately, Tasha joins her new- 
found love, Enterprise-C helmsman Richard 
Castillo (Christopher McDonald), to go 
down in a blaze of glory battling the Klin- 
gons. "It was just a very exciting story, flaw- 
less in its outline. It was a very tricky show to 
do, very imaginative," she stresses. "It kept 
you moving and interested from one scene to 
the next, and it was very, very poignant, very 
emotional. There's a great deal of heart in 
that show. That was what was missing from 
'Skin of Evil.' That was very unsatisfactory, 
looking back on it now. 

"That episode killed off a really well- 
loved character. The audience didn't have a 
chance to root for her, to be with her emo- 
tionally, or to watch her struggle. Her death 
was so instantaneous and the rest of the show 
didn't deal with Tasha. It dealt with trying to 
get Marina out of that shuttlecraft. It was an 
imbalanced show. The idea behind it was that 
Tasha's death would be so unprovoked, so 
sudden and so meaningless, all of which it 
was. But it didn't work on a fundamental 
level. 'Yesterday's Enterprise' gave her a 
heroic death, where she went out giving her 
life to save everyone else." 

Tasha's Life 

More time passed and Crosby continued 
to pop up in an assortment of TV shows, fea- 
tures and direct-to-video flicks. Then, in June 
1991, in the final moments of The Next 
Generation's fourth season cliffhanger 
"Redemption. Part I," there on the screen was 



Tasha, or was it? As everyone now knows, 
Crosby was actually portraying Sela, Tasha's 
half-human, half-Romulan daughter. By 
"Redemption. Part II," which focused on a 
power struggle on the Klingon homeworld 
that involved the Klingons, Picard and 
Romulan forces led by Sela, it was revealed 
that Tasha had survived the events of "Yes- 
terday's Enterprise," spent a horrible time 
imprisoned by Romulans, even married one 
and died during an escape attempt after being 
betrayed by a then-four-year-old Sela. 

"There was something 
troubling about her." 

Crosby says that the idea for Sela was 
none other than her own. She had such a good 
time doing "Yesterday's Enterprise" that a 
return visit made perfect sense. "The big 
question was how?' I thought, 'What if Tasha 
was carrying Castillo's baby and the Romu- 
lans find Tasha alive and pregnant with his 
baby? And what if they had desires to raise 
this baby themselves?' One," explains 
Crosby, "the Romulans could use the baby to 
further understand us humans and, two, they 
could perhaps use the actual baby in some 
way when it grew up. So, you would have this 
child raised by Romulans, even though she 
was human. It was a la Dances with Wolves, 
which I had seen and which put the idea in 
my head. Eventually, she makes contact with 
the Enterprise crew and is somehow instru- 
mental in making peace with the Romulans. I 
always thought the series should end with the 
Federation having made peace with the 
Romulans. It would have been in the spirit of 
the show. 

"I had a meeting with Rick Berman. It 
was like a pitch meeting. I told him that story 
over lunch and he thought it was really inter- 



54 STAKLOG/September 1995 



esting. He said he would talk to Michael 
Piller and that he would get back to me. I 
thought they would blow me off — an ex- 
actor on the show — and not take me seri- 
ously. A couple of months later, I got a call 
from him and he said, 'We're going ahead 
with the show, but we just don't think that 
Tasha should be pregnant with Castillo's 
baby. It'll be a Romulan general's child.' So, 
it was Sela, a half-human. half-Romulan 
woman. That's how Sela came about, and I 
really liked the shows, especially working 
again with David Carson [who directed 
"Redemption, Part II," "Yesterday's Enter- 
prise" and went on to helm Star Trek Gener- 
ations]." 

The phone at Crosby's home rang in late 
1991 and, upon answering, the actress 
learned that she was wanted back on the Next 
Generation set again. The episode, "Unifica- 
tion, Part II," called for her to play Sela once 
more and it meant sharing the screen with 
Leonard Nimoy, whose breathlessly antici- 
pated appearance as Ambassador Spock was 
timed to the impending release of Star Trek 
VI: The Undiscovered Country, which he had 
executive produced. In the episode. Sela and 
her Romulan forces stood in the way of 
Spock's efforts to broker peace between the 
Romulans and Vulcans. "I loved the stuff 
with Nimoy. That was clever. It was a good 
show, but my initial ideas for it were more 
involved," notes Crosby. "Sela could have 
gone through more of a catharsis. She was in 
such denial about her mother and her human 
side, so she became aware of that and learned 
about that and tried to embrace it. Still, it was 
fun to be back. Nimoy was lovely. I think he 
enjoyed being back, too. It was quite unique 
for everyone, and the show really did bridge 
the generations. What made me happy was 
that the fans loved it." 

Much to her surprise, the phone rang one 
last time, as the writers were putting the final 
touches on the 1994 Next Generation finale, 
"All Good Things...". Crosby was asked to 
play Tasha circa the "Encounter at Farpoint" 
series pilot, during which the newly intro- 



terofYar, 
i the "Redemption" 
and "Unification" 
sagas. 







duced Enterprise crew first encountered Q 
(John de Lancie). The actress had one partic- 
ularly poignant moment: a pre-"Encounter" 
conversation with a time-tripping Picard. "I 
was so pleased that they thought of me for 




According to Crosby, " 'Yesterday's Enterprise' gave her a heroic death, where she 
gave her life to save everyone else." 



that show. It just brought everything and 
almost everyone back together. I liked the 
show a lot," she says. "I thought John de Lan- 
cie was great. He was just wild. It was a great 
idea to go right back to the pilot. I felt we all 
missed having Wil Wheaton there. But I 
guess he got his moment in 'Journey's End.' 
" 'All Good Things...' gave the series a 
real sense of closure, especially for me, 
because I haven't seen Star Trek Generations 
yet. Isn't that horrible?! I was on the phone 
before with Brent Spiner and told him that I 
hadn't seen the film. He was like, 'Denise...' 
Honestly, it's a hard one for me to go and see. 
I would be connected and disconnected to it 
at the same time. I know the show. I know the 
people. But, when it comes down to it, I'm 
like a ghost. Do you know what I mean? I 
want to see it, and I'm sure I will. Just give 
me a little time." 

Tasha's Future 

Though Crosby wasn't involved in the 
first big-screen voyage of the Enterprise-D, 
she has been busy. She was a regular on the 
quirky ensemble comedy Key West and has 
made numerous TV guest appearances on 
such shows as the sexy Red Shoe Diaries, the 
drama Sisters, Johnny Bago, Brisco County 
(continued on page 66) 

STARLOG/September 1995 55 



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EXP. DATE 



Part Two 



By TOM WEAVER 




At last getting credit wnere credit is due, SF veteran William 
Alland recalls gill men & monster music. 



The titles of his movies are renowned in 
SF fan circles — It Came from Outer 
Space, the Creature movies, This 
Island Earth and many more — and yet the 
name of the creator of these films tends to be 
far less familiar. William Alland washed his 
hands of the industry after the mid-1960s, 
prompting his mentor Orson Welles to regret 
"that so much talent and intelligence is being 
denied to the [show business] world'.' But 
Alland has never looked back — not until here 
and now, giving STARLOG readers the exclu- 
sive inside scoop on some ofSF's most mem- 
orable '50s adventures. 

In Part One of STARLOG' s three-part 
Alland retrospective, the producer recalled 
his participation in Welles' notorious Hal- 
loween 1938 War of the Worlds radio broad- 
cast, his Gothic horror movie The Black 
Castle and the landmark It Came from Outer 



Space. Now in Part Two, he revisits the Black 
Lagoon of the prehistoric Creature and the 
Arizona desert haunts of the mighty Taran- 
tula, and offers further insights into how to 
become "a complete picturemaker." 

STARLOG: Would you go to your movies' 
test screenings and sneak previews? 
WILLIAM ALLAND: Of course I would. 
The directors were long gone by the time we 
did our sneaks and everything — they just 
came, shot the movie and went! The purpose 
of a sneak preview was manifold: In the first 
place, we had to see if the picture would play. 
Where were we getting a laugh when we 
should be getting a sigh? Many times you 
don't know in advance if a certain situation is 
going to play the way you think it's going to 
play. And if it's wrong, you take it back and 
re-edit it. If there's an inappropriate laugh in 



the middle of what's supposed to be a scary 
scene, you have to see what caused it and 
then get rid of it. You're involved with the 
audience, you're involved with the timing, 
you're seeing how restless they are, how 
engrossed they are, what's playing, what's 
not playing. Based on all that information, 
you go back and re-edit, to make it work. 
STARLOG: Do you remember any SF pic- 
tures that had problems during previews? 
ALLAND: I don't think we had sneak pre- 
views for some of the less expensive ones. I 
don't remember a sneak preview for The 
Mole People, for example; there may have 
been, but I don't remember it at all — maybe 

TOM WEAVER, veteran STARLOG corre- 
spondent, is the author o/They Fought in the 
Creature Features (McFarland, $38.50). He 
began this three-part profile in issue #217. 

STARLOG/September 1995 57 



GIANT SPIDER STRIKES! 

.CRAWLING TERROR 100 FEET HIGH! 





JOHN AGAR • MARA CORDAY 
LEO G.CARROLL 

NESTOR PAIVA • ROSS ELLIOTT 

. ■•■.•'.' -. . ". .' 

Tarantula "belongs to the special FX 
guys," says idea man/producer William 
Alland. 

because I don't want to remember it! My sci- 
ence fiction pictures, by and large, I did not 
have much of a problem with, they played 
very well. Other films, Westerns and come- 
dies — pictures like The Lady Takes a Flyer 
[1958] with Lana Turner, for instance, or The 
Rare Breed [1966] — there we might get an 
inappropriate laugh, or the film might play 
too long. Many times we came back after 
seeing a sneak and cut 10 minutes out. 
STARLOG: When exactly were the seeds 
sown for the idea for Creature from the Black 
Lagoonl 

ALLAND: What happened is this: During 
the making of Citizen Kane [in which Alland 
played the Reporter], I had dinner one 
evening with Orson Welles and his girl friend 
at the time, Dolores Del Rio, and a tremen- 
dously famous Mexican cinematographer 
named Gabriel Figueroa. In idle conversa- 
tion, Figueroa told the story about this crea- 
ture that lives up in the Amazon who is 
half-man, half-fish. Once a year he comes up 
and claims a maiden, and after that, he leaves, 
and the village is then safe for another year. 
We just looked at him. He said, "You people 
think I'm joking, don't you?" and he then 
insisted that this was absolutely true, that he 
could produce photos'. For about five minutes 
there, he held forth about how this was not a 
myth, that there really was such a creature, 
that the Amazonian people talked about him 

58 STARLOG/September 1995 




all the time, etc. So there it was, in my brain. 
Years later, I was making pictures at Uni- 
versal, and with Figueroa's story in mind, I 
wrote a two- or three-page outline about a 
man-fish in the Amazon. [Universal exee] 



Bill Goetz read it and said, "Sounds great. Go 
ahead and develop it." So, we developed it, 
without a title, and after we had the script sort 
of completed, one day I was in Bill's office 
and he said, "I've got the title for your 




movie." I said. "What's that?"' and he said. 
"Creature from the Black Lagoon 1 ." Well 
[laughs], I was appalled! I said, "Wha-a-a- 
t??" and he said, "That's what it's gonna be — 
Creature from the Black Lagoon'." Well, we 
made it, and it sure caught on. didn't it? But 
I thought it was the most tawdry, cheap title I 
overheard! 

STARLOG: You had a whole string of writ- 
ers work on the screenplay. 
ALLAND: Yeah, three or four. Arthur Ross 
was the guy who did the best job — particu- 
larly once he found out that we were going to 
be able to shoot underwater. He really wanted 
to rewrite the whole thing and take full 
advantage of the underwater possibilities. So 
with encouragement from me, we went back 
into the script and did that. You'll notice, if 
you take a stopwatch, that maybe half of that 
film is underwater. That was the first film 
ever made with a free-floating underwater 



Ben Chapman surrendered himself to Uni- 
versal^ makeup department, playing the 
original (on-land) Creature. 





camera in a natural environment. Stan Hors- 
ley came up with a cameraman named 
"Scotty" Welbourne. He was an old Holly- 
wood type who had branched out and gotten 
into scuba, and he developed an underwater 
camera to use with scuba gear. He had a little 
inner tube tied to the camera's bottom, and 
with a CO 2 cartridge he could inflate or 
deflate that and get neutral buoyancy with it 
and swim all over the place and shoot. Scotty 
had already done some free-swimming 
movie photography in the ocean — nobody- 
had ever done that before. Stan brought 
Scotty into the studio and we hired him to do 
the film. 

Scotty and I went to Florida and picked 
out the locations ourselves — I put on scuba 
gear and went down and checked the loca- 
tions. I had never been in scuba gear in my 
life and I was given no instructions: Scotty 
said, "Here, put this on and come on down." 
Nobody told me to make sure not to hold my 
breath, even though holding your breath can 
be very dangerous. When people start to 
come up [after scuba diving], the instinct is to 



hold your breath. But that'll explode your 
lungs — you're supposed to continue to 
breathe in and out normally. Nobody told me 
that [laughs] 1 . Scotty and I went down 
together and looked at all these locations — as 
a matter of fact, we brought film back to the 
studio, and the brass saw me and Scotty 
swimming through the water together. In 
those days, I was ready to do anything. Did 
you know that I was a combat pilot in World 
War II? Fifty missions. When it comes to 
being stupid enough not to have much fear, 
that's me'. 

OK, now here we are. back in the studio, 
about ready to do the film, and suddenly the 
word comes down: "We want you to make it 
in 3-D." So what we had to do was take 
Scotty 's camera and develop a 3-D version of 
it. That took some doing. And, here again. 
Stan Horsley got involved — Stan took 
Scotty 's camera and developed it into a 3-D 
camera. He did all that, just by himself. And, 
can you imagine, we shot underwater 3-D for 
the first time, and some of the stuff was beau- 
tiful, / thought. In my view, nothing has been 



done since, from an aesthetic point-of-view. 
that's any prettier than those shots of the girl 
being carried down through the water by the 
Creature, with all the bubbles streaming up. 
Beautiful. 

STARLOG: It was James C. Havens who 
directed those scenes, correct? 
ALLAND: No, it wasn't. Here's what hap- 
pened there: After we picked the locations in 
Florida, we sent Scotty there to shoot second- 
unit stuff, underwater. And we sent down a 
very famous second-unit director named 
James Havens to direct it. Well, after they 
were there a few days, I got a call from the 
production manager: "You had better come 
down here, there's all hell breaking loose. 
Havens and Welbourne are not getting 
along." So. I went down, and what I found 
out was that Havens was scared to go under- 
water! What he did was, he would swim on 
the surface with a snorkel, and look down 50 
feet to see what was going on [laughs]'. 
That's the God's truth! Havens had sketched 
out how he wanted the thing to be shot and 
everything, and Welbourne was saying, "Hey, 
I can't do it that way, I gotta take advantage 
of what's there. You'll just have to live with 
what I come up with, unless you want to 
come down there with me." But Havens 
wouldn't put on scuba [gear] and go down! 

Now I'm there, see, so what I did was. I 
tried to shame Havens into doing it. I put on 
scuba gear and I went down 50 feet, where 
we had underwater light platforms and all — 
there was a whole set down below. So, I went 
down there with Scotty and watched him 
doing his stuff and then came out and said to 
Havens, "Listen, either you go down and see 
what he's doing and work with him, or 
you've just got to get out of the way." And he 
said, "Well, I'll just get out of the way." He 
stayed there, but he didn't have a damn thing 
to do with any of the stuff that went on 
underwater. 

STARLOG/September 1995 59 



STARLOG: If. as you say, half the picture is 
underwater, then the people who talk about 
the direction of Creature from the Black 
Lagoon should say that it was directed by 
Jack Arnold and Scotty Welbourne. 
ALLAND: Absolutely. Scotty Welbourne 
directed the underwater stuff. 
STARLOG: What input did you have in the 
design of the Gill Man costume? 
ALLAND: I had an idea of how this creature 
should look — I wanted him to look much 
more human. I had a marvelous sculptor cre- 
ate a very sad, beautiful monster — in fact, it 
wasn"t a monster. While it had fish lips and 
this, that and the other, it was all done as a 
sort of an aquatic development of man. And I 
was so pleased with it! It still would frighten 
you, but it would frighten you because of 
how human it was, not the other way around. 
And the studio said, "Aw, get outta here! 
That's not scary enough!" So, Bud Westmore 
and company took over, and what you have is 
their concept. And I guess it worked! 
STARLOG: What ever happened to the 
sculpture? 

ALLAND: It was a beautiful, full-size sculp- 
ture of the head. And I don't know what ever 
happened to it — I think Westmore and com- 
pany made sure to destroy it. I spent several 
thousand dollars having it done. 
STARLOG: How much did you have to do 
with the makeup department as they designed 
and tested the Gill Man suit? 
ALLAND: [Laughs] Once they discarded 
my beautiful sculpted head and started on 
this horrible monster thing. I just turned that 
over to them. I cannot take credit or blame 
for how the Creature's appearance turned 
out. To me, it was a cartoon, but apparently 



Second in the 
chain of on-land 
Gill Men, Tom 
Hennesy played 
the title role in 
Alland's Revenge 
of the Creature. 





All Creature Photos: Copyright 1954 Universal Pictures 




all of you people thought it was great. My 
concept originally was of a much more poetic 
and strangely beautiful — although frighten- 
ing — kind of a being, who could become 
angry, who could become friendly, who 
could love. [The eventual costume] was just 
beyond my pale. But I'm wrong, everybody 
else loved it. 

STARLOG: The underlying theme in Crea- 
ture is. of course, Beauty and the Beast. 
ALLAND: Right. "My" guy was no beauti- 
ful man — he was human-like, but he was 
fish-like — but what we wound up with was a 



fish that had very little relationship to the 
way a human being looks. And we'll never 
know whether "my" version would have 
become a classic, as this one did. 
STARLOG: Then, of course, you had Ricou 
Browning playing the Gill Man in all the 
underwater scenes. 

ALLAND: That's right. We found him in 
Florida, where he was one of the kids, one of 
the "water babies" who performed at water 
shows. I didn't select him, this was done as 
part of the work in Florida. We later brought 
him out to the studio for some close-ups, but 



99 percent of what he did was in Florida. 
STARLOG: He said (in STARLOG #167) 
that he was disappointed at not getting any 
screen credit. 

ALLAND: We didn't want to use his name in 
the credits because we felt that that would 
destroy the "reality" of the Creature. It was 
not that we wanted to deny him credit, we 
just felt that THE CREATURE PLAYED 
BY RICOU BROWNING would spoil 
everything we had built up! He later went on 
to become a wealthy man, because he came 
up with the idea for Flipper and sold it to a 
fellow named Ivan Tors. Together, they pro- 
duced this series which made a fortune. 
STARLOG: His performance really en- 
hanced the picture. 

ALLAND: Yes, you're right, but remember 
this: While Ricou could hold his breath pretty 
well, the important thing to realize is that 
when we had long, extended scenes under- 
water, we had air hoses behind rocks, with air 
coming out of them. What Ricou would do is 
swim down behind a rock, take a breath of 
air, continue on past the rock into the scene. 
When we spliced it together, we eliminated 
the part behind the rock, so it looks like it's 
one continuous thing. We did that hundreds 
of times, and that's why you get the impres- 
sion that he's holding his breath for astound- 
ing lengths of time. Some people thought we 
had an air tank hidden in his costume, but, no, 
it was not that at all. In scenes where we 



60 SlARhOCISeptember 1995 



wanted to illustrate the fact that he was a fish. 

we would hide air hoses. 

STARLOG: And you had a real old-timer in 

the cast, Antonio Moreno, playing one of the 

scientists. 

ALLAND: Yes. he was an old-timer. A 

bunch of this casting, by the way, was done 

by the casting office — people who worked at 

the studio and cast pictures for us. They had 

their favorites, and I think they were the ones 

who suggested Moreno. I said fine. I thought 

he was a little bit inept, but not a lot. 

STARLOG: Whose idea was it to do a 

sequel? 

ALLAND: The studio's — I didn't want any 

more part of it. my God! In fact, they insisted 

on two sequels, both of which I am ashamed 

of. In fact, I wish to disassociate myself with 

the other two films as much as possible 

[laughs] ! But the studio wanted to mine that 

thing as much as possible, so I blew those 

two pictures through my nose and didn't 

want to hear any more about 'em! 

STARLOG: And those are the only sequels 

you ever made? 

ALLAND: As far as I can remember. 




Selected Photos: Buddy Barnett 




When Tarantula wasn't being played by real arachnids, a Universal prop department 
spider filled the breach. 



STARLOG: Watching Creature and Re- 
venge of the Creature back to back, it sud- 
denly becomes obvious that the plot came 
from King Kong. 

ALLAND: Absolutely. As a matter of fact, 
that was the whole idea. Oh, sure, that was 
my idea [laughs] ! 

STARLOG: You used John Agar several 
times, starting with Revenge of the Creature. 
ALLAND: He, for some reason, was under 
contract to the studio — because his price was 
right. I imagine. I had no problem with him at 
all. Again, these films did not depend on star 
power. As long as the actors could do a com- 
petent job, that was all that was necessary. 
STARLOG: The monsters were the impor- 
tant stars, or the gimmicks. 
ALLAND: Or the special FX. 
STARLOG: Revenge of the Creature illus- 
trates pretty well what a limited monster 



character the Gill Man really was. 
ALLAND: I blew that thing through my 
nose. Had I really wanted to do a good job, I 
would have done an entirely different sort of 
thing there. I did those [Creature sequels] 
reluctantly, at a time when I was making four 
pictures a year, and I had other things on my 
mind. So. I pretty much left both those films 
up to their directors — "Here's the script. 
Shoot it." 

STARLOG: Did you offer The Creature 
Walks Among Us to Jack Arnold? 
ALLAND: Didn't he direct it? 
STARLOG: No, it was directed by John 
Sherwood. 

ALLAND: I have a hunch that either Jack 
was not available or that he also was appalled 
at the script — although I don't think he would 
have turned it down for that reason. John 
Sherwood was an assistant director, and he 



had been around for years. The idea of hav- 
ing him direct it was the studio's idea-,- not 
mine. By this time. I couldn't have cared less, 
see? And I don't know how much directing 
Sherwood did after that. The idea for a third 
Creature film wasn't mine: I never wanted to 
make a sequel at all. And, once the decision 
was made to make it, the whole idea was to 
make it so cheap that we wouldn't lose 
money. 

STARLOG: Did you ever speak up, did you 
ever protest at all, when you were assigned 
something you thought was a bad idea? 
ALLAND: I would invoke Jesus [laughs] — 
that was about it! My problem was that I was 
a "studio man," so to speak, and as such, it 
was very difficult for me to break out. 
STARLOG: Several Universal contract 
players I've talked to didn't want to be in 
your science fiction pictures: they thought SF 
was a comedown. Did you ever have to con- 
tend with "attitudes"? 

ALLAND: Nope. Most of these actors were 
pretty professional, and if they had any 
objections, it was before they got into it. 
Once they get on a set. people do what 
they're supposed to do. Julie [Creature from 
the Black Lagoon] Adams, for example, was 
very cooperative, and a lovely woman. 
STARLOG: Once one of your SF pictures 
got underway — once you had done all the 
heavy lifting, and it was on the stages being 
photographed — what were your responsibili- 
ties at that point? 

ALLAND: First of all. I saw the dailies every 
day. If there were any problems, I was called 
in to solve them. I also talked to the director 
every day — if I saw the dailies and I felt he 
was missing something, or he needed another 
close-up to make a point. I would tell him so. 
Many times a director would miss a key point 
which required a close-up or two. Also, dur- 
ing the shooting, the editor and assistant edi- 
tor were already cutting the film — as it was 
being shot, they were already putting scenes 
together. So. I saw those every day. In those 

STARLOG/September 1995 61 



days, the director came, did the picture and 
left — he never stayed around, not even to see 
the final cut. In other words, there wasn't any 
contractual requirement that the director get 
a final cut on the film. 

I was also involved with getting sound put 
together — I mean. I would be coordinating 
the whole damn thing! I don't want to take 
anything away from my directors, but I took 
the responsibility of seeing that the picture 



should come in, where music should go out. 
On the rough cut, they would put "click 
marks" in the film where I had indicated. 
Then, we ran the film with Hank Mancini, 
Joe Gershenson and a couple other people, 
and we would stop at each "click mark" and 
talk about what kind of music should be there 
and so forth. Essentially, these showings 
were for me — they did not do this with every 
producer, 'cause most producers didn't 





< 



JEFF MORROW 

REX REASON LEIGH SNOWDEN 

mat GRE6G PALMER ■ MAURICE MANSON 



Directed by JOHN SHERWOOD • Story me Samm 6y ARTHUR ROSS - ftwtasi * 

Once the decision was made to film a 
third Gill Man movie, "the whole idea was 
to make it so cheap that we wouldn't lose 
money." 



was made and put together, all the sound 
effects, working with the music department 
in terms of picking a score, everything. See, I 
did a lot of stuff that many producers never 
did. because of my background in radio. I ran 
the picture with a sound crew, I ran the pic- 
ture with a music crew — from the producing 
point-of-view. / put together the film. 
Nobody else. 

STARLOG: The music was a big plus for 
many of your SF pictures. Who would you 
work with music-wise — the department 
head. Joseph Gershenson? 
ALLAND: I'll tell you a big "secret." Hank 
[Henry] Mancini was very much instrumen- 
tal in writing the music for many of these 
movies. He was under contract there and he 
did a lot of the work, but Gershenson used to 
take the credit for all the music. Hank did the 
score for several of those films, and he was a 
lovely guy. What we would do is, after I had 
a rough cut, I would get in there with Joe Ger- 
shenson. with a script, and I would mark with 
him those spots where I thought music 



AliMd • A Universal-International Picture '4 



Stuntman Eddie Parker (in acromegalia 
makeup) puts the arm on Leo G. Carroll in 
Alland's Tarantula. 

know, didn't care. But I was very much 
involved in the music, and with the sound 
effects department, too. I was a complete pic- 
turemaker. 

STARLOG: Throughout all these "monster 
movies," how did you enjoy working with 
Bud Westmore? 

ALLAND: Oh, the makeup department had 
many good people and I enjoyed working 
with them. They were very dedicated to their 
work and they loved science fiction films, as 
opposed to standing there making up an 
actor, putting powder and paint on. so they 
could go shoot a scene. Playing with mon- 
sters and science fiction and all that, they 
loved that, it gave 'em stuff to sink their teeth 
into. One guy in particular was especially tal- 
ented. Jack Kevan — Jack did a lot of very 
creative work on those pictures. 

(continued on page 65) 




The Lady Takes a Flyer starred Richard Denning, Jeff Chandler and Lana Turner. Jack 
Arnold (black sweater) directed and Alland (striped tie) produced the film based on 
aviator Jack Ford's (right) life. 



62 STARLOG/September 1995 



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(continued from page 75) 

a week or two later, they said they wanted 
me. I said no. and kept turning it down 
because I had just moved, my daughter was 
having trouble in school and it was the 
wrong time to be away from home. I kept 
saying no and they kept saying yes, and 
eventually I caved in. 

"My only difficulty with the character 
was getting my head around having this 
enormous makeup put on. I also wore a cos- 
tume that took two women to carry; I could 
hardly move in it, and there were these foot- 
high platform boots I had to wear. That was 
all difficult, but the thing I realized very 
quickly was that once you have that mask 
on. everybody thinks you're very different, 
so you're able to be much more outrageous. 
I found that incredibly freeing." 

Film Freedoms 

As far as any new doors opening up as a 
result of Power Rangers, Freeman isn't sure 
if he will have any increased visibility. 
"Visibility is the wrong word," he muses, 
"it's more like invisibility. 

"I would think this is going to make a 
difference just like Raiders did, but I really 
have no idea. All you can tell, at least I hope 
you can, is there's a very good piece of work 
by an interesting man. but who he is. they'll 
never know." 

After finishing Power Rangers, Freeman 
decided to try something very different. His 
next role was the critically acclaimed BBC 
drama. House of Cards, in which the actor 
has some fairly steamy sex scenes (which 
will be toned down in the PBS version). He 
also gets to kill off Ian Richardson, who 
plays the main character. 

"I'm rather interested to see how that 
will be perceived, because the series is very 
popular. The young audience that will go see 
Ivan Ooze isn't going to realize that it's the 
same man flashing around with no clothes 
on in this BBC series. I think it was a reac- 
tion from being totally covered up in one 
film to saying, 'Take it all off. this is me!' in 
the other. I was aware that there was some- 
thing very spiritual about being inside that 
mask for 22 hours a day, and people 
approach you as that thing." 

Looking ahead. Freeman believes his 
career is at a crossroads, but he's in no real 
hurry to see where it goes. "I've really been 
working since last year when I did that 
French movie." he elaborates. "I only fin- 
ished House of Cards last week. I'm really 
enjoying not doing anything at the moment, 
and I don't need to do anything for a few 
months while I wait for something good. 

"I'm at a crossroads insofar as I don't 
know what's going to happen, but I don't 
feel any angst about it. I'm just looking for- 
ward to doing nothing, unless something 
wonderful comes up and they make me an 
offer I can't refuse." Paul Freeman takes 
another sip of tea and smiles mischievously. 
"Like dressing in a purple mask and playing 
a Nazi at the same time — naked!" it 



(continued from page 62) 

STARLOG: A creative designer named Mil- 
icent Patrick contributed a great deal to the 
Gill Man suit, but when Universal asked her 
to help promote the movie. Westmore hit the 
roof. He didn't want anybody else getting 
credit. 

ALLAND: Bud guarded his turf very well. 
STARLOG: It's so funny, all these people 
that worked for you — Westmore and Jack 
Arnold and Harry Essex — who shared credit 
like King Midas shared his gold. 
ALLAND: Particularly later, when / wasn't 
around to catch them with their hands in 
other people's pockets! I want to remind you 
that lots of this interviewing stuff, a lot of 
these gossip things have all been done since I 
left the business. If I was in the business, they 
wouldn't have been saying this crap. 
STARLOG: Where did the idea for Taran- 
tula come from? 

ALLAND: Tarantula came from an idea of 
my own — I had an idea about doing a story 
about a giant tarantula. That's all you need to 
begin! Again, the picture belongs to the spe- 
cial FX guys — the blowups, the tarantula 
being dive-bombed by airplanes and so on. 
That ending, by the way, was right out of 
King Kong again. 

STARLOG: The year before you made 
Tarantula. Them! was a movie about giant 
ants that made a lot of money. Was that what 
gave you the notion to do Tarantula! 
ALLAND: No, no, no, not at all. I don't even 
remember Them! I would be happy to give 
credit if credit was due. but I don't remember 
that movie. The idea of large bugs, geneti- 
cally created, terrorizing the population — 
that was my game! 

STARLOG: The subplot about scientists 
developing a nutrient came from an episode 
of Science Fiction Theatre directed by 
Arnold and written by Robert M. Fresco. 
ALLAND: I don't remember that at all. The 
basic idea of a giant tarantula was mine, and 
apparently Jack and Robert Fresco came in 
and helped develop the story and added that 
part of it themselves. 

STARLOG: And you liked the "giant spi- 
der" effects. 

ALLAND: They were very good. We had a 
wonderful tarantula guy who brought 'em 
in — they're very harmless, you know, they 
don't bite unless you bother them a lot. I 
remember being in a publicity photo where I 
had live tarantulas crawling all up and down 
me! You shoot the tarantula against a blue 
screen and then you overlay that, over the 
scene in which it's going to be involved. 
Strangely enough, the job of enlarging some- 
thing, in relation to some other object, is very 
simple stuff to do. 

STARLOG: Many of your pictures — the 
Creature movies. Tarantula, a whole bunch 
of 'em — would have been better in color. 
ALLAND: Yes, I agree — I think Creature 
from the Black Lagoon would have been fab- 
ulous in color. As a matter of fact, I would 
like to see them colorize it. 

TO BE CONTINUED 

STARLOG/September 1995 65 



Crosby 



(continued from page 55) 

and Lois & Clark: The New Adventures of 
Superman. "My Brisco County was a lot of 
fun. Tom Chehak, one of the writers on Key- 
West, wrote that. Bruce Campbell was just 
great, dry as a bone," she enthuses. "Lois & 
Clark was a three-story arc for my character, 
Dr. Gretchen Kelley. That was just a hoot. 
Gretchen is a DC Comics character. Working 
with John Shea [Lex Luthor] and Tony Jay 
[Luthor's assistant] was great, too. Tony did a 
Next Generation ["Cost of Living"] long 
after I had left, so we talked a lot about our 
Star Trek experiences. I've always been a fan 
of his and had seen him in Nicholas Nickleby. 
He's just a wonderful, wonderful character 
[profiled in STARLOG #148]. The three of 
us, John, Tony and I, made quite a little tri- 
umvirate of villains." 

At the moment, Crosby is busy gearing up 
for the television pilot season and hoping to 
be back on the small screen come the fall. In 

"That episode killed a 
well-loved character." 

the meantime, fans will soon be able to hear 
her on the audio version of the Nitpicker's 
Guide to Classic Trekkers and should be on 
the lookout for her next film. Dream Man, an 
independent feature in which she co-stars 
with Patsy (Lethal Weapon 2) Kensit, An- 
drew McCarthy and Bruce Greenwood. 
"Patsy plays a cop and Bruce is her partner. 
They're investigating the murders of a couple 
of prominent people. Andrew plays an artist 
who's married to a very wealthy woman \vho 
has been murdered. He's not a suspect at 
first," reveals Crosby, genuinely excited, as 
the conversation comes to an end. "but after 
he and Patsy become involved, she realizes 
he's actually the murderer. I play Patsy's best 
friend, a cop/forensic doctor. It turns out 
Andrew and I. ..well, I don't want to give it all 
away. It's this diabolical little story. 

"I also did another film called The Child 
[a.k.a. Relative Fear] . with James Brolin and 
M. Emmett Walsh. I play this criminally 
insane, deranged woman who's in prison. It's 
a switched-at-birth, Demon Seed type of 
movie. I think they'll both be out on video 
later this year. So, I'm doing OK. I'm work- 
ing, doing interesting things, and stretching 
my acting muscles whenever I can." 

As for Star Trek, Crosby still appears at 
four or five conventions a year, still receives 
fan mail and remains friendly with the Next 
Generation cast. "I'm glad it was a part of my 
life and I'm glad I left when I did." says 
Denise Crosby. "I would like to think that my 
experience helped pave the way for the rest of 
the women on Next Generation and on the 
other Star Trek shows. Who knows what 
effect there was from having an actress opt to 
leave rather than just accept whatever bits 
came her way? I wasn't trying to make any 
statement. For me, it was the only thing I 
could do to stay true to myself. Whether or 
not I've succeeded, I had to try. I had to take 
the chance, and I would do it again." is 

66 STARLOG/September 1995 



Winston 



(continued from page 49) 

observer in the process. It was wonderful to 
see their work; I am so proud of it, I wish I 
were more a part of it." 

The next big project off the blocks for 
Winston is the latest movie based on H.G. 
Wells' classic novel, The Island of Dr. 
Moreau. Their work on the project, Winston 
says, "is coming along beautifully. We're 
going to start shooting at the end of August. 
We've created some wonderful new charac- 
ters, and I'm anxious to see them come to 
fruition. It's a terrific script, and we have a 
wonderful relationship with Richard Stanley, 
the director, a very creative man. I believe he 
will show us an Island of Dr. Moreau that is 
new and fresh, and at the same time as won- 
derful as Island of Lost Souls, the original 
with Charles Laughton and Bela Lugosi. I 
believe this version will have that kind of tex- 
ture and eeriness and unsettling quality about 
it. I think this movie will be memorable." 

Then there's Planet of the Apes — or 
Return of the Apes, as an enticing book of 
photos on Winston's desk is titled. (No, we 
didn't peek.) Winston admits that this new 
take on Planet of the Apes "is near and dear 
to me, but it is not yet a greenlighted project. 
We've been designing and creating the look 
of the characters for some time now, under 
contract to Fox. But there is not yet a definite 
script, nor a definite director; no one has yet 
been set on the project, with the exception of 
our studios. We're keeping our fingers 
crossed for the moment when the entire thing 
comes together." The same is true, for the 
most part, Winston admits, with Godzilla. 
What with Jan De Bont off the project, 
there's a new script in the works, but that's all 
Winston himself knows at the moment. 

In closing, he's obviously uncomfortable 
at being asked to compare his studio's work 
with that of Baker's and Bottin's — not in 
terms of quality, but in just what a director 
will get from Winston that's different than 
what they would get from the others. 
"There's no way I could compare myself to 
Rick Baker or Rob Bottin." Stan Winston 
claims. "I haven't been the director or pro- 
ducer or production company that has had 
Stan Winston work for them, has had Rick 
Baker work for them, has had Rob Bottin 
work for them, who could then sit back and 
pick out the differences between each of us. I 
have a wonderful respect for the work Rick 
and Rob do; their work is often inspiring to 
me, and hopefully to everyone here. 

"Maybe I can say that I don't know if any- 
body else has as many people who have 
stayed with them as long as I have been for- 
tunate to have had. I've had the good fortune 
of working with brilliant directors. I'm very 
lucky — I don't know how lucky the directors 
who've worked with me have been, but I can 
tell you I've been very lucky to work with 
them, and to have the people who work here, 
who make me look good, show after show, 
year after year. All of the people who work at 
this studio continue to dazzle me, and make 
me want to go, 'Look what I did!' And / 
didn't do anything." is 



Feldman 



(continued from page 81 ) 

front," he points out, "and creatures that 
watch for predators have their eyes on the 
sides so they can see in all directions, more or 
less. But predatory species that need to be 
able to judge the distance to their prey have 
eyes in front, to give them stereoscopic 
vision — like eagles, owls, tigers... and peo- 
ple." 



On the Screen 

Despite the changes to his script, Feld- 
man thinks that Donaldson and Species were 
made for one another. "Roger's great skill is 
in casting, editing and pacing. I really wish 
we had more of the concepts, more of the sci- 
ence. But Roger has always said he's making 
a thriller with a monster, and Frank [Mancu- 
so Jr.] has always said he's making a monster 
movie. I've always said we're making a 
movie about the biological imperative, par- 
ticularly the female, and the demographics of 
predation. So there are different views of the 
film." 

However, as someone who has been 
around Hollywood his whole life, and both 
written and directed movies, Feldman real- 
izes that the finished film reflects the direc- 
tor's personality. "I hate to be the victim of 
cahiers du cinema, but somehow a director 
both makes the film and endows it with his 
own personality. The concept comes very 
much from the writer, the symbols and its 
archetypes, but through the thousands upon 
thousands of decisions of his preference, the 
director's personality tends to come 
through." 

Feldman feels that "ever since Star Wars, 
which was so purely archetypal, there has 
been a kind of consciousness from Joseph 
Campbell in the film industry. Although," he 
adds, "I've always had a penchant for arche- 
typal material. I find people don't appreciate 
plot; they appreciate character a great deal, 
but they don't appreciate the ability of the 
plot to communicate great ideas. I love sci- 
ence fiction; I hope and I believe that I'm 
drawn toward archetypal material. I do 
believe I create memorable characters, but 
they're memorable characters of a very 
archetypal nature, like Sil is archetypally a 
female imperative, and the Golden Child is 
archetypally innocent, just and good." 

This is one reason he's very pleased to 
have Michael Madsen in the cast of Species, 
as "he is really the kind of hero I write; he's 
finally cast appropriately for me. I really like 
Michael. I would like to do other things with 
him. to give him the breakthrough role. It's 
just hard. But then I love my whole cast; this 
is my dream cast." The ensemble includes 
Ben Kingsley, Forest Whitaker, Marg Hel- 
genberger and Alfred Molina. 

He's also happy that Species has sold to 
Dark Horse Comics (see sidebar), with Den- 
nis Feldman writing them himself. "If I'm 
smart," he laughs. "I'll be a hero at comic 
book conventions and science fiction con- 
ventions forever." » 




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By MARK PHILLIPS 



Ever since I've directed TV, I've been in 
trouble." chuckles Sutton Roley, whose 
unique directorial style has put him into 
many a creative battlefield. "When TV pro- 
ducers hired me to come back to do more of 
their shows, their cameramen would take the 
week off!" 

Roley's work, which includes segments 
of The Rat Patrol, Mission: Impossible and 
Voyage to the Bottom of the Sea, boasts an 
exciting visual flair. "The idea is to use new 
camera angles but not to detract from the 
drama," the director notes. "Even in live TV, 
I loved using wide-angle lenses. It's not a 
style I learned — you either think a certain 
way or you don't. Ever since I saw Orson 
Welles' Citizen Kane, I was impressed with 
what can be done with film." 

However, Roley's style has resulted in 
explosive clashes with cameramen. "If you 
want to push the envelope in weekly TV, 
you'll have fights with some cameramen who 
just want to get the show in the can. The hor- 
ror of television is compromise. I stood up for 
what I believed and did it my way... and I got 
to be known as someone very difficult to 
work with. It was a double-edged sword." 

Roley grew up in a small town south of 
Pittsburgh, and as a budding magician, he put 
on magic shows for women's organizations 
and Kiwanis clubs. After serving as a pilot in 
the Army Air Corps during WWII, he took 
his show business aspirations to New York 
City. 

"I lived at the YMCA on 34th Street, for 
75 cents a night," he recalls. "I auditioned my 
magic tricks for [producer] Boots McKenna. 
He said, 'Thank you, kid, but frankly, your 
act stinks. But I kinda like you. Sit down and 
let's talk.' " Impressed with Roley's enthusi- 
asm, McKenna gave the young magician the 
use of his studio to polish his act for hotel 
entertainment. 

Roley went on to act in, write and produce 
radio shows. When NBC-TV was interview- 
ing people for directing jobs in the early 
1950s. Roley applied. "There were 300 other 
guys, many from Yale and Harvard. Four 
weeks later, they called to say I was one of 12 
guys they had selected." He began as stage 
manager and associate director for NBC-TV. 
He made his live directorial debut with the 
genre anthology Lights Out. 

"Then. I worked at Ziv studios, where I 
met producer William [Rosemary's Baby] 



"If you let Jonathan [Harris] go, 
he would go absolutely ape," 
explains director Sutton Roley 
of the Lost in Space star, 
here with Angela Cartwright 
and a gold guy. 




Weaving a career in television, Sutton Roley 
directed aliens, phantoms & vampire bats. 



Castle. I served as story editor on his Men of 
Annapolis series. I directed my first film seg- 
ment for that show." 

From there, Roley's career took off. He 
directed episodes of Bonanza, Rawhide and 
Gunsmoke. His first science fiction venture 
was Irwin Allen's Voyage to the Bottom of the 
Sea. The episode, "The Phantom Strikes," 
was a moody piece starring Alfred Ryder as 
the ghost of a sea captain who possesses Cap- 
tain Crane (David Hedison). 

"Irwin Allen had a very cut-and-dried 
approach." reflects Roley. "He had his artists 
storyboard every shot beforehand. He wanted 
to know exactly how the show was going to 
look, because he hated surprises. If some- 
thing caught him off-guard, he was quite a 
shouter." 

Roley, however, had his own procedure. 
He began by inspecting the control room of 
the submarine Seaview. "It was built like a 
real sub, totally enclosed. I once had a seven- 
page scene to do in an afternoon and I wanted 
it all in one shot. I asked the grips, 'Does this 



sub come apart?' They said, 'Yeah, this 
whole side comes off I said, 'Rip it off!' 
They unbolted it so that I could shoot over the 
computers. I told the star, Richard Basehart. 
that we were gonna play all seven pages like 
theater." 

As Roley set up his shots, the crew fumed. 
"The cameraman shook his head and said, 
'This isn't gonna work. You're gonna get 
blurred images.' I said, 'Is that right? Well... 
that's the way we're gonna do it!' The cam- 
eraman stormed off and called Irwin. Irwin 
asked to speak with me. 'Sutton, what are 
you doing down there?' he asked. 'You've got 
everyone upset. If this doesn't work, what are 
we gonna do? We can't waste time and 
money like this! 'I said, 'Trust me, Irwin, it'll 
work. And I think you'll like it.' " 

In Roley's unique scene, the camera fol- 
lows the sub's officers as they race up and 
down the length of the control room. "We did 
all seven pages," says Roley. "We wrapped at 

MARK PHILLIPS, veteran STARLOG corre- 
spondent, profiled Joseph Stefano in STAR- 
LOG #217. 



STARLOG/September 1995 69 



"Ever since I saw Orson Welles' 
Citizen Kane, I was Impressed 
with what can be done with 
film," Roley, the former 
magician (seated), states. 




2:30 p.m.. which was unheard of. Richard 
Basehart came up to me and said, 'I knew we 
were OK the moment I saw half of this god- 
damned submarine set taken apart. I'm so 
tired of being stuck in here. It gives me claus- 
trophobia.' " 

Roley still had to get Allen's approval. 
"The next day, we were all watching the 
dailies and my scene came up. When it was 
over, there was absolute silence. Suddenly, 
Irwin leaned over, tapped me on the shoulder 
and said, 'It really did work, didn't it?' " 

"The Phantom Strikes" revitalized Voy- 
age's sinking second season ratings and 
proved to be one of the series' most popular 
shows. "It was scary and everybody loved the 
episode," says Roley. "That's why they asked 
me to direct a sequel." 

In "Return of the Phantom." Admiral Nel- 
son and the ghost of a princess save a young 
Hawaiian girl from the Phantom's clutches. 
"That was a far-out plot, but it turned out OK. 
Voyage often threw reality to the wind, but as 
a comic strip, it was fine. What I didn't like 
was how Irwin treated his actors like buf- 
foons. He was more interested in the Christ- 
mas lights on the sub than he was with the 
cast's concerns." 

As an example, Roley points to the 
weekly rock and roll of the Seaview. "Every 
time we rocked the camera, a propman would 
bang a tin can with a hammer, cueing 
the actors to fall back and forth. It bothered 
the actors to do it this way. Richard was espe- 
cially embarrassed by the tin can. He was a 
great actor who lent himself to Voyage 
against all of his instincts. Richard would just 
stick his tongue in his cheek and play it. He 
was wonderful to work with." 

Space Fantasies 

Roley also directed several segments of 
Allen's Los! in Space. "That was pure comic- 
strip," notes the director. "Their adventures 
were pretty unbelievable. You had to treat it 
like Macbeth. You couldn't just say, 'This is 
garbage.' As a family show, it worked." 



Lost in Space allowed Roley to experi- 
ment with weird camera angles and lighting. 
His "Wish Upon a Star" segment turned out 
especially well. "You work a yard harder in 
TV but by the time it's edited, your effort 
only shows an inch. Even so, it's worth it." 
The episode, scripted by Roley 's friend, the 
late Barney Slater, has the Robinson children 
seduced by an alien device that transforms 
wishes into reality. "That was the best script 
I ever had for Lost in Space." Roley notes. "It 
had some heart to it and had something to say 
about family values." 

From a directing standpoint, it's "The 
Anti-Matter Man" Roley enjoyed most. Pro- 
fessor Robinson (Guy Williams) is shang- 
haied to a sinister world bridged by a glowing 
walkway through space. "I saw the episode 
for the first time recently," he says. "We did 
the space bridge effect by using a wooden 
walkway 30 feet high. I put up a scrim and 



threw glitter on it, like you do with cookies, 
and shot through that gauze as the actors 
walked across the boardwalk, with dry ice 
blowing across. It was done with spit and 
polish and frankly, on the set it didn't look 
right. The effect on TV, though, worked very 
well, even by today's standards." 

Of the Space cast, Roley recalls, "Angela 
Cartwright was a lovely girl and a very good 
actress. Bill Mumy was a terrific, exception- 
ally talented kid. Mark Goddard and Marta 
Kristen were OK. Jonathan Harris was won- 
derful. He would do anything you asked. You 
just had to restrain him a little. If you let 
Jonathan go, he would go absolutely ape. It's 
better to have an actor like that rather than 
one you have to keep pumping all the time. 
Early on, I said to him, 'Say the line, "Have 
no fear, Smith is here!" ' From then on, he 
said it all the time. 

"I found Guy Williams and June Lockhart 
very pretentious. They were always holding 
hands and playing it lovey-dovey. It got to be 
throw-up time. Whenever the kids were in 
peril. Guy and June raced for each other first. 
I would say, 'Forget that! Let's be concerned 
with the kids for a moment.' " 

He recently spoke with Allen's widow, 
actress Sheila Matthews. "A young woman 
sent me a script called The Return of Voyage 
to the Bottom of the Sea. She was interested 
in the Voyage copyrights, so I called Sheila 
and told her I had a terrific script by this girl. 
Sheila explained that as far as 20th Century 
Fox was concerned, it was too late. She said 
Steven Spielberg had met with her a couple 
of years ago and told her how great he 
thought Lost in Space was and how wonder- 
ful Voyage was. The next thing Sheila knew, 
he did seaQuest and Earth 2. That's Holly- 
wood!" 

Roley's other genre credits include two 
episodes of The Invaders, starring Roy 
Thinnes as a hero battling creatures from 
another world. "There was much more real- 
ism with The Invaders than Voyage or Lost in 
Space," says Roley. "Quinn Martin was one 




Roley lent his talents to producer Irwin Allen's Voyage to the Bottom of the Sea, 
and the director enjoyed working with star Richard Basehart (left). 



70 STARLOG/September 1995 



of the best producers I've ever worked for. He 
insisted on quality but wouldn't allow you to 
put any humor into his shows. He insisted 
they be very serious." 



"The Innocent" guest-starred Michael 
Rennie as an alien leader who takes David 
Vincent (Thinnes) to a valley paradise. "We 
used a retirement community called Leisure 
World for those scenes. It wasn't in the script, 
but I decided to add a scene where the aliens 
force-feed Vincent alcohol. Thinnes got 
uptight about it because we had to take this 
liquor bottle and force it into his mouth. He 
had just had his teeth capped and didn't want 
them broken." 

"Quantity Unknown" put Vincent in pos- 
session of an alien cylinder. "We shot several 
scenes at night. Many producers don't like 
spending money on night filming. They'll 
film them during the day and put a filter on 
the camera. Not Quinn. He insisted on shoot- 
ing night for night." 

In the final sequence. Vincent battles an 
alien (James Whitmore) above a man-made 
falls. "We had stopped for lunch in down- 
town LA -and across the street, I saw this 
waterfall'. It belonged to the Department of 
Water and Power. So we used that, making it 
seem hundreds of feet high. 

"It was difficult to make The Invaders' 
concept believable," Roley explains. "People 
at the time found it hard to believe in extrater- 
restrials. Even Quinn was more into his 
detective series. It wasn't until Spielberg that 
SF was brought to the fore." 

As one of TV's busiest directors, Roley 
helmed episodes of The Fugitive, Baretta and 
The Magician. He was also a mainstay direc- 
tor of Mannix and Mission: Impossible. 

Roley claims that weekly television 
detoured him from his real ambition, motion 
pictures. "You grow old doing series televi- 
sion," the director admits. "Your goal is to do 
features but in the meantime, you've done 
five years of Combat, six years of Mannix 
and Mission: Impossible and three years of 
Name of the Game. Then, you look around 
and say, 'Where did the time go?' You make 
a lot of money, but that's not the criteria." 

Later, Roley directed TV films and fea- 
tures with mixed results. He enjoyed doing 
Satan's Triangle, a 1975 telefilm of devilish 
occurrences at the Bermuda Triangle. "That 
was with Kim Novak and Doug McClure. It 
was far out and fun. I enjoy occult stories." 
He also directed 1971's Sweet, Sweet Rachel, 
starring Alex Dreier as an ESP expert. It 
served as a pilot to The Sixth Sense. 

"Alex was very credible, but he was 
replaced by Gary Collins for the series," 
observes Roley. "It was part of the youth cul- 
ture going on. Alex also had very bad knees, 
a lumbering limp from an old football injury. 
The network saw that as something wrong 
with Alex rather than to try to work it into his 
character." 

Roley directed three episodes of the sub- 
sequent series but says "Coffin, Coffin in the 
Sky" was the only highlight. "Marvin Chom- 
sky was going to direct it, but he read the 
script and said. 'There's no way I can do this 




in seven days.' I agreed to do it and the direc- 
tor of photography, Enzo Martinelli, was 
great. He would swing right along with me. 
We did the ESP sequences on the spur of the 
moment, including a girl high up in a tree, 
strumming a guitar. The episode had a certain 
mystique to it." 

The director admits his few features have 
been compromised by budget. His most 
ambitious project was Chosen Survivors 
(1974). "We shot it in Mexico for Metro- 
Media for under a million dollars," he notes. 
"It had a good premise. Nine people are taken 
to a luxurious underground complex where 
they're told the world has been destroyed in a 
nuclear attack. Actually, it's an experiment to 
see how people will get along with each 
other. But then vampire bats infiltrate the 
complex and attack these people. It could 



while I filmed. When we used a massive 
number of bats, we used the less aggressive, 
insect-eating kind. For shots of the vampire 
bats biting people, we shot through glass and 
Lucite boxes." 

He gives high marks to a brave cast who 
actually swatted off swarms of bats for the 
cameras. "We had television names rather 
than feature film stars, but they were a nice 
group of people — Jackie Cooper, Richard 
Jaeckel, Pedro Armendariz, Barbara Bab- 
cock, Diana Muldaur, Alex Cord and Brad- 
ford Dillman. We used silver paper to make 
up the walls of the science complex, which 
was kind of Mickey Mouse, but it looked 
good on film. Chosen Survivors choked on 
budget," he concludes. "It just didn't work." 

The director is aware that many of his TV 
shows play frequently on cable TV, but he's 




have been interesting had the special FX 
worked, but they didn't turn out well." 

However, the vampire bats were authen- 
tic. "They brought them in from the caves of 
Mexico," Roley reveals. "Russ Saunders, a 
wonderful production manager, and I had our 
shots and went into the sets all taped up to 
avoid being bitten. Russ waved a broom 



more interested in his current project. Dial 
Hocus Pocus, a TV pilot that takes him back 
to his magical origins. "It's about a modern- 
day magician," says Sutton Roley. "It's an 
exciting concept and it's fun because I've 
always had a lifelong interest in magic. With 
today's film techniques, even the impossible 
is possible now." fc 

STARUOGISeptember 1995 71 



From stealing the 
Lost Ark to battling 
the Power Rangers, 

Paul Freeman is 
good at being b° 



Playing a movie vil- 
lain isn't always as 
fascinating as it 
sounds. Just ask Paul 
Freeman, who plays the 
dreaded Ivan Ooze in 
Mighty Morphin Power 
Rangers: The Movie. 
While shooting the film 
in Australia. Freeman 
sprained his ankle and 
had to be rushed to a local 
hospital for treatment — 
complete with prosthetic 
purple makeup covering 
his face and head. 

"I was pushed in a 
wheelchair into this hos- 
pital." the actor remem- 
bers with a wide grin, 
"with just a dressing 
gown on. and this big 
purple head with horns 
sticking out and purple 
contact lenses. The only 
thing I took out was the 
false teeth, which were 
silver, bent and very 
painful. 

"The hospital couldn't 
get me into X-ray straight 
away, so they said, 'Go 
up the street to where there's a private clin- 
ic' I was up and down that street all after- 
noon, going from the doctor to X-ray, and 
back to the doctor in a wheelchair; it was 
hysterical. Australians are very laidback. but 
they must have thought it was a terrible acci- 
dent, where somebody had been up to some 
peculiar thing in the privacy of their own 
room!" 

Several months after finishing the Power 
Rangers movie, Freeman is relaxing in Lon- 
don's luxurious Waldorf Hotel, where he's 

JOE NAZZARO. veteran STARLOG corre- 
spondent, is the author of The Making of 
Red Dwarf (Titan, £7.99). He profiled 
Danny Cannon in STARLOG #217. 




discussing the fantasy film over afternoon 
tea. Although he has amassed a wide range 
of stage, TV and film credits in his long 
career, the actor is probably best known as 
Henri Belloq. Indiana Jones' suave nemesis 
in Raiders of the Lost Ark. 

According to Freeman, the villainous 
Ivan Ooze is quite literally his most colorful 
character to date. "It's an enormous part," he 
declares. "There are some other parts, but 
they're really quite small. Ivan Ooze was 
quite a large part, all told, with enormous 
close-ups, which was quite worrying. I had 
to dye my mouth because the camera was 
getting in so close. My face was purple, and 
we couldn't have this pink tongue coming 
out all the time, so I had to drink undiluted 



blackcurrant juice 
between takes, to 
keep my mouth pur- 
ple. I don't think I'll 
ever want a glass of 
blackcurrant juice 
again. 

"The film also 
has an enormous 
amount of humor in 
it, which is the sav- 
ing grace. It's not at 
all serious, and I 
pushed that element 
even more. Some- 
times I play Ivan as 
W.C. Fields; one 
scene I played as 
Bugs Bunny. In fact, 
when I arrived in 
Australia, Bryan 
Spicer. the director, 
gave me a few 
videotapes, one of 
which was Aladdin, 
and said, 'Go and 
look at this.' 

"At first, I didn't 
even know this was 
going to involve a 
mask: I thought it 
was going to be 
some sort of dis- 
guise, and not a 
complete prosthetic 
mask. I found out 
when I got off the 
plane and went to 
our first meeting 
and Bryan said, 
'This is what you're 
going to look like!' I 
swallowed hard and 
thought, 'Jesus. I 
had better do some thinking about this!' " 

Diabolical Dialogue 

Freeman soon discovered that part of his 
character's look involved a five-piece purple 
prosthetic makeup that would take a mini- 
mum of four-and-a-half hours to apply. "I 
did have some problems with that," he 
explains, "because the movie became bigger 
and bigger: they realized it had to be big and 
it had to be good. My filming was originally 
spread out the way it always is, but then they 
started to realize that there were all these 
gaps in the story. Some of the script, mainly 
the scenes involving my Oozlets. hadn't 
even been invented when we started filming, 
and the costumes that arrived from Holly- 



72 STARLOG/September 1995 




wood were sort of secondhand and didn't 
look very good, so all those scenes had to be 
rewritten as they went. Consequently, all my 
filming got shoved together, and for the first 
six weeks, I was working almost every day. 
By the end, I was getting terrible rashes 
around my eyes and blisters around my 
neck. 

"After the first few weeks, I was really 
having problems because of the makeup 
going on every day. There was a Fox execu- 
tive who came down and took control of the 
second unit. He had worked on Mrs. Doubt- 
fire, and he said, 'Oh, we never had this 
problem with Robin!' Then, he realized that 
Robin Williams worked one dav and then he 



"There's a very good 
piece of work by an 
interesting man, but 
who he is, they'll 
never know," says 
Freeman of his stint in 
Power Rangers. 

instance, that I had just 
been playing Oberon 
in A Midsummer 
Night's Dream and 
Claudius in Hamlet. 
That was an enormous 
help, because I didn't 
realize at the time that 
I would have a lot of dialogue about 
'ectomorphagon machines' and 
'Cloning my ectomorphagon repli- 
cants.' This had to be yelled across 
areas with hundreds of people working 
for me, so it was a combination of hav- 
ing the technique and being crazy." 

Perhaps in that sense. Freeman has 
been preparing for the role of Ivan 
Ooze for most of his professional 
career. As with most British actors, he 
spent several years honing his craft in 
repertory theater, eventually moving 
up to the Royal Shakespeare Company 
and the National Theatre. "I worked in 
the theater for something like 15 years 




\i«r%K * 




Even his agent would be hard-pressed to identify hfm, 

but that's Paul Freeman as the evil Ivan Ooze in 

Mighty Morphin Power Rangers: The Movie. ^ 

- * Mk 



had two days off. Nobody knew the prob- 
lems they were going to have with a big 
prosthetics job on this movie." 

The actor also points out that playing a 
larger-than-life comic book-style villain 
isn't as simple as putting on a colorful cos- 
tume and makeup. "You need a lot of tech- 
nique." he insists. "It helped enormously, for 



before I did a movie. It was possible to make 
a living then, and I was a single man, so I 
certainly didn't go into movies for the 
money. 

"The first movie I did was a TV movie 
called Death of a Princess, which caused a 
scandal at the time. It was about this Saudi 
princess who was executed for adultery, and 



Freeman's best-known role 

was Henri Belloq, the 

archeologist rival of Indiana 

Jones who got more than 

he bargained for in 

Raiders of the Lost Ark. 



that was such a wonderful sub- 
ject and such a wonderful part. I 
played the investigative reporter 
who followed the story all 
through the Middle East. It was 
shown a couple of times in Eng- 
land, and the Saudi ambassador 
was recalled, and we lost a bil- 
lion pounds' worth of exports 
that year because of that film. 
It's still referred to when people 
talk about upsetting the Arab 
world: they'll say. ' . . .like Death 
of a Princess did.' 

"It was a bit scary, because at 
that time there were a few 
attacks going on. A bomb had 
been placed outside the mosque 
in Regents Park, and it caused a 
big stink. I had gone straight on 
to do The Dogs ofWar in Belize, 
and I had letters from friends 
saying. T think you ought to 
stay over there, because things 
are pretty bad here." Some of the 
Egyptian people who appeared 
in it lost their jobs, and the girl who played 
the princess, who had a burgeoning career in 
the Egyptian film industry and was going to 
be a big star, never worked again." 

Movie illnesses 

After appearing in John Irvin's The Dogs 
of War in 1980, Freeman landed one of his 




STARLOQ/September 1995 73 




most famous roles to date: Henri Belloq. the 
scheming archeologist who matches wits 
with Indiana Jones in the first George Lucas/ 
Steven Spielberg collaboration Raiders of 
the Lost Ark. While the film has achieved 
near-legendary status since its 
1981 release. Freeman claims it 
wasn't that big a deal at the 
time. 

"You must remember that 
Spielberg had just done 1941, 
which wasn't a big hit, and 
while we were making Raiders. 
there wasn't the hype about it 
that there would be about doing 
a Spielberg movie now. His 
career took a little dip unti 
Raiders came out. 

"It was fun, but it was also 
very hard, because he was work- 
ing at terrific speed. He and 
Lucas were very good friends. 
and I think Lucas had made a 
deal with him if he brought it in 
under budget, just to be sure, 
because 1941 had gone so far 
over. So, Spielberg was working 
at incredible speed, harder than 
anyone on the set, and he 
worked that hard when we got 
out to the desert too. People 
were falling over: I would often 
see the camera crew, which was 
the same camera crew from The Dogs of 
War, asleep in their food at lunchtime. They 
were shooting up to 30 set-ups a day, and it 
was 120 degrees! 

"Raiders was also incredibly difficult for 
the actors, not so much for me, because I 
wasn't working every day, but it was for 
Harrison Ford. Everybody except for Spiel- 
berg got dysentery on that movie. I got mine 
on the plane going back, which wasn't as ter- 
rible. Actually, it wasn't quite as simple as 
that, because the last bit we shot was in 



Hawaii, and that was the first bit in the 
movie, the jungle scenes. We went from 
Tunisia back to London for a couple of 
days and then on to Hawaii, and I spent 
most of the time in Hawaii being ill 
while everybody else had already recov- 
ered." 

The actor has fond memories of 
working with big-screen nemesis Ford, 
whose visibility soared after the film's 
release. "I don't 
think anyone 
knew his name 
before that, did 
they?" Paul Free- 
man wonders. "It 
was really only 
the three of them 
[Luke. Leia. Han] 
in Star Wars, so I 
think that Raiders 
of the Lost Ark 
really did it for 
him. He was ter- 
rific, great fun to 
work with: I got 
on with him terri- 
bly well. We had a 
good time, but it was 
still a lot of work, and 
a lot of concentration 
to keep it together. 



Nazi cohorts are destroyed after opening the 
Ark of the Covenant. For his graphic disso- 
lution, Freeman had to have a cast of his 
head made which would melt on camera. 

"I've had three heads done now for the 
movies, including one that was done recent- 
ly for Ivan Ooze, so I've become rather 
expert at it. The techniques have improved, 
because for Raiders, they put this big plaster 
head on a wooden frame, and it was quite 




For Freeman, Harrison Ford was "terrific, great fun to work with," 
during the arduous Raiders shoot. 




"One of the biggest laughs in the movie 
is when Harrison shoots the guy in black 
with the sword. They had already rehearsed 
that fight, but when it came time to do it the 
next day, Harrison was so badly struck by 
cramps, he couldn't do the fight. So he said, 
'Why not just pull a gun and shoot the bug- 
ger?' If you look at The Making of Raiders. 
they actually show them rehearsing that 
fight." 

Moviegoers were startled by the film's 
FX-filled climax, in which Belloq and his 



difficult. Now they're using lighter materials 
so they don't have to bother with the frame." 

Makeup woes 

Fifteen years after finishing Raiders of 
the Lost Ark, Freeman still looks back on the 
film as one of the milestones in his career. 
"The scene with the giant rock rolling down 
has almost become a cliche, hasn't it? I don't 
think anybody had dared to start a movie like 
that, with that incredible 10 minutes, stop, 
and then tell the story very slowly until it 



74 STARLOG/September 1995 




starts up again. The impact of that first 10 
minutes carries you through the next 45, 
until you get back up to that level of excite- 
ment again. It's an incredibly well-made 
film. There are one or two stuntmen who 
reappear after they've been killed, but that's 
about the only thing wrong with it. 

"I'm happy with my performance when I 
see it. If I did it now. it would be different, 
but I think it works well and I'm pleased 
with what I did. Raiders has only been very 
good for me, and I'm immensely grateful to 
have been in one of the best films ever." 

Did Raiders open any doors for the 
actor? "'I was starting to get offers, but at the 
same time those doors were opening up, in a 
funny sense, they were also closing. It 
opened more doors in Europe, because peo- 
ple who hadn't thought about me before 
were now aware that I was there and making 
films. 



"There was 

something very 

spiritual about being 

inside that mask for 

22 hours a day." 



"In the States. I was just getting more and 
more offers of the same thing — endless 
Nazis and Nazi sympathizers — which I took 
for a while, until five years later. I had 
played everyone except Adolph Hitler and I 
thought no more. In one year. I played the 
commandant at Treblinka and the comman- 
der of Auschwitz, and that's enough." 

Over the next several years, Freeman's 
resume continued to swell with projects on 
both sides of the Atlantic. His TV appear- 
ances include Between the Lines, Cagney 
and Lacey, Falcon Crest, A Walk in the For- 
est and — returning to familiar territory — two 
episodes of The Young Indiana Jones Chron- 



In The Sender, Freeman played Dr. 
Denman, the head of a psychiatric clinic 
which treats a boy able to transfer his 
nightmares to others' minds. 



ides ("Kenya, 1909," "Young Indiana Jones 
& the Phantom Train of Doom"). 

Among his film credits are The Sender, A 
World Apart. Sakharov. A Dangerous Man 
and Without a Clue, in which Freeman 
played Professor Moriarty opposite Michael 
Caine as Sherlock Holmes and Ben Kingsley 
as Watson. "It was quite good, but didn't 
really take off. I think there are problems 
with making comic versions of Sherlock 
Holmes; that's strange, isn't it? People might 
have been more interested if Without a Clue 
had been serious and not a comedy. 

"For my money," Freeman continues, 
"my best performance was in a film no one 



Toit. Then came the role of Ivan Ooze in 
Mighty Morphin Power Rangers: The 
Movie. 

"I didn't want to do it, and I knew noth- 
ing about the Power Rangers," says Free- 
man, pouring himself another cup of tea. "I 
was given the script and thought, This is 
absolute nonsense; I won't even go for this 
audition!' We had just left our house in the 
country, it was the first week after arriving 
back in London, and I was feeling rather 
miserable. I wanted to get out of the house 
and stop fiddling with the furniture and 
boxes, so I did an off-the-wall audition tape, 
which they sent to Australia; I just went 
bananas with it. 

"Mind you, the script was pretty off the 
wall at that time. The character was called 
Ivan Ooze because he was a piece of purple 
ooze who could slide under doors and 




has ever seen called 
Shanghai Surprise. I 
die in the first two 
minutes, and then in 
the next frame I 
come back in with 
Madonna as an old 
Scottish missionary, 
and it's not exposed 
until the end, when I 
take off all this dis- 
guise on camera and 
reveal that it was me, 
who you thought 
was dead in the first 
few minutes. I 
thought I was rather 
impressive, if you 
can ever be bothered 
to look through the rest of the film." 

More recently, Freeman returned to the 
theater in a West End production of Death 
and the Maiden, as well as producing sever- 
al plays himself, including Fashion. Last 
year, he appeared as Juliette Binoche's hus- 
band in the French film Le Hussard Sur Le 



through keyholes, and then transforms into 
this enormous figure. In the early draft I 
read, he also changed into other people, 
including women. Once I locked onto that, I 
just did a different reading for every line, and 

(continued on page 65) 
STARLOG/September 1995 75 



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Carefully studying alien biology, writer 
Dennis Feldman breeds a new Species. 

By BILL WARREN j 

* 1 

[ex and violence — alone or togeth- 
er — are the subjects of an impres- 
sive percentage of all the movies 

ever made. And while violence turns . 

up in a great deal of science fiction, % 



science fiction action movie, sex 
is usually a side issue at best in 
these boy-toy movies, just a 
means of sorting out the^ 
characters: girls in this box, ^, 
boys in that one, terminators 
and predators and aliens 
over here. But Species puts 
sex right on stage, making J 
it not only the subject of 
the movie, but the dri- 
ving force of Sil, its 
spectacular, H.R. 
Giger-designed 
creature. 

As Species 
writer Dennis 
Feldman says, 
"To some extent, 
it's really about 
the female bio- 
logical impera- 
tive. We all have 
a biological im- 
perative; if we 
don't breathe, 




. . 



eat, drink, maintain our tempera- 
ture, we won't survive as an indi- 
j^ vidual, nor will our species. 
And if we don't reproduce, 
we might survive as an indi- 
k vidual, but we would be 
p, here for only one genera- 
't\ tion; our species would 
•,. perish." Having the 
' ■ intense desire to repro- 
■'. duce makes Sil different 
from the majority of 
other SF menaces; since 
she reproduces sexually, 
that makes her different 
from the ALIEN aliens, too. 
• In Species, Feldman ex- 

plains, "Our characters receive 
a message picked up by the large 
radio telescopes around the world. The 
first part of the message is a catalyst for 
methane, which will give us a great deal of 
cheap energy, and the second is a DNA for- 
mula. They put it in a human cell and get a 
human child — except it's not human. As 
soon as the government, who is keeping all 
this secret, discovers that, they decide to 
'terminate the experiment,' a euphemism 
for killing her. But the child, Sil, escapes, 
so they gather a team to hunt her down. Sil 
weaves a chrysalis, and out comes an adult 
. When butterflies come out of the 
ilis, their only function is to mate, 
and that's what Sil proceeds to do. 




-*^p* 




"I did a lot of biological and psychologi- 
cal research for this, and there are certain 
things females do that males don't. It's the 
male's function to be more aggressive, and 
it's the female's function to be more enticing. 
These are biologically based, and we can't 
deny these. They're built in. There was a line 
in the film that I think was cut where some- 
one said. 'Do you think somebody can pass a 
law to eradicate two million years of evolu- 
tion?' Well, they can't." 




Of the thinking behind his script, Species 
screenwriter Feldman notes, "The entire 
story is a way to look at what humans are 
as animals and what human animals do." 

The idea for Species was born when Feld- 
man read an essay by Arthur C. Clarke, in 
which the scientist and science fiction mae- 
stro suggested that stellar distances are so 
great, and faster-than-light travel is so unlike- 
ly, that there would really be no space travel, 
at least on an interstellar basis. "It worried 
and bothered me." Feldman confesses, "and I 
realized, after thinking about it a while, that 
there could be speed-of-light communica- 
tions and we could receive instructions from 
across the void to build something that would 
talk to us, that would communicate with us. 
And as I thought about it, this wouldn't be a 
robot; it would be wetware. It would also 



want to use our DNA to make sure it could 
live in our environment, whatever this crea- 
ture was. It knew the genes that were surviv- 
ing here were the ones that would tell it what 
form to take and how to survive here. 

"That's the progression of the idea. The 
next issue was biology, and I realized that the 
engine of biology is reproduction. I started to 
examine what we're all doing here. Certainly, 
as a species, what we're doing is reproduc- 
ing, thriving and battling with other 



movie industry. When he went to college at 
Harvard, he became interested in photogra- 
phy and design. He worked a while as a doc- 
umentary photographer, then studied graphic 
design at Yale Graduate School (making him 
both a Hahvahd Man and a Yalie): he studied 
photography with Walker Evans and Parker 
Campanegro. For about 10 years, he taught 
photography on a college level, then began 
writing screenplays with his brother. 

As influences, he cites the usual suspects: 




species — and ourselves. We're in a constant 
invasion here, in reality. Animals seem to 
move from one continent to another, from 
one niche to another. This entire story is a 
way to look at what humans are as animals, 
and what human animals do." 

From the Mind 

Dennis Feldman is the son of the late Phil 
Feldman, perhaps best known for producing 
Sam Peckinpah's The Wild Bunch (in the 
opening Texas town sequence, young Dennis 
appeared as an actor). He grew up in the 




Akira Kurosawa, Stanley Kubrick, Preston 
Sturges, Eric von Stroheim. "There's always 
Fritz Lang, there's even Frank Capra, as 
maligned as he is. There's everybody." Feld- 
man also loved ALIEN and Forbidden Plan- 
et; he saw that classic when he was young, 
and "was just overwhelmed." He isn't happy 
about the plans to remake that film. "I believe 
these remakes are a huge mistake; just 
because you love it doesn't mean you should 
remake it. You should make your own as well 
as they made theirs." 

He did some script doctoring, and then 
attracted notice with his screenplay for The 
Golden Child (1986) which, Feldman ex- 
plains, "was intended to be a very different 
picture: it was written as 'The Rose of Tibet," 
and was planned to be a Raymond Chandler 
movie with supernatural elements. It was 
intended to be played very straight by Mel 
Gibson, but Eddie Murphy loved it, and took 
it. That would have been OK, but I didn't 
think the director [Michael Ritchie] did his 
job. You had to get in there and make this 
action/adventure/detective film, but instead, 
everybody wanted to make an Eddie Murphy 
comedy. I think that wasn't what Eddie 
should have done, and it's not what the direc- 
tor should have done — and he didn't even do 
it that well, either. It was a nightmare." 

Real Men, with Jim Belushi and John Rit- 
ter, was released in 1987; Feldman both 
wrote and directed that film, which got scant 
theatrical release, going almost directly to 
video. "It was a comedy." Feldman says, "but 
it wasn't commercially successful: it was a 




real offbeat piece." More recently, Feldman 
was involved in Kenneth Branagh's Dead 
Again (1991); he developed the idea with 
Scott Frank, a writer friend of his, and was 
the co-producer on the well-received detec- 
tive thriller. However, he sighs, "Once again 
we had a hard-bitten American hero that got 
cast as a softer Englishman." 

Currently, he has at least two other pro- 
jects in the works. One is Cast of Killers, 
about a famous unsolved murder that took 
place in early Hollywood. Director William 
Desmond Taylor was found murdered, and 



There's also Bobby Noir, a romantic com- 
edy. "Bobby is a person who lives by the 
good graces of everyone around him. He 
goes through the back door of the Fairmont 
Hotel, and the maids take him up to the Pres- 

"This is my dream 
cast" 

idential suite, where he meets a woman who 
has been denying her family's alcoholic past. 
Bobby is assigned by a sister who is killed to 




several well-known people were suspected; 
King Vidor, another director, became inter- 
ested in this real-life mystery late in his 
life, and tried to find out whodunit. After 
Vidor's own (natural) death, his notes were 
used as the basis of Sidney Kirkpatrick's 
acclaimed book Cast of Killers, on which 
Feldman has based his script. "We uncovered 
some new stuff which Sidney couldn't put in 
his book but I was able to put in the screen- 
play. Frank Mancuso Jr.. the producer, hired 
me to write it. I would like to see that made." 



get this woman down to LA to work out what 
her Dad has left her, and it becomes a roman- 
tic comedy/road film of a conflict in nature." 
His most unusual idea is The Buddha of 
Brandenburg. "It's a script that I refuse to 
sell unless I direct it. To some extent, it's a 
combination homage to Kurosawa and Hein- 
rich von Kliest, an insane 1 8th-century Ger- 
man writer. It's the story of a samurai who's 
sent by Kubla Khan as a gift to the Pope. 
When Kubla Khan defeated the Japanese 
invasion of Korea, he insisted that the 



Emperor send him his prize general, and he 
puts him in a cage. It's this man who is sent 
to the Pope, but he ends up in a small German 
village. There's a peasant revolt, and the 
samurai and a simple, saintly peasant save 
Brandenburg from the Hungarians." 

Of the Body 

In developing the idea that became 
Species, Feldman originally didn't focus on 
the film's team of Sil-hunters. "The govern- 
ment didn't make this creature, a single sci- 
entist did after the government closed down 
the project. He was kind of a bathtub geneti- 
cist. A biologist who had worked on the pro- 
ject was given DNA samples in a murder 
case, and became convinced that the thing 
had been created after all, and was out there 
killing people. So, she and a cop went after it. 
That got to be pretty cop-procedural, and a 
lot of credibility issues came in. I preferred to 
switch it over to a government team that pur- 
sues the creature." 

Another difference in his early draft was 
that Sil did more. "When I wrote the script." 
Feldman says, "the theory was that she was 
born from a unique DNA sequence that took 
control of ours. Since our DNA has a lot of 
garbage in it, like the gene that makes a 
mouse brown, white or black, she could 
access all the defenses of the entire animal 
kingdom that we evolved through — includ- 
ing ones that had never developed, plus ones 
we don't know about that have become 
extinct. So she was a composite, a constantly- 
transforming being." Indeed, the climax of 
Feldman's first draft features a Sil busily 
transforming herself not only into many dif- 
ferent types of Earth animals, but taking on 

in the Comics 

Although Species is now infesting the- 
aters nationwide, Dennis Feldman has 
not finished dealing with this deadliest of 
all aliens. He's writing the comic book. 

"My son's a big comics fan," he 
explains. "I promised him that I would do 
everything I could to make sure there was a 
Species comic book and when we had one. I 
would take him to the company and show 
him their whole creative process. The deal 
was made with Dark Horse Comics, so we 
went there for a tour. I had told Dark Horse 
I wanted to write the comic. That's the only 
way I could be a god to my son. 

"But they weren't sure — they had used 
screenwriters before and it didn't work. I've 
loved comics since I was a kid and thought I 
could do it. At the tour's end, I explained 
the Species comic book that / saw. And I 
must say that it was one of my better 
moments, because when we left, my son 
said. 'Hey Dad, you did good." And I got 
the job." 

Initially, there will be two four-issue 
mini-series. The first adapts the movie "and 
a little more." The second mini-series con- 
tinues the saga with an all-new storyline. 
H.R. Giger, who visualized Feldman's Sil 
for the film, has promised to illustrate cov- 
ers for later issues. 



80 STARLOG 





Marg Helgenberger co-stars with Michael Madsen, whom Feldman maintains "is really 
the kind of hero I write; he's finally cast appropriately for me." 



several bodies at once, all while battling the 
hero and heroine in a blazing house. The 
movie's climax now takes place in a vast, 
underground cavern. 

As for Sil's unusual name, Feldman 
thought of it before coming up with a justifi- 
cation for it. "I was looking a long time for 
her name, and I landed on Sil. I wanted to get 
an acronym, but couldn't for the life of me 
figure out what 'Sil' could be an acronym for. 
I learned from geneticist friends that when 
they grow DNA material in human cells, 
most of them die or peter out, and only a few 




In order to translate Species accurately to 
the comic-book medium, Feldman himself 
is scripting the Dark Horse Comics 
adaptation. 

Feldman is already hoping for further 
mini-series to follow. "I think there will be a 
sequel to Species as a movie," he confides, 
"but there are already sequels coming in 
comics." 



survive, then only a few of those prosper 
enough to become individuals. And of the 
100 human cells that they put the DNA into, 
they were coded with three letters. SIL is just 

"We all have a 
biological imperative." 

the three-letter code for ours. It was really 
just a name I liked. It's short, it's three letters, 
and seems like a name, but also like it could 
be a creature." 

He's working in collaboration with artist 
Jon Foster. "Jon did a fabulous job. We're 
all thrilled. The only boundaries on us are 
those of the collaboration. Sometimes, what 
Jon drew isn't what I saw in my mind, 
sometimes it is, but it's always better. 

"One thing I really like about writing the 
comic is that there are some things in a 
movie that are just too expensive to do or 
impossible to create, but boy, you can draw 
them. So, scenes I couldn't have in the 
movie. I can have in the comic on a grand 
scale with an extreme sense of imagination. 
Comics, as a medium, seem to have less 
space for relationships among characters, 
but there's far more room for grandeur and 
epic scope." 

Dennis Feldman is grateful for the 
opportunity to bring Species to comics, 
enabling him to realize his story in an arena 
where writers and artists are really in 
charge. "This has given me the chance to 
fill out the movie I really wanted to make, 
the movie they told me it was impossible 
and too expensive to do," he explains. 
"Director Roger Donaldson achieved his 
vision of Species in the movie and I think 
[producer] Frank Mancuso did. too. It's 
partially achieved for me there, but I can 
more fully attain it in the comic. That's 
where you'll find my Species." 

— David McDonnell 



Feldman's original script for The Golden 
Child was a Raymond Chandler-esque 
detective movie, but much to his chagrin, 
it became an Eddie Murphy comedy 
vehicle. 

Feldman pitched the idea to various pro- 
duction companies, but got no nibbles. "A 
few years after that, I decided this was some- 
thing I wanted to write. It told me a lot about 
the real basis of sexuality, and also about love 
to some extent. I worked on it very hard, and 
it answered a lot of my personal questions 
and pieces of personal philosophy — more so 
in the script than in the finished movie, I'm 
afraid. After I had written it, I -showed it 
around town and offered it to MGM. They 
wanted it, but we couldn't agree on the price, 
so I showed it some more. I got four bidders 
and a lot of activity very fast. I stopped the 
bidding and went back to MGM because I 
felt they were the best people to make the 
movie." 

After the script was sold and Roger Don- 
aldson signed as director, other writers 
(including No Escape's Joel Gross) took a 
crack at the script, but neither wrote a com- 
plete draft. "They only did something." Feld- 
man says, "that I was not very anxious — I'm 
saying it in the nicest way — to do. I came 
back on the film then, and the material of the 
second writer wasn't used." 

When it is suggested that the biological 
imperative of Hollywood is to create movies 
that are as much like previous, successful 
films as possible. Feldman strongly agrees. 
"Absolutely. What feels most secure to the 
money men is something that has already 
been successful. Being more daring is dan- 
gerous by definition, so they'll try to move 
where things are more traditional; those 
things are often resisted by the writer, who 
thinks he's a great imaginative god whose 
ideas are much greater than anyone's before 
him, or will be likely to be after." 

However, Feldman believes Species is 
really not much like previous films. "That's 
primarily because it has this conceptual base 
of communication and mating. I've always 
felt that if we were considered an aggressive, 
predatory, galactic weed, Sil would be the 
perfect biological weapon against us." 

And the writer does consider human 

beings to be predators. "Our eyes are in 

(continued on page 66) 



&mm mws 



S^ O.K., OX... ONE. 

MORE- EPISODE OF "FLIPPER 
N' WEN WE WATCH 'MAN FRO* 
ATLANTIS'/ NOW YOU GONNA 
-•ASS THE SARCHNES? 



Always, always, always. I've loved character actors. You know, 
the often avuncular, sometimes sinister, always intriguing 
folks who support the stars, whose faces you recognize but 
whose names sometimes remain elusive. 

This probably comes as no suprise. After all, over the years, I m 
the one responsible for making certain that STARLOG talked to 
such character actors as Christopher Lloyd, John Lithgow, David 
Ogden Stiers. Mark Lenard, Lionel Jeffries, Vincent Schiavelli, 
Edward Andrews, Michael Ironside, Lance Henriksen, Henry Silva, 
R G Armstrong. Bruce Dern, Jerry Hardin, Tony Jay, John Cohcos, 
William Campbell. Malachi Throne, Martin Landau, Peter Donat, 
Michael Ansara. Richard Anderson, John Hurt, William Schallert, 
Peter Jurasik, John Schuck and many 
others. (OK, maybe too many others). 
By the way, give yourself a gold char- 
acter star if you know who all those 
guys are. 

I like interviewing character 
actors. Why? Because they do so 
many movies, plays and TV shows, 
they usually have a veritable cornu- 
copia of interesting anecdotes (the life 
blood of magazine feature stories). 
Because they're infrequently inter- 
viewed (as opposed to the leads, who 
get talked out real quick), they have 
something new to say. And because 
we somehow know them, there's an 
instant and easy rapport between jour- 
nalist and subject. They're like, well, 
family, uncles, granddads and in-laws 

So. it has been a special treat for 
me to showcase interviews with a number of character actors this 
year— and appropriately, almost all of these talks have accompany- 
ing anecdotes. For example, issue #215 featured Donald Pleasence, 
probably best known to those under 21 for the Halloween films. 
Sam Maronie conducted that interview in 1980 (while on assign- 
ment for STARLOG on the set of Escape from New York), but it 
remained unpublished until this year when Pleasence died. Sam 
called us and suggested that now was the time to run the story, 

and we did. , 

To some. Batman Forever represents another Dark Knight 
adventure, arand entertainment or a merchandising bonanza. To me 
it's the bestlnterview Op of the year. Sure, we interrogated Chris 
O'Donnell. Jim Carrey and Nicole Kidman, but here's what / m 
most excited about— it gave Tom Weaver the chance to talk to that 
areat American character actor. Pat Hingle (Commissioner Gordon. 
# 216) and Bill Warren the time to chat with that equally great 
British character actor, Michael Gough (Alfred. #215). Gough can 
didly confesses he doesn't have much memory for the past (and all 
those British horror efforts), endearingly describing himself as 
'stupid." (Now, how many people would admit that?) 




(&0WNTIHE ONBOARD THE ScAQUESf 



Hinale remembers a great deal, so much so he asked Tom to call 
him back later after the initial phone interview time ran out so they 
could chat some more. And he's truly a great actor— I've seen him 
on stage twice: First, as the Coach in the Broadway production of 
Jason Miller's Pulitzer Prize-winning drama That Championship 
Season in the mid-70s. And in the early '80s, I saw Hingle in a 
comedv. The Late Christopher Bean, at the Kennedy Center. Hingle 
was a lovable, magnificent, bigoted, soul-destroying monster in one 
play and a friendly, befuddled, semi-authoritarian, not-necessanly- 
nice auy in the other. A superb .actor. 

This issue offers the nasty Henri Belloq of that nigh-perfect 
movie Raiders of the Lost Ark, as Joe Nazzaro quizzes Paul Free- 
man on page 46. Of course, Will Murray already talked to one of 
Raiders' other great character actors, John Rhys-Davies (Sallah), in 
issue #145. And ves, we did trx to interview the ensemble's other 
mernb ers— Ronald Lacey (Toht, who we couldn't get to) and Den- 
holm Elliott (Marcus Brody, who, alas, declined an interview 
request). Both have since died. 

Death is something we're always try- 
ing to outrun, sometimes literally. Last 
year, we had decided that Tom Weaver 
should interview John Anderson, and we 
were in the process of gathering refer- 
ence (checking his extensive credits), 
when I opened the newspaper and read 
his obituary. 

A couple of months later, Anderson's 
name came up at lunch when veteran 
writer Mark Phillips was visiting from 
Canada. And lo and behold, in gathering 
material for his upcoming McFarland 
book, Mark had already interviewed 
Anderson about The Twilight Zone and 
other SF topics. So, we ran that story in 
issue #216, accompanying an interview 
with Legend's Richard Dean Anderson. 
Why? Because John had a recurring role 
on MacGxver as Richard's granddad. 

That reminds me of an anecdote. Back in 1971, my Dad. then 
the Chief of Medical Administration at California's San Fernando 
VA Medical Center, had an encounter with John Anderson. That VA 
hospital had been destroyed in the February 1971 Los Angeles 
earthquake, with patients quickly evacuated elsewhere. However, in 
the helter-skelter chaos of such an emergency, some patients' 
belongings were lost or misplaced. 

One day weeks later, Anderson showed up at the VA offices to 
throw some weight around and complain that his patient pal hadn't 
vet recovered a pair of government-provided spectacles. He wasn't 
exactly nice, but my Dad stayed civil while trying to recall to whom 
this familiar face confronting him belonged; he seemed like an 
uncle granddad or in-law. Dad finally did recognize John Anderson 
as an actor of some character, but he just didn't remember his name 
•'Oh. I know you," Dad noted at last. 

•'Yeah, yeah.'/ know," said John Anderson, all imperious and 
arrogant and dismissive as to where that fond familiarity came 
from. "The flicks! The flicks!" 

—David McDonnell/Editor (June 1993) 



. ^ , • ,t i n „,. rniwirs SPFNF PRESENTS #1 BATMAN showcases the whole Dark Knight saga through 

"""IrTinM HFROFS 'M the latest installment of STARLOGs six-ye.r-old annual guide to the summer action movies, chronicles 

^SSoi^fS^^Go^lla vs. the Space Monster, the comics-based films Crying ^^Sgtfg^ 

^SfS^S^LCTnTONKSSoRKR #9 (on sale August 8) launches with Jonathan Brandis. Nicole Kidman, legendary 
SiS2S?S^2S3SoSi including King Kong) and more. . .and look for STARLOG #219 at newsstands and maga- 
zine outlets September 5. 



82 STAKLOG/September 1995 



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Announcing the 1995 Limited Edition 
STAR TREK Keepsake Magic Ornament. 

The Romulan Warbird. 



[Shown cloaked] . 



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available at participating Hallmark Gold 
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You'll also find new ornaments of ' v^ 

"to 




the Federation's most celebrated 
starship captains, James T. Kirk and 



Jean-Luc Picard. 



But quantities are limited, so head to your 
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*Note: Ornaments with cloaking 
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