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VOLUME Z2 NUMBER 6 The magnine with a “Sense of Wonder." JUNE. I992

WARNING! WARNING! 4 H. P. LOVECRAFTS “THE RESURRECTED"

Genre auteur Dan 0‘Bannon tries to resurrect his directing career by
Like the robot in LOST IN SPACE capturing the spirit oi H. P. Lovecratt. / Preview by Steve Biodrowski
would exclaim as Dr. Smith was about to
go oil and do something stupid. watch
out tor our cover story on ALIEN 3. ll
8 ALIEN 3—lT CAME FROM DEVELOPMENT HELL
How hirings. lirings. lawsuits and storyline indecisiveness plagued a
you are one ol those kind ol readers who
studio with sequelitis. / Preview by Patrick Hobby 6 Sheldon Teitelbaum
have complained about this magazine's
premature plot revelations in the past.
you will not want to read this story until
22 Sm RAlMl'S “ARMY or DARKNESS"
Raimi cleans-up his X-rated horror act to aim the third of his EVIL DEAD
alterthe lilm has opened and you have
had a chance to enjoy it.
lilms squarely at the mainstream. / Preview by Steva Biodrowski
Some lound it a tad annoying when
we revealed that Darth Vader was Luke's
24 HELLRAISER Ill: HELL ON EARTH
lather in RETURN OF THE JEDI. Or that Clive Barker's bloody. sadomasochistic horror lranchise continues. but
Arnold Schwarzenegger played a good. without the master's touch. / Articles by William Wilson Goodson Jr.
fatherly Terminator in TERMINATOR 2.
Or that Valeris was the plotter on board 28 WHERE'S sun wrias 41
the Enterprise in STAR TREK VI. etc. Playing with new toys. grasping tor a bigger lortune. or just "bored?"
etc. etc. It is not the policy ol this —George Lucas has lost "The Force." / Article by Nolan Wriglil
magazine to go out oi our way to spoil
your moviegoing lun. But sometimes the 30 THE vouue INDIANA JONES CHRONICLES
nature ol our story and but bi-monthly George Lucas plunders his leature tilm past to grab tor television's
schedule dictates that we deal with such riches. but will tans buy a no-action Indy? / Article by Mark Dawidziak
plot points in some detail belore a lilm
has opened. 32 RALPH BAKSHl'S “COOL woni.o"
On the other hand, it you're a reader Paramount gives Bakshi's adult vision tor animation the market test this
who's not sure it you want to blow $7 or summer. starring Kim Basinger. / Preview by Danielschweiger
more on an itly moviegoing experience.
or it knowledge ot such plot details 35 WALT DlSNEY'S “PETER PAN"—A RETROSPECT
doesn't deter your moviegoing enioy- Making the cartoon classic. plus a look at the '24 Paramount silent and
ment, then you'll want to dig in. Because Steven Spielberg's HOOK. / Production Article by Taylor White
lrom all indications, ALIEN 3 won't quite
be the crowdpleaser you enjoyed in 46 Wes CRAVEN'$ “NIGHTMARE care"
seeing Ridley Scott's ALIEN (1979) or Horror auteur Wes Craven on the genre. his loray into television and
James Cameron's ALIENS (1986). In upcoming leature tilm projects. / Interview by Mark Dawidziak
tact. you might decide alter reading our
story on the kind oi sequel 20th 48 WAXWORK ll: LOST IN TIME
Century-Fox has crafted. that you might For laughs. Anthony Hickox directs another pastiche ol great scenes
want to wait lor this to come out on lrom the horror movie hall oi lame. / Preview by Steve Biodruwski
video. or better yet. cable TV.
We subtitled our ALIEN 3 cover story 50 DARIO AItGENTO'S “THE seer"
“ll Came From Development Hell" Filming the Italian horror maisters latest production. directed by
because it tocuses on the Hollywood protege Michele Soavi. starring Kelly Curtis. / Article by Alan Jones
practice ol moviemaking by executive
committee—a system that grinds out 52 PETER GREENAWAY'S "PROSPERO'S aooxs"
bad lilms like so many sausages. It The controversial British director on his penchant lor using cinema as a
provides an interesting behind-the- means oi audience conlrontation. / Interview by Dan Scapperotti
scenes view ol how this particular link
tell oil the assembly line. Fox's ad 56 FILMING "FREEJACK"
campaign suggests their sequels ALIEN Director Geott Murphy lilming in Atlanta. on science liction and the art
' "cubed." From the looks oi things. all ol sneaking in the art in Hollywood. / Article by Patricia Ross.
those executives didn't exactly multiply
the lilm's power. More like they were 54 Fiuvi RATINGS 62 LETTERS
doing long division.
Frederick S. Clarke 57 Reviews

Puhlisherlr Editor: Frederick S. Clarkc. Bureau: New Yollt Dan Scappcrotti. hos Angeles Steve Biodrowski. Sheldon Tcitclbaum.
London Alan Jones. Toronto Gary Kimbcr. Contributors: Mark Dawidrjak. Jan Docnsc. Thomas Dohcrty. William Wilson Goodson. .Jr.. Judith P. Harris
Allan Malmquist, Dan Persons. Locke Pctcrscim. Les Paul Robcy. Patricia Ross. Daniel SCl|\\'ElgC!. larry Tctcwsky. Taylor Whitc. David Wilt.
Editorial Operations Manager: Elaine Ficdlcr. Editorial Production: Lisa A. Tomczalt. Production Assistant: Ruth Kopala.
Clrciilatlonz Michael l.. Morrow. Business Manager: Cclcst: Casey Clarke.
PHOTO ('Rl>Il)IT$: ‘I99! ABC [Slur ltcriri .Wl. Craig lllankcnhurri ll). Mia 81‘lIJfIl‘ll HOT). "ltl Diiuir l Ill l. Paul |ittlr: (SB. 7|]. ‘IWI lint In Tim: Prod ilti. Ill. ‘Will luciulilni ltd
lll. ‘ IWI \1ira|ru\ (SI. 5.‘. Allan Pang: ill, $9). ‘ I991 Morgan ("rack lfkiild Janiri $l\. $7l. ‘IWI NBC till. Chris llasliin -WT), 51991 Riramiiunl U2. .\3l, Kcilh Pilynr: (14471. WWI Road
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3
 LOVBfBRAFT’S
Steve Hodrowski THE DUNWICH HORROR

77"-i '5 "0 ¢0"""0" 641$? I!

“You set an expectation for the
_
'"°'= °' 1°“ ""5 L°v=."‘."§
story, for example, but its vis-
is " "14"?-‘-f ;"/ "fl:"'"¢’ "J1"2 audience. Then YQU make them ual stylecfails to match the writ-
orror F0"! €l‘0ll I - I I
,,,,,,,,,_ _|-|_P_ |;,,,,,,,,,;, wait, and wait, and wait. When you }§,'(‘,s{"§,},c{,,'§ {‘f,T,°,§‘},’§d,',Pf

they see something ’

“TM Ca" of ¢"="'=§
D=Xt=r Ward
Within the realm of the m8-
cabre and the grotesque,thereis
finally suggest
, .
they re QOIFIQ 10 D9 $C3l'9d- ” rations haw been Swan Gor-
don 5 RE-ANIMATOR and
FROM BEYOND, which are
essentially original G_ordon
one name which ranks second stones only loosely inspired by
only to that of Edgar Allan Poe some of Lovectaft'slessimpor-
among that pantheon of Great tant early tales, written before
Old Ones who devoted them- the author developed his
selves to evoking the unutteta- mythos. Perhaps the closest
bly hideous: Howard Phillips anyone has come to capturing
Lovecraft. And, as with Poe, Lovecraft is Roger Corman's
Lovecraft‘s literary tomb has THE HAUNTED PALACE
been opened to the public (I963), which, despite its Poe
domain by that arcane formu-
._¢ title is actually a previous
lae known as copyright law, adaptation of The Case of
allowing entrance by denizens ' Charles Dexter Ward. Though
of the lower depths of Holly- Corman retained little of Love-
wood, a land of perhaps as craft's plot, many of the author‘s
much noxious loathsomeness more outre concepts survived,
as the most eldritch Arkham and Corman's visual style was
cemetery. a fair approximation of Love-
However, those nebulous § ‘ craft‘s literary voice.
qualities which imbue Love- THE RESURRECTED was
craft‘s work with its essence- initially written as a spec script
the author's talent forevoking 0.5mm" 0) mum chm 3.,-Mm H hum mm“ M 1-HE RESUMEC1-ED by Friedman, whose interest in
an unspeakableatmosphere of ldnpbd from Lovecraft‘! horror ntmiin "rm can ot Ghetto: om" Ward." ' adapting Lovecraft was piqued
preternatural menace—have by the work of Gordon. “l
often been beyond the grasp of cinematic lled with memorable phrases like “mor- didn't really start reading Lovecraft until l
translators of his W<1rk- Unhappy is he who bid strangeness" and “eldritch atmos- noticed that RE-ANIMATOR
was based
has endured such horrendous atrocities as phere” (anyone familiar with his work will on his story," recalled Fried man. “l went
THE DUNWICH "OR ROR (1970). recognize this article's opening paragraph out and devoured everything 1 could by
THE UNNAMABLE (i988) and the yet- asa Lovecraft pastiche). Lovecraft‘s talent him. The one story that struck me as hav-
to-be-released CTHULHU MANSlON— was for suggesting much while showing ing filmic potential was The Case of
tiavestics which did no justice to their little, relying on wordslike“unspeakable" Charles Dexter Ward. because there's so
venerated source material. to tease the reader's imagination. This tal- much there. His stuff is mostly short sto-
But now, All American Pictures (for- ent aided his other great contribution, the ries—l saw some great little ideas, but l
merly Scotti Brothers) has tried to rectify invention of an original mythology didn't see a lm in any ofthem.“
the situation with H.P. LOVECRAI-'l"S (dubbed the “Cthulhu Mythos“by August The Case of Charles Dexter Wardis one
THE RESURRECTED, adapted by Derleth and other fans, though Lovecraft of only three short novels that Lovecraft
Brent V. Friedman from L0ve¢l'fl's himself never so designated it), which was ever wrote (At the Mountains of Madness
novella The Case of Charles Dexter Ward. based on the premise that a race of elder and Dream-Quest of Unknown Kadath
Directed bygenre Vetfll D0'BBn!t0l1. Gods, or powerful beings from another are the other two). At approximately I20
the film features makeup effects by Todd dimension, with names like Great Cthulhu pages, its length seemed optimum for
Masters and stars Chris Samndon in the and Yog-Sothoth, had ruled the earth translation to the screen. Noted Fried-
dual role of Ward, a 20th-century scientist before man's dominion. man, “Because I was so naive at the time, l
obsessed with his l8th-century look-alike These two facets of Lovecraft‘s work thought, ‘This will be easy to adaptfltwas
ancestor, necromancer Joseph Curwen. create problems for filmmakers,who must very difficult. The way the novella is writ-
Filmed in i990, the pr0duCti0I\ h b¢8Il not only wrestle with expanding his short ten isjust how the titleimplies—it‘swritten
picked up for video release by Live Home stories to feature length,butmustalsond as a kind of objective look at this strange
Video. The reclusive Rhode Island alllhf. a cinematic method of conveying the sense experience. There was no real main char-
who died in I937, was gifted with the of malign cosmic conspiracy underlying acter. Unless you want to make a docu-
ability to weave elaborate wordscapes many ofhis later plots.(Thel'ilm version of mentary_ that doesn‘t hold up.“
4
career by capturing the spirit of Lovecraft.
Friedman set about adapt- matographer lrv Good noff,
ing the novella without who went through an inter-
esting audition process for
being aware of Corman‘s
his director. “There was one
lm. “I didn‘t see it until other director of photog-
after l'd written the script—
l didn‘t realize what it was raphy interested,“ said
based on until someone told
Goodnoff, “so Dan gave us
an assignment to bring in
me," admitted Friedman.
what we thought our inter-
“lt's an interesting little pretation of the script would
lm, but it's a verydifferent
be. I went back and studied
version.“Afterseveraldrafts,
a number of painters that
Friedman managed to dram-
had the avor of what H.P.
atize Lovecraft's tale well
Lovecraft felt like, expres-
enough to show the script to
producers Mark Borde and
sionistically speaking. l
brought in 30books, marked
Kenneth Raich, who took it
out with the pictures I liked.
to Toni Scotti of Scotti
Brothers Pictures. In look-
About a week later, l got a
phone call saying Dan want-
ing for a director, Borde
ed me.“
sent Friedman‘sscript,then
titled SHATTERBRAIN, ;,,,_ Pre-production lasted
to Dan O‘Bannonthrougha 5".“ “dim, To“ "mm. “mm M |_”.mm ..“nwnum.. Mum WM from June to October I990,
friend. The choice mum Ill. mum. Manna. '0'aamm ooukl decide mm dlnclan D um: followed by seven weeks of
mutual by Noted
was appropriate: O‘Ban-
principal photography in
good Vancouver, Canada. which doubled for
non‘s RETURN OF THE LIVING because my script was getting beloved Providence, Rhode
DEAD had been an effective low-budget response. O'Bannon wrote out a I5-page Lovecraft‘s
Bridge Studios. which cover
directorial debut; perhaps more impor- treatment to show how you could inte- island. The
0‘Bannon‘s ALIEN, though an grate pans of my script with what his idea almost 50,000 square feet, provided ample
tantly,
space for the construction of a labyrinth of
“original” screenplay, captures many of was.
Lovecraft‘s more visual concepts proba- “Dan's thinking wasthis story naturally tunnels where dwell the ghastly results of
bly better than any ofcial adaptation. lends itself toadetective because thereare Curwen's experiments.
particularly in the sequence exploring the so many clues to be discovered. lt looked “lt‘s a contemporary piece, but there's
alien planet and derelict spaceship. good on paper, but the execution wasa lot also the l8th century and the whole world
Coincidentally, O'Barinon had already trickier than he had made it seem. The of the catacombs, so, in essence. the pic-
been trying to adapt Lovecraft‘s novella, toughest thing was to keep the detective ture has three looks." explained Good-
and he brought many of his ideas to the not only intellectually involved, but emo- noff. “We used two different lm stocks:
script. “My script is relatively different tionally involved. Dan's idea was to Kodak for most of it, and Agfa for the
from the lm,"said Friedman. “l set upthe involve him, a Ia CHINATOWN, with the period scene. The Agfa hasa more creamy
main character as a psychiatrist examin- wife—which works on a certain level but pastel look; the Kodak is much higher
ing Ward. The thrust was how the case on another level becomes distracting." contrast with a denser black. l try tocreate
affects this psychiatrist. He's coming from The change in lead characters resulted
Sanndon. who plays the dual role of Ward Ind illl
ascientic background, thinking there‘sa in a change of title as well. “The word Ilth-century noemmeneu ancestor, Cumnn,
rational explanation, and takes on a case ‘shatterbrain'is actually a Middle English throlhnl Ward‘! illlulplclln wife (Jam Slbblll).
which makes him rethink everything he term for crazy,“explained Friedman. “It
believes. After nding out there‘s a super- was more relevant in my original script,
natural explanation, he ends up going because the psychiatrist came unglued. lt
slightly crazy. does sound a little like a B-movie, but at
“When O‘Bannon came onto the proj— the same time it evokesacertain image, so
ect, he had been trying to write a script it wasappropriate. l pushed foritlonginto
from the same material, and he felt that he post-production—people got very bored
had never cracked the third act. He read with my suggesting it. THE RESUR-
my script and said, ‘You've solved a lot of RECTED, to me, gives too much away.
the problems, but the way l‘d always had it Once you meet the three main characters
in my mind was the main character's a -—well, one of them‘s been resurrected,
detective.‘ If he was going to get involved and it's not too hard to gure out which
with the project—which everyone was one!“
very keen on—he wanted to tell the story Devising a photographic look that
his Way. Everyone was Skcplical at rst. would capture Lovecraft‘s tone fell tocine- .1
5
a_ avor and a feeling. Some-
IIIZZE1 Z..‘.§"l=i’§ 2'15 SE2??? .1?
light. When you're doing hor-
ror you don‘t show every-
thing. Dan O'Bannon told me.
‘You set an expectation forthe
audience. Then you make
them wait_and you make them
wait. and you make them wait.
When you nally suggest that
they see something. they're
going to be scared.‘ That was
basically our approach.
“It was the most difeultjob
I've ever had to do. The sched-
uling should have been nine
weeks. but we only had seven.
We wrapped principal photog-
raphyjust before Christmas. It
was one ofthosedeadlinedays.
The plug was being pulled at
midnight. I've been onacouple
of pictures like that: because of
bonds people. nancial and
contractual things, one minute
over I2 means you've blown it.
Those bottom—line people have
no grace in a lot of cases. We
had three different units going.
I was running from one to the
(“hen chcdfinl than shooting
my own unit. It was a I4-hour
marathon."
The effects unit during principal pho-
tography was directed by supervisor Todd
Masters because 0'Bannon was ona tight
schedule. “Dan would take a sequence all
the way up to where the effectsjumped in.
and he would nish offa sequence." said
Masters. “He would leave us the middle.
My crew worked nights. mainly for sound
reasons—we didn't wantto causetroubles
with the other unit. We had to match a
similar camera style. Things marry very
nicely."
The premise ofthe story is b¢$l Summed
up by a passage Lovecraft quotes from the
alchemist Borellus: “...from the essen-
tial Saltes of humane Dust. a philosopher
may . . . call up the shape ofany dead An-
cestour from the Dust whereinto his Bodie
has been incinerated." Typically. Love-
craft refers to the results. when notall the
Manon’ deolgn sketch 0| the “river monster"
6
I‘ '_"° P'"9 was b°"‘9 Pulled 3*
lnldlght because Of bOndS people
aqd contractual ‘rungs’ we
lust befgfe Chfist|'nas_ B°nQ[n-
. .
hne p6Op|e Iust have no grace.
Ethel: lt|pl!IV|I0l' Todd Muhn lllmn Sarandon lot Curwen’! dlnlntegutlnn.
mums alnemt me lm’! clinch nqumea when O‘Bann0n loll behind urmaim.
“essential Saltes“ have been gathered,
simply as the “livliest awfulness" without
ever describing them in detail. Such re-
straint doesn't work on the movie screen.
according to Friedman. “He didn't really
show you a lot." said Friedman of Love-
craft, "In a book that's almost scar-ier_
because the reader uses his imagination to
ll in the blanks. In a film you canftjust
keep talking_ Ataeertainpointyouhaveto
deliverthe goods. The waythe script plays
is you get up to the point where he left off
and then you have tostart creating on your
own)‘
Coming up with specic designs for
Lovecraft's livliest awfulness fell to Mas-
ters_ who took his initial inspiration from
Friedr-nan‘§ script, “There were incredibly
bizarre descriptions which l had a lot of
fun interpreting." said Masters. “When it
(Ill!) and the Md moquoth loulphd prior to letull eomttucott.
nally came to materializing
§i'.Z'§'..§l“i§'.l$§’Zl‘r§‘a‘Z2iiI.',§l“il‘§
Francis Bacon, who I‘vealways
beenafanof He wouldexpress
himself in ‘these imageries.
these strange concoctions of
paintandcolorandlightrather
than form and shape. Dan
really got into talking about
the character rather than the
form. so it was an interesting
challenge to come up with a
design. What we tried to do is
take the human form as
groundwork and completely
distort a certain aspect of it --
aslongasthere'ssomethingthe
audience can grasp. it's quite
frightening. We designedabout
30 monsters; in the lm there
are about ve. I've still got
reams of designs that I don't
think I'll ever be able to use for
anything else because they're
so weird.
“We've done more tricks on
this lm than on any other I've
ever worked on."said Masters.
“We have monster suits. re-
£ mote-control animatronic
char_acler5~ Puppet heafj5~ 51°F
motion. and pneumatics. We
had a set of prosthetics on
Chris Sarandon for a good portion ofthe
end ofthe film. You can't tell he's wearing
anything—they match his face—until we
turn on the lights. It's networked with
ber optics. so it gives the illusion that his
veins are glowing when he comes to his
climactic end."
The extensive post-production schedule
turned out to be a hindrance for composer
Richard Band. “They made about eight
edits the night before my recording
session." said Band. “That's a composer's
nightmare. but all too common these
days." Band came up with a synthesizer
score that boasted a full orchestral sound.
-To havedone this Score with an orchestra
would have cost S4()0.000." said Band.
--The pmd ucers have resigned lhemsewes
ma synlhesizcr Scum“
Summed up Friedman. “I think we
retained more Lovecraft than any other
adaptation I've seen. We didn't just use
the concepts as springboards for our own
story. In fact. there's one scene lifted
word-for-word. dialogue-wise. involving
the first time you see Curwen posing as
Ward, and he's talkingthis strange l8th-
century speak. So there's some place
where Lovecraft is completely intact.and
there are others where liberties were
taken. It's not as grossly amusing as RE-
ANIMATOR and FROM BEYOND. lt
takes a much more serious. Gothic slant.
In the end. I wish we could have made my
original script. but I'm still happy we
made something.“ E]
Todd Masters visualized
bizarre horror concepts
on a shoestring budget.
By Steve Biodrowski
.
Extensive visual
.
e
fr
ects,
supervised by Todd Masters in
P°5l'Pl’°d\1¢ll°"- helP¢¢l THE
RESURRECTED ll"? "P l°
the ambitious nature ofscreen-
writer BrentFriedman‘sevoca-
tionofthe horrorofLovecraft.
Tl\°"8l'l mall)’ °l ll"? cflec“ l"
Friedman‘s script weredeemed
too expensive. Masters—orig-
lnlly lllled 1° Pl’°¢l"¢e"'"1l(9"P
and physical effects sought
l° llml 3 Way l° "lal" lllem-
\Y°l'l<l"E_ ¢l°5°lY Wllll Pf°d"C'
tion designer Brent Thomas.
“Tl1°"l35 _"?all)’ Pulled lab‘
bil 011! Of hlS l1BL"Sald M35"
ters. “He loved the pl'0j8Cl
from day one. He and lwould
E-cl 1°E¢ll1°l' all" (lmce l‘l°l-"5
at the studioand sitdowninlhe
hotel bar to concoct ideas.
That‘s how the movie turned
into such a crazy asco. We
‘h°“5h'. ll“ ‘”,h°l‘. "ha °f
Brent Fnedman script was so
s
bizarre and wonderful that we
l(°Pl Wnllllg l° PlaY~
“EVCTY lime 5°l'"ellll"B was
pulled away from us. because
there wasn't money for this
monster or that set. Brent
[Tl1°m35] and lwould llgl-"ca
wayto putitback in. Wedidn‘t
wantalm that has small pro-
¢ll1°ll°" "al"¢- l'l°"°l’ lllm5
deserve all the scope and scale
llleywn 8°‘-“
The ll°"°l' lllal “(35 W bl?
resurrected by detective John
T°")’ gall)’ °" l" Cl"’W°"l'5
laboratory E01 axed 50 M§-
ters'effects unitcouldaffordto
rent a studio to work in. As a
l°“"°°5l 5l°P'EaP dlreclol
Dan O'Bannon suggested that
Terry resurrect just two n-
gers_ “a goofy idea,“ said Mas-
€:“"::""";:".':‘:fu:';°:::"|';"'.':
Slrnndon In glowing dlllnlogratlon
rmkww with IM Ilvl-Ilw went
John Torryu cm detective mmuq-ting wmn dlslppllrlncl oomol to grlpl
‘din imnmqri -nn.n“|i.u.- hgrroy, In gum; puppll doolqnod by mum.
ters,whocame up withabeliev- tle cracks in the structure. Asl
able, low-budget nger mon- was readywiththe naldab of
51¢, conccpi instead “we had paint, 3 big gust of wind came
id k¢¢p|‘,ng¢;5ini;_"§aid Mas. and blew the whole thing
lei-§_ "50 we mined qhis [hing down! Whatanightmarc!Tcd
into almost a crab monster and ljumped underneath the
with ngc|'§_ an eyeball, and house and tried to hold it up.
some exm-naidrgans bin we gndgd up having in
After principal photography recreate the whole building in
wrapped in December |99()_ adayand |,|dwnnpih¢f01|ow.
Masters and producers Mark ing night.
Borde and Kevin Raich viewed “Everybodythat worked on
3 rough 3§§¢n'|b]y‘Qde[g|'|ni|1g ihis mm pin ihcii blond inio
what effects were still needed. it.“ Masters summed up. “lt
What was originally intended turnedintoalaboroflovefora
U, be a few weeks of i-did. |mdfn5.._w}ii¢hiknowgoundg
scoping expanded in six c|i¢h¢d_ bui Qt/Qfyong was
months. four shooting minia- really pulling for it. and it
(inc; and nndiher iwo adding Show; in in: min,“ [1
(,pn¢n|§_ “The pi-ndnw-5 really
wargd ii in [man Qffgclg-llgd IIIIWI‘ “Iw¢9" ="=\lM Wlrd'I
H ,, .d M nw d botched attempt at roonlrnatlng that
l m~ Sal a5l~el5- C ma 3 rnults In “the llvellnl lwfulnuc."
sure that we kept the budget
d0Wn. l'VC coordinated 3 lot Of
visual effects in the past. Since
our eyes were looking through
the camera. and our eyes only.
we cheated to hide all the
expensive stuffjust inches out
of frame.“
One amusing episode in-
volved a four-foot-high balsa
wood miniature of Curwen's
1!
mansion. rigged to explode.
“This was part of Ted Rae's
unit he did two miniature
shots in the lm,“ said Mas-
ters. “We had it set up in Ted's
parking lot, waiting for night-
fall. As l was painting part of
the chimney, l heard these lit-
7
 HAS FOX BUNGLED THE FRANCHI SE?

Hir
ll
firings, lawsuits and storyline
ness dog a studio with sequelitis.
But what they turned in was
By Patrick Hobby nothing more than a rehash of
To make an omelette, you the two previous movies. The
must break a few eggs. And the final draft was so dismal l
omeletteinthisrecipeisALlEN asked producer Walter Hill
3. But the eggs aren't the and 20th Century Fox to
menacing ones depicted on the release me from my contract.
classic poster campaigns. At that point l'd lostall passion
They're the hirings. firings. for the project and thought it
lawsuits and storyline indeci- would be embarrassing to
siveness which have dogged follow Scottand James Cam-
the lengthy pre-production. eron‘s great epics with a tired
shooting, and post-produc- carbon copy ofboth."Theday
tion of the second sequel to Fox tore up Harlin‘s agree-
Ridley Scott‘s I979 science- ment, they offered him THE
ction masterpiece. Fox hired ADVENTURES OF FORD
fledgling filmmaker James FAlRLANEand DIE HARD
Cameron—hot off his success 2 ascompensation instead.
in THE TERMlNATOR—to The script rejected by Harlin
craft their first sequel to had been based on a story by
highly regarded ALIENS. The the ALIEN franchise produc-
third lm in the series, fromall ers David Giler and Walter
indications. will not be in the Hill, written by cyberpunk
same league. author William Gibson and
Originally planned for East- revised by Eric(THE HITCH-
er l990, and now slated for ER, BODY PARTS) Red.
release May 22, ALIEN 3asa Fox also quicklydiscardedthis
“go” project was first mooted effort and writer David (CRIT-
three years ago. That's when TERS 2) Twohy was brought
Finnish director Renny Harlin in to start from scratch. But
signed to helm the sequel Sigourney Weaver caused de-
based on the boxofce success lays by insisting on story and
ofANlGHTMAREON ELM dialogue input regarding her
STREET 4: THE DREAM Ripleycharacter, ifshe were to
MASTER(l988). Ayearlater return. Fox naturallyacqui-
Harlin bowed out of the project esced to Weaver's demands.
for reasons he explained. Perhaps Fox came to wish
“l specically worked with they hadn't because Weaver.
two writers who sold me on with Cameron, producer Gale

i
their very ambitious plans to Anne Hurd,executive produc-
develop a story about the ers Gordon Carroll, Hill and
future of mankind and what Giler. then formed a partner-
type of intelligence was really ship to sue Fox for alleged
behind the aliens‘ evolution. non-payment of prot shares
from ALIENS. This lawsuit
Sigourney Wemr u Ripley. on the
was obviously settled toevery-
Noetmmo In 1979'! ALIEN. Ill tnltnovm
rocketed to ltlrdom by the hll lm. one‘s mutualsatisfactionbe-

8
.
ii
Arro|dloeI\hVleonrlnAUEN3,INt:hIlI|Cor|l|IyFolopomlhy&,erntrndhchbyTunWoo¢\llJr.I\dMeeGIe.houdu|dedgnbyHlGlgu.

muse Weaver remained allied — a religious colony of monks

to the project even though she
didn‘t sign her acting contract
until December I990, barelya
month beforetheactualJanu-
My !4-I129: =:=r;‘d=;1£°or
pnncrpa p o ograp ya n-
don's Pinewood Studios.
Meanwhile, the hunt for a
E director to replace Harlin
continued.T_'heevcntual hiring
Of N¢W Zlllldf. Vinnl
Ward, amazed everone. The
selection of the award-winning
dirO¢l0l' Of THE NAVIG/\~
TOR (I989) was an inspired
choice on all counts. Ward had
a proven track record of
working in difficult circum—
stances and his unique visual
sensibilitiesweredeemed perfect
references. Here was someone
who could add new twists and
was
my
, H
Renny llarhn. The vmters tumed |n a rehash
- -
Ill IIIIIVIES,
an altogether different atmos-
phere to the ALIEN myth. But
Ward insisted on writing a
script, with John Fasano, and
the off-beat concepts Ward
concocted played a major part
in his downfall. Ward's script
took on board many of the
themes hc‘d already explored
in THE NAVIGATOR, a
movie promoted with the
additional labelAMEDlEVAL
ODYSSEY. The subtitle
' banished from Earth for politi-
dlsmal l tu he
" Sam
_
I ,
I Ages, with it's many countri-
couldn't have been more
appropriate for Ward's plans
for ALIEN 3. Ward'sconcept
grafted-on biblical references
echoing another Fox success
story—THE OMEN series.
Ward ‘s screenplay began
with Newt, the girl Weaver's
Ripley took under her wingin
ALlENS,deadinahypersleep
capsule as Ripley's Sulaco
Escape Vehicle 4 crashlands
onaman-madeorbiterhousing
cal heresy. Thefrve-mile-in-cir-
cumferenoe prison planetoid
Arceon was to represent an
:_r;l=rs=llf::JIb=5§'1r:1}:11,I;l‘9‘;\d<l>f
icon ,crrca e r e
ed layerscontainingchurches,
libraries, wheatelds, stained-
glass works, windmill air
pumps, and dungeons. Ward's
monastic order believed Earth
was wiped out bya New Dark
Age when a computer virus
caused communication chaos
and mass destruction.
Ripley‘sadventisseenbythe
goveming Abbot as a double
threat: her ravings that an
indestructible, death-dealing
Xenomorph hitched aboard
her spacecraft terries the

AIdrlnl\lmmdocp|poelHbwnIBon.WuvuI|dhollhhduIwdIoeNoehonwhAUEN(lo1l).||\dWoovorlrrJIr\oaCIr\nnr|'l1#eeqnlALlENS(rl¢|t).

_ \

v“
(\-/"
\, / _‘
/
I’ ~—' ..

9

DESIGN GENIUS
H. R. GIGER
Fox hired Giger to create a
new alien design, but stuck
to using their same old thing.
—-i-ii
Q; Jan Doense
Swiss surrealist artist l-l.R.
Glg who W0" 3" A¢ad°m)'
Award f°\’ his E1’ °""db|'°3ki"8
desisns for RidI=y Swlfs
ALIEN U979)» ‘"353PP"°a¢h°d
bl’ ll" P|'°dl-9°“ ‘ff ALIEN 3
and asked to redesign the t|tu-
larcreature.“Thrs timearound
ll had ‘° b¢ m°"e a"i"'la|'|lk°-
"10" °l¢83\'"-" “id Gig" bl!
Ph°"° 7'0"‘ hls $'"d'° I" Z""_°h~
“Y9? 5h°"ld"'l 8" 31¢ f°°|"]8
lh1\!vllW353m3"W¢3""E35""~
Bl5l¢_1illy- ll1¢ Mad hid 1°
l’=m3"l ""3|l¢|'¢d bl-fl ‘he l>°d)'
had 19 °l13"8°~ David Fi"¢h¢|‘-
ll'l¢ ¢lll'¢¢l0l\ l0l¢l m¢ l W0llld
have total freedom. l worked
0" ll fol’ 35°‘-ll 3 m°mh» "\
'§"8"5' |99(_)- Thai ‘"35 all ll"?
1"": l W35 E"/¢|'{- Bl"a5f3"1$ l
k"°‘"- ml/_ d°_5l8"5 _“'¢_T° 2°!
"5¢d- Th“ 5 d|53PP°'"""8-
G58" had I10! 56¢" lSl<¢¢l 10
W0l’l< On Al-lENS U986),
Fox‘; em-|jgy sequgl whigh also
utilized his designs from the
original lm. Unlike Giger‘s
close collaboration with Scott,
on ALIEN 3 the artist merely
faxed his designs. “Fincher
would comment on them,“
said Giger “Then my col-
league, Cornelius de Fries,
made small scale models based
on my drawings. Finally pho-
tographs of those models were
sent to Pinewood, where the
construction of the nal mod-
els was handled by the same
people who worked on ALI-
ENS.
10
“The shooting was inter-
rupted because the original
ending had lo be Mm-cd for
some reason. Apparently there
were resemblances to the end-
ingofTERMlNATOR 2. butl
can‘! be sure because the script
of ALlEN 3 was nevergiven to
m¢_ whkh is 3 funny [hing
com: to mink of ii, ,\nyway_
after that hiatus,adecisionwas
made to stick to the creature
design of the second lm."
Giger is disappointed with
Fox's cost-cutting on the new
sequel and for the missed
opportunity for ALIEN 3 tobe
something more thanaretread.
“I came up with some nice
improvements even though l
wasn't given too much time,”
said Giger. “For instance, the
skin of thecreaturewasdesigned
to produce tones; it had valves
on it. like a saxophone. Maybe
they just ran out of money. A
Giger nun! nun dud lo wort: on Foil ALIENS (1%). when Aha Dunn as
an unnpnulm ot Glgofl anmam um: by sun wuuun -mun emu.
_._.___i._i--i-
lot was spent on Sigourney
Weaver. I read in the papers
she got something like$5.5 mil-
lion for playing Ripley again.
Imagine what could have been
possible if all that money had
been spent on the creature
design! lt could havebeenganz
toll. After all, the star of an
ALIEN lmshould bethealien
itself, right?“
Nodoubt Gigerwasn‘t of-
fered a script to read because it
was still in the process ofbeing
a
lily SOOIPI ALIEN (1i1I).
ALEN3 Z&Ild0IId.
written at the time(see“Devel-
opment Hell,“ page 23). What
he doesn‘t realize is that his
discarded design input was
probably solicited to spur the
prod uction‘s own faltering
story ideas. “They told me it
would be more like the rst
one,“ said Giger. “More sus-
penseful. Not a war movie.“
Despite thedisappointment
of ALIEN 3, Giger is excited
by the possibilities of lm and
is eager to do more movie
work—he is represented by
New york agu“ besc Ban,-|y_
Nomi dc Fries‘ Gigcs sculpb
ing appre ntice, “It's a shame,
ALI EN so few interesting
since
lm projects have come his
way. It's evident this man is
capable of doing amazing
things. What Giger really
needs is a producer who not
only adm ires his work, but is
also willing to spend the time
and money needed to bring his
visions to proper life. Unfortu-
nately th ough, it seems this
business is run mostly by law-
yers instead of creative peo-
mnlhnlulpnge
, TIIETDP-HEAVY BUDGET
“Siguurney Weaver got something like $5.5
million lnr playing Ripley again,” saitl Giger.
"Imagine what cuultl have heen pnssihle il all
that money had heen spent an the creature!”

shawd-head community its head backtothe Sulaco via the

muCh its her rtJ\'¢li-Ititt thitl
Earth stillcxists. For only the
Abbot knows that Arceon has
planned obsolescence built
into itund that their advancing
"GY°°"h°">"? Efrem“ Um“ is
nearly up. The last thing the
Abbot wants is the status-quo
rocked by unrest. forcing him
to reveal his deadly secret.
Thrown into the dungeons for
daringto predictan alien pc§ti-
lencc will scourge their fragile
world. the “Comet Woman“
befriends a cyber-organic,
human response android.
A"lh°"Y- Bmh 37° \'°5°"¢d by
Broth" John‘ who "01 0'11)’
bt!|iC\'¢$ Ripley. btll$¢=!5<Illrr¢t1l
c\'etS reflected in history
books about the 1343 BIHCR
Death. Thf trio then trici I0
air conditioning level. rclcnt-
lcggly purgucd by the alien
mg:n;1cc_
For shock uilue. Ward's
script relied heavily on Ripley's
it?" nightmares and 1"‘d"°id
Anthony's demonic visions of
sh-head sprites and birdmen.
Elsewhereit‘s reandbrimstone
which carries the load as the
alien threat is equated to
Satanism—the revelation that
a Xenomorph is tatooed onthe
Devil's posterior ina medieval
engraving plays an important
part in the plots Ripley as a
New A85 J03" Of Afcltti
C0tttit‘tl1¢5 the tiigit-I5
scattered throughout the
thought—provoking scenario.
Ward also had the aliens
taking on a chameleon-like
Slgoumoy Welvlr n Ripley In Fox‘: ALIEN
on I plllon pllnelold, with um monitor on rm IOOIQ n ll Cirponllfl "ms THING.
ability and adapting to their
surroundings. The first of
Ward's aliens was to explode
from a sheep's stomach—thc
woolly quadruped was dubbed
the “Bambi-burster" by crew
membcrs,and was designed by
ALIEN Oscar-winner H.R.
Giger (see page I0). Another
"tvtift was to take on the golden glow
of the whcatelds. another a
wooden appearances For the
climax. one was envisioned
turning into glass. There was
:0. shaved bald once her lhlp mum
also to be an underwater
JAWS alicn. Norwasthechest
the only affected body part of
alien hosts. Onc major set-
piece envisoncd by Ward
involvcd a “head-burstcr."
Other specialeffects sequences
were to include an alien tail
enteringamonk‘s rectum.acid
saliva spat into eyes and bear-
traps causing dismemberment
havoc.
Not only did Ward want
cvcry single character dead at

I-low MICHAEL BIEHN G01 Axsn i

Hicks, the tough Marine-in-space summarily dipatched is sure to disap-

played by actor Michael Biehn, survived
the grisly travails of director James
Camerons hit l986sequclAL1ENS. but
Biehn is not slated to appear in Fox's
ALIEN 3. Biehn, however, did not feel
unduly left out. For one thing, theactor
said he understood the exigencies of the
plot, such as they are after three writers
and as many directors toiled on the
script. And Biehn just didn't placeahigh
premium on ALIEN 3's prospects for
critical or boxofcc success. “I don‘t
think they've got much ofa script,"said
Biehn. “And I don't think Jim's movie
[ALIENS] can he topped, or that they
could ever come close to it. From what
I've been able to understand, I don‘!
think it's going to work."
After his derring-do, battling the
Xenomorphs in ALIENS, Hicks rcport-
edly gets short shrift in the new sequel,
shown dead, played by a Biehn look-
alike, after Ripley‘s ship has crashed.
Hicks‘ fate in the new lm is also report-
edlysbarcd by Newt, the littlegirl played
by Carrie Henn, whose salvation at the
hands of Ripley was the whole point of
ALIENS. To have both characters so
point fans of the series.
ALIEN 3 executive producer David
Giler said he and his producing partner
Walter Hill decided to dispense with
Hicks and Newt early on because they
wanted Ripley operating on her own.
Such a scenario, noted Giler, offered the
producers greater leeway storywise.
Giler also said that "logistics" didn't
favor bringing back either Biehn or
Hcnn. The importance of both charac-
tcrs is highlighted by Fox‘srecentreleasc
of Cameron's “director's cut“ of
ALIENS on video disc, complete with
missing scenes which introduced Newt's
family just before they come across the
derelict ship from ALIEN and unleash
the horror again.
The original script of ALIEN 3 by
cyberpunk writer William Gibson
showed more respect for the series'char-
actcrs. In Gibson's unfilmcd story,
young Newt is shown departing from a
space station to live with her grandpar-
ents on Earth. And Biehn‘s Hicks. as in \._ ,3“
ALIENS, was given a strong second-ba-
nana role in the action.
Sheldon Teitelblum Bhhn. "l don‘!
L ma'nquur.';:|a
mu my Inn much of n mun."

11
the end of his nihilistic climax
for ALIEN 3. he also insisted
on major crew changes. In
Argentina for HIGH LANDER
2:THEQUlCKENlNG.spccial
effects super\'isor.lohn Rich-
ardson. an Oscar winner for
ALIENS. was told Ward
didn't require his services for
the sequel. news he certainly
wasn't pleased with. Richard-
son‘s job went instead to
George Gibhs. the effects man
series. Nordidcreaturedesigner
Stan Winston return aspart of
the package this time. Instead
Winston‘s pruIt'g¢'.\' Alec Gillis
and Tom Woodruff_theTREM-
§’..'T§_’i‘.."J3'.-€i“"I_§?$°"._.§?ij‘lF,l.I.'f$i-i
Z33E §i.‘.‘!?.I_.‘T‘&‘.'.‘Z.§‘..‘i‘£{_i"S;’i‘J.‘.‘..?
Swiss artist H.R. (nger be
brought back on board to
provide new alien designs.
But Fox decided many of
young Turk ward»5 idea“
bothinfrontofand hehindthe
cumem “cm mo wild and
would n't have the broad appeal
an ALIENS sequel demanded.
Ward was asked to leave the
project with those oft-quoted
“artistic differences" cited as
the reason. Provided with a
health). pu)._n- by Fm‘ ward
did"-, “cm unhappy M hcing
shown the door. Contractually
obliged not to speak about the
c\ents which led to his remo\"-
. . . J W. ._
?.i;.‘;.’?J."t-l“.?.'LiS‘. $.21? £3.
AMEN and drew Sim‘,
_~4_
h0urd§_ which ‘hm. mmed_'|
gm paid h,m_m,:m§ing|Cnu|d
Car“. on with my prime
C0m.;?m_MApOF~|'~HEHU_
MAN HEART hh f .
cial worry. I
'“ out mm3
have ALIEN
mm, D,,,=,,, ¢,,,,,,,,,|,, ALE"
I medical i>"lt=I' who IIIII w dllilmm
“'l"'Y' °"' °' "‘°"""9 "°'"""<
12
Wii.i.iAivi
W
The cyberpunk genius behind Neuromancer
wrote the first of many ALIEN 3 scripts.
Sh€fd071 Teitelbaum
, _ _
Acclaimed science ction
"°vel‘5' wlmam G'bs°n had
big plans for thethird ALIEN
m°v'c.w|.‘°se scum h.e was r?!
commwsmned ‘.0 wn.'e' so d'd
Producer Dawd Gller‘ who
slgned the vancouvehbased
P09‘: of "»"b”P‘f"k at!" mad‘
"15 a_c°Py °f G'b5°" 5 award"
winning novel Neuromanrer
onabeachin thesouthofThai-
land 50°" an“ the release of
ALIENS U986)" The Wm“
was “mas memorable §5e“h‘?r
hoped, but the experience is
rm-1i=d warmiybyboth.
Gilcrsaid hewassoimpressed
by Gibson's book he told
ALIEN 3 co-producer Walter
Hill that the Vancouver-based
writer would be the ideal
screenwriter. Another sequel,
maintained
,
Gile
. '- had to be
sufciently different from its
3_ two predecessors so that there
would be no danger of it being
viewed as a mere retread. Gib-
son's cyberpunk sensibility,
believed Giler. was just the
kind oftouch that was needed.
Gibson noted that he was
seminally inuenced by the
lm ALIEN(l979).“lfounda
lot ofthingsinthe originalthat
were interesting even when it
rst came out,"said Gibson.“‘I
| thought there were germs of
stories implicit in the artdirec-
tion. I always wanted to know
more about these guys. Why
they were weai'ingdirtysneak-
ers in this funky spaceship? I
thinkitinfluenced myprose SF
writing because it wasthe rst
IBSONS
. K
lo1lho|cnonlnld0ll|tOuolco.
funked up, dirty kitchen-sin_k
space sh_ip and it made a big
ImpI'CSSl0Ilv0II me. When I
started writing SF I went for
that.“
Alas, by I987, when Gibson
was called upon to craft an
ALIEN 3. the cyberpunk aes-
thetic—already ensconced in
music, videos and advertising
as a cultural cliche—had lost
its sheen for Gibson. In Gib-
son's script. Giler got a more
conventional political face off,
based upon Giler and Hill's
ideas, between the Weyland
Yutani Corporation and an
equally corrupt constellation
ofnon-aligned “Third Uni-
versers.“
Gibson. who isnowjuggling
three scripts based upon his
own stories (two. BURN-
INGCHROMEand JOHNNY
PNEUMATIC. are in devel—
opment at Carolco), came to
’
ALIEN 3 with little in the way
of screenwriting experience.
Gibson noted he was enor-
mously impressed with Hill
and Giler. “They were arguing
at the time about what the
Alien metaphor meant.“ said
Gibson. “I expected this kind
of discussion of subtext from
academics, not from produc-
ers."
Hill, in fact, argued in favor
ofa subtext which viewed the
aliens ascancers. Not so Giler.
who believed they worked asa
metaphor for the HIV virus.
Giler had heard someone on
=h= radio say that human we
on this planet had developed
as food for viruses.'Gibs_on
liked the idea, and his scnpt
became the only_o_ne ofa score
ofotherstoexplicitlyincorpo-
rate this theme.
Still, Gibson found himself
hard put to grasp the vagaries
of screenwriting. A master of
surface textures, Gibson noted
that he wished he'd been hired,
instead, as the movie's art
director. “If you look at my
styleasanovelist,I‘mheavyon
cultural detail," said Gibson.
“That's really something, as
l‘ve subsequently learned toa
certain extenton otherscreen-
plays. the province of the art
director. In a screenplay you
only wantalittletellingdetail.
I was writing down what peo-
ple were wearingand howtheir
watches functioned."
Gibson wasgiventhescripts
for the rst two lms and a
I2-page story treatment. Hill
and GiIcr‘s original concept

I $lgo\|vtoyVIoovnrwltl|thoNoetvo1noerwvo1
bldtlto|yof|uchlocn!llycrIIv.utonEl
was to confront the company
with a separate, space-faring
Earth culture ofa socialist or
evencommunistbent.ltwasn‘t
dear. to Gibson '0, anyonc M
the time how quickly the con-
cept would date. Far more
i
obviously imminent was a
Writers Guild strike,whichput
ressurcmmm
i son u "def p
G-b
ina manuscrip‘_any manu_
scrim
awe gm the opposite of
what we expected,"said Giler.
-we gured we-d gel a script
that was all overthe place, but
which would have many good
ideas we could mine h tumcd
out to be a competently writ-
3% his.
icestcizgeagggsgvazrgd
That was probably our fault,
though, because it was our
story. We had hoped he'd open
up the story and don't know
why it didn‘t happen."
t
j “l was glad to have some-
thing to hang onto storywise."
responded Gibson. “Being
‘
Illdey santumuwmorunu lm Helm ntnnonginiuumu sump h ALIEN.
Gllnon emitted Scott’: Illm no In Inuence on cybupuilt his own ction.
""""‘“°"°'°"
of
""
nuns nunuzn.
given free rein really meansan
innite budget. The impres-
sion l had, though, was that
bud E et P arameters ar 8 ued
gains! intrqducing the aens
into something that was the
equivalent of the BLADE-
RUNNER set, which ladmit
would have been my natural
impu I se
-
..Famng ‘ha, I worked
through 8 series °fsemi_aban_
doned space s'a"onideas_my
favorite of which was a space
Manon that seemed to bc 3
shopping mallunderconstruc-
tion—Somtow Sucharitkul‘s
Mallworld but unnished’
l‘ve always‘ found unnished
Zggglging mans exnemely
. .
“The most fun lhad with it,
though, was working out this
kind of futuro-socialist third
world culture that seems tobe
in opposition to the company
but in fact wasjust as corrupt.
lt's like the crew of the Enter-
prise running into a spaceship
III
l begun the arduous task of
lilBSlll|'S PIIOGNIISIS
“Its success will hinge on its look. they had a
choice hetirreen opening this thing up anil
expanding the meaning ol the first tvro lilms or
going for closure. lhey went for closure.”
full of Stalinists.“ rible,“ said Gibson, “was if
Gibson described the fin- there had been some fragment
ished manuscript, which he left in it and lhad to ght for
turnedinjust before thestrike, partial credit or some sort of
as“moody, very moody."Said cut. But l was lucky. lt was nice
Gibson. "We‘re talking arty to get paid for working on a
science ction novelist attempts rst draft of a high prole Hol-
to come to grips with cinema lywood lm, get off scott free
form. The TV Guide synopsis and get more work on the basis
would
..
read,
.
“Space . commies of that. That.
amazed me more
l'Il_]3Ck alien eggs—big trouble than anything.
in uMallworld
, ' . , .
“l'm. really interested
f.
in see-
"S "M a Scnpt. Id wam mg ""5 "cw . Hm‘ From the
Pmple '9.use m Jud? my §"=='!P'=Y§- " “ruck me as
s9'°°"w'i'"ng ..talents‘. cm? good m ‘ht Ways the rst “Yo
tinued gibsgn. But_ myéimagr rlms wereilgood. agd dlt,im_t;in
"a"°“ as e.e." ‘fame “H e l °wayS'.eywere um .cy
course °f “mung 9 mupk? °f ha.d a°.h°'c° bclween °Penl"g
SFn°"els'° m9ve'"apam°u' ""5 ‘hmg, up and expandmg
la‘: way" Pm ‘t was really‘ I le meamng °f the ‘W0 pr“
think, initially, an extremely vious lms or going for clo-
ungainly and even totally sure. They went for closure.
unworkable way to proceed as They had a_n emotionally logi-
a screenwnter. lvhave subse- cal conclusion and thatswhat
quemly had '0 "am anclnirely may “Fm f.°" . .
new group_of muscles without lthinkits success willhing_e
enmiely loslrlglhe olhersf on ‘he l°°k (Pf ‘hi: mm" If H
abs?“ d'd.n°! hear back |°(?k5.gre.a‘ H Wm be. very
from Hill or Giler for the dura- satisfying; ifnot, there will be a
:;'gn::£ ::;o“‘;ll'?;'a‘J:;_l;e;!;:; Pl'°bl°m- El
long time," said Gibson,'who John t-tun lulh u':'i|;::‘btut='
. wwum dQw| _ °
1°‘! hm‘ s,|°°P_h“‘""g 1?“? llyllutlon ALIEN a emu out rm.
Pa'd_f"°"‘"g °""lh° “"1" 5
lam E"cm“a"y- G'b5°“_ew
back rm 3 niiw wlwe Chmese
food lunch with Hill Gilerand
. 1
d"°m°' Remy Ha'l'"' who by
the" (ind be°n.s'gnigL":E](:;f]
“l°“l ale‘ qumas 5
director. The producers sug-
B¢5!¢d Gib$°" udlilke 3
rewrite with Harlin, But by
then, Gibson was being asked
to adapt his own stories as
screenplays, a task he found
more meaningful.
Recently, Gibson was sent a
stack ofscripts for ALlEN3by
the Writers Guild, which has
assigning credit for the script
and story. Gibson said he was
happy todiscoverthat only one
of his ideas survived—one of
the characters in the lm has
a bar code tattooed on his
body.
“What would have been hor-
13
 WRITING ‘I'll! SEQUEL
“They ilidn't know what they viantetl," said
screenwriter Eric Red. “lt's the responsibility
of the protlucer to have a creative concept. But
these guys were aloot. I only met them once.”

device to furnish an ALIEN 4 old formula for suceess.hisroric

.
waver -I mp," Hm‘ cm“ Hm“ N.“ M gm ‘M mu M gums N", |.
Ioumi dead at rm openlnq ol ALIEN 3, making rm earlier Illm mom polnlku,
solely to thank forthat."Ward
has nowcompleted the lming
of MAP OF THE HUMAN
HEART. his pet project. “an
imaginary love story set over
30 years.“photographed in the
Arctic Circle.
With Ward out of the pic-
ture. writer John Fasanotem-
pered down the script ideas
Fox considered too 0utra-
geous. Scenarios contributed
byalongparadcofscreenvi'rit-
ers(seestory.page23).ineluded
‘ pltsslbilil)‘.
l winner of numerous MTV
outrageous ideaslikethealiens
invading New York and fusing
into a giant bio-mechanoid
monster. Arceon as a totally
wooden planetoid became a
heavy metal orbiter with wood
used merely as retro-camou-
agc. The now alien—impreg-
nated Ripley was given an
ancient herbal formula to
choke up the embryo before
heading skyward once more
with Mattias. a monk's pet
dog. as company. the latter a
Then David Fincher was
Signed I0 dire. Fihen lhti
awards for his Paula Abdul
and REO Speedwagon rock
videos. makes hisfeaturedebut
with ALIEN 3. which stars
Charles (PLENTY) Dance.
Charles Dutton. Brian (AN
AMERICAN WEREWOLF
IN LONDON) Glover. Paul
McGann. Ralph Brown and
Daniel Webb. But if Fox was
keeping their fingers crossed in
the hope that Fincher could
bringacontemporary verve to
the medievalproceedings. plus
aquiek-fire visualapproachto
their money-spinning science
ction saga. without veering
too much from their l2-year-
events were to prove them
wrong.
The (iulf wilfl11IppCCd and
the Fox producer in charge
reportedly high-tailed it home
stateside. leaving the cast and
crew without the full produc-
tion support they desperately
needed. Pr0ducerJon Landau.
at Fox. declined to be inter-
viewed ahout the production.
Many crucialartistic decisions
were made on thespot.Mone)
was scarce.with Fox keepinga
tight reign on the budget purse
strings. and key departments
complained they couldn't
deliver what was expected
under thecircumstances. Finch-
er at one stage gave Gillis and
Woodruff extra money to
Illlillutdoll pagelll

THE FATE OF RIPLEY AND ALIEN 4

When Fox ran trailers for
ALIEN 3 last July, tagged on
the front of their summer op
POINT BREAK, the lm was
advertised for a Christmas
release, with the voiceovcr
suggestion that the third lm
in the series would have an
Earth setting. That was before
extensive reshooting to x
their troubled production,
planned for August and report-
edly budgeted at $l0 million, fell
through. Rumor had it that Sigoumey
Weaver refused to shave her head again
to match theexisting prison planet foot-
age of Fox‘scostly$50millionproduction.
Some l‘CSl1‘l)):l)llhgljI8!8lE:né3l8CC.F0X
executive pr ucer on n au super-
i::::..o.":2r.:il.:';‘::.;:.::.?.:i.it “Z.¥§“25J3‘“'fii§§‘;‘l;°&
which the ‘alien bursts forth from the
body of a dog. Fox was reportedly still
intcrcstcd in shootinga new ending. Pre-
views of the work in progress in mid-
February showed little evidence of the
lm being ‘xed.’
Producer David Gilcr refused to dis-
cuss thc lm's production difculties.
but defended the decision to
make the story a “prison pic-
ture.“ Said Giler, “Part of
what makes an ALIEN movie
work is they'rca reworking of
other genres of movies. We
felt the rst was truck drivers
in space; the second was
marines in space; the third
would be tough guys in space.
keeping genre elements that
had worked well before—thc
claustrophobic environment. a lot of
people no one cared much about in the-
ory. the otsam and jetsam of the
future.“
Gilcr said Newt, the little girl played
[Ry]-I(é8NI'IglC Henp,bsavcd‘ lay Eitpley in
, wasn roug t ac or two
grown up. aging drastically by deep-
space hibernation standards. The lm’s
original script by cyberpunkauthor Wil-
liam Gibson had addressed this prob-
lem, by showing Newt going off to live
with her grandparents. Killing the char-
acter makes the scenario of James
Cameron's ALIENS rather pointless.
Without conrming that the lm's
original ending, in which Ripley dies,
has been changed, Giler suggested that
ALIEN 3 won't necessarily be the cnd of
the series. “Your biggest obligation,”
said Giler. “is to make it different from
the rst two, to try to keep it fresh, not
just make it a sequel. You can‘! see this
series as a trilogy. The idea that she
[Ripley] dies at the end, and it's a trilogy
and it's over, is silly. If everyone loves
this movie, there will bcafourth one. It's
science ction—thcre are nine million
ways to bring Ripley back,ortodoothcr
alien stories. You could bring it back to
the planet of the aliens, never mind
Earth." Sheldon Teitelbaurn
""""' '°""'"'
~15‘-'"'-""@-'~'“»"-'-"=~'"'~""-'"-~‘“"‘-i‘-=1"-~

14
 DEVELOPMENT |‘|ELL
In their quest for a big bucks sequel, Fox went through
a dizzying array of Hollywood screenwriters and directors.
simply weren't involved. I
By Sheldon think it‘s the responsibility
Teitelbaum of the producer or creative
ALIEN 3 evolved from entity to haveacreative con-
dozens of scripts bya score cept or to make sure it‘s
or more ofwriters into what moving forward efciently.
one veteran of the process But these guys were aloof. I
anticipates will be “a barely only met once with each of
serviceable, $50 million B them.“
horror movie.“ Hollywood Red's script introduced a
has a name for the process new protagonist, a special
—it‘s called “development services commando whose
hell"by writers and produc- platoon is wiped out by the
ers who run the studio alien when it boards Ripley's
development gauntlet. Few now lifeless Ship, seen adrift
routes are as circuitous as at the conclusion of ALIENS.
those pursued by Holly- _ The alien is brought aboard
wood when, armed with a h
W-W bu. mm" ‘M om I mum“ “nun”, 5,, mi" ,_ M,_~,, M an orbiting space outpost
high concept and a deep pa-inutnqnuauuncnauinruutgtiunuquinwwuuipu-nupuiumqum populated mostly(and illog-
pocket, it is of a mind to ically —plausible science
make a particular movie,espe- him,"explained Giler. “End of “The basic problem when I is never the long suit ofany of
cially a studio witha hot fran- story.“ Unmentioned was the was involved, for ve weeks, the scripts) byredneck farmers.
chise, a paucity of genuine budgetary factor. Introducing was theydidn‘tknowwhatthey The Company, in conjunction
vision, and a devastating case the alien into “Bladerunner wanted,“ recalled Red, who with the military, conspires to
of sequelitis. City” as novelist William Gib- denies being bitter about the tame the beastie, but ina scene
20th Century Fox leamed it son wasinitially wont todo(see experience. “They went through seemingly lifted from ROBO-
had steam in the ALIEN fran- adjoining story, page 20) would a real waste oftalent because of COP llvnot to mention KING
chise in I986, when James have been prohibitivelyex- that. Another major problem KONG or MIGHTY JOE
Cameron‘sALIENSinspired pensive. was they didn't want Sigour- YOUNG—the alien embarks
pandemonium at the boxof- After Gibson's rst draft ney [Weaver] back,so I had to on the standard slaughterfest.
ce. Fox wanted another lm was rejected, Hill and Giler go through a whole series of It then turns its attentions to
in the series,and turned to writ- introd uced the novelist to new characters. As for the pro- the surface, where the terrified
er/producers Walter Hill and Renny Harlin (DIE HARD ducers, [Hill and Giler], they townsfolk are mounting a
David Giler to deliver the II), then slated to direct the
goods. As keepers of the fran- picture. Gibson declined fur- lnnw Hwlr-n II Blitw II In ALIEN 3. nlwlrw I" "HI! II III N IMMI-
chise~—with Brandywine Pro- ther involvement because of
ductions‘ Gordon Caroll~ othercommitments, however,
Hill and Giler had developed and it was decided thistimeto
the originalaswellasitssequel go with a big name screen-
at Fox. Neither, however,were writer. Enter A-list writer/di-
clear on what a third movie rector Eric Red, who had
would be about. They knew crafted THE HITCHER,
only that they did not want to NEAR DARK, BLUE STEEL,
turn the alien(s) loose on COHEN 8: TATE and most
Earth. Giler said the alien recently directed the horror
works best inaclaustrophobic lm BODY PARTS. Harlin
setting. had met Red at a film festival,
“Drop the alien in Death and with Hill and Giler's per-
Valley and you dropa nuke on mission, signed him on.
15
 BELIEVE IT IIII IIIIT
“Ripley can he written as a man er a woman,"
noted Illill 3 executive producer David Giler.
“ln tact, it was nriginally written as a man.
change it lcr Signumey
posse.
Neither Hill and Giler nor
Fox liked the script, despite
Red‘; introduction of a new
kind of alien, one which takes
on the physical attributes of its
host, in this caseacow. “When
I met with Hill," recalled Red,
“I said, in ALIEN you had one
creature, in the second, I00,
and that in this lm you needed
a new type of creature. Igave
them the ‘cattle alien,‘ and I
understand they went with that
idea.“
Sigourney Weaver didn ‘t
like the script either, mostly
because she wasn't in it (no
l
wonder, given her former pro-
tcstations). “It wasa disaster,“
said Giler of Red‘s script,
“absolutely dreadful, and that
was the end of both ofthem.“
At this point, Hill and Giler
turned back to basics, namely
the Gibson script. They hired
David Twohy on the basis ofa
screenplay they had read, and
asked him to base his own ver-
sion on the Gibson script. “By
then it wasa Soviet Union ship
vs. Gateway [the space station
Ripley finds herself on at the
start of ALI ENS]." noted
Giler.
i Giler said Twohy rendered
major changes in character,
W -
vi‘... iii,“ mp “I, 1, M gyy; in Aug" (‘my am" ,
lpmddlhnlulihedrudoledhnrnmihvlmnllwithlilb
l dialogue and, toalesserextent,
plot. Notably, Twohy set his
picture onaprison planet.111e
""°""' II‘ ""1 °' "' "' "" "'7' """' """"""‘ ""' "" "" """Y°'
' ‘ “‘ "
screenwriter add ressed the
issue of whether or not Weaver
would participate by writing
two versions of the script,one
with her and the other without
her. This was not,said Giler,a
major problem.
“The Ripley character can
be written as a man or a
woman.“noted Giler. “In fact,
it was originally written as a
man. To change it for Sigour-
ney isn't all that tough—she
brings a lot of it herself.“
Giler said he liked Twohy's
work. But Hilland Giler re-
placed Harlin with director
Vincent Ward, who dispensed
with the Gibson template
In
Ileaver isn't tnugh.”
entirely. Ward did not fancy
himselfa writmbuthcbrought
a vision to the production that
caught Hill and Giler's as well
38 FOX'§ fancy- L¢l‘S 5¢l the
story in a monastery in outer
Spice. Suggested Ward. And
let's locate the monastery on a
man-made satellite or space
station made out of wood.
The idea of anorganic space-
craft, which may have been
inspired by science fiction
paintings by British artist
Chris Foss, didn't address the
dearth ofstory then extent, but
asa high concept, it was inspir-
ing. A wooden planetoid was
even better than “steampunk,"
the budding sub-subgenre of
science ction set in Victorian
England that Gibson and co-
writer Bruce Sterling were
busy exploiting (and which
would debutintheirnovel, The
Difference Engine). ALIEN
and ALIENS both had a dis-
tinctive look, but this was an
art director's wet dream.
Because Ward envisioned
himself as an idea man, he was
matched with screenwriter
John Fasano, who was known
to be a quick writer. Theirrst
draft, which was delivered in
early I990, posited Ripley's
arrival on a wooden planetoid
in a far-off galaxy where a
group of neo-Luddite former
religious heretics have been
sequestered, ostensibly to pre-
serve the combined knowledge
of mankind containedinactual
books. The “monks"have been
told by their abbot, in fact, that
Earth civilization has suc-
cumbed to a virus that wrecked
the planet‘s knowledge base.
(The wood factor becomes
important when Ripleydiscov-
ers that the monksare buming
the planetoid‘s lumberyard
innards to keep from freezing
to death, and that the attempt
is self defeating because as
more pulpyinsulation is re-
moved,the planetoid becomes
colder.) Of course, the alien
hitchesa ride, making the resi-
dents pine for a simple death
by frostbite.
Although the studio loved
Ward ‘s vision. it was less than
enamored With the Script he
turned in. a problem made
more dire by the fact that by
then. Ward W85 already in
London engaged in prept0—
duction. “Vincent‘s wood idea
didn't Wfk at a|l."5aid Gi|el‘-
“We couldn‘t gure outwhyit
Shnllld he made OT W006. We
could nevergetasimpleanswer
fromthem. Whywouldtheyy
allthat wood outthere(thelm
is set in another galaxy. no
less), and why was it crummy
wood, at that? The picture
would have had a great look.
but itdidn‘t make sense. There
were just a lot of ‘why‘ prob-
lems. What were these monks
about? What was their creed‘!
They were sort ofLuddites,but
it never gets explained prop-
erly."
Meanwhile. the working
relationship between Ward
and Fasano began IO deteri0-
rate(asitwould betweenward
and must Of his C0—w0rkerS in
London).Fasanosteppedout.
and was replaced for a short
time by screenwriter Greg
Press. It was Press who came
up with the idea of killing off
Ripley. But he didn‘t succeed
in shoring up the screenplay to
the producers‘ liking, and
Fasano wasasked fora second
draft,thistimeworkingalone.
That didn‘t work out either.
“Hejust wasn‘t in sync with
the people he was working
withincomingup withawork-
able screenplay," said one
insider. “and he personally
began to go a little out ofcon-
trol. He started to alienate
people,anditwasabaddealall
around. The lm seemed to be
getting out of control. Ward
started to ip out—maybe he
wanted out. He started badger-
ing people in ways that made
him look like someone who
was not moving forward. The
tension level, already high,
started to rise."
Ward left. Enter 28-year-old
music video and TV commer-
cial director David Fincher.
who came to the project with
specific ideas regarding plot
and character. Fincher was
matched up with screenwriter
Larry(THE HUNT FOR RED
OCTOBER) Ferguson. To-
gether, they worked with
Fasano‘sdraft,buttheireffort
also wasn't deemed up to
snuff. “Ferguson's quite a
good writer,"recounted Giler.
“but he was working under
enormous pressure. working
very quickly, and it wasn't
what we wanted." Maybe not,
but Ferguson's name was put pick up the pen you beco.ne
forth by Fox for shared writ- the writer. lt's easy for the
ing credit, attesting to the director to argue with the
number ofideas heintroduced writer but not the writer/ pro-
that were retained by the nal ducer. You can‘t get rid ofthe
script. writers when they are the pro-
lt was at this juncture that ducers. You bring the studio
Hill and Giler complicated into it too. and that creates
matters for Fincher by taking trouble.“
on the writing as well as the Hill and Giler abandoned
producing ofthe movie.Aneo- the monastery setting, return-
phyte to features, Fincher‘s ing to Twohy‘s prison planet
autonomy was already inher— locale. They turned in their
ently compromised by his script at Christmastime, I990
youth and lack of experience. but Fox reportedly was not
For a rst-time director to happy with it either. and they
have to deal with having one's left, At which point Fincher
writersalsobeone‘sproducers,
however, was more than most Wnvlr II convict-In-lpocl Ripley In
should have to bear, whatever
I8 ihlvnd hd It III
ALIEN 3. eyeing
dud! nocilon ol I prison minor.
the quality of the script.
Fincher couldn‘t possibly tell
them he had problems with the
script—and insiders indicated
that he had many—and bythe
same token expectthemto run
interference with the studio.
But to walk, said one insider,
“would havebeenamajor‘fuck
you‘ to the studio.“ especially
with the production slated to
move into high gear within
weeks.
Gileracknowledged Finch-
er's dilemma, albeit from his
own vantagepoint.“lt'sadif-
cult position to be both the
producerand the writer,"said
Giler. “From the moment you
17
broughtinlow~budgetdircctor
and screenwriter Rex Pickett
(FROM HOLLYWOOD TO
DEA[)WOOD). Pickett's job
was allegedly tn run fixes on
the second half ofthe Hill Gi-
ler script; in particular. to
resurrectaprisonwardenchar-
actcr initially killed off in an
expensive set piece. Sources
indicate Pickett‘s material was
initially well-received by the
studio_ but that personal and
political differences with Hill
and Giler (Pickett declined to
h il@l'\'if!\\'d) led to his
departure after a month of
F""""i RIPIWI llwvry HI the
‘|’:°:.°?‘:';o¢:';E|:'.°”":w°L:;':°°;’.':'::|d
_'
work.
"They snuck this guy in on
us." said Giler. "No one knew
who he was. no one had ever
read anything of his. No one
knew why he should be hired
othcrthanthat he wasthc boy-
friend ofone ofthe executive's
friends. lt wasjust a farce— l
still don't know what that was
about."
If Fox was nally pleased.
Pickett was himself nonc too
happy with his work. In a for-
ward to his scriptdraft.usedas
a sample of his work. Pickett
appended the following: "l
was hired by 20th Century Fox
four weeks priorto the start of
principal photography on
ALIEN 3. First on my agenda
was a complete rewrite of the
f w ll
Sig; c :p learylzlue
iefillrez
to certain majorcharacter and
narrative changes mandated
by Walter Hill. Once that was
accomplished I was to attend
to the rst half and write an
amalgamated version. which
was to include scenes from
theirdraftand new scenesthat
l wrote. Thus the resultant
screenplay~particularlythe
first half—contains scenes
that l wasinstructed to include
whether l wanted to or not. In
short. this was a ‘crunch time‘
rewrite, and to fullyappreciate
the work that is represented
here. the reader should referto
the Hill-Giler draft that l was
rewriting from.“
Hill and Giler were eventu-
ally called hack by Fox because
Sigourncy Weaver had eon-
tracled to appear in the film
only if they were its writers.
Weaver thus not only com~
mandcd a tremendous sum of
money for reprising her role as
Ripley forathirdtime_butalso
found herself calling the shots
on story issues. As evidenced
by HUDSON HAWKE and
other recent actor-driven vehi-
cles. this kind of power rarely
bodes well for the plot.
Alatc draft by Hilland Giler
acknowledged ten revisions
'1] LIHCI Henrlknon an "company" lndrnld Blnhop In ALIENS (1986). employing ullen
3
flcohuggen for weapons ruelnzh our the oblccllom cl Michael Blehn an Hlekn.
dating from January lb. l99l
through April I0, l99l.Changes
were effected throughout the
shoot. however. and a final
copy ofthescriptlikelyeouldn't
contain a complete list of revi-
sions onthe frontpage alone. lt
remains to he seen whether
Fincher.whomayha\ethought
he could overpower story
problems by sheer dint of vis-
ual style. salvaged a boxoffice
success when left alone in the
cutting room. Actor Lance
Henriksen. who reprised his
role as the android Bishop
from ALlEl\'S.sworebyFinch-
cr's talcntand presence. but it's
still anyone‘s bet who runs
screamingintothe nightlirst—
Fincher or his audience. D
14.
‘-7
-=§.~Z~
K1. gs
f ii
 TIIE ALIEII 3 STIIIIV
“There was always one hasic pmhlem with
the script. The exciting, slam-hang, lames
Bameren RAMBO-style actien audiences will he
expecting is, for the must part, missing.”

improve the alien models Richard Edlund.

heca use he thought they looked
tacky. Gillis and Woodruff
also declined to discuss their
work on the film.
Some of the work done bv
Glllls “ltd w°°dl'"l'l"-‘ A- D- l-
effects compa ny has been
dropped from the lm. includ—
ing what was tobethe Alien‘s
first appearance. an H.R.
Giger-designed conceptduhhed
the"Bambi-hurster.“Thealien
in the film bursts forth from a
dog. and Fincher filmed shots
ofa canine made up h_\'A.D.l.,
dropped because “the_vcouldn‘t
get the dog to perform." To get
the alien to walk on all l'ours—
onl_\ the full-grown stage is
now depicted A.D.l.'s work
has been enhanced by com-
puter graphics supervised hy
Manycrcw membersin Lon-
don took to wearing T-shirts
with the title logo printed on
the front and "FUCK" on the
back. as much a comment
llhm" ll“ h="\')' U5“ 0" °XPl°'
tives in the re-written script as
about the way theyallfelt. Said
one crew member. “No way
could ALlEN3bedescribedas
ahappyshoot.ltwasadepress-
ing experience but Fincherdid
his best."
But Fox apparently wasn't
happy with the results. They
took one look at the assembled
rough-cut and ordered a month
nf reShOOtS. plusa newending.
to he filmed during August
I991 back in London. Fox
publicist Terr)" Clifford refused
to provide information about
Weaver n Ripley. uvinq Mlchlel Blohn -1 Hlckl In ALIENS. "rm chlructor ll
killed otl -i tho amt ol ALIEN :4 I0 the lcpl eoiiia CODCIIIIIIIQ on WIIIOI.
the production and banned There's no James Cameron
others.includingactrcssSigour- RAMBO-style gun-play in
ney Weaver. from talking to ALIEN Jatall."
(‘I/ufarilu.\'n'qtu'. The reshoots might have
Noted a source close to thc redressed that lack and fixed
production.“There wasalways the film's downbeat ending.
one basic problem with the butWeaverreportedlystymied
script. The pacifist monks Fox's attempts to save the lilm
never had. or would use. weap- when she declined to shave her
ons. A medieval flamethrower head again to match her prison
makes an appearance but the hutch haircut in the original
exciting slam-hang action footage for the reshoots. The
audiences will be expecting is. lm's original ending shot by
for the most part. missing. Fineher kills off Ripley in a

Tl'lE RETURN OF THE ANDROID

lance Henrikscn is backinthe role of
“company“android Bishopin ALIEN 3.
In ALIENS. Bishop was severed in half,
but Ripley reconnects him briey in the
new sequel, just long enough for the
android to tell her to pull his plug as a
“favor.” Henriksen reappearslaterinthe
lm as Bishop II. his own maker, a
company hadass. Once the alien is
loosed on the prison orbiter on which
Ripley crashes, the company is radioed
for help and Henriksen shows up to
enlist Ripley’s helpin taking back anegg
to use for weapons research.
Henriksen noted that therewastalkof
a third and even fourth lm in the series
while he was lming ALlENSin I986. “I
wouldn't agree to anything without
knowing what the script was."said Hen-
riksen. who took the part in ALIEN 3at
the behest of executive producer Walter
Hill. “Walter called me and said,‘lance.
go to England. Do the role.“
Henriksen took over the Bishop part
from Ian Holm, who played the role in
ALIEN (l979)- “I W""l¢d my hair to
look likecoppcrwire “said Henriksen a
blond who was dyed black to match
I-Iolm instead. “I wanted to suggest
Bishop was different, but not make it
radical. I waxed my arms. My skin
looked an odd tone. Changing my look
was pan of the process.”
I-Ienriksen noted he regarded the
Bishop role as a major breakthrough in
his career. “It put me on the map,“ said
Henriksen. “That was an unexpected
response. It wasa minor role and meant
to be one." Hcnriksen described the
“method"technique he used to make the
part stand out. “I used the emotional
2')‘
level 1 had when I was 13,“ he said. “If
someone makes a mistake, rhey can be
replaced. It gave me feelings to work
with. I work very privately. I don't ask
for permission. It's all a secret. When I
get direction, I translate through what
I'm doing.”
Henriksen was high on working with
ALIEN 3 director David Fincher. “The
kid's a genius,"said Henriksen. “Whata
mind! He comes from the Propaganda
group, They make rock videos, He‘; 25. I
was shocked. It was his rst feature. He
was the most intelligent. most patient.
most communicative director I think I
have ever worked with.“ “mu"' |n"m"m'"Q mar“
Sheldon Teitelbaum muting uni nut-lam tlncbr Davie Fincher.

19
monumental act of self-sacri-
ce as she positions herself
Christ-like above a blast fur-
nace of molten lead andjumps
to her oblivion. The scene is a
reworking ofdeparted director
Ward‘s originaleonceptforthe
climax. which had Ripleyposi-
tion herself over a medieval
glass-works furnace so the
alien embryo would burst out
ofherchcst and plungedirecily
into the molten crystal.
to
between this ending and the
one in last summer's TERMI-
NATOR 2:.lUDGMENT DAY.
director James Cameron re-
marked.“l'd noidea. ltsounds
iii.-L“iil.l'2°.Z'§§T.,‘i.$3
}i3‘.‘.fi§“.?.‘?.‘ié‘.ii._°.lZ‘i.‘~5°""_
Reportedly. it‘s notacoinci-
dence Fox relished. Story-
board artist Martin Asbury.
who helped Fincherdesignthe
downbeat climax. told Bri-
tain‘s Fear magazine that he
and Fincher were informed
that it wouldn‘t be used
because of the similarity to
TERMINATOR 2_ of
lm's constant rewriting and
script changes Asbury noted
that filming was halfwaydone
when the production “was still
expccung the nal 30 pagei"
I/Esrgigrznzbsoutg
[Min tfhmu “S conswm
8 S
“Mom: men new
re‘; .ionS_
sec; w be in cozmol of me
smdios rather man mmmab
ers. They know ifthey release
-
Qklshgipgfpxlgrcciiiggti
They.“ going lo make m“_
lions of dollars‘ ‘hey don.‘
can whauhc piCwre.s“ke_-‘D
¢,,,,," 5, mm,“ n D|||°n'm,,,M
man cum rollqlouu fanatic, the
"°‘""°" °' “"""' P""°' °' "'°"'"-
20
A REVIEW OF THE
Lacks the action touch of ]ames Cameron
"f’ and otherworldly vision of H. R. Giger.
By Carl Brandon
. .
v'cwmg.°r a
Based on a
mush Fm: ALIEN '5 an
Fngmssing'fpmb]em§“cemry
m FPXS ALIEN Sc.nes' The
5'!" °“ 3 sfmhdesened
'5 Se‘
the prison planet which houses a
"““d°“'“ fac'°"y.‘ Why d° 5°
many .fu“"° 5°c'c“es 0“ 'i""‘
look “kc. rundown faclones?
Because "E cheapczlto rgnilg
iiiiIdddi':arfe :‘i'i:(aii-iigtic ?l:llU!'i;lllC
society. ALIEN 3 has neither
theotherworldlyfascinationof
H.R. Gigers i alien planet and
- -
Rori Cobb's ship designs ofthe
original northe kick-assfrenzy
that wasthe hallmark ofJames
Cameron's sequel. ALIENS.
lnstead._rock video director
David Fincher hurls his eam-
era down narrow corridors to
emphasize claustrophobic se_t-
tings which suggest in their
crowded isolation those of
John Carpenter's THETHING
(I982).
ALIEN 3 risks alienating its
audience at the outset. In
ALIEN. heroine Ripley (Si~
gourney Weaver) survived by
displaying tremendous brav-
ery and cunning. not paniCk-
ing. Cameron's sequelempha-
silsd how lheeXp¢l’lenC¢S68rI'¢d
her mentally and emotionally.
and that by recnfronlig the
alien. Ripley Was able to meet
her fefrld C0nq\-lfll. Bysav-
ing Newt and Hicks in Camer-
on's film. Ripley was once
again able to establish human
contact. having lost the rela-
tionship of her daughter after
‘
l
Elocuvo producortlllllov Hlll.
oating in space for 50 years.
Fans of the second lm devel-
opedan emotional investment
in Hicks and Newt and will be
disappointed to discover that
they are both dead under the
opening credits of ALIEN 3.
which is set shortly after the
time frame of Cameron's movie.
The nished lm combines
the medieval monks idea ofthe
Vincent Wardand John Fasano
drafts. with the inhabitants of
David Twohy‘s prison planet.
making forsome very religious
prisoners. The final script is
credited to Larry Ferguson
and producers Walter Hilland
David Giler. The planet that
Ripley's escape capsule crash-
lands on hasatotal population
of 28. 25 prisoners. a Warden.
his assistant (nicknamed “85"
for his I.Q.) and Clemens
(Charles Dance), who servesas
chief medical officer. The
warden is very concerned
about the effect of having a
woman present on a planet
lled with incarcerated rapists
and murderers and contacts
the Weyland-Yutani Corpora-
tion to take Ripley away as
soon as possible.
Amajordrawback ofALlEN
3 isthat it utilizes what science
ction writer and critic James
Blish called the “idiot plot."
dened as a plot which is kept
in motion solelyby virtueofthe
fact that everybody involved is
an idiot. One of the prime
chuckleheads proves to be
Ripley herself. who fails at sev-
eral important early opportun-
ities to tell the peopleincharge
anything about the Xenomor-
phic align shg ha§eric0unt¢rcd_
which shc fear; has somehow
invaded her §pacc capsule,
Asaconsequence of Ripley
remaining mum.‘ no one no-
(ices when a prisoner‘s dog
begins acting strangely. The
slightlydifferent look of ALIEN
3'5 Xenomorph results from its
evolution from the dog. Cour-
tesy of computer-generated
effects supervised by Richard
Edlund. it moves very fast
when seen full-body. scamper-
ing along the oor or ceiling.
but its reach is not as long.
Considering that the queen
was killed in ALlENS after
having its egg sac severed.
where the aliens in this lm
come from remains a mystery.
One of the ideas in Dan
O‘Bannon‘s original script of
ALIEN was that the alien
would imitate whatever crea-
ture it infected as partofits life
 SCI-Fl IIIGII IZIIIIGEPT
“The lm utilizes vrhat science ction writer
and critic lames lllish called the ‘idiot plot,’
dened as a plot lterrt in motion hy virtue of the
fact that everybody involved is an idiot.”

changeable as the characters‘ sive but briefly seen, quick-

sham," w.n"_R|phym‘uEN3'°MMM|"mMhp.mh““d.m
1 dlllppolnllng dud end, qlmoflng III
cycle. The adult version would
feed offits victimsand leavethe
leftovers to supply an egg with
food until the facehugger ver-
sion found another victim and
continued the cycle. Scenes
illustratingthis,namelyRipley
finding Brett (Harry Dean
Stanton) in a cocoon. were cut
from Ridley Scott's directorial
cut before release. Cameron
turned the alien into a hive
being with eggs laid solely bya
queen, and he too cut a scene
where Ripley discovers Burke
(Paul Reiser) in a cocoon and
hands him a hand grenade.
This aspect was madethe sub-
ject of a lawsuit by A.E. van
Vogt, which was settled out of
court. VanVogt had originated
the concept O‘Bannon b0r-
rowed in a story called “Dis-
cord in Scarlet,“ part of the
author's Voyage ofthe Space
Beagle series.
Ripley's quick bedding of
Clemens. the medical staffer.
prove; in be pnni-|y motivated
and afterward she discovers a
prisoner barcode tattooed on
the back of his neck. Clemens
proves an idiot because he
doesn't check Ripley out for
“infection” even though she is
feeling il|- And Wfdqn An-
drews provesan idiot bydown-
playing a serious incidcnt—
convict Golicdiscovered injured
and gibbering about being
attacked by a dragon~and
later by discounting Ripley's
alien story without checking it
luodlb producer endlt for om oltonm
to grab him.
Even the alien. which in the
other lms possessed a shrewd
cunning, seems to lack intelli-
gence. lt kills Clemens but
bypasses Ripley becausesome-
how Ripley is carrying the
embryo of the queen. Once
Ripley takes charge and re-
solves to drive the alien into a
toxic waste containment unit
with walls several feet thick,
one of the idiot prisoners is
smoking a cigar around highly
flammable fluids when the
alien attacks. causing him to
drop his cigar and ignite the
fluid, incinerating several of
his colleagues.
But the greatest bit of idiocy
is reserved fnr GQlic_whQtakc§
to worshipping the alien as a
god, a riff on the Trashman
from Stephen King‘; THE
STAND or Rev. Cont (from
Clive Barker's "Rawhead
Rex"). Golic kills his fellow
religious converts in order to
r,-cc the entrapped align in
cxchange for his own m-e‘
Strangely enough, the alien
keeps its side of the bargain
and Golic,worthless psychotic
genetic garbage that he is.
becomes the lm‘s sole survivor.
The purpose ofalltheseshe-
nanigans is, ofcourse. toallow
the alien to killas many people
as possible throughout the
lm—a science ction version
of FRIDAY THE l3TH un-
til it isdestroyedinthe prison‘s
leadworks. The script. liberally
shaven iO0k5, True IO the
slasher lm format. it‘s hard
f0!‘ the audience [0 tell one
character from another.
F0! th05¢ Wh0 hv cheered
Ripley‘s Survival. hef impreg-
nation by the alien isa devas-
tating piece of news. When the
Compar_ty‘s aliencontainment
unit arrives. led by Bishop
(l-time H@"Fii<§¢n). the only
reason for Ripley not todestroy
herself immediately is to draw
out the end sequence. as Bishop
ll promises that the Company
will save Ripley's life and
remove and destroy the alien
inside her.
Originally. ALIEN Sended
with the chest-burster coming
out of Ripley, who has just
enoughstrengthtotossthecrit-
ter into the prison‘s molten
leadworks. When a test audi-
ence found this scenario ludi-
crously unsatisfying, Fox
amended the Ciin1aX S0 that
Ripley now spreads her arms
out Christ-like and falls into
the ery pit, saving mankind
from the Company's machina-
tions. It is logicalthatshe must
die, but it invalidates much of
the good will built up by the
series'previous entries.
The special effects, pro-
vided by Edlund‘s Boss Film
Company, include an impres-
Ono of rm ldloh brm rm mm Mrllo lecturing rm eonvleh In ALIEN
erollndooIr1IllOLl|wWIdonhIrli:hodupltwoughI\loolInghyIhllIt
T
moving, quicksilver alien,
interspersed with a few scenes
of an actor in a mechanical
innde1_ Fineher gels good pef_
formances from his cast, with
Weaver playing the role even
better than she did in hei-
Academy Award-nominated
performance in ALIENS.
ll Fincher demonstrates a lively
camera style. and cinematog-
rapher Alex Thomson gives
the lm a grungy look. Thom-
son seems averse to deep focus
photography, occasionallyleav-
ing key background people out
of focus. Though slow at the
beginning. the film is well
paced. allowing for brief res-
pites between the almost non-
stop action sequences.
For teen-agers looking to
see, via MPAA-mandated
quick cuts, the alien smashing
the brains ofa large number of
victims, ALIEN 3 will be a
satisfying film. Given the phe-
nomenal popularity ofthe rst
two lms, this entry is certain
to attract a large number of
viewers. Though well-produced
under adverse circumstances,
thescriptisenough ofabummer
that repeat business and soar-
ing grosses seem unlikely. This
lm, perhaps, burstfromdevel-
opment hell a little prema-
turely. El
:r mt rm

is
out. As Andrews delivers a lec-
ture to the inmates about the
non-existence of Ripley's alien.
§ it smashes through the ceiling
peppered with “fucks"asifthat
were the only curse word the
religious prisoners know,
makes the dialogue as inter-

i 2.
 SA M RAIMl’S EVIL DEAD Ill

Readying the big budget summer sequel,

designed to reach a mainstream audience.
the script with his brother.
By Steve “We've seen the supernatu-
Biodrowski ral defeating man's puny
technology in lots ofscience
The Evil Dead are back.
but now their ranks have
fiction—like in STAR
WARS, ‘Use the Force.‘
swelled to become an We were trying to reverse
ARMY OF DARKNESS. that. Maybe technology is
Universal is tentatively set
to open director Sam Rai-
strongerthanthe monster.“
mi's horror sequel some-
In ARMY OF DARK-
When N ESS, the technology comes
time this summer. counesy of Ash, whoarrives
last we left Ash (Bruce
at the conclu- in the medieval era with
Campbell),
such modern devices as a
sion of EVIL DEAD II
shotgun, an Oldsmobile.
(I989), he had been unwit-
to the and achainsaw, which re-
tingly transported placed his severed right
l3th century, where he was hand in Part II. According
being reluctantly hailed asa
to Campbell. the lm will
hero sent to oppose the much more story-driven
be
Deadites. In the new lm
twine In QQIIQ nuatn comic mm Rlml (I) and nuw ctpclvbor Rob mum. than its predecessors, be-
Ash must nd the Necrano-
cause, “Ultimately. it‘s
mican (the Book of the cameo by Bridget aboutaguytryingtogethomt;
Dead). which contains a spell think theyare seeinganentirely features a
Shelleyin Roger but he has to do some pretty
to open a doorway through original lm; onlythe fans will Fonda(Mary hasty things in order to do
time. Unfortunately, Ash, not know they are actually watch- Corman‘s FRANKENSTEIN
brightest of heroes, ing EVIL DEAD Ill. UNBOUND), as Ash's ill- that_andthequestioniswhether
being the
Despite the on-screen sub- fated, 20th-century girlfriend. or not he's competentenough.
reads the wrong incantation,
editing. Raimi ln the script dev¢]()pmcn[_
resurrecting an army of the terfuge, the key creative per- After further
dead, lead by his own evilalter sonnel responsible for the ear- continued
to shoot additional that's what we--primarily
ego. Iier films in the series remain footage in February. Univer- Sam—tried to do. Sam's tastes
have evolved: just doing gags
With a multi-million-dollar behind the camera: Robert sal‘s plans to rcleasethelmin
Tapert produces, Campbell the summer won‘t be nalized w0n‘t hold for him anymore:
budgetandamajordistributor he wants to tell a story now,“
behind it, ARMY OF DARK- co-produces,and Raimidirects. until the distributor has a
The screenplay was written by chance to test market the n- The EVIL DEAD pictures
NESS is not, actually.adirecl not been noted for their
Raimi and his brother Ivan. ished product. which Raimi have
sequel to its low-budget. X— 50 much as for their
planned to deliverin May. plotting
rated predecessors; rather, a who previously collaborated
as if on Universal‘s DARKMAN. “I was fascinated by the stylistic flourishes; in fact,
brief prologue sequence. DARKMAN was Raimi‘scon-
starting from scratch, will The majority of the lm's theme: can technology battle
older version principal photography was the supernatural'?"said screen- scigus attempt to make a lm
strand a slightly
a doctor wherein the plot and charac-
of Campbell’s characterinthe completed late last summer. writer Ivan Raimi. residency ters were more than a mere
After a rough cut was as- who performed his
past. Presumably, new view—
upthe sembled. a small crew lmed in a hospital emergency room excuse for special effects set-
ers_ which should make
sequence, which at the time he was co-writing pieces. ButARMY OF DARK-
majority of the audience. will the prologue

22
I
Ema Campbell In Ash. eomplclo with clulnmull proelhotlc urrn and a damsel
NESSisn‘t exactlyacontinua-
tion of that approach. “lt's
somewhereinthemiddle,"said
Raimi. “It has a better story
than the EVIL DEAD lms.
but it's not as story—heavy as
DARKMAN. lt‘s not as tame
as DARKM/AN, nor is it quite
as wild orextremeasthe EVIL
DEAD films. We're tradinga
lot ofgore for comedy.“
EVll. DEAD ll had its own
share of black comedy. but as
Raimi pointed out. “Our p0l-
icy at that stage was still.‘the
gore. the merrier.‘This picture
has even more comedy. and l
Campbell lorchel a Deldllc. horror ncllon for cummor
In dlatren limlulll Dnvldtz). llllyl
do feel satised—it's great to and it seems to be getting
make the audience laugh.“ stronger rather than weaker.
The emphasis on comedy Plus. this movie isn't about
should helpARMYOFDARK- that—it relies on a different
NESS run the ratings board bag of tricks. Soldon‘t think
gauntlet to receiveitscontractu- the ratingisgoing to beaprob-
ally mandated R; on the other lem, but you never know. l
hand, EVIL DEAD ll wasalso didn‘t think it was going to be
intended asan R-ratedlm.yet with EVIL DEAD ll. but by
went out unrated after being the time wegotan R-rated ver-
given an X. Producer Tapert sion. we had cutabout I7 min~
didn't expect similar problems utes out ofthenalprint. ltwas
this time.“Unlikc EVIL DEAD b85i¢B|l)’ ""\’¢|°_8§ab|°*"°
ll. We rclicd a I0! less On One W°"|d 8° 5""-“
blood.“ said Tapert. “That's a Raimi. too.expressed con-
product of the times: censor- dence that. this time. his
ship is tight around the world. approach will get him past the
ratings board unscathed. “I
nluu by Unlvlrul. ghoughl that [mg [one of EV||__
DEAD ll] would buy some
leniency with the ratings
board. but they lack a sense of
humor. and they have some
hang-up about self-mutilation.“
said Raimi. in reference to one
of the lm‘s most memorable
scenes. “l actually never had to
steer around that this time.
because l‘m less interested in
the blood-and-gore for thrills
than lam in the camera angles
or the content of the scene for
thrills, so l'massuminglwon‘t
have a problem."
Attention-grabbing camera
angles are a major component
the alhrmulh ol I balm vmh the Dudllu.
of Raimi‘s visual style. “lt‘s an
active partieipant,“said Raimi
of the camera, “but Bruce
Campbell's really the star of
this lm. My favorite thing in
the lm is his character. He‘sa
loud mouth, a coward and a
liar. Just like you or me.“
Raimfscmicism oflhechar.
Mm, may Seem a bi; ha,-§h_
considering ‘ha; A511 managgg
to rise above [he myriad ob5;a_
clcs thrown at him. According
to Raimi.because ofAsh‘ssuc-
cess at defeating monsters,
“Unfortunately,hegelsabitof
3 swelled head_ and he‘; really
mean. but we'll slap him down
um“ he [cams hun-|i]i[y__on|y
inthelastve minutes.andnot
thatmuch,soFmgoingtokeep
teaching it to him! He‘s suffer-
ing for the good of the audi-
ence. lt‘s noble in a strange
way. Mytheoryisthatwhatthe
audience wants morethanany-
thing—more than a good story.
morethananinterestingvisual
ora goodjoke——isto see Bruce
Campbell in pain. lf Bruce
Campbell is in pain. then the
audience is havingagreattime.
l've read a few books of lm
criticism and theory. and it all
really boils down to that: the
more pain. the more laughs."Cl
23

aw
Clive Barker’s bloody horror film franchise
By I/Vilsgn
G0odson Jr.
In '98? multi-hm-==IIins
author Clive Barker wrote and
directed his rst lm, HELL-
RAISER, basd on his story
The Hellbound Heart. In I988
Barkerwasexecutiveproducer
forth=s_=quel.HELLBO_UND-
The third installment in the
series, made by Nostradamus
Pictures, HELLRAISER lll:
HELL ON EARTH was lmed
in High Point, North Carolina
earlier this year, budgeted at $5
million, and will be released by
Miramax Films in late August.
The fact that the new sequel is
the rst of the series to be made
without Barker's direct involve-
ment has fans worried that
HELL ON EARTH might
lack the horror specialist‘s
unique touch.
HELLRAISER lll. how-
ever, has its Barker connec-
tion. The author of its screen-
play, Peter Atkins, has known
Barker for over 20 years. They
worked together in an experi-
mental theatre group in Lon-
don, with Barkeras chief writer
and Atkins primarily an actor.
“We would rehearse these
[plays] for six months and then
perform them once,“ recalled
Atkins. “It was veryinefcient,
but very useful, and af unexpe-
rience.“ Atkins appeared in
Barker's Dream, The Wolf-
mari. and A CIowns'S0dom.
Barker personally chose his
friend Atkins to write the script
for HELLRAISER ll: HELL-
BOUND. “The people whoare
now in charge like what l did
well enough to bring me back
for HELLRAISER Ill," said
Atkins, who compared the new
lm to one of “the good middle
period Dracula pictures from
Hammer“ where an important
part of the story is nding a
way to bring back “the chief
boogy, in this case Pinhead.“
The original lm introduced
W‘ C°"°bi‘°5- _d°"‘°Pi° ?"°“'
tures each mutilated ll'l differ-
24
of fantasy 'is very
' kind
' pain.
“This
healthy for society. The
. .
Pf€$e|'\tat|0n of these thl|'\Q5 can be
' '
5ed"°t'Y°’ but to keep It undef
COVEIS IS when the dangers hlt.
Pln;iolI—f(|7);l7BIIUIy). neiaiiig the
hoe um tram ewitimmuii In Hal.
P
entwayvsvsotheyareinconstant
hen summoned by
Somme opemngapuukbox
-
very wed the um-1 Congura-
tion, they delight in inflicting
unendingbutimaginativeagony
hq 3115;] the
”
gh ¢
til
_
the Flgarkgi wznted: to title
original lm SADOMASO-
CHISTS FROM BEYOND
THE GRAVE ) HELLRAIS
ER Il entered the hell inhab-
ited by the Cenobites, humans
transformed by an evil demi-
god called Leviathan because
they had dared use the Lament
Conguration to seek the lim-
its of painand pleasure. At the
conclusion of HELLBOUND.
all the Cenobites, including
their leader Pinhead, a former
soldier, are seemingly de-
stroyed.
At the opening of HELL-
RAISER lll: HELL ON
EARTH, rich, sadistic, bored
nightclub owner J.P. Monroe
(Kevin Bernardt of SUPER-
BOY, GENERAL HOSPI-
TAL, and DYNASTY) nds
there is something trapped in
his newest esoteric sculpture-
Pinhead. When the creature is
released he no longer has any
human side to temper him.
Simultaneously Joey Sum-
merskill (Terry Farrell), a tele-
vision reporter, has witnessed
a horrible murder, performed
by means beyond human under-
standing. Her dreams become
haunted by visions. She gets
involved ina race to recoverthe
Lament Configuration, and
block Pinhead's attempt to
conquer the world with his own
army of pseudo-Cenobites.
The actor who portrays Pin-
head in all three lms, Doug
Bradley. also the star of Barker's
NIGHTBREED, is another
old friend of Barker‘s. They
went to high school together in
Liverpool. As part of the same
theatre group as Barker and
Atkins, Bradley appeared in
almost all of Barker‘s early
Llinlnl centiquniion pule box that vrlll PHYS i"°|"di"8 H"-"0U' 0/11"’
iuuniiig Ito mum el lhoel who option iiini Devil and Frankenstein in
 4

l v

carries on, but without the master’s touch

t- Q»
‘E4 53
Z4.
.,"'- -"' if .
.1, t is .

Q‘? ‘-.}

11$ ,
Z

On the wt at Carolina Atlantic Studios In High Point (I to 1): writer Peter Atkins. director Anthony Htckox. Doug Bradley an
Hnlued.prod|no1L|wm|e0NomII.and|paohletheheoonI|uto|BobKnnlmvtl-ihoudentemulromlisnhhnoeon.

Love. in Which hr played Dr.
Fl'3I1k¢n§l=i\'l- (Bradley Iwld
there may be a move afoot to
revive History 0/ I'll’ Devi! in
New Yfk-) l" HELLR/USER
Ill, Bradley termed Pinhead,
freed from the control of hell,
as “more sinister, more grimly
malevolent."
Bob Keen‘s Image Anima-
tion company, veterans of
HELLRAISER, l-lELLRAlS-
ER ll and Barker's NlGHT-
BREED. provide the special
effectsand makeup for HELL-
RAISER lll. Keen is credited
with the design of therstfour
Cenobites, as well as creating
their native Hell in the rst
sequel. Keen and AlkinSC0l-
laborated on the creation of
ve new Cenobitesfor HELL-
RAISER Ill, which director
Anthony Hickox termed
pseudo-Cenobites,“Pinhead‘s
bastardization of Cenobites.“
Atkins‘rule of thumb for the
creation of a Cenobite is “As is
your desire, so is yourdamna-
tion." ln HELLRAISER ll.
Chenard, the evil doctor, is
both voyeur and a puppet
master, manipulating people.
As a Cenobite, Atkins made
him “essentially Leviathan's
puppet, attached to him bya
long umbilical-like cord.” l
I-IELLRAISER Ill, a disc
jockey beomesCDhead.while
a TV cameraman becomes
Lens head. Keenfeltthatmany
fans read more into the appear-
ance of the Cenobites than was
originally intened.
Hickox was brought in as
 L_.»
3
ifs \" ,1

THE URIGIN ll -

OF PINHEAD
Barkers Cenobite has entered the
pantheon of classic movie monsters.
cholra in the face, powerful
By William Wilson and unsettling,"said Brad-
Goodson Jr. ley. “The layout of the nails
How does one B o about being symmetrical helps. lt
creating and playing a was clearly something that
“unique” character such as was done to him The
Pinhead? Both Doug Brad-
ley, the actor who plays
melancholy showed me he
was human, once. He was, 1 is .14

him, and Bob Keen, the in a way he Fould not .u

M mm“ mm’ W
DougltIdeyaaPltthead,|||:nInat|\lnnt|IIonet
makeup artist whodesigned express, mou_mmg the loss M, mhmm mm
his look, agreed that the of lus humanity.“ lob Keen‘: Image Anlmln. lmhd by Butter.
character's true creator was The Pinhead makeup is
Clive Barker. Keen remem- difficult. It takes three of,"said Atkins.“Hestandsthereandtells
bered on the rst lm that hours to fasten the latex us what he is going to do in these quite
pieces over Bradley‘s face, elegant words. He has charisma and ele-
he and Barker, who was
once a professional illus-
trator, worked with over
:':'m': m
W" | Q||||;f|g|||yyg1g|\_
don the body appliances, gance.That‘s why Pinhead is so popular:
and putinthe uncomforta- he is a long-winded son of a bitch."
250 drawings of different ble black contact lenses. ln the new sequel, Bradley also plays
the Cenobites. Bradley noted that acting under such a Elliott, the British army officer whose
creatures to develop
“What we had,"said Keen, “was almost mask, “you are left with a limited orches- occult dabblings turned him into Pin-
an identity kit of pans. Bits that the Ceno- tra to work with, so you study yourself in head, leader
of the Cenobites. Bradley
read poetry from the period and
bites could have. Then we mixed-and- the mirror and leam what you can do.” said he
matched them around. But Pinhead was Bradley's deep, theatrical voice is an studied at the Imperial War Museum to
which could help him
pretty much inside his [Barker‘s] head. lt important part of the character. Keen nd something
whatitis.ltwasa estimated the character's popularity is relate to the role of the shell-shocked
wasalittledifferentthan I veteran. Bradley found the
little more quill-like. The idea of the grid l0% makeup and 90% due to Bradley's World War
said. He felt it acting. key in a BBC documentary that inter-
came out of something he
should be something not natural, some- HELLRAISER llI's screenwriter viewed survivors of the Battle of the
Some had served in regiments
thing they had done to themselves, which Peter Atkins feels that much of the char- Somme.
acter‘s impact comes from his articulate- with 70% casualties.
is much more frightening.“
Doug Bradley, when asked whatexpe- ness.“We know what this thing iscapable Noted Bradley, “Many survivors said
riences he could draw on in
for the rest of their lives they
creating an inhuman character °°'"""I "I III" Milk. I tw-Mt! -Mme I0"-M WM" WI "\I|II\'='\°'Y~ felt their place was dead on the
who is in constant pain, con- battleeld. I had to put that
sidered and replied, ‘lt is very feeling in Elliott. He was sent to
the colonies after the war.
lucky Bobby DeNiro did not
get the part, with his habit of
where he became involved in
trying to live out a character's sex and drugs. He would grab
experiences.‘ l had two advan- hold of whatever he could, to
tages. l had Clive there and he forget.“ Elliott's experimenta-
knew all about the character. tion led him to the Lament
With Pinhead. however, the Conguration, the puzzle box
supreme advantage is the make- that is the key to Hell. In
up. l look in the mirror and l HELLRAISER lll, Elliott has
not there." been separated from Pinhead
am
Bradley noted the look of and must attempt to nd and
the makeup helps him get in merge with himto haltthe Cen-
rst feeling I obite leader's plans for worg
character. “The
got was a deep sense of melan- domination.

26
director after Tony Randel.
who directed HELLRALSER
ll left due to creative differ-
gicis iith 1:5 P594 iiwsi
l'Ol.l in ll'€C 0l’O
lC OX
photograph? G€i'l'y Lively_
;*;{‘n‘;s"§jAg(“{;}(‘;§{=;(i=“§;}A‘§‘(f
w0Ri< ll: LosT m TIME.
and ROCK-A-BYE-BABY
for Hickox. Lively said thaton
HELLRAISER lll they tried
for “a Ridley Scott—type look.
quite smoky. lots of shafts of
light and brightly lighted areas
dying awaytoverydarkareas."
Hicknx is English. but made
both ofhis WAXWORKfilms
in the US. Mostofthc technical
crew of HELLRAISER Ill
worked on WAXWORK ll.
rejoining Hickox after an
eight-week break. making fora
smooth running set. Hickox is
an admirer of the first two
lms. but admits he wasa little
disappointed in the way HELL-
RAISER underplayed the
sadomasochist relationship of
some of the human characters.
He plans for HELLRAISER
I“ ‘O be -ta psychological hop
For Si???" lhedscaml wean‘
Hiskzprséigezeywagg
,. ~ ~
to much on the rehgmus Con‘
“."“‘“°"‘ in 'hiS.°ne‘ a rem
g:f;‘;sac':z1n£:,;)|".ia"°n between
g '
l?Nk EA:TiJ_ 15 ti‘;
"5 "1
1 ‘F °x 3'" "cc 9
inf‘ "C" “/mic" h""_5e"- Be
smd he foimd “'°rk"'g Wm‘
a"°‘h°" Wm" "fame" '°]'°"'
ins---when thew is a hugs
5""! Bill’ "\ ml’ _"'""d I can
d°5°°"d P" ‘he Wm" mid 53)"
‘What did Y0" "W" "1 ""5
h"°'-im ‘P (“CL H‘°k°_x E3"?
5°'°°"‘""°" P_°l°l' A‘k'“5 3 b"
Pa" "]>lk:§°P h"R3('? the rm’ in
CW5" 3 "ml "15 WW5 3
ba"°"d°" F" J~P- M°","°°'5
Club Wh‘? 15 mgcd with 3
barbed W“? 5“““c-
Atkins noted that for Hickox.
theimportant part ofthe plotis
that “Pinhead is building his
own army to take over the
world. and turn the world into
Hell. He has escapcd from
Hell.and Hell is after him. lfhe
can manage to destroy the box
in time then he will never be
sent back.“Atkinsinsistedthat
the three extra boxes we saw in
HELl.RAlSER ll were copies
and there is only one true
Lament Conguration.
Unlike the rst two lms in
“Pinhead was inside Barkefs
head. The grid Iidea came out of
I u
something he said, that it should be
something not natural, something
they had done to themselves. I!
Lamhoad. Cbhcad and Barbed wlflhlll-1(BII§|I'.|0I short) rampage through the
moat: oi Hllh Point. North Carolina. Pinhead: aqania oi worid domination.
the series. HELLRAISER lll
involved a lot_ of outdoor and
ocation shooting. Lively noted
that“ oin out ofa studioenvi-
ronmgnt ou always give up
some element of control. . . but
it's notadrawback. As soon as
we go outside it shows a whole
different aspect, it sort of wid-
ens the lm's scope.“
The lm's major SCI. J.P.
Monroe‘s apartment. was built
at Carolina AtlanticStudiosin
High Point. lt matches the
oor plan of an actual High
Point nightclub. the Boiler
Room, so the apartment will
appeartobethesecond oorof
the club. Much ofthe lm was
h t 'n the al Boiler Room.
esinii iii dowiiiown High Point.
utilizing over 1.000 extras. in
00¢ SCBHB. an army of Ceno-
bites will rampage through two
closed-off blocks. blowing up
policecars. lndream sequences
there are plans forbattlescenes
from both World War l and
Vietnam.
Secingthe lm as“character
driven.“ Lively said he plans to
use long lenses. l00mm to
l35mm. in the outdoor shots.
“A longer lens compresses."
explained Lively. “lt pulls in
thebackgroundandcompresses
the shot.so yourwholc focusof
attention is drawn to the char-
" agreeable one.“ said Hickox.
-*
actor, as opposed to going in
close. using wide-angle lenses.
and lettingthebackground still
be in focus "
lnthe rstlm Pinhead was
always accompanied by a sort
of omnipresent blue lighting.
Following this precedent each
Cenobite will have a different
“look"established rst intheir
human form and carried over
when they change.
HELLRAISER lll‘s TV
reporter heroine is played by
Terry Farrell(PAPER DOLLS.
BACK T0 SCHOOL). Afar-
mer model.thisis Farrell‘srst
work in the fantasy field.
except for one appearance on
THE TWILIGHTZONE.
victim. Farrellsaid she sawaiiseii
character“Joey“Summerskill.
asa“drivencareerwomanwho
not come to terms with her
hag
father‘; death. It is because of
her father's death in Vietnam
that she has a connection with
Elliott." Pinhead‘s World War
l veteran alter ego. who is also
played by Bradley. “He is able
to come into her world in her
dreams."said Farrcll.
To prepare for her role Far-
rell studied tapes ofTV report-
ers and read a book by Linda
Ellerbee. but didn't plan to
base her performance on any
particular reporter. Farrell
liked working with Hickox.
“He is very close to the actors.
very giving." she said. “He has
been an actorsohe knowswhat
you are going through. and
helps you nd what you need
for him."
The HELLRAISER lms.
while lacking the sheer body
count of some other horror
series. have been criticized for
presenting images of torture.
and spelling out in some detail
the sadistic and masochistic
nature of the villains. Both
Atkins and Hickox insist they
are no more glorifying sadism
“than Oliver Stone's PLA-
TOON glories war. We arc
exploring a subject. not a very
“We are not making Pinhead
into a hero; we are making him
into the ultimate evil.“
Observed Atkins. “I under-
stand that the very presenta-
tion of these things can be
seductive. but there is certainly
no approval in either the
actions in the movies or the
feeling ofthe characters toward
them. Examining this stuff
more seriously has more claim
to legitimacy then something
that just showers the screen
with gore. and then tags on.
they werethe baddiesattheend
ofit. This kind of fantasisttra-
dition is very healthy for
society. To keep it under the
covers is when thedangers hit."
continued on page 6|
A nightclub gambiar lllllvictim to
Pinhead. the Conchita’: idea oi poetic
|usiioe, makeup by Image Animation.
’-
J
’ \\
.5( /'1:
Q‘ H
Z
27
 WE WERE PROMISED SEQUE LS, SO

By Nolan
Wright
‘ - A WARS lm, though Lucas
is free to make use
Zahn noted that Lucas‘
of it.

Where‘s STAR WARS proposed trilogy of lm

4? Dead on the drawing sequels was to be set in
boards, according to crea- “the generation after Han,
tor George Lucas. The Luke and Leia,“a scenario
publicity-shy producer that would allow Lucas to
came out ofhidingin Feb hire inexpensive talent,
ruary to tub-thump his not the movie stars he

3‘2>“~E2"%‘v°!.’“.r‘Zi"<’;’Z
interview. page 30) and
saga that made him ri<=h- ';:‘.:':f' .':;;::::: early on in the project—
,'
told The New York Times.
“l ran out ofenergytodo
it. Once you havedoneita
w,"
2-? " .
,_~

_,"- _" -
>~/" if
_.- '- '

--
'
’ - the off-handed comment
made bya Bantam liaison
—that Lucas went on to
couple of times. then the _;.’>';‘_,_ , do the sequels and decided
thrill of it wears off and ;- '-Ii; '-Z _ to change something l had
you really want to get into ' ‘

H» W * - done. that no one would

really care that much. That
different territory.“
That's a slap in the face was before anyone knew
for loyal STAR WARS how well the book was
fans who have been wait- going to do. so he may be
ing patiently for the next more interested in making
installment. since 1983's at least off-handed referen-
RETURN OFT!-IEJEDI. ces to what l‘ve done.“
Lucas himself, in grandi- Zahn, dubbed a special-
ose fashion. during pro- ist in “technological in-
duction onTHEEMPlRE trigue—international and
STRIKES BACK in I980. interstellar“ by the Chris-
announced that he would Iian Science Monitor. was
film two more STAR hired to write the book tril-
WARS trilogies, one set it 7 ogy after Bantam struck
bef°l’° and ("W 3"" lh¢ Luen with Abe Gulnmn u Obl-Wan rumba. lmlnq sun WARS In Tunlala In 1911. "19 dl Wilh L"°5AI'l5-
“ Bantam was asked to
saga, told by the rst three tum nu an no longer lnhnlhd In doing an additional tum he punma lor the mm.
lms. Titles bandied about supply an author.“ said
for the rst ofa new trilogy of Lucas was said to be exploring Bantam Books last year. Zahn's Lthn_ a Ph,D, physics candi-
prequels I0 be fllmd. detailing such a production strategy for Dark Force Rising, the second date who switched to a writing
the exploits of a young Obi- the series to save money. book in his trilogy, is due from career. “I panicked about
Wan Kenobi. included THE With Lucas abandoning Bantamin.luly.Zahn‘s bookis whetherlcould dojusticetothe
CLONE WARS and BAT- STAR WARS to concentrate good, but it's not in the same STAR WARS universeand do
TLE FOR THE REPUBLIC. on television,a producer's me- league as STAR WARS. ll's a story worthy to follow the
ROCKETEER dil'C¢l0f J06 dium—Lucas hasn't directed uncinematic and lacks the movies butnotgooverthesame
Johnston revealed that he was since l977——fans must content movie series‘ mythic quality. territory again. What con-
approached by Lucas about themselves with Heir to the Nevertheless, thanks to STAR vinced melcould doagoodjob
directing one of the lms, and Empire, novelist Timothy WARS fans—still legion—the was the tone ofthe movies. the
said he told Lucashe‘d be inter- Zahn‘s Lucas-sanctioned con- book was a publishing success fast pacing, the twisting plot.
ested if he were given the tinuation of the saga of Luke story. That's what l like to do. You
assignment to direct all three, Skywalker, Han Solo and It will not, however, serve as don't have characters sitting
back-to-back, in l5 months. Princess Leia, published by the basis for another STAR around examining psyches. It

28
 /,.\ \
l couple of times, then the thrill wears off and
..-._
- ‘
' -
#4
s1:zthl:g.t:i°d:':l|‘n:°:-nD;bho:i;':1‘i1.u‘:nipii.n"M'iz:um 2§"‘i.."3‘4'i2
t my style."
Zahn‘s Heir ro the Empire
blends the characters and set-
ting of STAR WARS with the
plotting style of his ction,
from his Cobra books to his
i984 Hugo winner Cascade
Poinr. As such,the book fares
betterasasciencectionnovel
than a STAR WARS contin-
uation. Noted Zahn, “If it
brings people into reading
science fiction—through the
back door—it's worth the
work for that alone. There's a
lot ofgood,interesting,thought-
provoking science ction out
there.”
Though LucasArts main-
tained the right of approval
over Zahn‘s work, the author
said he was given a free hand
for the most part. “l got very
little input,“ said Zahn. "I was
to start three to ve yearsafter
the end of JEDI. l could use
any character who had not
been killed off. Basically. that
was it. After l submitted my
outline they came up with a
couple thingstheydidn‘t like.l
couldn‘t reference the ‘Clone
Wars‘ era.” That, Lucas was
saving asthe subject of his now-
abandoned trilogy of movie
.<#'
__'.____ ,_4;'\~‘
ii ‘\
/ya»
1 '~
;_'
’ ' \'
' I
~ /
L‘
F consider this, as the movies,
‘liq
;: -
‘ ,
" ~‘it’ ‘ N
I G
. 1"» '
,
<
J
‘
~ T-'""
r I
, " ’.
' '
prequels.
Zahn maintained that char-
acterization was the hardest
part of working in someone
e|se‘s universe. “These are not
mycharacters,“hesaid."They
have appeared on the screen.
Everybody's seen them, can
hear theirvoices,canvisualize
what they look like. If I can't
match their dialogue and
action close enough, even
allowing forve years ofextra
growth and maturity, I've got
to match them enough so the
reader can see and hear them.
If lam able to do that, then I
am way ahead of the game
because one of the problems of
characterizationistomakethe
characters alive.“
While Leia's diplomatic
skillsinthe bookaremoretalk
than show, her nervousness
and determination best c0m-
municate the New Republic's
struggles. Hanalwayswasa bit
too good, but he quips as well
in print. R2D2whistles,C3PO
whines, Chewbacca stands
steadfast. Though little char-
acter development exists, the
personalitiesallcometolife,as
their older selves. lt‘s a happy
accomplishment that‘s made
JEIIIS DON'T QUIT
“I ran out of energy to rlo it," lucas told the
New York Times. "llnee you have tlone it a
you really want to get into different territory.”
the book popular with fans of Lucas is not the grand story-
~ 9
the movie series.
But like Lucas‘ own mis-
guided non-ending to THE
EMPIRE srrurtss BACK.
Zahn finishes Heir to the
teller he makes himself out to
be. and worse. also lacks the
humility and good sense ofa
Gm Rvddenberrytoletother.
more gifted hands shape his
~
i‘ Empire without an ending. “I artistic legacy.
Lucas, however, mainitains
one story in three segments,“ that he just doesn't care any
explained Zahn. “Whenlsub- more. So,all youSTARWARS
i i mitted my outline it wasforall fans out there, the ones who
‘~ r,~
i“'
three books.“ Unlike Lucas‘
ever-patient movie audience,
Zahn‘s readers have to wait
spent over SI billion in movie
tickets, and untold billions on
other STAR WARS merchan-
dise that enriched Lucas, be
~ Qt justoneyearforhisnextchap-
i ter. But this rude penchant of sure to keep buying the noveli-
STAR WARS for making its rations, comic books and role
'
’ fans wait, hanging, brings to playing games. And be sure to
tune in YOUNG INDIANA
-_ . mind one of Berke Breathed's
post-RETURNOFTHEJEDI JONES, his new TV series.
Bloom Counly cartoons: with Lucastook yourSTARWARS
his li htsabre, oun Binkle - seed money and is trying to
$3" walkgr lops offyLucais' headi
“Jedi Knights don‘! wait l5
make a killing on network TV.
and in the worldwidetelevision
years fora sequel," syndication market. That's
But STAR WARS‘ many where the big entertainment
fans are waiting—so it seems prot windfalls can be real-
fruitlessly. Some lm industry ized; mountains of cash that
observers feel that Lucas has make the prots Lucas made
missed the boat in notdevelop- from STAR WARSlooksmall.
ing hisfranehise. In notacting, Now that, !h8l'$ Smelhig
Lucashasletoneofthegreatest Lucas is interested in. El
merchandising bonanzas in
Hollywood history just peter
out. Lucas boldlyatteststothe
fact that he cangetastudio to
back a STAR WARS lm at
any time. But is it a lack of
interest that keeps him from
doing so, as he stated in Febru-
arytothetelevision pressorisit
lack of commercial viability?
Or perhaps a lack of vision?
STAR WARS, after all, is not
so mucha Lucascreationas it is
of science
a bastard synthesis
fiction cliches. But unlike
another such grand synthesis,
Lucas‘ series lacks the philo-
sophical thrust of a STAR
TREK. Could it be that Lucas
is just unsure of his own direc-
tion? With each succeeding ~~
STAR WARSlmalmostuni-
versally regarded as less satis-
fying than the last, perhaps
Lucas is not “uninterested,'
but merely timid about getting
up to bat‘! lt could be that
 RAIDER
By Mark
Sure. STAR WARS
creator George Lucas built
a Hollywood empire by
taking wide-eyed movie-
goers on big-screen trips
to a galaxy long ago and
far away. But will viewers
follow by the millions as
the producer-directorex-
plores a new entertain-
ment universe4television'?
That's the question ABC
executives are nervously
coping with as they sift
through the early ratings
returnsforYOUNGlNDl-
ANA JONES CHRONI-
CLES. unveiled in March.
The stakes are high for the
ambitious hour series.
ABC has given Lucas a
commitment for l7 hours
—a two-hour movie pre~
miere. YOUNG lNDl-
ANA JONES AND THE
CURSE OF THE JACK-
AL_and l5episodes(budg-
eted at about SL5 million
each). Lucas. the execu-
tive producer of the series,
also has written 22 Sui ls
P Luau hopes to attract Ford and Spielberg to the new chow.
for a second season. an
extra bonus for fans.
But don‘t expect the non-
stop thrills of lndy‘s three big-
screen adventures. Lucas said
the series will remain closer in
spirit to AMERICAN GRAF-
FlTl than to RAlDERS OF
THE LOST ARK. “There is
action," Lucas said, “but it's
basicallyacoming-of~age story.
lt‘s much more of an explora-
tion of a boy growing up and
being confronted with, in the
younger episodes, an intellec-
tual coming-of-age, learning
30
OF TELEVlSlON'S RICHES
Youms
|5
Gggrge Lugas plunder;
h p t t° 9 b f
, nance either project, but
- he‘s not interested~—at
S
' t‘ H I
0y G ‘I I
, ‘\
t-lumen Ford nu Indy In munsas or "ms LOST ARK. the 1901
hll that launched the lrlnehlu. dlru-clad by Steven Splolbctg.
mu In ashback by George mu (taut). pllylrtq may II sq. as.
about variousideas,and.inthe
older boy.anemotionalcom-
ing-of-age confronting cer-
tain emotional situations that
help him grow. This is not an
action-adventure series like
the features. This was a big
issue when l rst presented it
to ABC. They were willing to
take the chance and go with
something where people‘s per-
ception ofwhatit was goingto
be was considerably different
from what it actually is.“
A A
\ on writing action-adven-
To establish some distance
from the movies.Lucasdecided
not to use the rousing Indiana
Jones theme music in the
series. “l don‘t want to confuse
the public.“ he said. “I mean.
we have a very large jump to
make to get people to realize
that this is somethingdifferent
from the films. And |don't
want to constantly sort ofrefer
back to the lms,other thanto
say it is the same character.“
Lucas said he's “burned out
ture." He's “lost the inter-
est and energy. Lucas
wouldn‘t rule out another
STAR WARS or Indiana
Jonesfeature,and pointed
out that .. studio would
least. for now. “Nothing is
denitive." said Lucas. “l
can‘t get him [lndy] in any
more jeopardy and get
him out again. You know,
l just burned out. So.
unless l get inspired again.
which l doubt is going to
happen.we've seentheend
ofthe features."
Filmed in ll different
countries so far. YOUNG
INDIANA JONES has
attracted such interna-
tional directors as Jim
O'Brien(JEWELlN THE
CROWN). Nicolas Roeg
(WALKABOUD, Vic Arm-
strong (second unit direc-
tor on TERMINATOR 2
and TOTAL RECALL).
Monty Python member
Terry Jones (director or
coordinator ofmost ofthe
Python lms). Simon Win-
cer(LONESOME DOVE)
and Gavin Millar(DREAM-
CHILD).
Lucas, best known as a
iaider ofthe big-screen boxof-
ce. has decided that the force
is with television. Even though
Lucas has produced six ofthe
mostsuccessfullmsofalltime
(the STAR WARS and INDI-
ANA JONES trilogies)_ Lucas
believes movie theatres are
becoming temples of doom.
The place to strike back;at
least with substancefis on
television. ln the two decades
 NUAGTIONFOIIINIIY
“I i:an’t get
‘

him in any more jeopardy and get

him nut again," said lueas. “You know, ljust
hurned uut. Unless I get inspired again, which l
douht, we've seen the end at the features.”

portrayed by Sean Connery in doing it."

I
INDIANAJONES ANDTHE
LAST CRUSADE. Traveling
around the world with his par-
ents, young Indy encounters
the likes of Pablo Picasso,
Lawrence of Arabia,Theodore
Roosevelt, Pancho Villa, Sig-
mund Freud.WinstonChurch-
ill, Norman Rockwell, Alben
Schweitzer and Mata Hari.
Luca; nured thatthe dudris
open for Harrison Ford tn
appear in a series episode
about Indy at 50. lnfact, Lucas
talked to Fnrd about appear-
ing as the 93-year-old Indy for
the narration scenes. Two fac-
tors weighed against Ford's
parricipagion on an ongoing
basis: the actor‘s full schedule
‘ andtheheavyold-agemakeup.
‘ “You have todoahugeamuum
of makeup, which sometimes
vouuo INDIANA JONES,pl|yod byOonyCurlorua boy. ptundollnqtomhe I°°k$ E°°lI~ and §°"|°li"‘°§
It In miy lql. but not with em aim/nmrtun quotient at rm rmun lllml. doesn‘t,“ said Lucas. “No mat-
rer when you do‘ ynu're Sen of
since Lucas directed THX- THE LOST ARK. But Lucas aeunginaruhhernrashAndin
H38 (his l97l screen debut), countered that his earliest order [0 keep the aughemigity
the filmmaker‘s experiences hits—AMERICAN GRAF- of rhe 5hnw_ we hath fe|r it
tellhim that the big-hit mental- FITI(l973) and STAR WARS would prubauyhernureadvan-
ity of the major studios is stif- (l977)—relied largely on per- [ageoug to use a real u|d |-nan
lingtheartisticchoic?ofdirec- frirmers new ttzthedbig screen. and not try to fake it_“
tors, writers and pro ucers. “ ‘m known or oing big- River Phoenix, who played
Lucas isn't sure viewers will
accept an Indy moving at a
more deliberate and thought-
ful pace. Withlmingcontinu-
ing in England, India, Kenya,
France, Spain, Russia, China
and several other countries,
Indiana Jones may be facing
his greatest challenge in the
dangerousalleys of prime time,
especially since the series is
striking a different note than
the fabulo_usly_succes_sfullms.
“TIN high "5k is "1 ndin
the right audience for the
show." l-U688 Bdl'_I1ill¢d- “Thi
is I10! Ih super-Jeopardy 80-
lion-adventure Illa! _lh¢ flllfe
is...and the audience that
II¢¢¢55al'l|Y Wnl 10 We ‘hill
feall-"° I5 8°I"B ‘°
have 1°
8CI_ltlSl IISCII I0 lh TV show.
/\I_\d PQOPIQ Who Wmlld I10!
'h'"k °r g°'“g '9 ma‘ f°a'.‘“.°
and W0l1ld‘l b¢ lleled In I!
might be much moreinterested
in this television show. And
trying to make surethatevery-
body finds the show, and
understands it. is going to be
very tricky.“ D
W" 7- " I MW-

“It's unfortunate that the
business has become so re-
stricted,“ said Lucas when
asked why he was takingsucha
big leap into television. “Part
of that is just the economic
aspects oftheindustry.Corpo-
rations have taken it over and
there‘sa wholedifferentagenda
than what existed there 20
yearsago.“AccordingtoLucas,
the cautious Hollywood envi-
ronment is “demanding a cer-
tain kind of movie be made,“
which Lucastermed.“acertain
kind ofvery.veryintenseexpe-
rience. At least on television
there‘s room for alternative
ideas.“
You'd think Lucas would
feel at least partially responsi-
ble for creating Hollywood's
blockbuster mentality with
lucrative ventures like STAR
WARS and RAIDERS OF
budget projects.“ he said.
“What most peopledon‘t under-
stand. is that I'm usuallydoing
a S70 or S80 million picture for
$40 million. A lot of this
[SW85] i5 an Cxpfimril that
I'm d0ing b8C8l1§¢ Oflhc pr0b—
Imi We're having in fealllre
Pfoduio in klling C05“
d0WI'l- Thi$ 55 3 way I0 WOYK
lhfllgh Cefli HICKS and
¢XP=\’im¢l1l0"Sm8II¢l'§¢BI€-“
Episodes of THE YOUNG
INDIANA JONES CHRON-
ICLES are narrated by a 93-
year-old Indy in I992 (played
by Broadway veteran George
Hall). Through ashbacks. we
meet our hero as a young boy
(Corey Carrier)anda teenager
(Sean Patrick Flanery). Lloyd
Owen,agraduate ofthe Royal
Academy of Dramatic Ari,
plays lndy‘s father. Professor
Henry Jones, the character
Indiana Jones asateen-agerin |n"u",:'|:-'i.ri.ii'iiIp:ahn:dp‘:ri.:inm1$Vp:o'Io.
a ashback segment for THE
LAST CRUSADE_ like Ford.
was not available to givea full-
time commitment tothe series.
Since Flanery will be playing
Indy from I6 to 22, Lucas
didn't anticipate a guest shot
by Phoenix, which Lucas said
would only confuse viewers.
But Lucas indicated the
door is open to Steven Spiel-
berg. who directed the three
Lucas-produced INDIANA
JONES lms. Any time he‘s
ready.there'saYOUNGINDI-
ANA JONES script ready for
him. “He may get involved."
said Lucas of Spielberg. “I
mean, he's obviously an inter-
ested party because he was so
involved in the features. And
he is consulted in the series.
He’s aware of what's going on
and I've talked to him about

31
 ’TOONTOWN‘S SEXY H EIR i

I-low a rabbit set the stage for

Ralph Bakshi’s adult animation.
comic book
By Daniel Readers can only imagine nwiru vlelon Of coot vlonm.
Schwezger getting their hands on the
luscious Holli Would, who COOL WORLDis an oppor-
lt's hard to imagine odder
decides to make her own tune synthesis for Mancuso
bedfellows than Ralph Bak-
shi and Frank Mancuso breakout once Deebs is and Bakshi, both eager to
Jr., one animator demol- released from the bighouse. explore new career paths after
ishing kids‘ stuff with A cartoon can only become their missteps in slash lmsand
FRITZ THE CAT while human by making it with a rotoscoping. Now they're cross-
his producer-partner has guy from the real world, ing the real and imagined with
made a career from teen and Holli uses her seduc- this anarchistic art mash,
gorefests like Paramount's tive watercolors to become depending less on coloring in
a flesh and blood Kim actors than using the gritty
FRIDAY THE l3TH movie
Basinger. However, her look and libidinous attitudes
and television series. Now
try to envision a Max transformation threatens of underground comics. Help-
to yank Frank Harris ing to bring out this hard-
Fleischer bunny hanging
(THELMA AND LOU- edgedfeelareLoveand Rockets‘
out with a Heavy Metal
lSE‘s Brad Pitt) out of Hemandez brothers, biome-
rocker, and you'll have an
idea of COOL WORLD‘s Cool World, the detective chanical conceptualist Ian
stylistic clashes. Though having taken up residence Miller, and Spain, creator
it's the most ambitious live- after his mother's tragic of the govemment-de-
action ‘toon since ROGER death. Enlisting Nails, the stroying superhero
RABBIT, Bakshi‘s film is 7 ' cigar-smoking spider. and
more perversion than hom- “.;l."‘»'..‘1"-.'.’.‘.';‘..'"'..;'?.;‘.,.°2'l$'.?.2.‘$.£? abrig=d=<>fK=ystm;=¢op
age. Set in a helter-skelter coon. wonm, 1 lumber mm hum Paramount. Peppers to gel l-lolli back,
metropolis of deadly gags Harris chases Deebs and
and two-dimensional sex, lion release will prove a wel— his “creation” to Las Vegas,a
COOL WORLD lters ani- come jolt for audiences who city whose kitsch
mations‘s best-known charac- have been givendiabeticattacks more than a rival
ter designs through Bakshi‘s by Spielberg's immigrant mouse World's.
nostalgia-demolishing vision. and Disney's teddy bear Beast. “l‘ve always felt that anima-
This summer, Paramount is Like Oz on acid, COOL tion wasn‘t taken seriously, so
gambling that its near $30 mil- WORLD‘s enchanted land can the onlyapproach was to make
only be reached through a COOL WORLD into a ‘rea|‘
P'°""°°' F'I'* ""'°"'°- 9" "l°'"' mental breakdown, and comic lm, withastorystructurethat
aw.‘ mnwimwmm 500k iil. Jack D¢¢bS (EX- kids and adults would relate
CALlBUR‘s Gabriel Byrne) to,“ said Mancuso, a nearby
has had plenty of time to visit Jason doll giving evidence of
after killing his wife's lover. the executive's queasy success
Transporting himself from a story. “I've never made a fea-
jail cell to the ultra-mod Slash ture-length cartoon, while
Club, Deebs observes thealter- Ralph hasn't directed a com- Ngmwzmm ""
nately hip, adorable and de- pletely live-action movie. So W,‘ WNW M ¢9°|_
ranged characters, turning when he approached meabout vlon|.o'| mun nu-um,
' becomin active a in, it was ""'° "'9""'"' " ‘° '4' "'I"~
P" r P le 8 orilla 5. nutt Y P rofes 8 83
sors and cute street urchins only natural that our styles
into stars of a Cool World would fuse.”

32

The holler-lltolhr rnelropollo,
Trashman,
Taking ROGER RABBlT‘s
reality-bending one step further,
Bakshi and design“ Barry
Jackson and Michael Korn-
bluth have created setsthatare
virtually indistinguishable
fromthecanoonbackgrounds,
enabling characters to be
drawn into the 3-D cartoon
world whileavoidingthe ultra-
expensive matting that put
Eddie Valiant in Toontown.
“Ralph thought that since
we were portraying a flat
world, it would interesting
to use_two:dimensional
objects in front of the
performers,“ said
,,,";Z,‘{','[l,‘}{,‘,{'[,,'1‘{‘,§',,,,"Z,"I;
uueominlhymnlilnqiiutui
'°""°""'°""""""°'“'
, played the animated Holli
I netting for deadly ll Ind Mo-dinonlloiill nu.
, pieces of animation at a time.
Mancuso. ‘Wed blow our
paintings up to l8feettall,then
place them in the foreground
and ba°.kgr°u.“d' while. ‘hm
perspective orients the viewer
to COOL WORLD, l di_dn‘t
want to make this technique
the most spectacular thing
about the film. l felt that to
some degree with ROGER
RABBIT, _and we're most
interested in telling a story
here. The characters aren't
illogical just because they're
cartoons, and the challenge of
making COOL WORLD was
in synthesizingourrealitywith
one that doesn't exist.“
_Manciiso and Bakshits ultra-
h'P °°““P‘ was '""'a“Y
scnplcd by l"m'yG"°s§(BoDY
PARTS), then repolished by
Mark victor and Michael
Gm'5(P0LTERC‘ElS-Dbef°"°
doing theagencyrounds.Their
offbeat, adult treatment of a
gem‘ "SMHY fcsefved ff"
tykeswouldattractKimBasin-
ger(_9'/5 Wl5EKS)totheequally
erotic Holli.Thoughherlegen:-
ary tantrums on THE MA -
RYING MAN set made heran
unlikely candidate for COOL
WORLD‘s technical rigors,
the power starlet jumped into
her character's cartoon de-
mands with unexpected relish.
"Kim was a l’CZ'l‘|di'1¢im, ang
can imaginew at a ne
with her on THE MX:eRY
ING MAN,“ said Mancuso.
“She was never late, and
whenever possible. Holli has
an awareness of our Earth
from its movies, but ends up
turning into a person in the
world's most cartoony town.
Holli quickly discovers that
life isn't like Hollywood,
because you can't drink 95
things at once or eat forever.
Then she has to handle peo-
ple's reaction when their fan-
tasy woman suddenly appears
in [as Vegas!"
Paramount's brass have
been equally excited about
seeing their first animated
movie, but Mancuso has been
careful to let them only get a
few peeks up Holli‘s dress at a
time. “l can't show them a
rough cut. because there will
be so many unnished scenes
that the executives couldn't
possibly understand COOL
WORLD." said Mancuso.
“So l'vebroughtthemthrough
sieP_by_5iep' dispiaying iinie
Bu! pnrnrnuuni knew rhis
-ff d "
TM @011‘ I=hIvI=W! 0' Blhhfl "Mn
gg%dLb;?gil;LcgI;:n2l‘::r'r::n
into an education for a lot of '|'a.i:'m'=tMf>.u'iidqYi”f\o“t;éii'\"::::i“t'
nenn|e_ Because Rainh and |
have hnn mnderaieiv urieed FRiTzTi_iEcAT-Sfunnyanh
successes vveenn use uuringe_ maiorgy COONSMN-smock_
nuiiywieiiihe siurv without r_acisisre‘r,eoiypes or AMERL
being ridieuiousiv expensive CAN POP-S defends! legacy
we-ve been given n iunkier Bakshi-S Manhanan_hred wail
canvas in nnini °n_ and ihe ism hasneverieihimgo HOiiy_
Siudin realizes ihni our an is wood nomauerhowmuchhis
eosi_eiieeiive_»~ eareeif demanded ii Bur nu“,
Though he based his raienis whh real mars shnrin our
nn nuiek and cheer, horror‘ desire in enrer, animjion-S
Mancuso has marched COOL dreamrand‘ Bakshivs vulgar,
WORLD-5 bud er with an - ~
inordinate nmoiii ni arren_ 5g':;g:eaT8%:i:§:a|lyd“cover
ii°n_ guiding Bnkshi ihrnueh COOL WORLD doesnii
his initial nervousness while have [he res“-iqiveness of
simultaneously shooting last Ralph's usual subject matter "
summer-S BODY pAR1-S_ said Maneuso an-S a bi‘
COOL WQRI-Di$lh= 1158888! movie with accessible themesg
challenge of theirabilities.The C001: WQRLD is open ii;
- - - ~
continued on page 60
§'|'i'I,',f,ai:',f,',°,ji':::,d,si;'Z°,fs§,';',:§,:',j
the realm ofhockey-masked Bobbi‘! production dtlnl
kiiiersv and ihe rnnvie is for the donlnns of COOL
even inure of 3 proving WORLD’! "Shah Club.“
ground fur Bukshi_ Thou In the "coolest
of lilo cool‘ among
tho ‘toon pllyon.
Wham" you mkc
33
.4.-;_

5,‘; '1' \

Smoa chaaliaol the crocodile Ior

bodaviling poor Captain Hook, a
acana from Disney‘: 1953 cartoon
faatuva, divnclad by Hamilton Lulka,
Clyde Gamnimi and Willrad Jackson.
Disney‘! Iynlhalia ol muaic, long,
aclion, comedy, drama and fantasy
makaa for n limalall maltarpiaca.
l
M AKING THE CARTOON CLASSIC
' ‘alt isney’s
Only animation could capture the wondrous
fantasy of J. NI. Barrie’s magic story.
-
Q Taylor White
“All children. except one.
grow up' Pele! Pan
Sir James M. Barrie
Those simple words.penned
bySirJames M. Barriein I91 l.
are the epitome of his novel's
elfin title character. one that
would capture the hearts and
imaginations of readers for
many years to come. But per-
haps Barrie was amiss in his
arithmetic. never realiring that
on the other side of the planet
on a farm in Marceline. Kansas.
lived another boy who refused
to grow up. His name was Wal-
ter Elias Disney. Walt. for
short.
Few stories in the vast library
of children's literature have
ever been so ripe for animation
as Pervr Pan. Theever-popular
fable featured a host ofexpertly
drawn characters. an exciting
story brimming with heartfelt
whimsy and swashbuckling
adventure. and a richly tex-
tured fantasy landscape pro-
viding a multitude of ingre-
dients for Disney‘s team of
imagineers to create another
mur :10 force of imagination
and artistry. Now that Steven
Spielberg's HOOK has bel-
lowed its way tothescreen.and
proven itselfa stunning disap-
pointment. Disney's cartoon
remains the denitive screen
rendition of Barrie‘s classic
fantasv.
The. r“ Prod uctlon of the
Scottish—born playwright and
D
novelist‘s stageplay opened at
the Duke of York Theater in
Londonin l904.dazzlingaudi-
ences young and old. all eager
to shout and clap their beliefin
fairies while soothing the pom-
posity of some of England‘s
most hard-nosed critics. Years
later. one of many road show
stage versions of Peter Pan
with actress Maude Adams in
the lead traveled through Kan-
sas City. Missouri where Walt
and hrother Roy Disney had
moved after living out their
idyllic childhoods on the fam-
ily farm in Marceline. Ahroken
piggy bank gained their admis-
sion. leaving anindelibIeim-
pression on young Walt.
ln a I95! interview. Disney
recalled his first impression of
ii"\\\“ “l took many
Peler Pan.
memories away from the the-
atre with me. but the most
thrilling wasthc vision of Peter
ying through the air." recalled
Disney. Later on. Walt man-
aged to land the coveted role of
Peter Pan in the school play.
“No actor ever identied him-
P
self with the part he was play-
ing more than l—and l was
more realistic than Maude
Adams in at least one particu-
lar: l actually ew through the
¥
air! Roy was usinga block and
tackle to hoist me. lt gave way.
and l ew right intothe faces of
the surprised audience.“
Talk of bringing Barrte's
’
story to life in animation at
Disney's studio began as early
3"’
lclor Bobby Drlncoll. who urvod an I "VI-lC\|0lI model for lludlo 35 |935- ‘W9 Ye‘-‘"5 Prior to ‘he
Disney with
release Of S NOW W H ITE
artllll lnlmltlng the lm. I laqmenl of Dlnnay'| 1951 Chrlltmu show for ABC.
35
 THE $lLENT FILM VERSION
Paramountis lavish 1924 production was the movie debut
of New jersey teenager Betty Bronson, cast as Pan.
berg, who wanted to view it
By Larry Tetewsky before beginning work on
Paramount's lavish I924 HOOK. At a langorous
production/adaptation of running time of just under
the Peter Pan stage playcan two and one-half hours, it's
boast one contributor that a fascinating adaptation of
neither the classic Disney Barrie's play that will prob-
nor Mary MartinTV ver- ably never nd commercial
sions had—Sir James distribution on video.
Matthew Barrie. Barrie The lm was directed by
personally approved the \
Herbert Brenon, known
casting of a relative unknown
».»\ primarily as a capablejour-
for the title role. After neyman whose work is
viewing many different relatively uninspired. The
screen tests, Barrie felt that 45"’- success and occasional
New Jersey teenager Betty failure of Brenon‘s PETER
Bronson perfectly embodied PAN lies in its too reveren-
the blend ofyouthful mis- tial attitude toward the
chievousness and innocence G mg" H, mm“
source material. Wlule stick-
ing very closely to the estab-
that was Peter Pan. Thelm 5,°,,,,,,_ mm ,,,,,°m||y m,,°,,,¢ by ,;,y,,,;'m J, M, 5,,,|,_
made Bronson a star who Wm\t1IndJ1>M(JIt=UMI|>hy)hvW\"v|nI='|"IhItWIlI\bII\¢IIIhIv\IIn0di>\Iv- lished storyline,manyse-
rivalled Mary Pickford in quences in the lm are too
a lm of
popularity and Barrie insisted made by Paramount the follow- able for viewing among the “stagey," too literally
that Bronson becastinthelead ing year. collection of The International the play. Brenon makes only
of his next lm adaptation. A Paramount's silent version Museum of Photography at occasional attempts at “open-
KISS FOR CINDERELLA, garnered critical acclaim when George Eastman House in ing up“ the
material and the
released in December l924, but Rochester, New York. The film's most interesting and
°|"°‘°'""°'" 5"'\°"-WW‘ °'°'9' because it was perceived as a museum circulates a l6mm exciting touches involve the
“kids'|m,“neverachieved the black and white print for non- special effects work of Roy
' boxoffice results the studio theatrical screenings and hasa Pomeroy.
had hoped for. Barrie himself color version for viewing on The opening bedroomse-
was also none too pleased with video, duped off the museum's quence begins with Mrs. Dar-
the nal result, according to own color-tinted nitrate master ling actually seeing Peter Pan
Robert Lancelyn Green‘sexcel- of the lm, made especially at outside the window with a
lent book Fifty Years of Peter the request of Steven Spiel- brief cutaway of Pan lurking
Pan. “lt is only repeating what
is done on 5tage_"w|-ole Ban-it Emu! Torrance on Hook, toodlng the llomi clock to the crocodlll. I loom not In
“The only reason for a ilm
r the plly. om of the low Innovation: for I lllm that VIII too lltlrll 1 lnmlltlon.

should be that itdoes things the

stage can't do.“
Barrie had in fact written his
own lm . scenario for PETER
PAN . which Paramount lar Ee '
\' ly ignored, more fully utilizing
the wider scope and technical
capabilites of the medium. lt
would fall to Walt Disney to
bring Barrie’s enchanting story -

to its potential on screen.

Disney acquired the lm rights
from Paramount, and in so »
doing the rights to the I924 0,’-Q
silent version as well. '
Prints of the lm are avail- '

l'°'I°'\_IPII-"\llI1l'|I'\IWl\9l-IWi\I°"IIMdWhtlII\III!-
h"'"""'°e'“""'e'°"'“""'"'"'°h""'h°h""e"'Y"°"'°'h'
. .
ohmhethe w'hd°w.°haleh3e‘
Pan later makes his entrance
hychmb'h3.th'9h3h thew"?
h.°w' not hymg m as he "ad"
"'°hahyd°es'B'eh°husedtw°
eppmaehes for Tmker Bel!‘ a
phpPe".mah'h"ha'eh glowmg
bah hfhghl whh streamers [hr
thelhg sh°t5~ahd ah aehessih
howihg robes for cl°se‘hPs
with °"e"siZed P'°Ps' Tinker
Bell isalsocomposited intothe
seehe wheh she Phhs wehdyis
hair as wehhy and Phh ex"
change ihhimbies/kis“s'“
The expen e'hema'°.gmphy
“James wohg H°“'e'se5Pe'
eihhy evident ih ‘he sequence
where Wendysewstheshadow
hack oh Pan" A5 he Ihuhgesih
achair, legs outstretchcd,and
wehdy sews‘ hmh gures are
almost silhouettes, and the use
°f 5h3d°‘"5 and the Warm
orange tint of the frame give an
1
almost classical look to the
scenc.
When Pan and the children
practice ying in the room,
1 Nana the Dog, played by
George Ali in costume, repris-
ing his role from the stage
version,isshownbreakingfree
of her dog-house and actually
going to the residence where
the Darlings are having dinner,
thwn kading them back to the
house. They see a whirl of
bodicsspinninginthebedroom,
and arrive just in time to see
Puiatid the children ying out
w .
of the window, soaring across
tlie London night sky. The wire
work for the ying is well
D 31,5 executed but choreographed
. call
as h would have been for the
stage. Small dolls are flown
agmhn 8 hhhhl f°r the long
Shae‘
The Never Never .La.hd' 8.5
‘he shbhhes ‘def '° h‘ '5 Shh‘
"°""=.°" 3 forest set hhd aqua]
lheahoh f°°'a3e' 'heh'd'h5
meky Plateaus hhd beaeh'The
rst View of Pane home is a
Pahhrama hfsemes Mme"
maids sunningthcmselvesona
beach h'°hh when Phmesleah
hY Hhhk make ‘heir rs‘
appearance‘ we are hchmhy
5h°wh H°°k ieehhhg ‘he eihek
‘° ‘he e'°e°dh°-
The home hhe Lost Boysis
a studio set, referred to in the
hues as The Fhresi hr Make
Believe. When they shoot
dhwh wehdy' Brehoh sh°w5
the arrow. We see it strike and
w°"dY¢\'35hi"8 l° h1°81'°\l"d-
After Wendy has been revived,
Brenon uses reverse photog-
raphy to assemble a house
around her from scraps that
the boys pile up. Later, in the
house, Peter interruptsa“ght"
between a number of fairies
hiding in a pile of leaves.
Several miniature actors are
composited over scenes of
Peter shaking out the leaves
and again as they are swept out
of the house.
Action missing from the
Paramount version includes
Peter and Wendy visiting the
mermaids, the Lost Boys and
the Darling children being
captured by unfriendly Indians
because Tiger Lily is missing,
eultllltlltltlpgeil
“The animated cartoon,”
noted Disney, “is the only
medium which can do real
justice to the quality of
J. M. Barrie’s spirit.”
AND THE SEVEN DWARFS,
Disney's rst full-length ani—
mated cartoon feature. But it
wasn‘t until I939 that Disney
purchased the animated film
rights for £5,000 from Lon-
don's Great Ormand Street
Hospital for Sick Children, to
whom Barrie bequeathed own—
ership of the play. The pur-
chase was concurrent with
Disney‘s high hopes for the
still-in-production PlNOC-
CHIO, which he optimisti-
redicted would sur ass
the ygiiant success of SNE)W
Wm-rE_
ln an interview held during
the nal stages of production
in I952, Disney pondered his
reasons for buying the play.
“Here was a story it seemed to
me that had never been quite
fulfilled despite its fabulous
success on stage and once
before on screen [isee sidebar
page 36 omhe |§24 silemmm‘
versionj This was a story that
deserved really demanded the
added dimension of the ani—
mated cartoon. l believe if Sir
Barrie were alive today he
would write his fantastic adven-
mm in Never Land directly for
the screen Forthis—particular-
ly ‘he an'imamd cammn_is
the only medium which can do
Dlonoy dlmcton mat lhalr lllm In llve
Drhcoll during shooting oi animation reference footage oi the shadow sewing.
a
' ‘Q
/P
I
real justice to the quality of his
spiritand his talents."
Although Disney's dollar-
conscious brother Roy was
skeptical of PETER PAN's
moneymaking potential from
the beginning, the project. in
unison with the recently ac-
quired ALICEIN WONDER-
LAND, hitthedrawingboards.
Numerous story treatments,
preliminarysketchesandchar-
acter models were developed
by Disney‘s in-house team of
artists, including those of vis-
ual stylist David S. Hall. who
dcsigncd a series of Stunning
paintings for both lms, none
of which were used.
Noted veteran Disney ani-
mator Ward Kimball. "l can
remember that it went through
at least two or possibly three
false starts early on Walt
would look through thediffer-
ent story versions and give it
‘he Old -ho_hum~ every time
The talk among the crew at the
time was either that he wasn‘t
satised with it, or maybe he
just wasn‘t ready for it.“
Kimball also recalled that
the project was met with resis-
lance not only {mm Disney-S
brother but from certain crew
membérs in the animanon
department “l think some peo-
'
lclloli lint: Kathryn Beaumont and Bobby
31
 ' y IiBarrie’s own notes and
/f stage descriptions,” noted
Disney, “scribbled during
rehearsals, gave us insight
into what he had in mind.”
ple thought it was a 'sissy' fglcagg of DUMBQ
story.especiallywiththenarnes |n 1949 ‘he studio held a
hl lh°_ Palhhls helhg Dlllllhg special showing of storyboards
and with Tinker Bell scattering for various audienees ranging
hcl Plxlc dl'l5l~“ Salcl Kllhhhll from in-house artists and storv
“l lelhclhhel lhclc “'35 lhlll specialists to localcollege stu-
feeling even before we con- dents‘ sometimes packing up
Sldcfed making ll“? PlCllll'°~ to 60 people in a room to view
that Peter Pan was a story for the nre5enlanon_ one of [he
Bll'l5~ Eve“ “lheh l “'35 a l‘,l‘l- handful of proposed story
You'll hevel lead ll hook llkh ideasinvolvedacontemporary
lhaldl Kllhhall lal'l§he‘l- Wendy. Jon and Michael Dar-
wllh ‘he hhlhlehl‘ olwhlld ling (possibly to be filmed in
war ll all Pl°5Pe°ll"e Plolecls live action) reading Barrie‘s
except those in active produc- hook from whieh ‘he nni_
ll°h “'°l° Plll °h h°l‘l- The wlll mated characters would spring ___
eliminated 45% of the studio's to h;e_ Desnne mixed ,.ene_ ~

Pl'°lll5 whlch came ll'°l'h lhe tions. the animators. who were s

currently in the thick of the '

"
~
°"°l"lllcl'all"e El"°P°hh mal‘
k=l- PETER PAN r¢"1=*i"=dL" ill-conceived ALICE lN WON- ' ~

limbo while the StUdlO Wet - DERLAND_ warmed u to

"ed 3 llhah°lallY dlhlhlhg the many possibilities of l)3ar- rift:
dde. One Wl'llCl1 53W lhe dl5- rigs 510;), and chamc|¢r5_ Dupne. Iilnitng rolhrnneo lootago for the seem. Duprn. an agile pcnonmr,
nctld thl plrl oiPan uiiiu Bobby Drlscoll pmma an volel chlrlctulntlon.
mal failure of FANTASIA in shnnh, at-[en PETER PAN
I940 d th ll-t d I94! - -

into what he had in mind than be sort a workshop where

of
an C I ‘me was glve-n lhe green llghl and
the actual dialogue and scene you'd one sequence and all
see
mm mama n ¢,,i,|,. m,°|._ , plwgalhféogr l:_]ei§eacTo:sml|_:r:1lt
of a sudden through compari-
dlvlvtllv =v'IIl= wemtlmv IMI g - - description."
‘on Llilske‘ Clyde Gem‘-“ml Though Barrie‘s notes were son with another sequence
l"'l‘l"‘l "‘l"l""'F""ll l'l‘°""" you‘d nd itdidn‘twork.ltwas
and wlllred Jackson‘ helpful, Disney reportedly
The lllhl mhlked lhe lhlll‘ started production without like mixingcolorswherediffer-
leehlh ahlhlalell lelllllle °ll°l'l settling 100% on a concrete ent hues and color schemes
hl _Dl5heY'5 h°“'_jl°geh‘lalY direction for the picture‘s could be affected by what you
Nlhe Ql‘-l M°h- ll Playful story. Recalled Kimball.“Walt put next to them. The same
lllllclmlhcll hYahllg°'5°h5lll"e was still trying to find the thing happened with thestory.
Dlshey hllhscll wheh lh°5l ‘ll thrust of the story when we He was always cutting things
lhellllecllhghhlmlllhls welelh started animating on it. People outand addingthingsin. Being
lhelllhllllcs-Those °hlhell5l don't realize when they see an animator it drove you
were l-es Clal'l‘- Mal“ D*“'l§~ these pictures that thingswould crazy.“
Olllc J°_hh5l°"- llfllll Kahl- constantly change during the Thosechangesalsoputextra
Wald Klhlbhlli Elle l"ll'5°h~ course of animating. lt would strain on businessman Roy
John Lounsbery. Wolfgang
Rellh¢|'m3n~ Frank Tll0m35- Fllmlng Conrlod Ind Duproc. n Hook guts the drop on Pan at the film‘: ellmaii.
and a tenth addition. Norm
Ferguson.
Disney‘s seven-man tcam of
storywriters came up with a
spirited. mostly faithful adap-
tation ofthe play working with
the aid of Barric's own original
manuscripts which he penned
during the play. Said Disney.
“Barrie‘s own play notations
and stage directions. scribbled
during rehearsals. were ex-
tremely helpful to us. His con-
cepts of the characters and
their reactions to magical
events and strange circum-
I». stances gave us more insight

38
 children soared overthe Houses
of Parliament, up to the hands
of Big Ben,and throughthe sky
toward the Second Star to the
Right and straight on ‘til
morning.
Noted veteran animator
Ollie Johnston, “When Mary
Martin [on stage] or Betty
Bronson [in the silent version]
ew across the stage it worked
ne for that medium, but audi-
ences always knew they were
suspended on wires because, of
course, no human can y. But
in our picture it was a thrilling
experience because when Peter
Pan and the kids were ying
around Big Ben and over Lon-
don, or when the father was
seeing the vision of the boat in
the clouds at theend, you really
believed what you were seeing.
How could you do that in any
other medium?“
Fans of Barrie's story were
also given a more splendid, vis-
ually brilliant view of the lush
Never Never Land courtesy of
artists Ralph Hulett, Ray Huf-
ne, Art Riley, Thelma Witmer,
Al Dempster and others, who
composed a record 934 back-
1 ground paintings for the film.

Disney, said Kimball “Roy
was always arguing with Walt
about nances and spending
I00 much money.“ recalled
why our pictures can never be
duplicated. No other studio in
Hollywood doing animated
features at the time would ever
OF THE s0u'rr-1 (1946), "OP '9 animating-
TREASURE lSLAND(l950) U“? d"'e°‘°"5 a"d
andSODEARTOMYHEART a"'ma'°"55h°'§¢"'
eral hours of live-
(I949). which garnered the _

Kimball. “|l W85 lfuc lhl Wall attempt to do things over like
piddled around and did things Walt."
over when he wasn't satised. Disney's PETER PAN
H6731 l00k at things and say. marked several major depar-
‘This isn‘t working right,'even tures from the original play.
when we'd get as far as going First and foremost, it was the
into colorand doingnal cam- rst enactment that featured a
era work. All those changes male actor in the lead role, a
wound upcostingmoremoney. part usually played by an
Roy's altitude W85. ‘Gee, Walt. actress onstage.Thecherished
it looks okay to me,‘ but Walt role went to Bobby Driscoll.a
was a perfectionist and that's Disney regular from SONG
Purwcmlvld Ind wild Iv"! WM "vvhllvl Tlwruly nt Skull mm.
child actor a special Academy
Award.
ltalsoelaborated ontheidea
of the I924 silent version, por-
traying Tinker Bell asa pixiein
human form rather thana spot
of light on the stage wall ortiny
bulb hanging on a wire. Other
characters that became more
fully realized were Nana, the
dog_ usually played on stageby
an actor in a rug, the voluptu-
ous, nned denizens of mer-
maid lagoon and Captain
Hook's ever-present nemesis.
the crocodile with the ticking
clock in his belly.
But perhaps the most star-
tling of the film's enhance-
ments was the ability to show
the characters actually getting
airborne, a gag limited to the
actors in wire harnesses on
stage. By perfeetingtheappear-
ance of weightlessness in the
two-dimensional characters,
audiences were able to get an
unprecedented (and visually
accurate) tour overthe Edward-
ian London cityscape as the
airborne Peterand the Darling
_a°"°“ f°°‘a§° us‘
‘"3 “cm” "‘ fun °°5‘“m°- The
P"f°"Y“°'5 “Rd °“‘ me"
'°l?5 "1 f"°"‘ °f a camera
wmch was 5°‘ "P 3‘ the 5“_""e
“Bic as ‘he 5‘°"Y_b°‘"d Fkslgns
°f the P'°§P°°""° ammated
5cq'-'e'}°°- The P"°F°55 becamc
'Y‘°5' "“eg"1| dunng P"'Pd"c'
"°"_°" CINDERELLA "' ‘he
la“ 405-
Recalled animator Frank
Thomas, “Walt was desperate
for money at the time and he
said, ‘We've got to nd the
cheapest possible way to make
this picture.‘ Doing animation
overagainifitwasdone wrong
was terribly expensive, so we
had to gure out some way to
do it right the rst time. By
shooting the live action, the
director and animator could
look at the footage and say.
‘This part is right. this part is
not right, it needs to be faster,‘
and so on. And ifyou had good
live action to start with, it
would make your job a whole
lot easier to get some imagina-
tion out of it.“
39

“The real value of the
live action was being able to
get stimulation from actors
using different timing that
you might not think oi.”
Added Johnston, “The real
value in shooting the live
action was being able to get
stimulation from actors doing
trieks and using different tim-
ing that you may not think of
yourself. The animator knows
overall what he wants to do.
but you want to get a little
something extra in it that you
maybe can't drawout ofyour-
self."
Several of the actors in the
reference footage also served
as the voice artists for their
character, including actor/ra-
dio personality Hans Conried
as Captain Hook and ML
Darling (although actor Henry
5 r and 0 n . ‘ht hamm y vmain
from The Drunkard, came in
bney two-thirds through the
]iye-ac|_]Qn showy Tommy
Luske_ son of director Hamil-
mu [_u5ke_ piaycd young John
i
1-MKER 35“; ,4”, Darigngv
DIV|I.d|II¢1||\§ E I- h_b h - Id
g isaeaggllofnlwasaccagi
'"""'f°"“"'F"'“ K
Wiizindjyn Darling. Beaumont.
mi
d ed I'll
:':e:;“m'£“=“:|'m°:‘ who came to Hollywood asI a
. | MGM .
M‘ " ""°"" "°°k Confu-dc‘ E3111“ at I f 1
serenade! “Min Boll“ 1
I,‘ and lrlclia her lnlo
IIV"||" the lwlllw
Fceardoli-:1cDiSn§yY:c:E18E HE
WONDERLAND Beaumom
recalled the sparsity of the
°'P.nI'hm"M.°m'
makeshift live-action sets dur-
ing her stint.“lremember how
odd the set-ups were where in
some cases it wasnothing more
than two wood boards nailed
together. Youreallyhad to use
your imagination.“
F01’ Ollie .lohnston‘s Mi’.
Smee. comic actor Don Bar-
clay was recruited. “Don gave
me a lot of inspiration.“ said
Johnston. "He was a funny
comedian who knew all the
nuances and tricks. Plus, he
had interesting comic timing
and good attitudes. l proteda
lot from him."
Early during production,
voice actor Bobby Driscoll
attempted to perform Pan's
role in the live-action reference
footage. but the physically
demanding part inevitably fell
to dancer Roland Dupree.
’.
1" 3‘ . ‘Q
‘
1‘
Recalled Thomas,“l-le[Du-
pree] was a really great nd
because he could hop up with-
out anyeffort as ifhe was half-
ying. He'd be standing there
and if he wanted tohop up ona
desk or something he could
jump up there and land cross-
legged while going right on
talking without missinga beat.
All of the animators were very
impressed with his timing and
§laEl"8- H‘? 113")’ P"! ‘he ME
""9 lh‘? ch‘-"ac‘°"~“
T° slmulale ‘he "Y'"E 55'
q"¢"¢°5- Kl"? "cw We"! 35 ii"
35 5"aPPl"8 the 3Cl°"5 "_"°
wire harnesses and dangling
‘hem °‘/er 1h°_ 5laB°~_Bea"'
montrecalled.‘The artists not
°"|Y meded 3 h"mal:‘8\-"¢l‘°
draw “°m~ IP11‘ l FY 3 5°
needed those nice.uid move-
""?"l5- ‘W35 5"PP°§°d l°l°°k
comfortableand naturallloat-
ing around in the air. but the
b YGCC 3t'OUn d my midsection
‘
made it terribly awkward and
anclorgfgrlableh }i°r:.‘"a‘e]y
instruct
u ree e
o an h “P nd
moi:/C
m On 0 l OU .
C
"1? but the one thought that kept
running through my mind was
‘How did Mary Martin everdo
‘his a"d]°°k 5° graceful?“
"om," imcgrai
pan of pE-|-ER
pAN_as wilhmc
bu"; Ofwaiq Dis.
nqns 1-||m5_wa§a
strong of 5ongS_ Eleven
Sm
Hook’: ll\€0lll\|Ql‘Vl|"IlhICfO€-
‘

NEVER NEVER LAND:PIiemmIdQrIObd(li#wMlnldd:b¢IIIlhWmOyhumbLmdm.lIqumm
not found In Bonk, luggllhd by the lllont fllm vonlon. Right: The Imago 0| loot youth that loge Ibo Dlrllnqf |I\OmOI|Ol.
songs were composed,includ-
ing six by live-time Oscar-win-
ning lyricist Sammy Cahn and
his melodist partner Sammy
Fain. who with Bob Hilliard
composed nine songs for
ALlCElN WONDERLAND.
The songs.someofwhichwere
highlighted by choralarrange-
ments by Jud Conlon, worked
especially well within the pic-
ture‘s framework in that each
one integrated into the story
MIMIMIJOM$lblIYmI¢HMHqvI'\1="\|lI"WIv\I\hIIlIl¢@'¢lIqeIrI\|°'1-
it
without ever stopping the
action. For example, during
“You Can Fly! You Can Fly!
You Can Fly!," Cahn's lyrics
l
and Fain‘s melodies subtly
move through Peter's teaching
of the all-important flying
techniques to thechildren.
Cahn described his one and
only stint writing songs for a
Disney lm. “It was a very
strange assignmentatrst,like
working ina cartoon factory."
recalled Cahn. “The hardest
thing was getting used to writ-
ing songs based on a set of
storyboards hanging on the
wall. Sometimes when you‘d
nish you‘d have to waitayear
before you'd see anything.“
Cahn remembered numer-
ous meetings in which Disney
would listen to the songs for
approval or disapproval. “He
was a good listener. and very
nice to sing to and to play for
because, as you know. l‘m a
lethal demonstrator. meaning
l aim a song at you," joked
Cahn. “Walt would pay such
close attention and lookatyou
with the greatest interestasyou
sang to him."
Cahn. whose only otherstint
inanimationcame with Hanna
Barbera'scombinationlive-ac-
tion/animation feature JACK
AND THE BEANSTALK,
gives much ofthe songs'credit
to the animators and story-
writers. “l have to give them
points because they‘d make it
so easy for us," said Cahn.
“They were able to make every-
i
thing merge. Every now and
then we'd have to give the ani-
mators more lyrics, but they'd
make the transitions soeasyto
do. But the greatjoy ofwriting
a song is when you nally get
on the sound stage. That's the
greatest reward and Disney
had the best musicians, the best
arrangers_ the best everything.“
When asked about the song,
“What Made the Red Man
Red?" and its place in these
more racially sensitive times.
Cahn explained, “We weren't
trying to make any political
speech.ltwasaninnocentsong
sungin an innocent.entertain-
ing environment. We weren't
making fun ofanyone.“
While Cahn‘s favorites were
41
 “Second Star tn the Right"and
“You can Fly!." he admitted
that the Disney vocals on
PETER PAN were never
designed to sell records. “The
animators would choose the
voice people to fit the picture.
not to sell a record. Although
just recently [singer] James
Taylor recorded ‘Second Star
to the Right‘ for an album. so
you never know where your
residuals are going to come
from." Cahn laughed.
“For me itwasalaboroflove
and joy just to work for Dis-
ney.“ said Cahn. “There you
always had the feeling that you
were involved with greatness
from all the things that had
gone on there before. like you
were in the presence of a
legend. lt was quite an honor.“

hile Peter Pan

and his dash-
i ing aerial gym-
nastics filled
the bill as a
formidable hero. Captain
Hook proved to be a comic
scene stealer thanks to the
efforts of directing animator
Frank Thomas and his crew.
Recalled Thomas. “The direc-
tor. Clyde Geronimi. was quite
insistent that Hook be a real
menacing villain. much like
Ernest Torrance. who was a
burly.bearded silent screenvil-
lain.On the other hand.[story—
man] Ed Penn" Vi?“/Ed Hook
as more ofabumbling.elegant
sop." Convinced that Penner‘s
approach was best, Thomas
bypassed Geromimi by meet-
ing with Disney‘s approval.
who always hadthefinalsayin
everything. The result is one of
the studio's most memorable
villains. “We had to walk a fine
liine. t h oug h . " sai'd Thomas.
rene it. then really sit down
and enjoythe characteryou‘ve
created."
Thgmag Praiggd Han; Con.
ed for shaping much of
]-[0o|¢‘5 da§(3|'dly pcfggna‘ “l
really havetogive himanawful
10; of ¢,-¢dii_" admmed Tho.
ma; “During lhc ii“; anion he
gave us 3 ma] mnsjsigngy of
Characle,-_ in {ML whgn he'd
ping"(hg()u[1and[h¢ha[_he
rcaiiv bgcamg Capwin Hook!“
Tomas recounted lhechem_
isuythm wen, imothe humor
of Hours chamcmm-ward km
- -
source of controversy was
Tinker Bell.designed bydirect~
ing animator Marc Davis as a
curvacious. nicely endowed
sprite with a severely jealous
attitude. After SNOW WHITE.
D\'i5 d6\‘¢|0P¢d H l'<!PUll\li0n
as the creator of some of the
studio's most memorablefemale
characters. including C'inder-
ella. SLEEPING BEAUTY‘s
Maleccnt and Cruclle DeVil
in lOl DALMATIANS. Ac-
cording to Davis.designsfr0m
th_e outset always portrayed
Tinker Bell in pint—siLed
femalg form with various out-
ts.usuallyscanty.“Oneofthe
greatestmisconceptionsislhat
she wasmodeledaftcr Marilyn
Monroe." said Davis. setting
the recordstraight.“Therewas
no truth whatsoever to this."
Davis maintained that Tinker
Bell was a compendium of his
own designs.
“Our intention was always
to make her attractive." Said
Davis. “She's basically a jea-
10115 woman who doe5n‘t wan!
anybody else to come between
her and her man. The pouting
I shave.

who succecded in m‘; king Elnugrsswxgzlai/lflizlsgsiTaiaigfgh Smee got: lurnrlaed. searching tor his Captalni head, utter ton clone

Hook p.'°p.°r]y menacmg as out.particularlythestuffatthe

we“ as hanously funny‘
As is typicalwith many¢har-
acteranimators.Thomasfound
himselfintegrating parts ofhis
own personality into his char-
acter. Noted Thomas, “l lived
with Hook rather intimately
for two years and I found
myself thinking like him day
and night. ll IBKCS anywhere
from three to six months to
reallygettoknowyourcharac-
ter. to know what he'll do in
every situation and be able to
draw it. Once you‘ve got that
under you. you can begin to
end when Hook is swallowed
by the crocodile and he Comes
running out with [hg alarm
¢]0r;k_ we had a guy namcd
John Sibley who had a funny
approach to everything he
thought about. He was able to
animate these real panicky
scenes with the characterjust
cqming apart at the 5gam5_
When heand[directinganima-
ior] Woglie [Reithcrmanl
would get together you could
hear them laughing through
the whole studio!“
Providing the film's chief

42

FILMING TINKER BELL: Margaret Kerry llylng. lller Tlnlt lqueexal through
the keyhole of the drawer ln which she la lrrtprleoned (lett). For the drawer aoenea
Kerry interacted with a twelve-loot palr of aelaaon and other overalmed prupa. The
sq."
use of llve action -t Dleney
aspect of her personality was
suggested by Barrie."
Actress Margaret Kerry.
who in I935 played a fairy in
Warner Bros‘ adaption of A
MIDSUM MER NlGHT'S
DREAM with James Cagney
and Mickey Rooney. modeled
forTinker Bellinabathingsuit
during the live-action shoots.
after auditioning forthe lm's
directors. “The sessions were
very exciting." reminisced the
veteran actress. who went on
to appear in 36 major lm and
TV roles.“Therewereallkinds
Fllnlng eorrtlc actor Don Barclay aa Srrtee and Hana Conrted aa Hook. ea Barclay dtavea a dink. perched on lop of the Captain. tendered tltconecloua by S|nee'a antlta.
m§—;=—
._
"‘ = "
' and the oversized buttocks
mm the making of ctuosnztu lrt the up '40-.
of props for me to interact
with. including an oversized
keyhole which lhadto pretend
to squeeze through. They also
had a pair of l2-foot scissors
which l had to move. lt‘s diffi-
cult to do pantomime if you
don't have a rhythm so l did a
lot of action with songs like
‘Donkey Serenade‘ going
through my mind." Kerryalso
acted in the reference footage
as one of the mermaids with
June Forayand Connie Hilton.
Upon the lm's release.crit-
ics were extremely critical of
P
..
ii It was a labor of love,”
said Sammy Cahn, “and a
ioy to work for Disney. You
had the feeling you were
involved with greatness.”
Disney's rendition of Tinker
Bell. deeming her too sugges-
tive for children's fare. Critic
David Fisher of Sigh! and
Saund magazine wrote.
“ . the transformation of Bar-
. .
rie‘s disembodied spot oflight
into this Gorgeous Gussie of
the Never Never Land repre~
sents Disney's usual injection
of sex." Years later. following
Tink‘s selection to introduce
the DlSNEYLANDTVseries
in i954. critic Francis Clarke
Sayers wrote, “Look at that
wretched sprite with the wand
which announces every Dis-
ney program on TV. She is a
vulgar little thing. who has
been too long at the sugar
bow]5_"
On February 5. I953. Walt
Disney's PETER PAN. with a
nalbudgettallyofS4million.
was releasedinTcchnicolorby
RKO Radio Picturestoenthu-
siastic audiences. lts initial
release pulled inavery respec-
table SI4 million. helping the
studio edge furthertowardthe
economic recovery which began
in I950 with the successful
release of CINDERELLA.
The grosses were also proof
positive that theatregoers were
quick to forgive Disney forthe
folly ofALlCElNWONDER-
LAND two years earlier. lnthe
course of four subsequent re-
.§‘l"*
'"4 '1
’
I
releasesthrough I982. PETER
PAN grossed another S70 mil-
lion. not to mention a then-
record of $7 million in video-
cassette sales in I990.
Critics were generally upbeat.
but British reviewers accused
Disney of stealing the best ele-
ments of Barrie‘s story and
reforming them to suithis own
sensibilities. onceagain“Amer-
icanizing" a classic as he did
with ALICE IN WONDER-
LAND. Reviewer Richard
Mallet of Punch Magazine
labeled PETER PAN “a mon-
ument tomisguidedingenuity."
while another critic wrote.
“Having mutilated ALICE lN
WONDERLAND,Disneynow
murders PETER PAN. and l
ham thc 3§5umgd innocence
- - - .-
"""h whmh he d°¢5 "-
Ollie Johnston responded to
the reviewers. noting. “Critics
always seemed to want the
story exactly as it was written.
but it was impossible for us to
make our pictures that way.
We had to exaggerate those
basic emotions with stronger
elements of fantasy and humor
and evil or jealousy and sus-
pense in a way that communi-
cated very clearly to the audi-
ence becausethose actually are
theelementsthatmakeourpic-
tures. And we really had to go
for the conicts between the
characters because otherwise
 STEVEN $PIELBERG’S “HOOK”
Never takes off, despite all of its forced efferueseence, and
it’s not just because we’1e not thinking happy thoughts.
By Thomas Doherty
Steven Spielberg directing
his very own version of Peter
Pan isjust too perfect. The
well-worn rap on his moviesf
together, class—is that for all
their cinematic prestidigitation
they are, at the core, mere
child's play#great sleight of
hand, but no real magic. Like
Bruce swimming in for the kill
or lndy swinging from vine to
vine. Spielberggenerates mo-
tion more energetically than
meaning. His perspectivefavors
boyish exuberance and child ‘s-
eye views of widescreen space-
luminous spectacles that glow
in the distance and reect light
back on a shimmering, spell-
bound face, a mirror image of
the spectator in the motion pic-
ture theatre.
Among all the offbeat and
twisted episodes ofTl-IE TWI-
LIGHT ZONE catalogue, only
Spielberg would glom onto
“Kick the Can“ for his psycho-
logical prole selection. lt is
somehow inevitable and almost
reassuring that modern Holly-
wood‘s most solvent lmmaker,
the former wunderkind whose
auteurist motto sometimes
seems a petulant “l won‘t grow
-lull: Floborh n Tlnlter Boll, porlectly
pfllllllll and sprightly high-pltcltod.
but wanted ll I lpcdnl ellecll gnlt.
44
HnItmlnuHookllckllhol1ltunlohocomQllrulyollIc1IvQOld|pd nlqhhnan.
up!“ has taken on Anglo-
American culture‘s favorite
tale of arrested development.
Which is no reason to y off
the handle. Spielberg‘s nomi-
nally grown-up material(THE
COLOR PURPLE, EMPIRE
OFTHESUNand ALWAYS)
has been less richly textured
and emotionally satisfying
than his reputed matinee fluff
(JAWS, E.T. and the lNDl-
ANA JONES trilogy). ln sen-
sibility and subject matter,
J.M. Barrie promises a more
congenial matchthanJ.G. Bal-
lard. Why then does HOOK
fail to grab the brass ring? lt‘s
active and lifelike enough, but
wears its blandishments like a
prosthetic device,nosubstitute
for esh-and-blood vitality.
Spielberg.ofcourse.ishardly
unaware ofthe critical carping
at his proclivity for prepubes-
cent plots. Goingoutonalimb
for HOOK was a calculated
and deant stance. Spielberg
and his screenwriters take
some intriguing liberties with
the original book. Written in
l904 by the justly forgotten
playwright J.M. Barrie, Peler
Pan was one of the two great
Victorian-eraexcursionsintoa
fabulous Never Never Land.
Lewis Carroll's Alice in Won-
zlerland being the other. Ofthe
pair. Peter Pan is the light-
weight entry, having none of
the through-the-looking-glass
horrorand subversiveimplica-
tions of Alice‘s dreamworld.
Where Alice emerges from her
rabbit hole older and wiser,
Peter ducks back down,forev-
er young and dumb. Barrie‘s
taleisalittleboy'sdreamofnot
growing up and facing adull~
hood—namely sexuality. girls
and all that othericky stuff.
Most Americans know the
pre-fab fairy tale not through
bedtime readings or stage pro—
ductions, but from Walt Dis-
ney‘s animated classic, PETER
PAN(l953),and from ritualis-
tic television broadcasts ofthe
Broadway play with Mary
Martin cross-dressing in the
title role. lnthe Barrie playand
its moving image variants. the
lureofPeterPandomisnotjust
the adventure in Never Never
Land but utter freedom from
adult authority and social
responsibility. Looming over
the action is the repressive
shadow of the omnipotent Vic-
torian parent, an overbearing
figure constantly present to
badger a helpless child into
shape. Playa Freudiangame of
connect-the-dots and contem-
plate the psychological signi-
cance of the symbolically cas-
trated father gure, Captain
Hook.
ln Barrie‘s pre-Dr. Spock
era, the lot of the bourgeois
child was obedience and con-
nement. a regulated existence
overseen byalmightyadults. ln
90s America. where "parent"
is as often a verb as a noun.
child rearers are supposed to
practice the delicate skills of
accommodation. nurturing.
and sharing. Yet one-parent
homes, pandemicdivorce rates.
and daycare upbringing make
the venerable Victorian nuclear
unit less an overbearing pres-
encethanahistoricalanachro-
nism_ Spielberg solves the
problem with an ingenious
switcheroo.
ln keeping with modern
familyaffairs, HOOK‘s hookis
to reverse the child-parent tra-
jectory and thus rework the
whole emotional dynamics.
The point of identication
the point of the story—shifts
from the children's yearning
forliberation and selfassertion
totheadult‘s movement toward
parental involvement and self-
sacrice. HOOK isn‘t about a
boy who won‘t grow up, but a
father who won‘t pay atten-
tion. The original Wendy.
Michael, and John wanted
Mom and Dad tolet upalittle:
hence the lure of a ight with
Peter. Their yuppie-spawned
decendents Maggie and Jack
wanttheirdad to attend school
plays and cheer playground
exploits. He(andthey)haveto
bedragged kickingand scream-
ing into Never Never Land.

Robin Wlllhmi an Pan. the inldri iiutqo um melt! Phvllwl "MI W Id WM
lltttihlImM0dlmaIOI'iIl\Ippyw\|gHh9e1llih0m0—pI\lplllorklI7
what bale’ conlmem °n cqm
temporary family dynamics
than a classic escapist fantasy
being reworked into an ode to
parental involvement? The
ltidsarePartofthescenc"Y:this
izllg every sense‘ an
Robin wiiliams who has
' h. i ht of [am
prmy ,m"lch "wiped James
“’°“.'" ml: 3.5 ‘he hardeg
“'°'k'_['g ma“ T sh°“' b‘;§‘i
E55. Playslht e negkct ‘l
caiielenglveaa leeiit l1.IrI2ndt'>Iiielt|o
dedicaie a hospital wing in
honor of Maggie Smith as the
Awend
ll
( C“? Y‘
“°wfa§°d
gnes ma‘ mg elbrmk mgr
lglgflz "Pm ‘P 3° P‘,‘d'
hi5 _er w_ 0 cppimittsfaspréing
yi)‘i:Is1;iiiglie ca(l)lnofhis veddy
remains rudely preoccupied
Wm’! the work of“ curpuraui
l3l‘?lh%]b8C|( hoznve. go. Peta-.
as s ranny en y arc y.
" “You've become 3 pirate?“
when Maggig ann John are
not-so-mysteriously kidnapped_
Peter scoffs at the fairy tale
explanation until Tinker Bell
(Julia Roberts) spirits him
away to Never Never Land.
There he becomes a believer in
happy thoughts. paternalduty,
llld extravagent set design.
The docksidg Never Never
[and of Captain Hook (D\,|§-
[in Hoffman) and hi5 gcufvy
mw is the buklnt pine ([9
resistance. One imagines dol-
lar signs registering in the eye-
balls of Hollywood's union
construction crews. On this
level the film is indeed a
.w°n‘.1en° behold‘ Bunhecasb
ing is all wrong. Perhaps a
Mork-era Robin Williams
would have been able to pull
off the androgynous lighter-
than-air Pan, but with a
gggglgglicllziigiirtgg
Nan°_Nan° Kid is no‘ ui’ m
Thou h
5 .1] y‘ g sion‘s paltry syndicated car-
f I la-ms can Snf must‘?! e
ll'°".°"°k§"‘:'.gy °m:n"a "Ti"
e'::7s,::‘-:'i‘ml;s‘;sog)amcda
‘flat-:1 ha
nally appears in his-Pan frills
and tights, the midriff bulge
and stocky physique expose
the sad truth that this dude
lh h
d
xgushmr H aiigofnefpprii
ha sga forkm PC
Pike Pécino in DICK
TRACY Dustin Hoffman,
0 ptain oo on i tam
F" Buckley‘ is slumming and
Eccpphguggagosgntglyé ll:
truly effective as an Oedipal
nightmare. (The dialogue tries
to cleverly acknowledge the
incongruous castingofthetwo
stars with sardonic asides at
\_Nilliams‘heft and Hoffman's
SIR-)
AS Tinker B¢"- megaslar °f
the_month Julia Roberts is_pre-
¢°¢l0l1$|)’ Pl’°§¢X"a| and 5P"Ehl‘
ly high pitChBd. SHE'S well-cast
asthe rey pixie—hersexual-
ily h3S 8lWyS €VOl(€Cl 3 little
girl lost rather thanafull-bod-
icd woman. Probably at her
own insistence. she gets a last-
minutecostumechangeandan
eye-level 566118 Wilh Willialm.
toI||ll|tdonpI|¢50
“Disney had a vision and a
set of values," noted artist
Ollie Johnston. “He had
integrity and knew how to get
the best out of people. 5!
people wouldn't sit still forthis
stuff. Walt always said KO SliCl(
with the personalities and milk
asmuchoutofthemaswecanf‘
Thomas recounted anamus-
ing anecdote Disney used to
tell while overseas after the
lm‘s release. “Walt was walk-
ing down the street in London
and he passed by a theatre
where PETER PAN wasshow-
ing_TwoOldhdiesweregoing
along and one of them said,
‘Have you seen ityet? I hearit‘s
- - .-
trrimly rAo'::rsl;a;".7€‘i']l Agd
bl?‘ while ou.my ~;,alchir“y ii‘
cu tea" élon.‘ mind il ...g ‘
y Banietgswry hassurfécedin
other cinematic forms. from
the likable TV version starring
Mary Martin to Pox Televi-
I00". PETER PAN AND
THE PIRATES. but no ver—
sion _h_as ever equaled Disney's
nindmon or Bameis mane“
place’ 'k;_hnSon Speculmcd
whylhc llm haf held up so we-H
°"°""° y°‘""- w”"w‘i"d°d-" ‘f"““Y°“
cated to certain ingredients in
lifted you upto whereyouwere
his pictures. maill’ Walfmlh
and humor and especially
heart." noted the veteran ani—
mat-or’ “He v-vame-d ‘O -gm
Flying Roland Duprle an Pun In I light loom with Hook phyid by Henry Brandon,
who llllod-in Ior mm Conrlud lot lust two mm outing the llve action nmmtq.
n
" .. /
-‘
I
.;4~
which in PETER PAN was
probably Wendy, because of
her relationship with Peter. All
of this in turn would have to
come through a good story."
Kimball agreed. “The great
stories willalwaysbercrun,"he
said, “PETER PAN wasexactly
the type of plot people wanted
to see. And ifthere have been
roblems with the stor crews
gt the studio hue! gm “.5
because they never had Walt
guiding every step of the way '
. .
H; had [ms sléuh Zens; about
E’:‘|_Yas|g°° En W nlvzs
fl‘ ea W37: nneww a B
plcsarlsnrg p'JOhn5wn ..|
think weall contributed because
of Walt. a_nd because we were
enthusiastic about the mate-
rial. lt‘s unusual to nd a man
like Wall who has a certain
vision and a set of values and
who can h3ndlc50manya|1i5[5_
He had imegmy and ht knew
°“ h°“' W 5°‘ the P5510"! Of P60-
pk‘ He made you fee.‘ proud of
“‘"° ‘”°"‘"‘g °"' H“
part of something that turned
outrealgood.ltwasafantastic
experience and lwouldn‘t have
the missed ‘hose Xears for any
'
'
'
._.._._..__
45
 Horror auteur Wes Craven on his fantasy
series for NBC and upcoming genre projects
manager ofthe cafe more out ofsenior-
By Mark Dawzdziak ity than necessarily skill. He's been
“THE TWILIGHT ZONE meets there so long that he has a wisdom by
CHEERS” is the way executive pro- default, and therefore, he knows the
ducer Wes Craven described his NBC ropes,“ said Englund. “Personally. I
series, NIGHTMARE CAFE, an view Blackie as a bit of a fallen angel
attempt to combine the appeal of a trying to work his way up out of the
fantasy anthology with the network's cafe. Maybe he will earn himself a
demand for a family of regular charac- second chance.“ And second chances,
ters. Having worked on the CBS revival Craven noted, is what his series is all
of THE TWILIGHT ZONE, Craven about. “We always wish we could go
realized that the commercial broadcast back and do things differently in key
networks have given up on the tradi- moments in our lives,“ said Craven.
tional anthology format. “This cafe gives people that chance.
The anthology success stories- With Craven as executive producerand
Home Box Office's TALES FROM occasional director. NIGHTMARE
THE CRYPT and USA Network's CAFE will pursue fantasy stories ofall
RAY BRADBURY THEATER-are types based in the cafc's limbo point
on the cable frontier, where writers and between life and death.
producers have the luxury of targeting Cravcn‘s last stabata series wasTHE
smaller, more selectaudiences. The net- PEOPLE NEXT DOOR, a comedy
works, though, believe that a mass that quickly opped on the CBS Mon-
audience shows up every week when day lineup in I989, starring Jeffrey
viewers can hang their loyalties on Jones (BEETLEJUICE) and Mary
returning characters. The absence of Gross (SATURDAY NIGHT LIVE).
familiar faces, network executives “That was very frustrating because I
argue, prevented Steven Spielberg's was working on SHOCKER at the
AMAZING STORIES and the new cm“ pyglbnotbnbotlfhnpoftlllbl olgoltnthqntos. time,andIhadtogiveupcontrolofthat
TWILIGHT ZONE fl‘0m buildinglhe series.“ said Craven, who also has
huge following necessary for prime-time characters that really embodied evil, I directed such TV movies as C HII.LER,
Survival. found that I rmly believed that evil is in NIGHT VISIONS and A STRANGER
Cravcn‘s response to this challenge is all of us. One of the great things about IN OUR HOUSE. “Right after we con-
over to
NIGHTMARE CAFE. Whi¢h NBC Pre- people that are really wise is that they ceived it, the series was turned NIGHT-
miered in February. The series reunites acknowledge their own dark side.And I've another group of people. With
Craven with the actor he chose to play A found that that's very dangerous and MARE CAFE, I've given up on any sem-
NIGHTMARE ON ELM STREET‘s threatening to many actors, so they will blance ofa personal life to work round the
Freddy Krueger, Robert Englund. Wear— makeacaricature ofit orthey'lIbackaway clock on the rst ve episodes."
ing his real face for a change, Englund from it. It takes a person of real courage Craven hoped viewers wouldn't judge
epi-
plays Blackie. the cafe's mischievous and realwisdomtobeabletodothat—and NIGHTMARE CAFE on _|us_t one
owner. also of great talent. Robert had great sode. Week to week, the stones will be
a hor-
“I think we‘re both crazy enough to see enthusiasm and understanding of that, completely different—a romance,
past each other‘s bland face,“ said Craven and a willingness to go into that. So that's ror yarn. a slapstick comedy, a fantasy tale
of his friendship with Englund. “I'll tell really what I saw in him. and it certainly with social commentary. But Craven
you what lsaw in Robert. In the course of paid off." might have nightmares trying to scare up
making scary movies, especially about According to Englund. Blackie “is the those viewers. NBC is struggling, and the

46
show's Friday berth is one of
the network‘s worst nights. lf
that's not horrifying enough.
consider that Friday has beena
graveyard for NBC fantasy
and horror series. DARK
SHADOWS died there after
coming off the bench at mid-
season (like NIGHTMARE
CAFE) last year. QUANTUM
LEA P almost died there before
NBC rushed it back to Wed-
nesdays. And that's just the
start of NBC‘s Friday fantasy
failures. Remember SOME-
THING IS OUT THERE. V.
MISFITSOFSCIENCE. MAN-
lMAl.and THE HIGHWAY-
MAN? Each was a fantasy
series NBC tried on its Friday
lineup during the '80s. Whytry
another? “The network is
bright enough to encourage
good ideas.“ said Craven.
“You have to think they'll be
patient with it."
Craven maintained that his
thrust into television fulfills an
artistic yearning. “TV is sucha
big part of our lives.“ said
Craven. “Not to engage that
audience is. to me. inconceiva-
ble. Directors are performers.
and performers need audi-
anus‘ so I enjoy going back Robert Englund, running the ollu now that Freddy Kmoqor In out of work.
and forth between film and
television. It has given me a
Zfzilrigpginil:f)ci'::fti\:ls:iIi1sfbl:
"<m- "'5 5°"
oranges typeo,
of an “PPM and
,“
t h‘mg.
Listening to the humorous.
soft-spoken Craven chataboul
hiscreepvcmft vou‘re reminded
(l986),THESERPENT&THE
RAINBOW (l988). SHOCK-
ER (I990), and last year's
THE PEOPLE UNDERTHE
STAIRS.
Horror stories “really talk
about our fears." Craven said,
“and our fears are incredibly
important to us. They are. in
many ways. the things that
impel us to do the things we do
or not do the things we should
do. And when yougointo lms
that are dealing essentially
with people's darker sides or
the darkness that they‘reafraid
of. it's very informative about
the human condition. lt‘s very
challenging and very. very rich.
And lthink itrunsvcry parallel
to humor in the sense that it's
talking about things that we're
uncomfortable with. ln that
sense. it's a gold mine."
And Craven has no inten-
tion of giving up his stake on
the mine, lnadditionto NIGHT-
MARE CAFE_whichhe'spr0-
ducing with his SHOCKER
and PEOPLE UNDER THE
STAIRS partner. Marianne
Maddalena.Cravenisworking
on two lms. The director's
next feature will probablv be
SHADES OF G RAY. 3 git0Sl
story based on a West Point
professor's research into the
haunting of one ofthe military
‘ ‘ rrn more cornfortable academy‘s oldest dormitories.
about matters of life and death and
. . ,, . C
He's also developing a movie
version ofthe radio serial THE
ultlrnate rnean|ng9 _sa|d raven! ; SHADOW. Meanwhile. loca-
“|-afher than |ike
5Qme[|1|ng [|'iyia| 1 lion work on NIGHTMARE
’ CAFEinVancouveris occupy-
just making people gOOd.’, fe€|
I

that Boris Karloff. best known ing almost all of Craven‘s

for playing the Frankenstein attention. Produced by Wes
monster. actually was one of Craven Films in association
thegentlest.mostcharmingactorsin Hol- darker" when he was introduced to with MGM. the series gives Craven a
lywood.Thatironyseemstondaparallel Craven:“ldidn‘t imagine Wesasheturned chance to work with his son. Jonathan.
inthegenialdirectorseatedinaplushhotel out... You come to know his sense of who is writing and serving as a creative
chairin Los Angeles.YetCravenisgetting humor. which l‘m surprised that more consultant.
a little tired ofthe newspaper and maga- peopleinthe pressand the mediadon‘ttalk While Blackie‘s future will depend on
zine stories that portray him as the wild- about." the patience NBC exhibits with NIGHT-
eyed monster-maker of Tinseltown. Like Karloff. Craven had no plans or continued on pl|!6l
“Go gure,“ the bearded Craven said ambition to becomea master ofthe maca-
'
wtth a shrug of the shoulders. H l really bre. After earning ' a masters ' degree 'in H“ El1I\.IIld'I
M‘ pmmm “Mum”
Blocltlo. elk proprietor-t "M;d-

don't know why the image persists. except writing and philosophy, he was hoping to
maybe becausethere‘sastrongtendeneyin direct documentaries or art lms. “I got
this country to make things black and into the horroreld byaccident,"the lm-
white. In Europe. people are much more maker said. “The rst offer was from a
willing to seethe entire person behind the company that wanted a horror lm. If
movie. And most American critics don‘t somebody had asked for a wild comedy,
take horror seriously. lt‘s easier to dismiss l‘d have given them a wild comedy.“
horror than try to understand it. There'sa That rst lm was LAST HOUSE ON
real fearofcrazinessand the irrationalside THE LEFT (I972). lt was followed by
of human nature, so, if you deal with that THE HILLS HAVE EYES(l977), DEAD-
in your movies. they want to distance LY BLESSING(l98l).SWAMPTHlNG
themselves from you." (I982), THE HILLS HAVE EYES-—
The image wasstrongenough that Eng- PART ll (I984), A NIGHTMARE ON
lund “imagined something probably ELM STREET(I985). DEADLY FRIEND
47
 Another pastiche of horror film greats from
By Steve
U H

fora million-dollarmovie.
so we want to do WAX-
I3

WORK ll and show them

Blgtms/<4 how it should have been
When a sequel is being done."
made. it's usually a sure The sequel is a con-
bet that everyone on the scious attempt to expand
cast and crew will insist on what worked in the
that the new lm is quite original. namely the excur-
different from the origi- sion in time to confront
nal. ln the casc of WAX- classic movie monsters.
WORKll:LOSTlNTlME. Once Mark and Sarah
there isactually somej usti- step through the looking
cation to the claim. for. glass. they move smoothly
despite the title. there’s not from one set-piece to the
even a waxwork in the next. returning to the pres-
story this time. lnstead. ent only atthe conclusion.
after a murder is commit- “The time travel stuff went
ted by the disembodied downgreat."noted Hickox
hand that escaped from
I

of the original. “All the

the aming museum at the I real-life stuff was a waste.
end of the original. return- so this one has maybe
ing characters Mark and Nqgnmmg|ggggDygwBorry|1|on(l)vmohOlo1|\hO\|IlblllOd0IIIO0durlr\l|olvlL
seven minutes of ‘reality.'
Sarah must journey back The climaxes in WAXWORK
ror movies. Spandau Ballet
in time (through a looking replacement Patsy Kensit rock performer Martin Kemp. were nearthe beginning. ltried
Dud-
glass, a In Lewis Carroll). bowed out to appear ina purposely to push the better
searching for evidence to cor- ley Moore movie).
Patrick who previously appeared in
in a brief THE KRAYS.playsDr.Frank- stuff later in this movie. This
roborate their wild story. MacNee returns one ends up withasword ght
returns cameo as Sir Wilfred. Seven enstein in the lm's rst set-
Anthony Hickox as
piece. Bruce Campbell (THE through manydifferenthorror
writer-director. for Electric Arts/Live Home Video have
EVIL DEAD)and Marina Sir- movies: Dr. Jekyll and Mr.
Pictures, which also produced picked up the lm for theatri-
Hyde, God7illa, a shopping
lmage cal and video distribution. tis(STAR TREK:THE NEXT
the original. Bob Keen's
WAXWORK ll has GENERATlON)impersonate mall full of zombies. The lm
Animation again provides the What
Richard Johnson and Claire has many mini-climaxes be-
monsters and makeup. Zach in common withitsprogenitor causeallit is. really.istheend-
is that the time periods to Bloom in Hickox‘s homage to
Galligan reprises his role as THE HAUNTING. Maxwell ings ofother movies.
Mark. and model Monika which the characters travel
noticeable Cauleld. who played a vam- "We get to one of my favor-
Schnarre steps in for Deborah tend to bear a
to familiar hor- pire in Hickox's SUNDOWN. ite movies. THE HAUNT-
Foreman as Sarah (original resemblance appears in an ALIEN-inspired lNG~a wonderful parody all
spaceship sequence. Finally, done on l8mm split diopter
(r) domomtrlln I choke-hold on loch Glllllll lo!
Frlnltonohln.
l-Icltox
Alexander Gudonov (DIE lenses—which outdoesthekit-
HARD,THERUNESTONE) chenscenein WAXWORKby
and Michael Des Barres far. We've taken human muti-
(NIGHTFLYERS) play medie- lation to points never dared."
val villains in an original story Hickox hoped the sequence‘s
very loosely inspired by the black and white photography
works of Edgar Allan Poe. would help the bloody action
“We'd always been upset passtheMPAAratingsboard.
with the release WAXWORK since he was contractually
got." said Hickox. “We were bound to deliver an R-rated
going to be released like THE picture. “lt‘s notagore movie.“
UNHOLY in 1.200 cinemas. said Hickox.“Eightypercentis
WhenTHE UNHOLYbombed. very clean; then you‘ve got
Vestron said. ‘Uh oh. horror these amazing moments where
lms don't make money!‘and you can't believe your eyes.
threw WAXWORK away. WAXWORK was tongue-in-
The factthatitdidsowellafter- cheek; this is comedy. We're
wards [on video] is a big deal saying totheaudience upfront.

48
Lmsr
director Anthony Hickox, played for laughs.
‘Feel free to laugh.‘ sequence in WAXWORK
“ln the rst one, there llis nothing similar. “We
was a gag here and a little discover they really haven‘!
bit of silliness there, but it gone back in time,“ said
was basically a straight- Hickox. “They've stumbled
out honor movie-except upon, as we put it, ‘God's
for the ridiculous battle Nintendo game,‘ where he
scene at the conclusion,“ and the Devil ght out
said Gallipn of thediffer- their battles. They make
ence in tone between the up these worlds and put
two movies. “This one is good guysand bad guys in,
over-the-top but not in- and Zack has been chosen
ane—it‘s believably over- to be one of these angels.“
the-top. l keep saying,
‘Tony, this is so exagger-
i “l'm the only person
who doesn‘t fall under the
ated!‘ He says, ‘I know, \\ -it spell of the scenario they're
but it's working."' thrust into,“said Galligan,
Hickox agreed with Gal- explaining why hischarac-
ter always remembers who

.1
li E3 n's assessment of the
rst lm's ending. “That ' he is while Sarah takes on
was a mistake!” admitted . a different personality in
Hickox. “When you're lllehnol Vloh u ur. ma, mum tiy Irlldt-la-od aw Keen‘! lmage mnuum oornpny. each story. “The reason is
young, you think you can that I was always meant to
doanything; then when youget wasapproximately the sameas and you're trying to dig emo- be doingthis; it was mydestiny
1° "W 5'1 Y°" “@1171? )’°\1¢"'l. that ofthe rst.°"P€rienceand tions out ofthem. Now l realiu: to be a Time Warrior. ln each
and there‘s nothing you can planning helped get more cov~ that's what it's about—to get succeeding episode, my char-
do you're locked ina corner. er-age. “The rst two or three that realism,“ acter becomes stronger and
But you learn from your mis- days were difficult, getting After completing SUN- more in command of his
takes—l switch off the TV used to the paceat which Tony DOWN, Hickox briey con- powers.“
when l see that scene coming. operates.“ said Galligan. “He sidered playing a cameo as Hickox, however, discounted
One English paper did say it does 50 or 60 set-ups a day. Percy Shelley in Roger Cor- any notion that he was setting
was the silliest ending to any which isalmost unheard of. It's man's FRANKENSTEIN UN- up Galligan as a continuing
movieever. l suppose beingthe three times more than l usually BOUND, in which a time trav- character in a series ofsequels.
silliest is better than being do, and there are no stand-ins, eling character accidentally “No, we end this one rather
forgotten.“ so we're constantly on the set. lands in the middle of the nicely,“ said Hickox. “This is
The tasks faced by lmage constantly working.“ Frankenstein story. Hickox the story we began to tell in
Animation and Bob Keen on “I've never been this wcll stressed that the Frankenstein WAXW()RK_a|-id this i5it_"[]
WAXWORK ll included a planned beforeAit‘s worked
seven-piece prosthetic makeup out amazingly,"said Hickox of TM MIMI nlmdbl luturlcledo|nonooiIibroutolALIEN.
for Frankenstein's monster,an his moving away from the
eviscerated chest for Bruce more improvisational style of
Campbell, a man-in-a-suit his previous two lms. “I liked
alien,and awoman-to-panther the fact that on SUNDOWN l
transformation, not to men- could see the actors do the
tion various throwawayimages scene, and decide where to put
like Godzilla and Mr. Hyde. the camera. On this, lcame in
“The trick about a WAX- knowing. ljust wanted to try
WORK lm is that the effects that as a technique and see
are realistic, but they're ulti- whether it worked or it was
mately played for a laugh," restricting. You get so much
said Keen. “They are often more done.
amusing, but they are never “l'm doing something else l
phony or funny-looking,apan haven't done before, which is
from Godzilla, who is a little really makingtheactorswork,”
more rounded and cute than said I-lickox.“lalwaysfeltsilly
the original.” before, making actors be emo-
Though the lm's schedule tional. They're other people,
49
 THE WICKER
Kelly Curtis, sister of champion screamer
Jamie Lee, stars for Dario Argento.
By Alan Jones
THE SECT(LA SETTA)
isItalian producer Dario
Argento and director Mi-
chele Soavi's latest serving
of pasta panic-THEWlCK-
ER MAN, Italian style. The
$2 million horror fantasy is
a co-production between
Argento's ADC Company
and Penta Films, jointly
owned by Mario and Vitto-
rio Cecci Gori, Italy's top
distributors, and Europe's
cable television king, Silvio
Berlusconi. Kelly Curtis
stars as a German school-
teacher who becomes the
instrument of a sinister cult
seeking the binh ofthe Anti-
christ. Also featured are
Herbert Lom, Tomas Arana,
cllV9~"\¢"l°'d|’YlP'\M5""'c N"!
50
MAN,
Ammo in with mm lllchllo soul on lho in ll llonh Gentle, in lol Ali‘ of noun.
Michel Hans Adatteand Mari-
angela Giordano. THE SECT,
lmed in Italy in the fall of
I990, opened there early in
l99l and is currently available
on video from Republic as
THE DEVIL'S DAUGHTER.
Co-written by Argento,Soa-
vi and Gianni Romoli, THE
SECT sprung from CATA—
COMBS, an unrealized proj-
ect Romoli had written for the
Gorisasavehiclefor Luca Ver-
done, the younger brother of
Carlo Verdone, one of Italy's
biggest comedy stars. Soavi
incorporated ideas from his
script forTHE WELL,another
unrealized project for the
Goris, with whom Argento
and Soavi had made THE
CHURCH in I988.
Argento wrote the film's
prologue. set in the early '70s,
introducing Thomas Aiana as
a Manson-like cult leader who
brutally murdersadeseneom-
mune while chanting key dia-
ITALIAN STYLE
logue lifted from the lyrics of
the Rolling Stones.“Argento‘s
still very attached to that
period," said Romoli. “Both
Michele and I let him get on
with it." Argento is a huge
Stones‘ fan. The director actu-
ally wrapped shooting TWO
EVIL EYES early one day in
Pittsburgh toattend thegroup's
concert there in I989 and
guitarist Bill Wyman has con-
tributed to the soundtracks of
Argento‘s CREEPERS and
OPERA.
Soavi's input was thesetting
of the cellar pit where most of
the supernatural action takes
place. Admitted Soavi,“l had
to put THE WELL in some-
where! lcouldn‘t expand the
idea into a full feature so I
incorporated it within THE
SECT. I like that sort ofstuff.
My favorite part of THE
CHURCH took place in the
dark subterranean vaults."
The film's pit scenes were
lmed on a set built at
Rome's De Paolis Studios.
THE SECT is Soavi's
third directorial effort, his
second for Argento. “I'm
more relaxed,“ said Soavi.
“I no longer give a shit if
Dario lurks around the set.
l‘m not paranoid anymore
about him creating tension,
putting the crew on edge or
offering me advice which l
might not take. THE
CHURCH did me in. After
one week's shooting l was
two weeks behind schedule
and Dariodrove meincreas-
ingly crazy, especially dur-
ing the editing.“ Soavi noted
that Argento was “happy
with the moodyatmosphere
of the rushes" on THE
SECT. “I finally feel he trusts
me to work fast and tum in a
good piece ofwork."
Not that Argento and Soavi
haven't had their usual quota
of screaming matches. One
concerned Soavi's insistence
on lming exteriors at Monte
Gentile, the Bel Air of Rome,
with May blossoms oatingin
the air. “The story is set in
Spring and revolves around
the fateful day of May 6th,“
sighed S0aVi_ “Having this
feathery, snow-like substance
wafting in the breeze added a
unique strangeness Dario
refused to understand until l
underlined its symbolism. l
want THE SECTtoworkona
number of weird planes to
engage audience attention."
To this end, Soavi has lled
every available inch of screen
space with Druid iconography
and Celtic metaphors. “The
turquoise ribbons tied on the
trees are what you do if you
 4 .i"I'
Q,
., ~15
Q .
CurttepllylIllitain.ntcetoduttuvaattneanytMdowIl‘ecl\ltd,bnrllderodbynruldutdcoltlclyinbolslnovgavdcn.
want a baby boy,“ explained
Soavi, whosediscovery that his
g reat
grandfather was Irish
prompted the motifs.
A key contributorto Soavi‘s
v,,i.,,,,,r,,,,.,-,,,,, ,,,,,5,w,,_
camuoperator Giovanni Geb-
bia. The theme ofthe filmisa
continual spiral, a vortex
sucking you into the horror
like the water in the cellar
well.“ said Soavi. “Every time
there is a tense moment or a
shock, the camera moves in an
arc. Atrstit‘s90degrees,then
it‘s I80. Only during the con-
clusion will the camera move
360 degrees to complete the
terrifying ring of deception,
I'm not using camera tricks for
their own sake. They have a
real underlying purpose.“
Actress Kelly Curtis took
the lm‘s meticulously planned
mechanical logistics in stride,
looking more like her mother,
Janet I.eigh_than heroldersis-
ter, Jamie Lee Curtis. Apart
from a small cameo in her sis-
ter‘s TRADING PLACES.
stage actress Curtis only has
one other lmcredit in her res-
ume—MAGlC STICKS,
German rock opera version of
M<;;g,r.<;= “Ihe ,M§~g.ii: Flute,“
Horror movies scare her. the
reason why she said she has
never seen her mother in PSY—
CHO. and why she calls THE
SECT ’“An Alice in Wonder-
land‘ fantasy—not a horror
film—becauseagood movie is
all things and all genres.“
knitting a pink sweater she
' ' ' ' began on the first day of shoot-
‘Q
I no longer g've aI! sh|_t If Pano
|L|I'kS al'OUl'\d the Set, Sald dlfectof
ing, Soavi
.
admitted . THE
-
SECT “is nothing startling or
that original I‘ve gone for nail-
Michele Soavi, creating tension,
as
,,i,i,,,s,,s,,;,,,,e and scalp-
the cfew on edge or freezing scares,“ said Soavi,
, , . ' who is looking forward to the
Oerlng advlce I nOl take.” time when his name won't
- remain in lowercase print, way
below Argento's bold pro-
The actress, who calls Mon- face-ripping ritual plus the ducgf posqer ¢r¢di1_ "Hope.
tauk. New York her home.did major splatter highlight in fully I'll be taken far mare
manage to do a little research which the possessed Giordano geriously after THE SECT, l
before startingTHE SECT, by turns intoa human blood foun- want to work forotherproduc-
watching STAGEFRIGHT. tain by cutting open her hospi- er5_ 1 want new challenge; 1°
Soavi‘s horror lm debut. and ial stitching after being raped grow as an artist in my own
Argento's SUSPIRIA. “I and §l5_l1=d byva l{’"¢kFl|'l‘/e"- right above being told to ‘do
thought STAGEFRlGHTcon- Stivaletti'scontnbutionsinc|ud- 1}-|j5_‘°r‘d°(ha1_andqui¢k]y!"'
tained some incredibly breath- ed a half_human/half skeleton A5 for A[ggn[Qv after THE
taking images," said Curtis. mechanical maribou bird SECT 3 p|ann¢d Series of
“But I'm too sensitive and puppet with articulated head Edgar Allan Poe gtgfigg spun
impressionable for Argento‘s and wings. a remote-control off Tw() EV|1_ EYE5 fcll
brand of shock tactics. Yet, I rabbit/curio that comes alive through 3; |;a|y'§ RM TV_
lovedthe psychologicalthriller to protect Curtis, a life-cast of Argento is sq 1° dirggl a ngw
imagery both had layered into her head for a shot in which a f¢amr¢_ AURA'$ ENl(]MA_
the script.“ scarab beetle crawls up her which bgging produqion in
In thecourseoflming,Cur- nose.aI\_d the t0l’§0_ 0faSu_p¢l'- Mayin Pittsbur-gh_Scripted by
tis had her skin covered by market checkout girlcrucied THE 55¢-['5 giarmi Rr,mo|;_
blue-gel veins, was savagely bythe sect witha rivet gun. it is described as a would-be
peeked by a prehistoric bird. Stivaletticomesfromafam— BIRD WITH THE CRYS-
had insects crawling out of a ily of dentists and traces his TAL PLUMAGE II, a return
a neck wound, gave birth to an makeup and model-making lothe basics ofthe I97Othriller
insectoid fetus and watched a skills to training as a dental that made Argento famous.
best friend (Mariangela Gi0r- technician. Stivalettialsosculpt- And Argento is producing
dano)suffocateinalinendeath ed a larger-than-life nasal pas- THE RETURNERS, also
masksoakedincultleader Her- sage of Curtis so Soavi‘s cam- scripted by Romoli. a DEM-
bert Lom‘s sweat. The film's era could follow the evil insect ONS riffthatwastobedirected
special effects. prosthetics and as it attempts to burrow into by Iamberto Bava in Rome in
opticals are the work of her brain.“Michele‘sapproach March. As for Soavi, he's
Argento regulars Rosario is surreal,"said Stivaletti. directing a TV horror film-
Prestopino and Sergio Stiva- Relaxing between takes. not forArgento-titled LA-
letti. Prestopino devised agory with Kelly Curtis beside him. DIES NIGHTMARE. El
51

Pl2®$'I>[il2(i'$
way on
using cinema for confrontation.
By Dan
Scaggerotti
He is one ofthe world ‘s
most controversial direc-
tors. His last film. the ma-
cabre Tl-lECOOK,Tl~lE
THIEF, HIS WIFE AND
HER LOVER(l990)added
another nail in the cofn
of the now-defunct X rat-
ing. Now Peter Greena-
way has laid his sights on
Shakespeare and the result
is one ofthe most birarre,
original lms of the last
ten years. What Disney
did for classical music in
FANTASIA. Greenaway
does for the Bard‘s The
Tempest, giving his own
visual interpretation ofthe
play in terms that would
Greenaway. pricking ludloncof unllbllllin. where the classic nude is
ha‘/C shocked Elilabelhan
England-—not to mention
Reagan/Bush America.
Trained asapainter.Green-
away’s artistic background
provides his lm work with a
strong visual sense. “Film
theoreticians say thatcinemais
based on the novel. on theatre
and on painting,“noted Green-
away. “l always think of the
painting as somehow unsung.
My parents always referred to
going to the moviesasgoingto
the ‘pictures.‘ I would like very
much to reinvest the cinema
with a very high degree, an
almost overwrought concern,
for picture-making."
Greenaway defended the
52
mots
way in which THE COOK, way. "lt'spartoftheartgallery
THETHIEEHISWIFEAND
HER LOVER. with its scata-
logical imagery, twisted sexu-
ality and grim violence, stirred
controversy. “l upset people,“
admitted Greenaway.“lt‘s cur-
ious how audience reactions
were often, l think, very hyp0-
critical. People who walked
out were very probably aware
of the uses of sexuality and
violence in commercial domi-
nant cinema. A movie like
TERMINATOR 2, for exam-
ple, has the most appallingvio-
lence, blood and mayhem. lna
movie like that we knowthat it
l
is sheer fantasy, a sort of
Mickey Mouse preoccu-
pation. When Donald
Duck gets hit over the
head with a brick he's up
and walking in the next
frame. In my pictures,
when Donald Duck gets
hit over the head with a
brick, he's in the hospital
for six months, he has a
brain tumor and he remem-
bers the event for the rest
of his life. That sense of
confrontation is deeply
disturbing.“
PROSPEROS BOOKS
continues Greenaway's
campaign to confront audi-
ences,thistime withexten-
sive nudity. "Prospero‘s
personal landscape is that
of Renaissance painting
endemic," said Greena-
experience.Whycan‘twetryto
bring that experience into
cine ma, this very, very impor-
tant 20th-century medium
which so many people see‘?
“Ofcourse,it would be naive
of me to suggest that l wasn‘t
also interested in stimng debate
abo ut the sensitivities of the
nude and the naked, with its
North European sense ofguilt.
This dichotomy certainly exists
in European art between the
naked and the nude. between
the gothic and the romantic. l
think in those terms since lam
an art historian. That is very
'"p(f_';'.';',my:,“:',':."":::':1:‘:';|:"
umlnoc ol|clon0olritM2Dthoontury.
much a part of my landscape.
But unlike the great paint-
ers, Greenaway‘s use of nudity
in PROSPERO‘S BOOKS
stresses a naturalness that
doesn't seek to idealize the
human form. “We have the old
and the young. the masculine
and the feminine, the so-called
beautiful and the so-called
ugly.“ noted Greenaway. “ln
dominant cinema thereisa way
of deodorizing, brushing out
all the moles, making people
more beautiful. We know
that's not the _human condi-
lion. lt‘s an artice created by
theadvertisingindustryand by
the movie industry. l want to
take these ideas and debate
them in terms of the cinema.
which is a big public forum."
Greenaway shuns commer-
eial lmmaking, which he ref-
ers to as “dominant cinema,"
bouyed bythe eommercialsuc-
cess of reaching his own spe-
cialized audience. “Critics in
Londonaresayingthat PROS-
PERO'S BOOKS is T2 for the
art house market, but at three
 ii?
ti» Y
k...
‘
Mm Gmwd PIMWIOJPGMMI
magician who inn hll kiinwlodgcto
Incl mmql mu dntroy hllonomlol.
percent ofits cost,“said Green-
away with pride. “Why should
I use my particular talents and
interests to go for a market or
create a product that l feel in
some sense would undersell
whatl'mtryingtodo. Obviously
my audience is never going to
beas bigasT2,butit'sgrowing.
THE COOK earned some-
thinglike $14 millionin Amer-
ica. Nothinglike the bigprots
that can be made by major pic-
lllehnol cunt no Caliban. Frolpovdl demon-slain, chllnod to I rock In the
ltvlmp. Gnonlwly med chonoqrlphy lo provide On mub role with eloquence.
l
5 R 5 E N A W A y ' 3
“Dominant cinema has
making people more heautitul. We know that's
not the human condition. It's an arti ice t2ll;3,iBli
' '
hy the advertising and movie industries.
tures, but foran eccentnc Eng-
lish directorthat's not bad."
ln Greenaway‘s hands.
°"°° the
Shak¢5P°3\'°'5 PiaY»
inspiration forthe'S0sscience
ction classic, FORBIDDEN
PLANET, serves as a meta-
phor for the close of the 20th
century, a hundred years in
which mankind's store of
knowledge hastaken unprece-
dented advances. “It's almost
an end of the millennium
play," said Greenaway. “lt‘s
about restarts, rebirths, reeon-
ciliations, forgiveness ofone‘s
enemies in order to start all
over again. lt's a play very
much about knowledge. There's
Prospero with all his know_l-
edge as represented by his
books, so powerful he becomes
a magician. And in some sense
that's our predicament now.
Wei: so porv§iful,l:i!e have so
ml-‘C "°W 9 Be Ya} “’°
have become magicians and
can annihilatethe world by the
secrets ofthe H-Bomb. We can
poke ournger into God's bus-
farasthe manipulation
iness as
of DNA and embryology. So
what do we do with this dan-
gerous knowledge? Do we use
it for good or evil?"
Shakespeare suggested that
the knowledgeaccumulated by
Prospero should be destroyed.
The nale of The Tempest
nds Prospero‘s books thrown
into the sea. “Destroying the
' '
5 9 0 |( 5
a way of deodoiizing,
' ' '
. .
books seems a highly repre-
hensible thing to do," said
Greenaway. “We can‘! throw
away ‘his k"°wlcdge despim
the fact that we try to keep the
secretsofthe H-bombhidden."
But Greenaway actually takes
the destruction of the books a
step further. "l‘ve also made
them autocombustible so they
burn as well as drown,“ said
Greenaway. “To remind us of
allthosetimes wheristupidfas-
cists and totalitarian people
tned to burn books in the 20th
century, trying to destroy
knowledge they didn't like or
felt wasdangerous.“
Greenaway's imagery in
PROSPERO‘S BOOKS is
realized by Ben van Osand.ian
Roelfs, two Dutch production
designers who have worked on
several of the director's lms.
Caliban, the caatuigr-siave
'°° _“' ° "95 3 WT "'13" 3- "es
in a dank, swamp-like conu-
ence of polluted water. “The
idea for that was to suggest
somehow that Caliban was
associated with the drains and
the sewers of Prospero's palace.“
said Greenaway. “He's impris-
oned in this dark atmosphere
because he‘s the spirit of evil
chained to this rock by Pros-
pero. There are lots of refer-
ences to classical architecture
throughout the lm. Prospe-
ro‘s library is based on a bril-
liant piece of architecture by
Michelangelo in Florence. We
trigd [Q actually reproduce thg
characteristics of the piiiars
and the columns and the stair-
cases for what was for mea very
important piece ofarchitecture
when l was a student.“
The role ofCaliban had to be
revised from the traditional
casting. Since Gielgud‘s Pros-
pero speaks most of the lines as
narrator. Greenaway was faced
with a voiceless Caliban. “Cali-
ban. who often has some ofthe
most beautiful and lyrical lines
in the lm, has to be mute
because he can't express him-
self,“ said Greenaway. “So l
deliberately wanted to choose
somebody who could express
himself in another way, in this
cm. through dm~=- so w=
employed Michael Clark, a
to fill that part. l
wanted to turn the sense of ele-
gance ,,,,,,,, i, ,,,,,.,,.,,,,,,
,,,
h ' ' h h
§,§s';“,§§,';‘,§,°pg,g,'§f§;*;Pm§ ,3
.l
indicate the savagery and the
sexual threat posed by Cali-
ham so we designedacosiume
and makeupionhe manwheic
‘he geniwis were very much in
evidence and actually painted
bright mi iike a mandi,iii_ a
savage ape_iike figure ihai
exhibits iis genitais in a very
ioud way-~
Gmmaway pointed ounhai
PROSPERO-S Bo0Kshasn-i
Siiired the kind of controversy
in the res! oiihe world asiihas
in me Uniied Siaiesfli-S oniy
the Puiiianicai Americans
who iake exception to my pic_
mics -- said Gi.eenaway_ --i
wam lo be iesponsibici idonii
think there-S any point in
_simp]ybeingsen5aiiona]_Thai‘S
beingcheanhdoesniigainany
gi-ound_ Mymmsa,-C Provo“.
m,e_ and | wan! ‘O push and
Pu" the boundaries of Cinema’
whether it is in lei-ms ofdcbaie
and come,“ in THE COOK
AND THETHlEForwhether
his in terms of 5“-aiegy and
[om-|_ and the way we Organize
picwrcs in pRQ5pERQ~S
BOOKS“ E]
Glolgud eiwiium with lubolll Puco
II 'lIvIMIi P'°IiHm'I inch!"-
‘
i
 AFTERSHOCK HIDER IN THE HOUSE
DIIRH4 5! Flu! N-rm (‘Ir-I table 9995 99 . 9Q 9 9 {Hreeled s, M-iisu
II I |
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'itT:i.“.T‘z§‘Ji‘.§i,§;1."f‘.;Z‘:J,'; MUSTSEE EXCELLENT soon MEDIOCRE POOR ,',‘,‘3~,,';,',EJ,,,,':_';',-,,‘,;__'_';’,,_:_'_-',;
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Anotherdoseofptist-apoca-
lyptic dystopia. always a chore
[0 sit through. To survive after
"LIT"-LE
rue moms uuiur 5|rrySoIIn|nI|Ii1
u, , De
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murderous mental patient hid-
ing in their attic is ti promising
""""°""" " 9'- 9‘ """‘ premise. fraught with potential
a nuclear holocaust apparently
. .. .. .. ..
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all ynu need to know is some lj0AI‘l'I:Vl.@lIIHIl 9 for menace and suspense.
'""“"""'U""""""""7""""' missed opptirtunitiesthanks to
form of martial arts. But the
ght sequences here are some BEAUTY ANDTME IEA$1' .... .,. .,, ... ,... ..,. a predictable script by Lem
of the dullest ever committed 5"’ "”“'°""D'“'”' H 9" 79 ""'“ Duhbs (KAFKA). A sequence
. . .
to lm A number of genre
actors show up briey. includ-
ing Michael Berrymane inlip-
" """""' ' '
liillilnlnhad
3'"5"°5:3|;/';?$5r1'-ll°""“‘"'"9"'°"
°
coo 0 0
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undcrtheopeningtitlessketches
inihc background ofanabused
boy who nally revolts. burn-
stick toemphasize his beautiful ' ' ing his house with his parents
teethibut it's hardly worth 00 000 0 on 0000 no 00 inside. Eighteen \~ears1ater.as
catching unless you areafanat- ’ M’ V , , he gets out oftheimental hospi-
ical complettst. E:gL:25,*vP9'-,:,§§%':""" c""P°'” 0 e | ‘ 0 0 00 I 0 tat, the boy grown up is played
Some aramilitary organi- bl‘ G30‘ B"5¢)_'( B°°d P¢""‘
zation ha‘; control of things ° 9 9 0' 0 mance reecting the charac-

“"d- d.'“'i"5 3 '9‘"i"' “mp °[ out: itoatwit-Mimi amt-git

Plrlmaunl, mi, HI iniiis.
in " ' ,, ,, u, ter‘s inner turmoil).
Busey gets access to a con-

"
undesirables. picks up a name-
less alien ( tat"ilabeth Kaitan)
"

wearin S a Nanc Y Rea K3 n suit.

'

gIlI*:”5.hnh1tInh. ' ... . ' struction site and manages to

build himselfa hiding place in

." ' '.. '." " "' the attic. When a family moves

éngl-.31 ...
Although everyone nds out 11-is FISHER KING/1 a Ilem
almost immediately she's from 7!tSI|r,I/I1, II7mt!|.I my ' ' in. Busey spies on them and

'. '. .'

*~* '... ...
another planet. 77 minutes of thinks ofhimselfasanextended
the lm's 88-minute running h|ldI'&,Ibirllno&t,IIi- Q . part ofthe family. roarningthe
time elapse before anyone asks 1-"; “"91”?nag" 1-"; quplg, O ' 1 house at will and stealing little
mementos. Busey overcomes
her name.and nooneeverasks ¢H'"I"Inwrt-BvIIV1I'l-"911"7MtItI

" '
,

about herplanet. Although life

sue It sint
' ii e ruturean iiiii ere b - ' ' °
°
° ' each obstacle with ease and
buries the bodiesofsupporting
cast members in the baclt
' .' .. .. '.
Idn
els are ghting for their lives |QQ[/$|;y.y|$g|;/pg!’ |

.
1

Y"5"'-'1'"-’“"""' garden. One of the problems

"
every minute. they still have 0
“gag
i [ l

with Dobbs' script is that each

time to help this alien chick get
.. ...

-all
back to her landing site so she victim is instantly recognilable
can beam back home with a
copy ofthe U.S.Constitution.
li.A1'eronntmteirwn Rttlllll
lcntumtiis ' ii
,
DY
'
QZMIIII
II I ' ’
|
.. '
I II 1
l

' long‘ before they meet their

tnevita bk en d Bus“_' 5 0“‘n
_

' Omlllnky ' ' i f .

""‘"""""'"*
_

' ' -»
i-""W"°=-'°"'1 - -~ -- - --. ;":.::':::;;%.zr;,z;'r.":r:.
. P .
,
'
. rm hi, ¢|,,,a¢m_ 3|“, mil.
. -
. - Y

CRITTERSJ: mtomuaiiecarswnci-m \ .

iviac~1v.2s2,sa igates against any sense of

- _

I) itmtiu raiimii. rim-i

-

I1DL%dl
"W" i
Diltll-G
‘IIIII
i
i

t an rvi. ti/rt, n -nit. With: Al

.
"' -- -- --
-

- ;1;;;=;;';;;3f,p*;H‘g";;=;;i
»

.':.....,....,,...,...t-..... #
The fanged fur-balls from
outer space infest a nearly
lYMElIt>CltE1'EEn.uaoJannsiun
laimuvisus/siitntiinins
. ' '
. l

l
. ... l
i
l
" ... "' "" '

.
FAT||ER
uying hard m be paofp.
but Wm, gun)‘

dl‘§¢"=d "P3'"""" h°"5°- 3 szdgiiwud-“W you fect family and murderously

§l°P d°“"" “_°m ‘ht r"§‘_ l_“'°
mm§- '7"! ""|d|)' '-""¢"a|"|"!
”"’"“‘
ig“nRm§"‘b2'5'f§r',°5'g:"7'°"
000
,
O0 000
,
can
no
coo
I00
one
, losing his temper when the
familv he picks doesn‘t mea-
and watchable enough. Con- "" '"
Ulllllllillwlllltllllr
'7‘ ” '“' ”"'
on \ 0

Q.
‘

I
l Q0

Q.
sure tip. Ihlttdilh P. Harris
siderable humor amidst the Q B
""'“"""""""""
thrills lightens the tone of iii=
mmjnd 0“ “W0
1
piplci m
slea/e-balls) are killed. As
b h IUNDOWN/Anthony Nlzltcx
Voslmll mm. H iii. nu mun " l

y ' ' "' ‘

HOUSE W
nimii-a ii, llwh lam-in).
"ml:
\i- um
\‘lleu. tm. u iiiii-. With: Terry

usua‘l I h C spec d )7’ vomuous

' 1'j“'°'5l|°°1"'|"/
titlecharacters provide most of
the ¢nl=rt=\ir\m=nt- srvwlis
and mumbling as they single-
mindedly pursue food. How~
ever. the scriptalso manages to
give some of its human cast
witty lines. and the characters
areinterestingand well-drawn.
Not great. but fast. fun and
nnn-exploitative (except for a
shameless plug for anuilter
sequel. lmed back-to-hacltl.
OI David Wilt
THE HAND THAT
"In mi m_|m_ “.h;:Amf_Mh M:
0"‘, itmm oastiini-y. Mun
F"*""“""'
This calculated,scrcamingly
JIIIOICIIIILCIOMOJIN illlnl.
'
one 0000 one no one 000 so ""“'*""""“""'°"'“"""""'"‘
After o\cr<mphasi1ing the
SB/Steve Biodrowski DG/Dann Gire AJ/A|anJones BKlEt||KelIsy humor in HOUSE ll and the
GK/ Gary Kimber OS/DanScapperott| DSC/Dan Sehwaigar horror in HOUSE llltreleased
as THE HORROR SHOW in
the U.S.). producer Sean Cun-
clichcd cross between Sl.EEP- alerting opera music to faulty attempts to he politically ctii'- ningham maltesa weak attempt
ING WITH THE ENEMY glass shutters to generate sus- rect by minimizing the sci:na- to recreate the protable bal-
and William Friedltinii THE pense. While Hanson'sde|iber- rio‘s slice-and-dice factor, but ance of the original. William
GUARDIAN has turned intu ate, Hitchcockian plotting his use of shriek psychology is Kati ostensibly reprises hisrole
ti surprising boxofce hit for manages some humtirou.\chi|ls. far more eitploititc than any from HOUSE. though in the
Disney. Whenexpectantmom the mo\ic's lethal slowness bloodshed. threatening an intenening six yearsheappears
Anabella Sciorm reports being only reveals a painfully low infant and having Sciorra go to have remarried. had a
molested hy her pediatrician budget that rarely lets anyone into endless asthma attacks daughter who grew up to be
(John Del.ancie,STARTREK‘s leave the house. DeMornay‘s when danger strikes. When t\selvi:,iindinhcrited anentirely
Q). the doc blows his head off. ghnulishlyeffective asthc psy— Hanson hits the buttons the different haunted house: this
leaving wife Rebeeca DeMor- chotic babysitter. a pathetic audience panics liliea bunch of ont-‘s in the middle ofnonhere.
nay to go insane and seelt bitch vt'_ho'sjust as much iictim deranged game show contes_- hut wheneter there's a yard
revenge. as villain. But once the bodies tants. I-nedltin‘s killer treedid it sale or a re. a crowd ofneigh-
writ, Curtis Hanson, the lm nuir start rolling. DcMornay'scom- with more nesse. ltjustdidnt burs mysteriously shons up.
stylist of BAD INFLUENCE, plexity is demolished along make money. At any rate. Kati is quickly
uses every device from psycho- with the furniture. Hanson 0 Daniel Sehvveiger dispatched when a tire blows

54

Nl:ll|0dItII‘l TIE KEN
out while his wife (Terri Treas)
is driving. She moves into the
old house and begins suffering
frightening visions: are they
supernatural, or is she crazy
with guilt? The question is
asked repeatedly, with little
development, until the third
act twist: the tire wasactttally
shot by Katt's step-brother
(Scott aiirtiinitiei), wI't0IIOpet1
I" i“h"Il “'5 h°"5°- ‘Yhidl he llll-HI t/I1.
plans to rue as a toxic waste
dl""P; and all those
lll 5 hllllll W"? Illll P I5 5 y
Katt‘s ghost to scare Treas
“°F°"!'B°°“-
TI" Pacmg '5 51°“
scares few and far between.
-
The humoralternates
‘h Ia d h
between
d
C
ll mc Q“ I
'i‘s h rd t
C grass‘ an
tell whether
£25.25... .?..,..I’.t be ...i.,..§
°,fu,my‘T,¢,5_aup;h1¢co,.
ma" vcm“ (THE NEST‘
:25 TE‘:I:giI:u‘.:|IJmI:Iim:
i
it»
331:5
M-1 S!-= is d=l=="=* by
‘sun ll I
KILLER TOMATO]-S
(‘mt-i falcon. stat is-an-in, Jail
""_W'°*
The series success story of
ATTACK OF THE KILLER
TOMATOES (I980) is OM of
the unlikeliest around. It has
spawned a series of four lms
(the fourth rriadesimultaneous
with this, the third, but not yet
relmsed)andaSaturdaymorn-
ing animated TV series. The
rst sequel introduced new
characters anda plotline which
is, more or less,continued here.
with the addition ofthe toothy.
big-eyed tomatoes ofthe Satur-
day cartoon, portrayed in live
action by rubbery puppets.
I)espitc the AIIlI'l.ANE—likr:
gags and overallairofsillincss.
"ll! ="ll’)' ii ll°\ "P ll! "Kl
inspired raniness of its prede-
oessor. The wonderful John
Astin is back as mad scientist
Dr. Gangrene, here masquer-
FILM RATINGS
I STIIPV SHOW. Silmy Itllh-Dd.
ading as a TV tabloid joumal-
ist, all the better to rule the
world. But too much screen
time is taken up, I3 years after
the great ‘Tomato Wars"with
the skepticism of the pt_)IlOl:
that there even are Killer
Tomatoes. oludltli Ihllarrts
PUl'l'El' MASTER III:
routons REVENGE
Ir Blvll I111‘!-I "III—"
um
9-It-L
P1153)’ is-ate.
A prequel to PUPPET
MASTER lh ‘ ‘M
<
. ..
Wm‘ Na1iGerrnanyinl94l.Toulon
(Uri -M" “yd b wimlm
-5' y F
y
Hickey, now by Guy Rolfe)|sa _
formerdoctorsosrelrenedby
;;;{'§,§*,1;;,'";'g;;';,";'1
1;};
hm“ "
g a puppet show that
satirizes Hitler, he attracts the
attention of perennial_heavy
§i.°§“;'I..h§'°£;.fi.'l"ii."I§§;
(Sarah Qouglas). Toulon es-
capes with the help of his
P u P pet friends and, subsc-
quently, usesthem to exact his
revenge on the Nazis, one by
one.
The new installment tntro-
duces a six-armed gunghter
puppet and shows the crution
of Blade and Inch Woman
but fails to explain why this
rmillsl =X-doctor would =l-
ready have such lethal puppets
as Tunneler and his knife-
wielding cohons before the
Nazis entered his life. Lynch
makes for a one-note villain,
and most of the costumes are
totally unbelievable as period
piews, but Rolfe is very good
as Toulon and far more inter-
esting than the David Allcn-an-
irnated puppets, which do little
wehavent seen bcfore.Charles
Barid‘s Full Moon Entertain-
ment already has PUPPET
MASTER IV in the works,
andthereare sureto he new
puppets in order to support the
line ofS90 kitsadvcrtisedinthe
Videorjne at the end of the
tape. llidlth I’.I-Iani
THE RI-IN AND
SFIMPY SHOW
ny‘. M M, ;,u,__ N33,;
l1I"-!lIl-"lIl=VIl¢='I_r"II-
"'_ nu"-I‘
It‘: one of the funniest half-
hours on TV s_ince Orrin
"l|¢Il'$ lI"""°|\"\8 °[_ Ch‘?
"IR T|l°llll5—5°
9" ll * ‘I'M lI"_‘ mill" ""3?
(Till? T0“! ll Nl¢|l¢|°4¢°ll 53)’
ill!‘ "'5 '“§°l’l fl" "W $\"ldlYi
H110 a.m. E.S.T. time slot is
llll lll=)"l= "Yllll
1° 5'-I"
Sunday morning cartoon
b|°¢k)-
Gm“ ‘"4 I'°"‘"°- ""“‘
Yildr IP'Y°"d‘P°‘I"_"°d _5'“I‘I"
lcs» ""5 @"°°" “"55
and voioed by John Kricfalusi
virtually explodes off the
5¢_'c°""*'h¢_ll ll '5'“ d}"I"
lms, slvvrvls M14 oo1ma-
that is Fwunna llw Idv=I\-
lures of the hyperactive, "asth-
ma~hound" Chihuahua Ren
"Wk _(Il¢'§ \|l¢ PM Will‘ ""1
bud like 8 woolly d=ll_Il=d
balloon). and hisdini-witted
cat compamon Stimpy (a ree-
I
llllk W5"! "°§¢)- lhc Pf?‘
Blll "=95 P" W" 5I""¢
Itwvili-slll-shlslromllw rst
S“ cII's°d°.s (‘wgmy mom ‘E
Pl°"!l5¢d) ll'l¢|\ld= B'¢3\_I§°"l‘
mcmmls I“hb"I°"5
powded ms‘
_i
“Yd
mm ‘MI
I 0 "cw Phy‘
and In um-urge“;
nB- I B;
~- <*P'=.~"v;g;~M==*;"=d
C’ Dons me mm‘ Mei
Madnen‘ M ks" a "my com
,... D“ Paw“
P=||lllB "=50" ll! Pa)’ YBI"
“bk MIL
ot-me by he Nlenlaoo.
via|e|t/9i,ae-tatwtra:ita=a-iiwst-
-‘¢'l"Y"'~*_""""'
This lively va_mpire lrn,
i'i'Z.’$='Z'}.'s‘i‘T§.'.§’.'.',,'iZ'i'.§'§,'T?,'J‘i?.'
good entertainment. Two‘ fe-
male U.S._collcge studentsjoin
a Rumantan classmate in her
home country to do folklore
research They becornc involved
in a vampiric power stniggle
between Nosferatu-look-alike
Anders Hoven and the clean-
cut Michael Watson. After the
usual neelt-biting and heart-
Dornmartln, min, in
staking, the romantic good
vampire (who doesnt bite peo-
ple) wins out over the ugly. bad
one. Small cast includes a
cameo role by Angus Scrimm,
amt 3 8°04 supponing P"; [M
[van tugo (who lppcmm in
numerous Mexicanlmsofthe
Wily 15"‘ ll ‘60s under the name Jorge
Rado). Authentic locations
make the lm lookquitestylish
and most of the technialareas
an up to pm‘ However‘ ‘he
l animated demons provided by
|)ayid A|k||(,q,|-cgngunsatis.
factory live-action creatures
shot in Rurnania)don‘tintcr-
act well with the real back-
grounds or live actors, proba-
My d‘: to thcir p°§t.pm¢u¢_
lion inst,-1;°,,_ 11,", ‘R 3 few
effective soenes, but for the
most part. the miniature red
devils add little to the min.
wonh Witching,
..
my“ Wm
pm; gun“ (,|q|||| gm")
SUNDOWN andpal ruIIahlnklnKlLI..Eli
m__,,,,_,,,,,“,,,_v-,_|-i,. TOIATOES STRIKE aacrt.
r-tviaot ii/9i,iu-nwimixna
' I‘ good. The climax rriay be a
ll" A n|.‘M|y ‘wish widc_ hu|||I§\g HORROR HOTEL
[mm -R/wmmpa ac. 0, it might jut
|,. ,,.,;,,¢;. ,
dcnce, but in either case it is
A55" R51-ERN-|-QSALEKA-is
L0-I-_ a colony OI vampims effective and just a bit touch-
mes m -pass-“am“||wwn‘ inl. Overall. a respectable
forgoing
-
human bloodsucking ~ effort that didn\ have enough
‘
is in
h h h name power to attract atten-
-
is" D"“wm
t.::i;:.;::::r:,::::z;:.;‘:: it
livenomial lives. But oldvam- "9891
're John Ireland leadsa revolt
I” UN'|'||,'|1||; Em)
in favor ofthe old_wa_ys,oppos- OF THE won“,
ing the assimilationist Count
- - Di.“ ,_,,,_
ya-;;;g-;,g,';=;;d_,¢;,",-g-;;g;
rm-Q-t
tioris are a few hurrians, who "~81-
-. - ll .
eventually tip the scales in Viewers maybesplitintheir
favor of the good vampires. evaluation of Win; wgndgi-5'
§r?.l‘l "iI3§".1$§1§i'l,Zl".‘$.‘fi.‘iT.‘l
script and severalpcrforrnanoos
hurt the overall effectiveness
§‘§,.?'.'i'5-.i‘I£§'i‘lI‘..°.'?I.i'i.i°.1's'.-1Il'i?
lite I'|5§p|.||'|n||[Qf¢g|||[Q|a|-|d
the world awaits annihilation.
ofthe lm. The movie fails to The rst half evolves like a
take itself quite seriously clever futuristic mad movi¢ is
enough to beatop-notch lm, adiggnchantgd W||\3||(F|'¢|1¢h
and ill-conceived performances aglrggg Sglygig |)ommg|-tit-|_
by Bruce CarripbellandJim \V¢nder§' wifc who 5|,|m;d in
Metzler don't help. On the pos- WINGS OF [)1-j§|RE) pumgg
itivc side. Carradine. Ireland a mysterious stranger on the
and R. Emmet Walsh are all run from authorities (wiitiam
Hurt) through eight countries
urmt THE END or THE wonto. with theaid ofa unique, faintly
humorous computer surveil-
lance device. When Hurt‘: mis-
sion is revealed in the Austral-
ian outbaclt, the onoe fascinat-
ing premise devolves into an
antiseptically clinical quest to
understand the seductive power
ofdreams and the nature ofthe
human soul, using mankind‘s
search for salvation as a meta-
phor. Wenders relied on High
Denition video with I200
lines of resolution to achieve a
computer-age “dream look”
for the lm by manipulating
the video image and adding
layer upon layer of separately
shot elements to bring his con-
cept of dreams to life on the
screen. II In Pail llobley
55
 SCIENCE FICTION, HOLLYWOOD STYLE
Director Geoff Murphy on the genre and the
art of sneaking in the art in Hollywood.
By Patricia Ross
A wintry Atlanta,setassum-
mertime New York, l8years in
the future, sewed as the loca-
tion for Morgan Creek's FREE-
JACK. Geoff Murphy (THE
QUIET EARTH), a New Zea-
land native whose formeroccu-
pations include rock and roll
musician and school teacher,
directed the Warner Bros re-
lease,a $36 million production
that opened unspectacularlyin
January. Murphy wasn't clear
on the signicance of the title,
a name given those snatched
from the past as involuntary
body donors.
“l‘m not quite sure why they
are called ‘free jacks,“ said
Murphy on the set.“lsuppose
it's because they're hijacked in
a way. They're certainly not
f"¢- 1" fat?!‘ lh¢¥'f= fairly =XP¢l\-
§i"- Inn" °Yi$i"il|¢°"°°P|rlh°"¢
Wefl OMS lhl W=l'= B6108"! 0|’!
"W |°°5¢- Whit?“ ‘"5 WW 1|"?
Were TY“-”
llll 4010" ll Vllll
56
V
the art." Murphy smiled,
“'
I‘ almost apologetically. “A lot of
. people have the impression
_~ that the rst ntle in art is that it
,_, _».-- isboring.“
On the subject of what
1
" .
FREIJACK might have to
- say, Murphy noted, “We're
preparing a legacy for our-
selves that is not necessarily
attractive. All good futuristic
stories saythat if we‘re notcare-
ful, this is how we will nish.“
Murphy said he enjoyed
working with rock star Mick
Jagger. “You‘ve got to tailor
the part to him because he
doesn‘t present himself as an
actor,"observed Murphy. Wil-
I
\.T_
; lem Dafoe was rumored to
-
‘-1--,
1' ""’ ’~ ' '
The Mun oeeontlng to BLADE RUNNH, llrned on loeolori In Alarm.
‘ \.-\ have been originally cast in the
"
role of Vacendak, a ntmor
denied by prod ueer Stuart
Oken. Morgan Creek did meet
Though there is plentyof action “Back home we don't have a with Dafoe and discussed his par-
in lh lm lhl Sllgglsli |if= ii domestic market that can actually ticipation, 0kenadmitted.On lur-
cheap in the future, a nightclub support lm, so we're on govem- ing Jagger to the lm, Oken
scene set atthe Industrial Revolu- ment patronage. That's the basis quipped, "It was very, very
tion showing public executions of the funding. With my reputa- tough—wesent himthesci-ipt,and
was lmed but dropped during tion l didn‘t have that much trou- he say, ‘ Yer.‘ l cannot believe that
editing. “There is a nightclub hle getting the govemment grants, it happened, but that wasall it was.
scene where a head rolls, but it but on the other hand, I was much We were all looking for somebody
turns out to be a gag," said freertobeanartisttherethanlwas with great presence, unusual and
Murphy. “They do public execu- here. [In Hollywood] you're mak- kind of frightening. He's a fan of
tions in the nightclub. You don‘t ing product for the marketplace. the genre, and he was available
see intestines torn out of people. You're not making art, necessar- schedule-wise to Iakeacr-ackatit.“
You don't see heads ripped up.“ ily. Any art that you can sneak in is Murphy found working in the
Nevertheless, Murphy, pegged nice. There's an art to sneaking in eulhnd mpg: at
as an actiondirectorafter YOUNG
GUNS ll, made the violence of Vocendllra rnoble uompotm lb, hipeung emuo Eln: to no am. ylI
FREEJACK patently visceral.
“The denition of gmruilous is
unrtecessary," said Murphy of his
approach. “l tend to avoid explicit
violence. Ironically though, non-
explicit violence—like immedi-
ately offscreen violence, that you
hear rather than .ree—~can often be
more affecting than the gross-outs
that come every ten minutes in
modem boxofce hits. So it‘sdif-
cult to know.“
During a break between takes,
Murphy compared working in
America to New Zealand. “ln Hol-
lywood, everything‘s avor-of-
the-month and who-might-be-hot
and who's-not," said Murphy.
Science fiction action cliches rendered watchably good fun
FREEJACK
A “arm! Inn "lent n1 I Jnmn (Q. llnbtinon
pynentlllun an \Il1I[lIl t ml and llnNmnn/lInn-
-u hhinm pmamim. mi. Ittl IIIIIL In Dull!) It
rulov, Dtrcnl. (kn Murphy. i:-met" wean“.
llnblnwn. fill) mm It u--ta skin-s. ndixen.
.\hllIlll it so-ii rm». Dllldny at yhllllrlph).
amt, viimi. uiim. Dennis Hrllrr. rmaimi-ii
dnl|nr1..loe Alsn. \l\tu|r|Irr|\u|pH\l\01. Rlrud
ii-no-, (mtumr ‘r\|[IllI. I.l\l Jenun. “intr-
nmii Julln. Sound. lnlrlllt s. n-iiimi". siw-i
Knlllllh. sum, Mlbnl. semiipi-y s_- so--it
Pnullrll. \hI|l¢1l ii Dun I-llmy. holed |'|Il Ill Illllll,
Imntnlllllly, |Ill'.. s, Ruben siwnio.
on hlllolll hnltlu um"
v.m.¢.i. sun Jana
Jiilk lirdltutd Rm: um
\k( -mu» ism-ii, unanti-
“khrlettl ii».-is--. mm
Ind Dlvli lohnwo
s-in Amman ammo
mm linnd 1..
ma si--. l-vniitk Pllswt
by Locke Peterseim
FREEJACK delivers about
what you‘d expect from the pro»
ducers of TOTAL RECALL and
the director of THE QUIET
EARTH and YOUNG GUNS
Slick and fast. it raises some
inn-iguing science ficiinn que§-
tions about identity and human-
ity,on|ytopunttheminfavorofa
half-dolen shootouts and car
chases. And it stars Emilio
Esteve/. ln other words. it's a
fairly enjoyable. light-headed
romp and. stubbornly. nothing
more.
TOTAL RECALL comes off
deep by comparison; at least
Schwar/enegger toyed with inter-
esting mind-tvsisters about mem<
ory and identity. FREEJACK
seems to deliberately avoid any-
thing that might mentally tax the
Gameboysinthecrovvd.Thestan-
dard complaint that lms like
STAR WARSlaek "true“seience
fiction is twice as damning with
FREEJACK. Loaded with potent-
iall_v mind-blowing science ction
premises. it ignores them for fear
of losing the teenagers‘ interest
between car wrecks.
Robert Seheckley‘s minor I959
novel Imniiirlu/irv. Inc. liom
which FREEJACK very loosely
sprungifollowed a man from
I958. who is mind-snatched into
the 22nd century as a corpora-
tion‘s publicity stunt. Sheekley‘s
hero must adapt to a new “used"
body. and a world with scientili-
eally legit zombies. ghosts and a
proven hereafter. Ham-handed
pulp for the most part. ImnirirIaI-
fI_l'. Inc. at least makes dimc-store
attempts to address the spiritual.
.-
-
Inn
, entirely fresh. at Ieastas watchably
it §.'!Li'Z’1‘Tl'.i‘3.'I'i'i‘1§ F'l1i'.Y.';?'Li"i%'L'iZ;i§TJ"§.'i.Z'1s'Sf.ZT
on n am mm lpltlltlll switchboard. time Anthony
Hopkins’ cameo, the lm‘; moat tully Iullzed role.
theological and philosophical
ramifications of such a world.
FREEJACK producers Ronald
Shusett and Stuart Oken. writers
Steven Pressfield and Dan Gilroy
(with Shusett) and director Geoff
Murphyditchtheghosts.7ombies
and hereafter~i.e. everything
intriguingaboutthenovel.Instead.
the film deals with the simple prop-
position that 20 years in the future
the very rich are literally dying to
plug their computer-stored inner
beings into healthy bodies from
the past. This still raises a myriad
of fascinating questions about
idcntityand the body as property.
But despite its cyberpunk trap-
pings. FREEJACK neatlyswerves
past the tricky metaphysical
cur\es and cuts straight to the car
chase.
The key to a good fugiti\e-on-
the-run movie is simple: amid the
hoopla til “missed-me" gunplay
and each-bigger»than-the-last
explosions. the audience must be
pluggedintothelleeingmainchar-
acter. Rut vvithout in-depth char-
acteri/ation. or a remotely inter-
esting lead actor, it's hard to get
invested in FREEJACK.
As racecardriver Alex Furlong.
Estevez appears only mildly put-
out at being snatched into the
future from a ery death. His
strongest acting "tools" alternate
between a cock-sure grin and a
look of wide-eyed surprise. Dra~
matic pop-flies like Furlong's
reunion with his girlfriend (Rene
Russo) get fumbled. Never mind
that she has aged 20 years in one
day. and that she's thought that
he's been dead for two decades.
Onceshe‘sonthelamwithhim.it‘s
true love as usualand offcome the
clothes.
On the up-side. FREEJACK
sports Mick Jagger. Striding into
his role as Vacendak. the “bone-
jaeker" who snatches Furlong
from the past.Jagger'samesmer-
izing presence. Though Jagger's
name is on the screen strictly for
MTV hype. from his first appear—
ance.leadingatank squadthrough
the hale. the rocker-turned-actor
proves a delight. Not that Jagger
can actihe rnerely mimics every
action-adventure villain he's ever
seen. But director Murphy skill-
fullyputstogood use.lagger'snat-
ural combination of showman-
ship and superstar aloofness. ln
the cliche-ridden landscape ofthe
film. Jagger's stiffness reads as re-
straint. his fro/en features as cold
charm. And his wryly studied
quips blessedly pepper an other-
wise humorless lm. (To be fair.
the script gives Estevel the usual
heroic one<liners. but, ofeourse he
handily misplaces them.)
Topping offthecastingachieve-
ment is how neatly Jagger's Rol-
ling Stones mythos works with
and against his mercenary role.
Against. because you never forget
yoii‘re watching a legendary star.
With. because you sense that
Jagger the performer is every bit as
mercenary as Vacendak. Like-
wise. Jagger's 25 years of pop-cu|-
lure ubiquity gives a nifty ring to
his character's tendency to show
up in the narrative anytime.
anywhere.
But FREEJACK has other
virtues. l)irector Geoff Murphy‘s
habit of slumming on Hollywood
genre packages also means he
bringsa higher level ofcraftsman-
shipto FREEJACKthanitproba-
bly deserves. Murphy renders the
science fiction action cliches, ifnot
good fun. Even the necessary evils
of the never-ending chase scenes
are made more palatable by Mur-
phy's smooth construction and
occasional kinetic ourish.
Much oftheftlm'sJne Alves~de~
signed visual landscape is derived
from BLADE RUNNER. now a
cliche. Who needs original pro-
duction designs when vou‘ve got
plenty of smoke and blue light‘!
But there are moments in which
FREEJACK surpassesthecliches.
The film's climax at the “spiritual
switchboard" which houses the
mind offuturistictycoonAnthony
Hopkins comes straight out ofthe
writings of William Gibson. while
takingaeinematic cue ortwofrom
20Ol's“Ultimate'l'rip."'l‘h¢r¢§u11_
ing ghost-in-the-machine effects
by Dream Quest amount to some
impressive visual poetry. seeded
with healthy doses of operatic
majesty and a sacrilegious hum.
Not to mention the all too brief
appearance ofthe only actorinthe
film; iromcall_v. given the compu-
ter-generated nature ofhischarae-
ter.Hopkins‘throw-avtayperform-
anee is hands down the film's
most fully reali/ed. Naturally.
FREEJACK fails to capitalize on
any of these optical or dramatic
coups. and quickly returns to the
"real" world of shoot-em-ups and
easily predicted "surprise twists.“
As with most of its brethren,
FREE.lACK's mediocrityannoys
most when you reali/.e how good it
might have been. El
57

KAFKA
Steven Sotieritergh on Directing
8' D.“ Panom
Part bio—pic. part German
expressionism. part Universal
horror. KAFKA—the new release
from Miramax Films—would be an
unusual production no matter
who had directed. For it to come
from Steven Soderbergh—the
man responsible for the under-
stated. highly praised SEX. LIES
AND VIDEOTAFE—makes it
doubly amazing. That. said Soder-
bergh. was fine by him: "Part of
my intention was to make
something completely different. if
only to make sure I don't get
pigeonholed. although KAFKA is
still perceived—I don't know
rightIy—as an ‘art’ film. where 20
years ago I don't think it would
hive been |1W0ll|d heve bee"
more the norm. Just because the
industry has changed so much.
[the film] seems to be what i'm
Weeosed to call. according to my
dieifibi-lien 8 '5Pe¢ilI|1Y' ""11-"
There could be he deubi the!
KAFKA's story line sets it apart
from the run-of-the-mill slxpiax
seat-filler. As scripted by Lem
Dobbs. the film takes the glancing
detaiis of Czechoslovakian author
Franz Kafka's life. and melds them
with the atmosphere and
incidents of his stories. It's a
strange scenario, merging subtle.
Keikeesqlle Pefehele Wiih I 0111591191110 911/9
bleed" 5101')’ SW19 8i1lle1e¢
somewhere between the original
FRANKENSTEW end ee1'|Y
Hammer productions. For Soder-
bergh. the blend was irresistible:
"Wheh "eel! Le"1'e ee1'|Dt. it
5ee"19d1° ef1¢0"1l>e$§"19 1165!
elements of [Kafka‘s] life and his
fiction. I think a straight
biography would have been bor-
ing—uninteresting to all but a few
critics. r>erhet>=- It seemed to take
a kind of ‘what if‘ attitude. to place
Kafka within one of his own
stories. and the mystery—thril|-
er/period/science fiction aspects
of it really appealed to me."
Though the director clearly saw
the match between himself and
his material. others may be hard-
pressed to compare KAFKA to
SEX. LIES AND VIDEOTAPE.
Where Soderbergh's debut feature
was a low-budget. contemporary
comedy of morals featuring a cast
of then-unknowns, his follow-up
is a complex period piece. shot
mostly in an evocative black and
white in genuine Prague locations
with a European crew and a
high-power cast (featuring no less
than two Academy Award
winners). After his prior success.
58
REVIEWS
achieved through modest means,
the director said he wasn't intimi
dated by the leap up the produc
tion ladder.
"SEX. LIES. . . was kind of an
aberration," said Soderbergh. “It
was written very quickly and
wasn't really like anything else I'd
written. In many ways, KAFKA
was. to me. more in line with the
kinds of films I'd wanted to make.
I don't know if I'li end up making
more films like it. SEX.
LIES . . . didn't demand a great
deal of technical virtuosity. and it
would have been wrong to Impose
that on it. KAFKA certainly lent
itself to much more stylization."
Still. Soderbergh noted that he
missed the close-knit rapport of
working with friends on his first
h‘1119I>19l'1¢eh1 ieeture. "You know.
I've only mede M0 l‘h0V|ee- ehd
SEX. LIES . . . was filled out with
people that I'd made short films
Wm‘ ""4 ""1 ' k"°"'- I0"
KAFKA-1 | W111‘-1"'1 "'1!" a59U"1P-
"Oh! eb0H10VeF1|"1e.0f Eek 701’
something extra because I didn't
Knew theee Deeiile e'1d"1eY
weren't my friends and they dO11'1
owe me anythIn9- ll Wes mere 0' e
lob. erld it leek the e While to
understand that. They were nice
people and they did Very 9°°¢
We'll. but certainly it Wee e I0!) '0!
them el1d"1°Y f-1111"’! feel
"19 $°1'11e"1|"9
7°’ "°1'1l"9 59°31!" We! "lee
1 E1
guy or I was trying to make a good
7“"1~ BY "19 9'11! °"he1i|"1- there
is comradery. and you can ask IO!
things. but it takes a while to work
uD 10 1he1<"
W719" did 1'19 'J"*1k1hY0H9h
occur? "I think it was when we
were shooting nights about
halfway through the movie. We
would come back to the hotel bar
eh say. live o'clock in the
morning, and everybody would
drink until seven-thirty. when the
Kafka uncovers or. Mum|u'| apartments to create the perfect drone worker.
5'1-III 511"" ehll JIIIIIIY Ire"! I ellmll W1 0' 53195 0F I15-ANIIIATOE
dining room opened up. and then
eat breakfast and go to bed. After
about a week of drinking
together. everybody loosened up.
Everybody became closer and It
became a lot more fun. And this
was everybody: Jeremy would be
there, and the producers [Stuart
Cornfield and Harry Benn]. It was
everybody on the movie sitting
around and having a good time. I
don't think the British crew knew
quite what to make of me the first
few weeks."
Soderbergh prized his working
relationship with star Jeremy
Irons. "It was a wonderful
experience." said the director.
"Jeremy's extremely bright. very
funny. and has good ideas that
kept me from being lazy in a lot of
situations, we'q meek and then
we'd get ready to shoot. and he
would say. ‘Are we missing
anything’) is something getting
by?‘ And nine times out of ten
there was. A tiny example of this
was when Kafka goes into the
Chief Clerk's office to cIandes—
tinely look for this file in the
drawer. He opens the drawer and
in there is a little danish with a
bite out of it. It's such a small
thing. but it conjures up this
image of the chief Clerk sneaking
a bite out of this danish. It was
Jeremy's suggestion. He always
had some little idea that pushed it
beyond being average."
As far as handling the leg-
endary Sir Alec Guinness. Soder-
bergh said the seasoned perform-
er was surprisingly easy to work
with. "lnitiaIly. we'd had some
other aotor that we'd asked to do
the role and he couldn't do it. The
casting director (Susie Figgls]
said. ‘You know. I talked to Alec
Guinness‘ agent the other day.
Why don't we ask him?’ Stuart
and I looked at each other like.
‘Veah. right. Alec Guinness is
going to no our movie) she s5id_
‘Well. you can always ask.’ And
we did. and he said. ‘Yes.’ It was
exciting, and then | got e lime
Irightened. But he is so adept at
putting you at ease. in spite of the
fact that he's been everywhere
and done everything. He wants to
show up and be directed. He
wants to know where he fits in the
film. what you need from him.
what you went from him. He's
completely professional. There
are no airs about him.
"Alec is somebody who. right
off the bat. has very specific
pieces of business that he wants
to run by. When I hed my first
meeting with him in London. just
over lunch. he would go through
the script and say. ‘At this line.
what I'd like to do is be erasing
something and brushing it off.‘
One of the big laughs is the line
where he tells Kafka—he‘s talking
about [Kafka's associate] Eduard
Raban—he says. ‘He was too like
you; even more like you than you
are yourself.‘ Alec rewrote it to
 |;-v;,;»;;»,;»~i;;i;@-;-m;;¢~=r~;;,¢-
' II P" FY fl Pl
Paranoid fantasy proves unworthy of its name
whet goes on In the Insurance
ottloe." the night streets of Prague are
would mm ewrytmng In A Min-an rr\el¥etII-;KI§|llIIoIe Pklilrn. overrun with giggling. seem-
KAFKA came so eaay. lnIect,1or Ilene/Pelt-1| s.,t. pululon. ll/IIJI -ii-. |Il
all the smoothness with which the ;?__=;'§;,_f;_f";;';,;';:__§.1,;;_'1';;;;;,;-,*;;;,;;- ingly random serial killers
SD00! W85 reportedly carried out. Irllll. 'II(llIi\I plildlllill. r-iii it----i a seems less an idea torn from the
the mm has mo its share of m;§_’“,j-;,‘_,-;f'_,',’_‘;';"1;,,;'_,~;_*"";!==,;",;;_‘,‘g pages of literature than some-
troubles. According to Soder- ¢~w-.1:--i- new A my \\=-I-¢ an thing that might be whispered
bergh,acreenwrlter Lem Dobba :_,':_'1‘{ amongst those citizens still in
termed the directors tirat cut a stem Jurm» vi-as. rlii Int
M-vii--. so-ta. touch with the darker. more
ntmln w'e°k.i- were
called tonlacenele i:l8I:':lQ:h0\.
most e gn eant y e r act
H
Paul l:dfon1.§en¢|i|:hy by

.1 ,
Dobh.
“L'-£27]
“,',,,, 6,,
ancient mythologies of Eastern
Europe. Soderhergh tries to
connect his Kataesque sce-
tinaie in which the secrete et the I»-‘:1---v i--i iii-I-i nario to that WtIt'|d\'iC\\'—l2ik-
Castie are unveiled. Said Soder- T,‘,II:_‘I§,“ ,,,,,,.,.’§Z",,1i‘,,§‘_'_.?,ZI',
ing his empty. shadow-
bergh oi the changes. “Some ot iv K hi-I 1 i-it M" iii-i_-M» shrouded streets and skewed
the reehootlng we did was f.f,‘{,'fJ,','If‘,,'I,",.'I;' ",:f,,“L‘,Z,',1 camera angles from the likes of
P. DOCIUSG. in Clin ||'i8ill‘\C8S. | THE CABINET OF DR.
allowed myeeli and the actors to CALIG/\Rland THETHIRD
move into an area that ultimately by Din Persons
MAN. Despite the conict,
didn't fit in the movle. I had tried I Id b h 1 .

B ‘ e “ “mam
one is willing to give him the
to shoehorn a relationship ‘ w.°“
“Mean Jammy!“ -|-hem” irony if Franz Kafkaithe benet ofthe doubt, as long as
.

[Ruseellfs character in the first "'3" “'l_‘° 9"" "e‘l"=§“*d ‘hm Kata is uncovering clues and
dealing with bureacracy
version oi the illm. It really didn't ihs "\3.l°"lY vi his works be a
work. The structure of the tllm destroyed after his_ death— whose depths threaten to swal-
couldn't support it, and It was just wound up the St1bjCCt of a low those who explore too
killing it. I had to go back and movie that stuffed, mounted deeply; the mystery is engaging.
reahoot half of their scenes and lectured about him as ifhe But, sooner or later. Kata
'°99\h9Y f° 9"'"i"5'9 MY 9' "ll!-" were some ghastly exhibit in a has to sneak into the Castle.
$0 Ylf. ¢fltl6l| f9l0il0" "88 little-visited museum. Still. Jpmy lronl. exploring I hureacncy that and that's where an audience's
59°" 7" 77°F" 9"°°\"l9|"9- 5" thereare those whowill be pro- threaten! to eweliow thou who dig too deeply. patience may be sorely tested.
event that has startled Soder- fmmdty di§appQin[¢dindi|-cc. There are many waysthiscould
?§'%:;'°‘:‘t::cle':1g':r::;L':g'9'%‘e"V' tor Steven S_oderbergh‘s KAFKA. Kafka uncovers the answers not have been done. The path chosen

ge*';;';=5;'g_=,gg;;;‘<;{;;~;;.§;;;w=' ;Ti§’.Z§.§‘§?JL°§‘pi'§'§T;L'Zi?§i';l'l§ §'i."§".§iI.§.‘Z.‘ZZ‘ "iZ.‘1°‘Zli" ;§i"..‘ti_i“B§ itfaiifiliisi '7$‘;.‘Zi’.'§L?.‘;‘.3i;1°'.‘lf.§T

---~r-~»<----~---'-
i8rIrll\‘:i'i'l‘I,l|.1L|;i?':::‘8‘:gi°(:|g\y°;::r$§
‘.l;“.“;iiZ°§.%‘€‘I.‘2§;."L'L§.“i?§; ii:;:.:".:;“.:$::""i‘"“*""""‘ t2s::*.l’:,:°.".2.:':°:..'i';li;E.§’.i
science giction. horror and] eveln What: grgtigyigg ahbouththe the "vie-wet inbthe face with its
pulp/adventure aspect! 0' me aCtl0t"t-ahV8I'il\ll’t;lg€l’:l'€§ IOC B31‘ y film‘ is t at 0 er erg w use ob\i0tisnt.ss. ut also _ser\es to
mnand moawereme very telegrap that t e c assroom_ has only other feature SEX. LIES, place into doubt the validity of all
minus ma'd|.ewm9‘°i‘_ c|eur|ya been left far, far_behind. lt s to AND V_lDEOTA_PE, was a mod- that ‘preceded it. Imagine a’ pro-
lot O1 pe0ple were expecting Soderbergh s credit that hehas so est affair balancing a relatively duction of _MO_BY DICK inter-
nomethlng much morellterary, steadfastly avoided the mindless small cast within a contemporary rupted at midpoint by the sudden
moon more IVIASTERHECE deification of one of the 20th cen- American SEll|i1g—lT|8It3BBS to appearance ofTHE CREATURE
. THEATRE. That‘: notwhatl tury's most inuential authors. keep the sprawling plot mostly FROM THE BLACK LAGOON.
wanted todo.Ithlnklt'e going to That the resulting lm doesn't undercontrol.and proves himself Herman Melville. long dead and
q b9l!W"|"°b9f°'9"99l5i'5l||Y quite work isa problem. uptothcchallengeofperiod im- past caring. would survive the
°bi9¢"V95599$5"'°m~“ For IWO-thirds of the way, making. The majority of the film attack. but an evening's entertain-
7" "'9 d"9¢‘°"'5 °W"i“d9"‘9'!‘- KAFKA shows every sign of suc- is shot in a shadowy black and ment would be shot to hell.
though, there'a little he regret! "1 cessfully melding the author's life white, successfully conjuring the And so it is with KAFKA. As
me ‘munr |:'”'m' N°{":m' with his creations. (Wim Wender‘s feel ofa society in transition from admirable as is Soderbergh's
gad aglnznyvggvgagls 7°“ HAMMET_T in I982 and David l9th~century. human-scaled cen- desire not to shut out the average
make__and' bane“ me. mere Cronenbergs more recent N/kK_ED _eerns to the colder. depersonal- moviegoer. the fact remains that if
'|mMm.m_‘.m”~ proud 0' l.Ul_*lCH both citplored similar i1e_d temper of the 20th century. a film has been named after_a
m9|m_°mybQau”".sn°'"ke territory.) S_hooting in genuine Within his_world. ltaflta wart- writer of such considerable bril-
wuymtngdamu“ om mere_| Prague locations. Soderbergh_fn|- ders. and his precarious, arm s ]|an¢¢_ the maker§ had damn wgl|
mink “.8 oomgmhnuong me; lows his Kata (Jeremy lronslinto length dance with the determined better be able t_o honorall the inci-
l'm really pieaeedwttti |t_ | kfngd cramped ats and crowded tav- Gabriela becomes one ofthe film's siveness and wit that that man was
a lot; I'm still Ialriyyoung and rye erns. and watches as the author most engaging 8ltt3CtlOI‘iS. indeed. capable of. lt‘s not a matter of
only madetW0leltutee,aie|'m confronts anarchists, artists and most of KAFK/\‘s best moments creating something with the
gtill legmlrtgalotabouthovlthpt petty bureaucrats. all in the act of come during the author's interac- waxen demeanor or 3 restored
works. puzzling outthe mysteriousdisap- tions with his contemporariesi “classic.” but rather a question of
“You know. irom e practical pearance and subsequent death or one's tempted to wish that Jeremy whether the piece treats its audi-
8"l"dP°i"i- |¢l""i"lmY9°|'W l\l_5 ¢0|l¢8$tl=. Eduard Raban. lrons. as ne an actoras he is, was ence with a regard worthy of the
out and spending $12 IIIlll|0l\\0 Aided—_aft:_r a fast-iion—by Ra- blessed with less aristocratic bear- author himself. For two-thirds of
MERGE m0VI9"IB\ "0 lughawd ban's girlfriend, the anarchist ing to get in the way of his accep- the way. Soderbcrgh gets it_righ_t.
W81"! '0 899- l V90‘ ""13 Wl" Gabriela (Theresa Russell). what tance as one of Prague's world- and one is gratefulto spend timein
'9 "um “M” m°“9m"" ' lht Writer discovers is the stuff of weary working-class. such intelligent. entertaining com-
“$0. '"'°'1.'"m°Qt mm WME his most paranoid fantasies. a It's when we get to the mystery pany. The rest. unlike KAFKA's
‘M9hb'°we"°'c'”' nightmare centering on the Cas- of Eduard Raban. though. that doomed. disappearing victims.
tle. a records repository where things begin to go haywire. That would better be forgotten. E]

59
 onoriooououooooouooooooooooouooo
O

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OOOOOOOOOOOQOOD00000000000000
re ~—~ ~

COQL WORLD
rwr--ndlwlv-ml!
to bolt the window closed, to fool
Wendyand the boysintothinking
interpretation. because you're they are not wanted. When Peter
.1 neversureifJack hasmadeupthe sees Mrs. Darling, he relents.
-‘ s‘ place, or if it wasjust waiting for Mary Brian, only 24. was cast as
Mrs. Daring
1

mt“ ' e- » himtoarrive. l‘ because B renon

“If people come expecting wanted hertobetheimageofhow
E];
f r
,
I
. L;
5
a ROGER RABBIT it s their
mistake. There's nothing about
every boy sees his mother. After
allthechildren havebeenadopted_
the lm's marketing to indicate and Peter promises to come back
that though l'm sure every article and bring Wendy to Never Never

\
,
as
"‘
_, .
.

'1.
about it will have that reference.
But the technical similarities are
where the com P arisons stop.
Audiences have never seen what
COOL WORLD is attempting,
Land for spring cleaning, Peter
ies outthe windowand the lm's
nal title reads. “And so it willgo
on as long as children are gay and
innocent and heartless." El
and they1l be more shocked by
Frequently better than the how visceral the movie is as HOOK
"'l°‘/lei "WY "YP9- P"!ViBW"Bl|- opposed to its trickery. l'm bored “"""""‘ "'1" PI"
ers have become a unique art with 5¢eing how clever we can be. but otherwise she's pretty much a
l°""- Hem 5"‘ 5°'"°°'°55i°‘*dl‘ because it all comes down to the white-light gnat. (Question: if the
:$:':‘)'f':“;‘;"L':_gb':'a°:(';’;?e';"z/‘:_1'g‘ viewers'emotional response to the former PRETTY WOMAN had
9485 each plus ".50 per mpg characters. whjtherglgey re hurnans 'l3iBI‘l}§lVClLlel'l€ lca
'0' shipping spasm HALF or cartoons. _ust cause you re i m ave erica e ._

p|CE 59;, c|°se°u( “is! doing something that no ‘one s ‘Bob Hoskins as the Captain s
Qmer n°w_ Qugngs are seen before_doesn‘t make it inter- aide de_mnip Smec is the only

:3.
limited. Now only $11.50 each esting." El natural in the ensemble. He comes

1m
,-
plus$3.50 pertapelorshipping. by his Brit accent naturally, and is
SILENT PETER PAN at his best nonchalantly touching
$-'~~:--§:;=°~I-'>;~=cR~|=~"S:;wu~;$-=- r-our-rttw-ii-i--*1 up Hook‘s moustache with car
A
"M ' Peter rescuing Tiger Lily from the wax. Other casting bows to mass-
"""“'"“"" E""‘ "‘ "" """° 5'“""
GomnVw_6",5,,,b_d_YM“mM.,mm_ v-iiipiiai.iiiim.Liisi
D U" Me ou Muon'
Touvaiiipiiu.
market sensitivities:. the Lost Boys
clll riiiiii OUIII Snace, Mln M I °'"""- "'"‘""' "rm" A ° ‘"1 pirates. and the victory celebra-
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an,“ The wand, Ilia Andlomodl Sltlii ltenlllln Conquen iii‘. wane. mm‘-si.i.. mermaids for iie|p.and they swim
MOI\sln1IromGroonHnll.Fiiie_ FlY!|MQ|rll|\O Moots Ihl some MDHIIOI. Aiiiuiiig Colonel O1-“mo ‘he Wm" and lead him lo Ammugh wmia ms §man_m0mh§
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this. a_Loiii Of the Flics pre-
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hides in the stateroom and kin the the screenplay seems bent mainly..
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siiiiii_ Fr-miiiiisieiii MlI\lIIl0W0llml.FIOfYl Clllldfl
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lhe Bod Snlt Mn, he Mlnltnl. MExi:1~ Harry, Vertigo. oh D
£rll.TheyC1Iv4Ting Hand. Nlunlod Sllonqloi. [Famous Hitchcock Ttwllffhtl B|id!,MlinlQ_ Ins or ‘he rna‘ena]j harns score ls slam-dunked ("Flo
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Bloody Mlrnl ‘rile Oblong Box Wllllllhl r h d Ba
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k A
u=h~i.TMAmwriii YrlnIvIrvIMI"»Bv¢w lowers the Jolly Roger and raises THE WIZARD OF OZ. DUM-
or Blood. The Brain ituii wuiiiant Die. Attach
Bl "llPUFQII Plople. uiqiit ol Ihl Blood an American ag. BO, and Spielberg's E.T.~engage
B'"'- "‘°"‘ ‘° “"°"‘°"""-""'""°'"' The lm's dramatic coda is the adult as well as thechild. lnthis
lqIFrIltI!lSlcln_|WlllTOIf\lQ! Werewolf
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but ies it over the water and the kiddies. a children‘s story
through thesky.a Brenoninnova- which is mainly about parent-
tio_n that was adopted by Disney hood. But for Spielberg it's a
animators. Back at the Darling Iajl‘ change of allegiance. li
house. Peter and Tink arrive rst explains why all the mouth-open-

60
 ing spectacle of Never Never Land
never but never matches the story-
book appeal ofthe magicalfamily
moments. why Peter. Maggie.
John. and the audience feel no
temptation to stay behind. In an
age of Victorian stultification. the
free-for-all atmosphere of all-boy
when I was kid. and Eisenhower
wasdirectingthem to go off. Andl
just said. ‘Eisenhower. what are
you doing? What are you doing?’
And all of the young men started
looking absolutely terried and
frightened and _crying and asking
for their families . . . and l woke
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gangs and pirate ships is the stuff \-\P- signature. card number and expira-
ofeseapist daydreams. No longer. "I told you it was serious." E] titan date.d Isak: dchacks. m:":Y
» i OI‘ 815.871 l VI S PHYS B O

.11“ 7°“ Ne.‘.°' ]_“°"” Land mday CINEFANTASTIQUE. Foreigner-

ls Spwlberg scow‘ cu.dd]y‘ upper‘ H'R' GIGER
ll
¢'W'|"\1"'°'lFl‘
dot: please pay by credit card or
ime,nmi°m,| pom, money owe,
class. extended family presided
over by a warmly authoritative ple. only (U.S,lund5).
patriarch. Clap if you believe in
fathers.

Hmiwsrnm
E]
Dark Horse Comics. who pub-
lish a Fox-licensed ALIEN comic
book series. has plans to publish
°'@'="*/“'5” 1 $ir'<~hb~@~'
§lI|PP|"I ||\'°|'"|-no!‘
B_i"d°H"lr@ Palwd

:’.':%::..:::-..:.i;:::=.';:*:.1:;..
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with-Mhwr-rs!’ containing the artist‘s unused m mm. c°m.mi°n_ Video “mm”
/\s we went in press. Miramax designs for the lm. which could am shippm Up5_p|ea,“||°w5t°5
shifted the release date of HELL- he available as early aslune. Plans woeksfordolivery. Items ordered at
RAISER Ill to April l4th. Aweek alsoeall for Dark Horse to publish the same time are "0! necessarily T
of reshooting in early’ February signed and numbered_limtted edi- $"'PP°°‘°9°'"°'~ 11,; gig g||“|,.|-
involved Hickox. Atkins, Keen. tion posters of Crigers ALIEN 3 shunnu ch-I...‘ KggpyQ|_|1C|NEFANTAST|QUE
Bradley and Clive Barker. who designs. as well as sell a model of No cm" '0' back msum back issues II1 mint condition
with this_eustorrtbinder_.cover_ed
will now receive a “presented by“ Giger‘s unused Bambi-burster . 9
'° CINEFANTASTIQUE‘
U concept. Among Giger - s aban-
s°"9"°"s
Md Def item; 51,50 1°, books am; me cm dwggpnmed with
tn luxurious sk blue ving'n'"Om I

credit on the lm.

~
-

doned work for the lm was a card sets. sa.oo for bif1d81S.
N
and
I and spine. Each bindercorttains
. _

|lfl'§|l¢dv'§¢V¢n‘f°°l 5¢"|Pl of ll“ '

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NIGHTMARE CAFE $3'5°'°'v'de°“s5°"”" binder wiresloreasyremoval.

4"" °' """°" """' "'4 7 "'"
°'-7-‘Ru 12
r-M--4 Iv»: mu‘! mother alien.crafted by Gigerand $1.95, plus$3.00 each postage.
M ARE ca FE. Englund is putting DeFries iii the artist's basement iii "' ‘° '" “"‘ ""°“"" °""" —
the R.l.P. sign over Freddy. “Yes, Zurich. _

Freddy is very dead." the actor
“'1 “.d°r'““°'Y- d°""°'Y d°“d' I
knew it was nal when l saw the
screenplay for the last one...l
realired they'd used up the sort of
Freddy idea box.” That doesn‘t
rule out future lm work with
Meanwhile Giger remains busy cg:|E5Fs‘:;|;:$:;;:gE ggiifcfgk COLBEYA
with °"‘°" ml“ P'°j‘°!5' "‘°'“d"‘$ U4 issues tu.s.) ......... ..s1a.oo EJAIP sen $11.50
designs for director Bill Malone's 5455",, (ca,,,d,,;,,,.,ign; $g|_oQ
DEADSTAR. and for Giger's []5i;3u9§(U_$_) . , . . , “$2790 _ _ _ _ CQLLEC-|-|'L55(p".g;)
own propeny THE MYSTERY El6issues(Conur!a/Foreign) $32.00 Dmdams Famiiy
OF SAN GOTTARDO. about, D8issues(U.S.) . . . . . . ..$34.00 . . . |:|eve5|“|H‘____'_____4_ 51495
said Giger. “a hospital in Chur \35i$_§"°5(Ca"B"B/F°'°i9")$3990 ElCFQVoI9No1 $20.00

$5600
lIl12_i§Sues(U.S.) . . . . . .....$4B.0O DCFQ y°| ‘U404 5_QQ
Craven. Englund said he feelschal- where. at night. arms and legs of
lenged by the director's dark patients are being cut off and g:g'”“*(%“g’d“/F°'°'9")::g'$ UE'\<=Y¢|0P¢dI-‘I 01
imagination. stolen." Giger‘s American pub- M9"sf°':' ' “Q95
Craven believes thataconserva- lisher hroughtthe idea to theatten- i g$r'1%°;“;O|'a':‘ ' ' ' "
tivc. religious upbringinginCleve- tion of Clive Barker. “He liked it F53"; Fg'|'AL£s musing méyugm s22'95
land helped shape that imagina- and confessed to beinganadmirer SUBSCRIPTIONS Dmonmmnd-S " '

tion. “ltscems. insomc ways.light of my work.“ said Giger. “He's a Cl4I!>5uB$ (U-5») --$15-9° - - - - - - » < - Aha"; stmy §|4_g5
years away. since l‘ve moved in very busy man. but who knows. |34i=!"°$(cl"I¢l/F°'Bi9"l $3‘-0° T|1gNigh[b1ggQ
vastl' different directions hilo- ma be someda he'll nd time to Chronicles $12.95

snphically and spiiittittiiyii" he (IO iiomething viitii it." Barker has D egg ':"‘°"‘("""'°;l7 95 UN-shtslalkms - - $14-95
penned the introduction to the Ds"°°'<*PrB$=_ --4-_-»--|i-- $1:-3:
said. “But in many ways. a rigid
upbringing givcsa real kickstartto newly published edition of Giger‘s
Uagirtosiisei
““"“""“
mmni-iii$22'95
1'RA|Lgg5(p.q,gq)
' g::“":°;“:?:'°E?‘:"1° "$21600
UT';:$ha Neg" y
yourvimagination. It _can weigh classic Neeranomicamthe basisof ‘

hC3Vli)"Ol'l your wild years. his ALIEN designs. E1 gH°,m,/gpivt-is 334,95 Genamion 51435
because it tells you. no. you cant ElHorror/SF BETA I $17.50 gym" pggks gm; 5,; 51995
do anything. So when you break FREEJACK DHarror/SFIIVHS $34.95
“BC, you many break ffcc_ Bur roittiitut-alrrtrrtpttgesa C1Horror/SFIIIVHS $34.95

i another very real advantage to fiqion “aim of FREE.

ggigncz DHOrrcir/SFIIIBETA $11.50

suchabackgroundisthatit preoc- JACK more difficult than the gH°"°';::'V \é:$A"

eupiesyou withthe majorissuesof
b°i"g a“"°- I‘ makes Y°“ ask um‘
mate questions all the time.
‘ “lt preoccupies you with some
of the major. if not the major.
issues of being alive. As a result of
that. l‘ve never been comfortable
doing something just trivial. l
alwaysam more comfortable talk-
ing about matters of life and death
and ultimate meaning than just
making people feel good."
Asked to describe his own worst
nightmare.thccxecutiveproducer
of NIGHTMARE CAFE warned
western genre of his last assign~ D::$:/SFVVHS 94'“
'"°""- YOUNG GUNS “< “|d°"" ct Horror/SFVI VHS‘ i i I I ii sales
Vllllllllllrclrd Dlll:
really feel that science fiction has |3H°,,°,,sFv| 55-|-A 51759
found itselfa way oftranslatingto []Hitg;7|r;g|;k Q°|_ vus $3435 1.QQ.1a.Q51 5
lm very well."said Murphy. “[ln
the western] you're into a sort of ————————!' ‘——_ _——"'—::‘
ballet and it's very classical. prob-
ably very ancient in its form. But P'o' 27°’
in science ction. you have to dir-
mi-erstyle; you have to nd a way
of shaping it. particularly when Mun"
you get into bluescreen or modern
q[/et'r.r-driven things. The level of my Sm‘ ZIP
harassment for the director is
enormously higher. ln the end. it
has to flow as a continuous.

7,,
that the answer would be serious. SlGNA1'U0‘lE(uIdll:Idorhrlt~nly)
“I once had a nightmare about a smooth narrative. ltsecmsthe last
whole mass of young men march- few weeks l‘ve never. ever shot a ________________ ,. . . U '5‘
“°'°"'
ing Off t0 Wit f."Craven said. “And
l saw my brother in that. Thiswas
sequence that was as you saw it. in
front of you," Cl "
"°°“"“' U "C
‘
Coupon Not Required To Order
_.***_*4 .__ j. E

ultimate measuring sticks of pas- It should be reiterated that the proposed STAR FLEET
DQNT BE REAL‘ neither Gene nor Bob Wise sawthe ACADEMY movie in which they
MR_ §C()'|'|' sion and dramatic tension. we're
all in serious trouble. The original piCl\.ll'C‘ complete until four days would be lostand the others recast
James Doohmps wnsmm bashing
79 episodes have become so can- before it was scheduled toopen.by [22:S:28]. lt was an outrageous
of wmiam Shamalmnvemions idea and we responded to it with
d in n‘ [22_5_3-I] have become onized by the public-at-large that which time some l.200 prints had
many forget. orjust fail to note. already been made and shipped. no help from anyone. The fans
ggrvmzsome crcis an old would not have been thrilled [see
in 'lhal if V5" cannm “mg; that only a fraction of those epi- At the last screening of the work
sodes were top-calibre drama. picture.aboutthrce weekspriorto Mr. Winter's remarks] with that
‘higng gomfaboul Someone it is
most of those coming in the rst this. there were still cards inserted concept
ban" um ‘O Savanyming al'a“_ It The fans havecontributed mul-
would be w°m'm_fu| if Mr. D°O_ season. when the emphasis was indicating optical and miniature
most on storytelling and charac- shots to come; it was _not only ti-millions to the Paramount
han would bumme anadvocme of impossible to showthe picture toa coffersand the only thing we have
H His vimolic comments no‘ only teri1ation. THE NEXT GENER-
ATION has emerged a more eon- preview audience,itwasalsodif- asked is to keep our characters
damage Mr Sham“ buuhcvalsa
damage Mr‘ Dacha‘; himsel-L Hg sis_te_ntly excellent shew than the cult to gauge the pacing of these iriie and keep them alive. Mr.
is slowly dcs‘"ovingme wonderful original. sequences. which is why non-ef- Winter.“you can “milk this thing
Michael F. Hopkins fects sequences, likethe worn-ihole forever and you apparently plan
chcmi5"vonhe'Kirk Scouychap to. but youca_n do it without ruin-
acms on‘ our wkvisinnand movie Buffalo. NY 14201 and probe attack. are more tightly
scm edited. in: th'e Cgssic crew; forlthc fahns
Rwk Muchen W 0' O! years‘ ave cpl ‘ '5
STAR TREK has been a won- OR MAYBE IT
WAS SNOW WHITE L05 A"gele5‘ CA 90036 ;h;XCaé"g-‘r2-?|)8,]:r9T[r:ig: £3;
derful experience for most fans
and it would benieeifMr. Doohan Your STAR TREK VI sidebar
STARFLEET 56$‘, Slikgcizraglgg Qre
would lighten upand not take him- [22:5:36] entitled “Mutiny on the
Enterprise" states that William ACADEMY studio owes us ‘hm '
self so seriously. lt also would be Jan Driggs
wonderful if he would stop stress- Shatner “. . . reportedly referred The supporting cast did not have '

to his costars as ‘the Seven to encourage usto write regarding Milan. ll.6l264
ing the negative and accentuate
the positive instead. If he doesn't. Dwarves'. . . " It has always been
the warm and familiar “Beam me related to me.byastudioemployee
up. Scotty“ won't strike a sincere involved with the productions. HORROR FANTASY ll SF HLM MARKETPLACE
chord with anyone anymore. that the labeling is more properly
Nancy Charpentier attributed to former TREK fea- Forget the eiirruntindlnca ciiiirsas lridtalen yiiumli manu-
alt De it nan. Iianttt on‘
Pomfret. CT 06258 ture producer Harve Bennett. Laam him iii craata ttiaatneal cults lltfl the dull:
Jim Brooks iiaadait to virorti in liliri, ihaatra iw TV You'll also nrattara lot
AT LEAST -|-HE Sowts Alexandria. VA 22306 eamu in Iriitiistnal, Product and Environmental Duipn
laarii ii all Win tlia wards.
trill~lrll l~l00-GZSJIM
FANS ARE PASSIONATE Call

The steady quibble about STAR

TREK: THE NEXT GENERA-
SO THAT$ WHY
THE EFFECTS
Illlllll
at I ‘~
rtaarir-int--rruitaaa-ram

TION lacking passion [22:S:$3] Go ON FOREVER hdilllll

because it doesn't dwell on the la- 1 was happy to see someone else lwlnt -»
.t ‘;lri|lll'§'
serized shoot-‘em-ups. libido-bent who was there bringing up some of

~
imperialism, or cause-dropping the problgmg that beset STAR &"l'lll~1.»\R‘l'lNSTlTt 'l'l-IS

-i
,
lipservice of the old STAR TREK TREK I [22:5:27]. While not ntentdirnaf/'
series. is becoming tiresome. So is intending to defend the picture on

a
the allegation from film producer which I served as rst assistant for SAN Call 1-800 4029 (visa! ct tit
V0 ea eaeriiuomoa dho .ta ias o
Harve B¢"““"hanhec“"c'“TV mm ¢d"°"- ""9" are 3 °°"P|' of seiznegtieiioriiarisariaZhiimiggwirnyoiiiza send erieeii or In/D to aniarie LICQIISU. |t't:
series contributed. in any way. to points that need to be considered lClrll|lMl!llq0l er-isirasiimiiiiiriiispm
are s rs per word; em $.25 QXIII per word.
itmsih Si.Slct0.CA95B19
~
H“ fanum °f wmmm TREK
~

Sham" 5
~ ' -
when °"*‘|"a““5 "‘
- -

espccmuy
-
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bold Clpl§5U!K\IIpl1Vl0Id oispiay splcui! sun 1-net: l OIIIBITV/MOVIQ ccllucttble:

It |l-W162P"¢ll;;"1€:é:gg'l|9||l'b|'U""5
FINAL FRONTIER. V light of the sequels: mii-riiiiaissoiiopi.ir¢iiiiiiiiriirieriirirwiiera-
d .5 llmal Ital .97A t mn St.
d .AlI ds bl d

4-?-——i-l—
‘ ' ' ' _ ' road I‘
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.
rhg fl W3
Paramoum m make a STAR Emiie riuiror-"neairi by Lorri!"/"DlI|t mivesi"
FANIINES: Media Monitor has hundreds nt
iisiiriqsertretri HQWIHU USCG $ASE|DIdUllils

‘
coiorfu mm “ms l m S
Roddcn- DH one llp! $2995 "DIQIM Slllkll“ $1996 Pllsiic Cow PIDGUCIIOHS. Box mi. Dlrwlllu,
PY"\¢IP8lly= ham-hand“! r¢W<"|<~ TREK feature. Gene mm‘; “gm "Niiaisi ceiriiiyeiirie Dead"S59 as Arias: 00
mg of STA R TR E K ; T H E M Q. ha"), did not like ‘hm CA94525-8061

TION PlCTUREinto overblown “gpacg opera“ approach, This i

nostalgia. melodramatic babble. probablyinuenced hischoiceofa

and sheer huffoonery. With a
summer that boasted the likes of
more cerebral story. the classic
¢|¢an_ §lgek_ nlopian View of
ASIIODOY
is
Back!
T
i-
I ’_
BATMAN. DEAD POET'S SO- Earth'$future.and theelimination '

CIETY ind lh nal INDIANA of much of the humorous charac- '

.
JONES film.the simpletrttth was ter inter lay which has roven to
rm v
¢l35§¢d-
it in iii’
Actually. two versions of many of
'"
gmify 5.“ §.M.l_-XL
:22: :: For l':;.E'z"i't'5‘:‘:.*'i%....
,. til-lti~
As for the first point. the prob- McCoy‘s wisecracks were shot. A uiirir Pmltt. FFll!\ll1§Qul|l{)' $6 95 £1 ‘ ":ill‘.,:i' “».{i'.'.T1'§‘.i.§ilZl"I.1 .

¢°mi¢ mcmcm wnh Sc0[[v- and r.iiitii-rriiirw Qialog §tt'k.i(,k ul H'~)|w‘t ii. >ll|l
lem is not ST:TNG's laek of pas- Mu om“ ,0 1-he RI hi 5“; l .,~ -».i
..,.i
-.i~ i i*<\\§*,.IlI||‘(i|I-14*‘!

sion. but rather. TNG's shunning the _llia-probe in engineering. and no B':Y_UwDuMmM:M mm ii... ...,., -. - .i....

Of STAR TREK S fffqttelly a different. more humorous last ‘ °'*""‘-“’§""‘““°*T"*°°"

ll bed—hopping. line from Spock wereinthe picture 5. and P. Parker's Mnvk Market
reek/P-Y5 pBS5i0I1-
Ncont no 5-. tau. ljfllll looeh. c/t nssz
scene-stealing stage posturing up until the final month of
and space opera cliches are the post production.

62

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