'ne 1 Mel THE SCIENCE FICTION Brooks INNERSPACE UGUST …€¦ · AUGUST1987 NUMBER121...

'ne Interview

Mel1 THE SCIENCE FICTION UNIVERSE Brooks

INNERSPACEJoe Dante's fantasticvoyage withSteven Spielberg

UGUST#121

'71896H9112 1

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John LithgowPeter Weller

ALIENS

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COMING TO EARTH THIS AUGUST

AUGUST 1987NUMBER 121

THE SCIENCE FICTION UNIVERSE

Christopher Reeve—Page 37

John Uthgow—Page 16be

Galaxy Rangers—Page 65

MEL BROOKSSPACEBALLS: THE DIRECTORThe master of genre spoofs canteven give the "Star wars" sagaan even break

14 DAVID CERROLD'SGENERATIONSA view from the bridge at thosewho serve behind "Star Trek: TheNext Generation"

16 ACTING! GENIUS!JOHN LITHGOW!Planet 10's favorite loony is

just wild about "Harry & theHendersons"

20 OF SHARKS & "STAR TREK""Corbomite Maneuver" &"Colossus" director JosephSargent puts the bite on"Jaws: The Revenge"

23 STILL SPUNKY AFTERALL THESE YEARSActress Karen Allen recalls

raids on the "Lost Ark" &"Starman" romance

27 JOE DANTE GETS SMALLThe "Gremlins" filmmakerreteams with Steven Spielbergfor the miniature madness of"innerspace"

32 CUESTS OF "TREK"Where are thev now? updatevisits with the Gorgan, the child

who leads him & Omega manCloud William

Karen Allen—Page 23

37 CHRISTOPHER REEVETHE MAN INSIDE"SUPERMAN IV"in this fourth film flight, the Manof Steel regains his humanity

45 PETER WELLERCODENAME: ROBOCOPThe "Buckaroo Banzai" star strikes

back as a cyborg centurion in

search of a heart

50 TRIBUTERemembering Ray Bolger,Gardner Fox & Danny Kaye

52 LANCE HENRIKSENCALL HIM CHAMELEONThe "ALIENS" android turns nastynight stalker when the sun goesdown "Near Dark"

59 IN SERVALAN'SSECRET SERVICEJacqueline Pearce reveals theprivate side of the "Blake's 7"

villainess

65 THE MAGNIFICENT"GALAXY RANGERS"They're super-powered SFcowboys who prove that spacereally is the final frontier

Peter weller—Page 45

Mel Brooks—Page 10

DEPARTMENTS5 FROM THE BRIDGE6 COMMUNICATIONS8 MEDIALOC36 VIDEOLOG43 FAN NETWORK70 CLASSIFIED INFORMATION74 LINER NOTES

STARLOC is published monthly t>v O'QUiNN STUDIOS, INC.. 475 Park Avenue south. New York, NY. 10016. STARLOC is a registered trademark of O'Ouinn Studios, inc.

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AUGUST 1987 #121Business and Editorial Offices:

O'QuInn Studios, inc.475 Park Avenue SouthNew York, NY 10016

Publishers

NORMAN JACOBSKERRY O'OUINN

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RITA EISENSTEIN

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ANTHONY TIMPONEEDDIE BERCAN2ADANIEL DICKHOLTZ

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FROM THEBRIDGE

SomeoneI

can't write these STARLOG editorials at the office. They are too personal

and require too much uninterrupted concentration. I have to be alone. Totally.

So here I am, alone with my typewriter and the blank wall before me—putting

my thoughts onto paper—hopefully forming sentences in such a way that they speak

clearly to other humans.

But no one is here to speak to. I'm alone. .

.

So, I have found that as I write, a feeling forms in my subconscious. A feeling of a

presence. I am aiming my words at that presence. That someone.

I can test my ideas. I can sense reactions. I can feel what that someone needs to

understand, and all this helps direct my fingers and focus my thoughts. In other

words, I imagine my "ideal audience" in the form of one person who lives with meduring the writing of each piece. And that person becomes the soul to whom that

piece is dedicated, because he/she was the guiding spirit of it.

Last issue, my editorial titled "Dreaming" was dedicated to a fellow Texan by the

name of Greg Theisen. As I wrote about seeking happiness, about yearning for what

you want in life, about building big dreams and then making them come true—Greg

was the soul to whom I spoke.

I never know why a particular someone forms in my mind as the presence to

whom I am speaking. It isn't a conscious choice on my part. It just happens, but it

always happens correctly. Often, I don't identify the someone until after I've finished

the piece, edited it and thought about it.

Sometimes, that someone is a person I know, usually a friend—but sometimes, it is

someone whose name I don't even know. Sometimes, it is a fan I've met at a conven-

tion, and all I recall is a special face, a question, something that person did which

didn't register at the time but stuck solid in the basement of my mind.

I always try to be open to strangers, because I have discovered on so many occa-

sions that they are giving me things which I am unaware of at the moment. Often, I

think they give me nothing more than a brief encounter with a new individual—yet,

occasionally I find myself (maybe months later) talking to that person as I sit alone

with my typewriter and the blank wall before me.

But Greg was not a stranger, nor a nameless face. He was an important friend whohad affected me in a tremendously positive way. And he had done it, not so much by

conscious intention, but simply by his existence.

He was more genuinely fun-loving than anyone I have ever met. He had a range of

talents and interests which were endless. He had a supercharged energy which was in-

fectious to everyone who knew him. He was totally unique because he had refused to

sand himself down by so much as a millimeter from the rough-edged, delightfully-

different shape that was his nature.

As the old expression goes—he was high on lifel

You've noticed by now that I am speaking of him in the past tense. Only a few

days ago, I learned that Greg fell, in a freak accident, broke his neck and died

instantly.

He was 20 years old.

He never saw "Dreaming" in print.

I wrote that editorial for all young people of great potential—people with unusual

capacities for wanting much from their lives—people who are pleasure-hungry,

curious and exploratory—people who have the courage and the integrity to hold on

to whatever good qualities make them unusual. In other words, it was intended to of-

fer encouragement to those among our readers who are the best and most life-loving.

Greg was the someone who embodied the essence of all that.

My imagination is not fertile enough to picture the magnificent things he might

have brought into existence and added to our world. Losing someone of that quality

and that potential fills me with almost-unbearable pain.

Fortunately, I sent Greg a copy of my manuscript, so he was able to enjoy the

personal dedication.

Now, I want to dedicate last month's editorial publicly because I want to pay

tribute to a person who inspired me to inspire others. His love of life is alive within

me!

When someone radiates a positive spirit of such high energy that he permanently

affects my life— I think that is a very special someone.

Greg Theisen was one of those magical humans, and I weep profound tears that we

will not have the pleasure of watching him make all his dreams come true.

—Kerry O'Quinn/Publisher

STARLOG/'August 1987

COMMUN/CA TIONSfBecause of the large volume of mailwe receive, personal replies areimpossible. Other fans & advertiserssometimes contact readers whose let-

ters are printed here. To avoid this,

mark your letter "Please Withhold MyAddress." Otherwise, we retain the op-tion to print your address with your let-

ter. Write:

STARLOG COMMUNICATIONS475 Park Avenue South, 8th FloorNew York, NY 10016.

CAPTAINS OUTRAGEOUS... I am a bit confused about the very end of StarTrek IV. We have Captain Kirk and CaptainSpock. According to the Wrath ofKhan noveliza-

tion, Sulu is also a Captain. Since Captain Terrell

died in Star Trek II, and Chekov was the first of-

ficer, are we to assume that he is also a Captain?If so, then the new Enterprise is one starship with

four Captains. The next movie should be StarTrek V: The Questfor the Captain 's Chair, with ascene of Scotty exclaiming, "I can't change thelaws of physics. The chair can only hold one at atime. It canna take the pressure." Uhura will beexasperated as she tries to get the Captain to the

bridge and all four show up. Of course, McCoywill say, "I'm a doctor, not a Captain!" One star-

ship with four captains does not seem logical.

Jim Porto

Seneca Falls, NY

Dare we mention that Scotty was promoted to

Captain of Engineering in Star Trek III?

AT THE MOVIES. . . Reading the Communications section throughdozens of STARLOG back issues, I discoveredthat most letters came from people picking apartmovies or TV series, praising or disparaging them

|SUBSCRIBER SERVICES

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6 STARLOG/August 1987

.STATE. -ZIPI

for this reason or that, analyzing sloppily or in

great detail the story, the special effects, the direc-

tion, the music, the actors and what have you.One question sprung into mind: Why?A movie is either good or bad. It's the end pro-

duct—as a whole—that matters. If the film is

good, all those flaws will, by the end, have beengobbled up by the film's overall qualities. If the

film is bad, then it's not worth discussing in thefirst place.

I have the impression that many people these

days go into the theater as self-proclaimed critics,

not planning on seeing a movie but on judging it.

Me, I go and see a movie to be entertained. I

didn't notice any different head designs on the

Aliens or similarities between ALIENS' musicalscore and that of other motion pictures. But I didsee one hell of a good movie. I'll probably get alot of flak for this, but, to me, ALIENS was the

best movie to hit the screen last year. I had fun.

Period.

I don't understand why we should be dissecting

these films like we do. They're no big deal, after

all. When you start to analyze them, you'rebound to find flaws (and more and bigger onesthan you might think). I've seen Star Wars five orsix times since it premiered 10 years ago, andthough it is still my all-time favorite film, I findflaws there. George Lucas is right in calling it

"just a movie." The fact is, I've seen it once toooften. TV shows or movies aren't meant to beseen several times over (or at least not several

times in a row). I mean, you can't tape real life

and play it back again, can you?So, please guys, don't dissect. I realize that

criticism is necessary and that there are somelousy movies out there. I'm not blind, believe me.I can see flaws too, I guess they just don't botherme so much. And why should they?

Karel Smolders

Belgium

WELCOME "GUESTS"... I think every Star Trek fan has felt a tingle

when he or she notices a Star Trek guest star in

another TV show, and can say, "Hey, that's

what's his name!"Guest stars touch viewers almost as much as the

show's regular stars. Thanks to Frank Garcia,

Mark Phillips and STARLOG for reminding usthat Bruce Hyde, Craig Huxley and Lee Bergere(all interviewed in STARLOG #1 12) are still a part

of the Trek universe.

Catherine Tipton

Sioux Falls, SD

NO GRAPES... I was truly surprised at the ire that StephenCollins* interview (STARLOG #104) aroused in

the Communications section of STARLOG #111.

The article was an extremely well done interview

with a man who is not only a very talented actor,

but very professional as well. Nowhere in that in-

terview did I get the impression that he was ex-

pressing "sour grapes" or that he was talking

down any of the people involved with Star Trek.

He simply stated the facts that every Trek fan is

aware of—Star Trek: The Motion Picture was notthe easiest film in the world to make.

Marilyn Johansen

Eden Prairie, MN

BRANDON FANDOM... I've heard of Henry Brandon of course, but I

never thought an interview with him would ap-pear in STARLOG. I read it quite avidly. Thenext time Babes in Toyland is on, I will pay close

attention to Brandon's portrayal of Barnaby.

As for Brandon's bemoaning the fact that henever got to play handsome heroes, at least his

villains were always the handsomest!Elizabeth DewarHartland, MI

. ..What a delightful surprise to read Dan Scap-

perotti's article, "Memories of Fu Manchu" onthe career of villainous Henry Brandon(STARLOG #114). I'm a good friend of Henry'sthrough our association in The Sons of the

Desert, the international organization whichcelebrates Stan Laurel and Oliver Hardy, and his

first starring role as evil Silas Barnaby in Babes InToyland eternally endears him to us.

I've heard Henry tell many a Hollywood story

about his acting career, yet I still learned a newthing or two from the article. One story Henrytold me recently which I thought would be of in-

terest to STARLOG readers took place just a fewyears ago. It seems a pal of Henry's was workingwith Leonard Nimoy on the casting of Star TrekIII: The Search For Spock, and the pal came to

Henry for advice on a problem. Nimoy, he ex-

plained, was agonizing over the casting of acrucial part, that of T'lar, the Vulcan Priestess

who places Spock's "katra" back in his re-

juvenated body. Nimoy wanted someone impos-ing, of grand stature. . .and had no idea how to

fill those requirements. Henry's immediatethought was, "Why not use Judith Anderson?"Judith and Henry's longtime friendship wentback through decades of playing in Medeatogether, and Nimoy 's casting confederatethought this an excellent suggestion and im-mediately went back to Leonard with it. Nimoy 's

subsequent meetings with Dame Judith led to herbeing cast in the part. One of Henry's cherished

memories is the day, a few weeks later, whenJudith called him and announced in her deep,cultured tones, "I was fitted for ears today!"

Rick Greene

Encino, CA

SHE GOT THE BEAT. . .Thank you for including the photo of JaneWiedlin in the Leonard Nimoy interview

(STARLOG #114). As a longtime fan since herGo-Gos days, I was pleasantly surprised to see hertoo-brief appearance in The Voyage Home. In

fact, now that she has been in Trek as well as Clue(with genre stars Tim Curry and ChristopherLloyd), and will soon be featured in a fantasy film

starring Amy Irving, perhaps you could see yourway clear to interview Wiedlin, if she would bewilling.

Peter Heimsoth

Lombard, IL

LET THIS BE YOURLAST BATTLECRUISER

... In her Fan Network article in STARLOG#112, Gigi Porter stated that filming for Star Trek

W/P you EVER. WOA/DEJZ HOW //s/P/AA/ATOA/eS BECAME FEAKFUL. OF GfiAKES?AAAY0£ fT OW BE 7RACEP BAOC TO AN/IaJCIOEaTT WITH /A/pyS LJTTLE BttTHER,PWTHON PETE-'

HEY, IHPIANA I %**&CMEKE *=t>«. AAAIaJUTE ! ?*MJOCBt;

/K took place aboard the "battlecruiser" t/.S.S.

Ranger which would appear as the (/.S.S. Enter-

prise in the movie. However, the U.S.S. Ranger

(CV61) is a multi-purpose aircraft carrier of the

Forrestal class and not a battlecruiser. And the

U.S.S. Enterprise (CVN65) is a multi-purpose

nuclear-powered aircraft carrier. In addition,

there are no battlecruisers (CB) currently in ser-

vice in the United States Navy.

Richard Laban Jr.

New York, NY

GALILEO SHUFFLE... I'm writing with some additional information

concerning the Galileo Shuttlecraft from Star

Trek (STARLOG #1 12).

The shuttlecraft (only one was built) was con-

structed at a cost of approximately $40,000 in

1966 for Desilu Studios by AMT Corp. in

Phoenix, Arizona, in return for the right to pro-

duce and distribute a Galileo Shuttlecraft plastic

model. A separate interior set was also built by

AMT for filming interior shots. This set has

movable walls and was considerably larger inside

than the exterior mock-up. The designer andsupervisor of the construction was Gene Winfield,

later renowned for his work on the Blade Runnervehicles.

The total cost of the restoration project was

$1 1,000. The shuttlecraft is now in Indio, Califor-

nia, just east of Palm Springs, where an interior is

being constructed by Carlos Rivera.

Stephen Haskins

Galileo Owner1889 Caminito Brisa

La JoUa, CA 92037

PAYING DUES. . . Thank you for the Fan Network section in

STARLOG and for the opportunities it gives us

fans and fan clubs to contact each other and share

information.

However, #112's fan club listing has TheFederation Council dues as. $12.50 initial and $6

yearly. They are actually $1.25 initial fee and $6

yearly. I hope the "inflated" price didn't put too

many people off from contacting us.

Bernadette Voller, Secretary

The Federation Council

23871 Neuman RoadCorvallis, OR 97333

"IMAGINATION" JURY... I was glad to see Kerry O'Quinn's From the

Bridge, "Imagination on Trial" (STARLOG#113), concerning the "textbook trial" in Green-

ville, TN. I, along with many, many other Ten-

nesseans, was saddened that such an occurrence

took place in our state.

I must differ with O'Quinn on one point,

however—the statement that "The attempt to

Art Mike Rstwr

censor ideas . . . assumes that humans are

stupid—that they are incapable of making uptheir own minds." From my point-of-view, it is

the exact opposite: Those who attempt to censor

ideas know that humans are quite capable of

(continued on page 72)

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MEDIALOGfSPACE POLICE,

EARTHBLASTERS &EARTH *STAR TOTHE RESCUE

The prospects of science fiction television

are looking up—with a promising in-

creased quantity of projects, though that is,

of course, no guarantee of quality.

Star Trek: The Next Generationpremieres the first week of October with a

two-hour episode scripted by Gene Rod-denberry & Dorothy Fontana. The series,

budgeted at a reported $1.1 million per

episode, is presently set to air on 136 of the

145 U.S. TV stations carrying the original

Star Trek in syndicated reruns (with morestation clearances yet to come). Needless to

say, the new mission's stories will be shorter

than in the past; Paramount is keeping seven

minutes of each hour to sell as national

advertising, with an additional five minutesbeing allotted to the stations for local com-mercials. That's 12 minutes of ads!

Ruby-Spears, the animation house, is

developing a two-hour live-action pilot for

possible syndication in 1988. It's Earth-

blasters.

In the meantime, Anderson-Burr Pictures

has produced a one-hour live-action pilot,

Space Police. Producer Gerry (Space: 1999)Anderson is using "galactronics," an im-proved "supermarionation" technique for

this $1 million initial episode. The premise: aNYC cop and his alien partner battle ex-

traterrestrial crime in a specific spaceprecinct some 100 years in the future.

Walt Disney Productions has Earth*StarVoyager, a $10 million, four-hour mini-

series which will be broadcast in two parts

on ABC's Disney Sunday Movie this fall.

Earth*Star may also spawn a regular series.

James Goldstone—who directed the StarTrek pilot "Where No Man Has GoneBefore"—is helming Earth*Star from ateleplay by Ed Spielman and Steve Lawson& Cynthia Darnell. Set in the year 2087, the

mini-series focuses on a specially selected

crew who are dispatched on a long spaceodyssey on board the ship Earth *StarVoyager to seek out brave new worlds for

FILM FANTASYCALENDAR

Listed below is a release schedule for up-coming SF/fantasy/horror movies and

selected animation and adventure films. Alldates are extremely subject to change, with

movies deemed especially tentative denotedby an asterisk. Schedule changes are report-

ed in the "Updates" section of Medialog.July: Snow White and the Seven Dwarfs

(re-release), The Living Daylights, Super-

possible colonization by Earth. In this case,

their fantastic voyage is dogged by treachery

and the usual cosmic dangers. Duncan("V") Regeher, Peter Donat, Brian (ShortCircuit) McNamara and Julia (Revenge ofthe Nerds) Montgomery head the cast.

People: John Carpenter has apparentlyended the vacation from Hollywood film-

making he announced in STARLOG #115.

Carpenter has signed a deal with Alive Filmsto make four new movies for the small in-

dependent company noted for such releases

as Kiss ofthe Spider Woman and Trouble in

Mind. The association gives Carpentermuch greater control of his projects, in

decided contrast to his recent unsatisfying

relationships with such major studios as

20th Century Fox and Columbia. Carpenterwill also score all four movies—with the

soundtracks due out on Alive Records. It

isn't known if Escape from LA, the sequel

to Escapefrom New York which DeLauren-tiis Entertainment Group had earlier an-nounced, is included in the Alive quartet.

Leonard Nimoy's latest turn behind the

cameras comes in Three Men and a Baby,Disney's American remake of Coline Ser-

reau's French comedy, Three Men and a

Cradle. James Orr and Jim Cruickshankscripted, adapting Serreau's original

screenplay. The film, which may yet get a ti-

tle change, stars Tom Selleck (STARLOG#92), Ted Danson and Steve Guttenberg(STARLOG #98, 1 10).

Walter Koenig has scripted In Search ofSteven Spielberg. It's a teen comedy whichmay be lensed in Canada.Genre TV: Time and Again, the Jack Fin-

ney novel, is being developed as a four-hourTV mini-series by Universal, under producerJohn Epstein and writer Al Ruben. Finney,

of course, penned The Body Snatchers,

which was filmed twice, in 1956 and 1978, as

Invasion of the Body Snatchers.

Saban Productions is piloting Bio-Man.It's a live-action half-hour prospect for yet

another syndicated series involved with a toycompany (Galoob Toys). Bio-Man is aimedat a September 1988 launch.

Tales of Tomorrow, the SF anthologyseries from the '50s, may be making a come-back. World Media Productions is eyeing a

man IV*, RoboCop, House II.

August: The Monster Squad*, Hellraiser,

The Lost Boys, Teen Wolf Too*, Masters ofthe Universe, Stranded*, Jaws: TheRevenge*.

Summer: The Fox and the Hound (re-

release). Beauty & the Beast, The Emperor'sNew Clothes, Doin ' Time on Planet Earth,

The Caller, Deathstalker II, Gor*, Ghoulies

2, Near Dark*.

September: The Princess Bride.

October: Flowers in the Attic, Sister,

Kirstie Alley will co-star in Mountain Kingwith Sidney Poitier and Clancy Brown.

revival of the show for syndication.

Character Castings: Kirstie (Star Trek II)

Alley (STARLOG #102) and Clancy(Highlander) Brown (STARLOG #106) co-star in Mountain King, an upcomingDisney/Touchstone release, with SidneyPoitier (who's once again acting after years

of only directing). Roger (Under Fire) Spot-tiswoode directs.

Back to the Future's Christopher Lloydstars with Theresa (Black Widow) Russell in

Track 29, a psychological thriller scripted byDennis (Dream Child) Potter. Nicholas(Man Who Fell to Earth) Roeg directs,

again teaming with Russell, his actress wife.

Cyndi Lauper and Jeff Goldblum(STARLOG #85) are the psychics bound for

comedic adventure in Vibes. Peter Falk co-

stars. Goldblum has the role originally in-

tended for Dan Aykroyd.Jean (Return to Oz) Marsh returns to the

genre in Lucasfilm's Willow, the epic fan-

tasy being directed by Ron Howard. She's

the villainess of the film which MGM/UAwill distribute next June.

Bill Paxton of ALIENS takes the lead in

Pass the Ammo. Paxton and Linda(Crocodile Dundee) Kozlowski play twoyoung lovers who become involved with acorrupt evangelist. Tim (Legend) Curry(STARLOG #106) and Annie(Ghostbusters) Potts co-star.

Sister, Pumpkinhead, Hidden.

Fall: Return of the Living Dead Part II,

Phantoms, Robojox, Retaliator, RemoteControl, The Time Guardian, Vibes*, Datewith an Angel, Dark Tower, Desert War-rior, Serpent & the Rainbow, Bill & Ted'sExcellent Adventure*, Nightflyers, Made in

Heaven, Amazon Women on the Moon*,The Running Man *.

Christmas: Batteries Not Included, Em-pire of the Sun, Dirty Harry V, Cinderella

(re-release).


Paul (ALIENS) Reiser (STARLOG #1 14)

co-stars in American Date with Martin (//?-

nerspace) Short. Bob (2010) Balaban

(STARLOG #89) has joined the cast of

Ironweed, which stars Jack Nicholson and

Meryl Streep.

Nancy Allen, soon to be seen in

RoboCop, is also starring in Sweet Revenge.

Michael (Q) Moriarty, Jenny (An American

Werewolf in London) Agutter, Theodore

(Darker Than Amber) Bikel and Carol

(Night Stalker) Lynley co-star in the super-

natural thriller Dark Tower.

Jamie Lee Curtis (FANGORIA #15)

toplines A Fish Called Wanda. This comedyalso stars John Cleese (who scripted,

STARLOG #96), Kevin (Silverado) Kline

and Michael (Time Bandits) Palin.

Sequels: Sam Raimi, the man whobrought moviegoers the bizarre horrors of

Evil Dead and Evil Dead II, is on

Brooksfilms/20th Century Fox's short list

of possible directors for the projected Fly 2.

Mick Garris (STARLOG #99) is scripting.

In the proposed Cocoon II, to be filmed

next spring, the aliens and the aged return.

The characters played by Don Ameche &Gwen Verdon, Hume Cronyn & Jessica

Tandy, Wilford Brimley & Maureen

PLAYING FUTURE GAMESArnold Schwarzenegger is on the run for his life in this latest world of the future envi-

sioned by novelist "Richard Bachman" (Stephen King). Schwarzenegger is The Runn-

ing Man, joined by Richard Dawson in this variation on Death Race 2000,

directed by Paul Michael Glaser. The action begins next month.

Stapleton come back to Earth, unaged, five

years after the events of the first Cocoon, to

complete a special mission and reunite with

those left behind (including, apparently,

Jack Gilford). Richard & Lili Zanuck and

David Brown are once again producing the

follow-up, with all the actors noted

reportedly reprising their roles.

Other sequels to sit around waiting for

with keen anticipation: Deathsta/ker III (but

first, there's Deathsta/ker II, due out this


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Mel Brooks has updated his image of politicians to fit the times—expect this Chief of the Galaxy to "Skroob the people."

Mel Brooks

SPflCEBRLLSThe DirectorThe funnyman filmmaker takes a(semi-) serious look at satire,

science fiction and silliness as hescampers into this neck of thestar-spawned genre.

By BRIAN LOWRY

In space, no one can hear you laugh . .

.

maybe.

That black, empty vacuum out there

may be in for a new dimension in sound if

Mel Brooks has his way. Brooks, the writer

and director of such notable parodies asYoung Frankenstein, High Anxieiy, Silent

Movie and Blazing Saddles, has turned his

eyes skyward, with a $22 million send-up of

BRIAN LOWRY, veteran STARLOG cor-

respondent, works for The HollywoodReporter. He visited the set of Spaceballs in

STARLOG If119.

10 ST\RLOG/August 1987

science fiction entitled Spaceballs.

While the big budget and effects may bein the Star Wars category (legendary matteartist Albert Whitlock, for example, cameout of retirement to work on the film).

Brooks and co-writers Thomas Meehan andRonny Graham have trained their lasers onthe funny bone.

Combining elements of Star Wars andcountless other SFfilms, Spaceballsfeatures

Bill Pullman (the dim-witted Earl in

Ruthless Peopled as Lone Starr, traveling the

galaxy in an interstellar Winnebago with his

friend and companion Barf the Mawg—a

half-man, half-dog ("I'm my own best

friend") played by John fSplashy Candy.Other familar-sounding cast members in-

clude Ghostbusters' Rick Moranis as DarkHelmet, Daphne Zuniga ofThe Sure Thingas a luggage-conscious Druish Princess, andthe combined talents of Joan Rivers andmime Lorene Yarnell (voice andmovements, respectively) as the princess'golden robot/servant, Dot Matrix.

And, of course, Brooks turns up in multi-

ple roles, as Yogurt, a pointy-eared mysticwho "dispenses wisdom with fruit at thebottom, "and as President Skroob, the cor-

rupt leader of Planet Spaceball. Describing

him as "their very forgetful president, " the

director acknowledges that the name"Skroob" is an anagram for Brooks.

Spaceballs marks an important milestone

both for Brooks and his active production

company, Brooksfilms-. The ac-

tor/producer/writer/director hasn 7 sat in a

director's chair for six years, since History

of the World, Part I.

In between, however, Brooks the mogul

has been exceptionally busy, executive pro-

ducing The Elephant Man, Frances, 84

Charing Cross Road and the recent genre ef-

forts The Fly and Solarbabies.

For the record, Brooks confirms that a se-

quel to The Fly will take wing, and —just

for those of you who were in-

terested—Solarbabies II won't.

Yes, Brooks says, Mick Garris

(STARLOG #99) is working on the first

draft of a script and Fly producer Stuart

Cornfeld will again Jill that capacity on the

sequel. Further details, alas, remain in the

larval stage.

Brooks himself, 60, hatched on NewYear's Day, and there has been plenty ofnoise and hoopla surrounding his arrivals

ever since. A writer for the classic television

Mel Brooks directs Rick Moranis. Is there a

large enough screen to encompass the full

magnitude of the nebbishly evil that is

Dark Helmet?

series Your Show of Shows with Sid Caesar,

Brooks broke into films with The Producers

and hasn 7 looked back.

Taking time between editing sessions and

private screenings of Spaceballs, Brooks

elaborated on a wide variety of topics, in-

cluding fantasy film cliches, how he (and

others) go about editing hisfilms, the merits

of being 15, the price offame and how even

he has to wait for a table in fine restaurants.

Since it was near dinner time, the last subject

seemed the logical place to start.

MEL BROOKS: What do you want from

my life? Do you know how busy I am?STARLOG: That's the price of fame, isn't

it?

BROOKS: No, no. Fame is the price of do-

ing your job well. They make you famous

and then, they bug the shit out of you. I'll

tell you, the funniest part of being famous is

when you go to a restaurant—a very goodrestaurant—and everyone stops eating and

they notice you and chatter excitedly about

you being there.

Everybody knows you, except the head

waiter, who doesn't know who the hell you

are and says, "Sir, people have been waiting

for 20 minutes"—and you're just another

short, middle-aged person that they don't

want to serve.

That's the irony of fame, but I can live

with it as long as they pay me well and let medo my work.

STARLOG: How did you settle on the title

Spaceballs"]

BROOKS: Years ago, when we first coalesc-

ed the vapor of this insanity, we thought

Planet Moron would be a good title. About

a year after we started writing it, a movie

came out called Morons from Outer Space.

We fished around and 1 said, "We need a

smashing one-word title—something that

has the word space in it and something that

says 'Screwball,' because it's a screwball

comedy." I came in the next day with

Spaceballs, and we just switched everything

from Planet Moron to Planet Spaceball.

STARLOG: Is your character, President

Skroob, similar to the governor you played

in Blazing Saddles!

BROOKS: He's more cunning and more

diabolical, more together. The governor in

Blazing Saddles was a cross-eyed idiot. It

was my view of administrators at the time.

Now, I know that they're more cunning

and clever, and they are really moredangerous. But, he's just as funny as the

governor.

STARLOG: What made you decide to

return to directing on this particular film,

after a six-year hiatus?

BROOKS: I always, always direct the films

that I write. The director is, in a strange

way, the film's author, even if he's not the

screenplay's author. You don't want to give

your screenplay to a stranger. It's

dangerous. Much of this stuff is very subjec-

tive, and he might misinterpret it.

You know, it took two-and-a-half years

to write Spaceballs, and in between, I ap-

peared in and produced To Be or Not to Be.

How much is that Mawg (John Candthe spaceship?

v*

Adventure, excitement, Yogurt (Brooks) craves not these things. Merchandisingis where the real thrills and big bucks are.

Lone Starr (Bill Pullman), Princess Vespa (Daphne Zuniga), Dot (Lorene Yarnell) andBarf (John Candy) are definitely not in Kansas, but at the sanctum of that plain,ancient know-it-all, Yogurt.

That took a year out of my life. Also, I amvery active, as you know, with Brooksfilms,

so I just had to sandwich everything in.

I was looking for another Blazing Sad-dles, and I figured, what is the most sensa-

tional genre that I have not yet sunk myteeth into, and lo and behold, it was space.

It was right under my nose—or right abovemy head, actually. I've got a big nose, so it

could have been there, too.

STARLOG: When you were putting

Spaceballs together, were you concerned

about the timing of its release at all?

BROOKS: No, the space genre is just get-

ting where it's going. It's more than just

movies: Space is on every peripheral

medium. It's on television all the time—in

commercials, cartoons. It's the most au cur-

rent genre there is.

And, I've been very lucky about Star

Wars. The trilogy keeps playing non-stop oncable, and now it's available on home video.

It's just ripe for fun.

STARLOG: We assume that the Lucasfilm

people aren't going to come sweeping in

with their lawyers.

BROOKS: The Lucas people were just upset

about one aspect of Spaceballs. They didn't

think that it was fair for us to do a take-off

and then merchandise the characters, whichwould kind of resemble them.

As far as doing a parody though, ofDarth Vader and that sort of thing, it's noproblem; in fact, they're doing our soundwork. All the guys who worked on the Star

Wars films are just hysterical. They can't

believe Rick Moranis as Dark Helmet.

STARLOG: Obviously, some of your best

films have been parodies, like Blazing Sad-dles and Young Frankenstein—BROOKS: This is really Blazing Space.

STARLOG: Does that go back to YourShow of Shows?

BROOKS: Exactly. We were in the

vanguard of satire on television. We were

doing Japanese movies, and there were

maybe 14 intellectuals in New York and Los

Angeles who knew what a Japanese movie

was. Here we were talking to 60 million

Americans about Japanese movies. It was

crazy, but we did it because we loved them.

STARLOG: That really seems to be the

prerequisite. You have to like what you're

satirizing.

BROOKS: I respect all the genres that I've

parodied. I respect Alfred Hitchcock and I

became great friends with him before he

died. He loved High Anxiety and me run-

ning under the birds.

I think that George Lucas realizes that I

love his work. I really do. He's profoundly

talented. His movies are landmark movies.

You can't make fun of things that aren't

worth making fun of. They turn to jello and

melt.

STARLOG: So, what's left after this?

BROOKS: There is another genre left to methat is very popular with the kids, which is

something I did seriously as a producer with

The Fly.

STARLOG: Do you mean horror?

BROOKS: Yes. I did Young Frankenstein,

but that was a monster, not a horror picture.

Something like The Hitcher, or Freddy

Krueger, the Elm Street trilogy.

STARLOG: Do you really get into science

fiction? Did you run back and watch a

bunch of SF films before writing

Spaceballs"1.

STARLOG: I always loved the space

movies. Even when I was a kid, I was a

Buck Rogers fan. All these great powers andimmortality, it's a wonderful world to in-

habit.

STARLOG: With Spaceballs, how much of

it is a specific spoof of Star Wars and howmuch is general to the genre?

BROOKS: It's the whole genre, but a great

deal of it is attributed to Star Wars. I would

say 50 percent is Star Wars, and the other 50

percent you have to divide up between Star

Trek, ALIEN, Planet of the Apes and a

million others.

STARLOG: How do you think fans will ap-

proach the film?

BROOKS: Well, when I write a film, I audi-

tion it. I send it to a class at UCLA and I

say, "Mark it." I sent a copy to my son,

Nicky Brooks, who writes science fiction-

horror things, and I say distribute this script

among your friends and have them mark it.

By "mark it," I mean if you like a joke,

put a check. If you like a scene, write a note

about it, and give me a one-page criticism of

the whole script.

You get 300 write-ins. Of course, you give

away all your jokes, but you do get incredi-

ble input. You find out if something is a

private joke or if it travels, like good wine.

In that way, your film gets graded by hun-

dreds of good young minds who love film.

Then, we make the movie—that's easy to

say, of course. You're ready to go to the

hospital by the end of pre-production, and

that's the day you start shooting. It's crazy.

I go into training like I'm a middleweight

Shaking hands across the galaxy, Brooks welcomes Star Wars veteran Gary Kurtz to

Spaceballs: The Set.

fighter, just to get physically healthy so I can

get through it.

When the film's done, we screen it. I have

the secretaries bring their kids, and I have

my young son, who's 15, invite some of his

friends.

The 15-year-old is really, for me, today's

target audience. They're very bright, they

know a lot, they go to a movie wanting to

enjoy it. If they're over 40, they're muchmore discerning, and that's whyBrooksfilms is alive—so I can make movies

especially for the over-40 crowd.

Sometimes, like The Elephant Man, they

cross over and attract everybody, but I don't

care about that. I'm very happy when it just

pays for itself. Everybody says, "We want

kids from eight to 80," and that's just

bullshit!

STARLOG: When you're writing, though,

do you have to write just to please yourself?

BROOKS: Oh, you can't write for anybodybut yourself, but what you can do is edit for

everybody but yourself. That's the dif-

ference. Young people will tell you whether

it stinks or whether it's terrific. Those early

audiences do more cutting than I do.

STARLOG: And so far on Spaceballsl

BROOKS: My batting average is very good.

We had some ideas for some rogue, insane

scenes, and they went for them!

Sometimes you can write something, like

I did for Silent Movie, and just be baffled by

the audience's rejection of it.

I did a scene called "Lobsters in NewYork." It was a crazy scene. There was a

restaurant, Chez Lobster. You walk inside,

and there was a lobster holding menus. He

was wearing a tuxedo, and he nodded to twobeautifully dressed lobsters, who came in

and sat down at a table.

A lobster waiter came over and they

ordered and went over to a tank and there

were a bunch of humans swimming around

in it. It ended with them catching a couple

of screaming people.

I thought people would love it. Theydidn't hate it, but I didn't get a laugh. Theyjust smiled all the way through, so I left the

scene out of Silent Movie.

STARLOG: Over the years, you've becomemore involved as an executive and producer

with Brooksfilms. Can you see that cutting

into your hands-on involvement?

BROOKS: I've been driven to do that bysomething in me—probably the need for

more rent. [Laughs.] I have to confess,

though, it does take away from "hands-on"fun. Now that I've directed Spaceballs, it

was nice to get into the mud again and roll

around in it—being embroiled in film again,

palpably and physically as well as emo-tionally. I'll probably do another one real

soon, as a director.

But, there are many me's, and I'm trying

to get them all together.

STARLOG: On Spaceballs, John Candyhad to go through some pretty severe

makeup for his role as Barf the Mawg. Did

he know the job was dangerous when he

took it?

BROOKS: No, and he didn't realize he wasgoing to have to wear 40 pounds ofmachinery on his back to work his tail andears. Poor guy, but he was a trouper. He


SWRLOG/August 1987 13

GENERATIONS/ An Exclusive Report on "Star Trek: The

On the Bridge& Those Who Serve

Behind itYou know how you hear about the

"army of carpenters, painters, elec-

tricians, etc." necessary to make aTV show come to life?

I just got trampled by that army.

I went over to visit the sets of the first

episode of Star Trek: The Next Generation,

which are spread across three sound-stages—and I haven't seen such a big crowdsince the last time someone hosted a free

lunch for the Writers' Guild. The only dif-

ference was that these people were all work-ing as hard as they could. The smell ofsawdust and paint was everywhere.Workmen were hanging from catwalks,

standing on ladders, crawling through nar-

row spaces, reaching, climbing, painting,

hammering, sawing, measuring

The spirit of the crew building the newEnterprise is extraordinary. They know that

this is a special job and they have brought agreat deal of pride and caring to their work.

They are delighted whenever anyone fromthe front office stops by; they love to hear us

go "oooh" and "ahh."

It's just a preview of what the audiencewill be saying in another few months.

The bridge of the new Enterprise is onStage 6. It's actually two feet smaller than

the old bridge. As originally designed, it

wouldn't fit in the only soundstage available

for it. This caused some worries for HermanZimmerman, Art Director; but he finally

figured out how to put the bridge in the

soundstage. (See attached cartoon by AndyProbert.)

According to the writer/director's guide:

The Command Area of our bridge is asemi-circle of control seats where the Cap-tain and his next-in-command and advisors

are located. Just ahead of this are two For-

ward Stations, "OPS" and "CON" posi-

tions. These stations are often manned byData and Geordi La Forge. (Yes, the Enter-

prise is being driven by a blind man. Hey,space is empty; what's he going to hit?)

When either Data or La Forge leave their

stations, they're promptly replaced bysupernumerary officers who will be referred

to by the nicknames of these stations.

The rear of the bridge has a raised semi-

circular area, separated from the CommandArea by a railing which is also a set of con-

sole stations. This is the Tactical Console.

At this position, Tasha Yar plus anynecessary assistants are responsible for

weaponry, defensive devices (shields, etc.)

plus ship's internal security.

The rear wall of the bridge is an addi-

tional set of duty stations called Aft Con-soles. These five stations represent functions

which will also be ordinarily unsupervised

unless called for by a story situation. Fromleft to right (facing aft), these are:

1) Emergency Manual Override. A set ofbasic and simplified controls from whichmany ship's functions can be managed in

the event of main computer failure.

2) Environment. Life support and related

environmental engineering functions.

3) Propulsion Systems. Bridge control ofwarp drive and impulse engines.

4) Sciences. Used by researchers, science

officer, mission specialists, and the like.

5) Sciences. Additional console to allow

researchers to interact with each other.

On the stage-left side of the bridge are

two turbo-lifts and a door leading to the

Captain's Office. On the right side of the

bridge is a door leading to the bridge headand washroom.

The forward part of the bridge is a large

wall-sized holographic "viewer." This mainviewer is usually on and will dominate the

bridge and the action as the original framedviewscreen could never do.

Just behind the bridge is a large room fill-

ed with comfortable furniture and lined with

huge windows facing rearward and giving aspectacular view of the aft top portion of the

saucer section and the rest of the starship.

This lounge has complete food facilities andis often used as an observation deck andretreat for bridge officers.

On the left side of the bridge (facing for-

ward) is the door leading to the Captain's

Office. Also known as the Ready Room, it

has an auxiliary turbo-lift and the Captain's

private head and washroom.The Ready Room is intended as a private

place for the Captain, offering both a con-fidential place to work and convenient rest;

but it serves a second and equally important

dramatic function: It can also be used for

personal and private conversations.

On Stage 9, you'll find the rest of the

Enterprise sets: the corridors, the sick bay,

the Captain's Cabin, the engine room, the

old bridge ....

Well, not exactly.

We've dismantled most of the forward

part of the bridge set that was used in the

Star Trek movies. (Don't worry, it has all

been carefully marked, labeled and stored

on Stage 5. It'll be put back together whenthey need it for Star Trek V. Star Trek Vwill not be a musical. William Shatner will

direct. Harve Bennett will produce. Butnobody has told either one of them yet that

we've dismantled their bridge. Shh! It's asecret.)

What is being built around theframework of the movie bridge set is a third

bridge set. This one is the "Battle Bridge."

You will see it in the first episode of the new

Star Trek: The Next Generation's U.S.S. Enterprise hull markings.


Next Generation" by david cerrold

"Well, they finally got It to fit-

series—and you will see why the new Enter-

prise needs two bridges.

Star Trek: The Next- Generation will

premiere the first week on October. It will

be on Saturday nights in most local TVmarkets.

Oh, yes—one more thing: By the time of

our new series, the Federation will have

made peace with the Klingon Empire!

Who are some of the people responsible

for Star Trek: The Next Generation!

I'm glad you asked that question.

As of this writing, here are some of the

people who will be bringing the new series to

you:

Gene Roddenberry, Executive Producer

Creator of Star Trek. "The Great Bird of

the Galaxy." What else needs to be said?

Robert Justman, Producer

Bob Justman has worked on more than

35 motion pictures and at least 550 TVepisodes, pilot films and movie for televi-

sion, including Magruder and Loud, Mc-clain's Law, Man From Atlantis, Then

Came Bronson, Superman, Dr. Kildare,

The Outer Limits, Mission: Impossible,

and the original Star Trek TV series.

Richard Berman, Producer

Vice President, Longform and Special

Projects for Paramount Network Televi-

sion. Formerly Executive Director of

Dramatic Programming, overseeing the

epic mini-series Space and Wallenberg: AHero 's Story, as well as ABC's top-rated

MacGyver. Berman has also been respon-

sible for overseeing the production of

such series as Cheers, Family Ties andWebster.

Bob Lew in, Producer

Robert Lewin has worked as a writer andproducer on many TV series, including

The Paper Chase, Baretta, Call to Glory,

Starsky and Hutch, McMillan and Wife,

James at 16, Dan August, Cannon andBracken 's World. He has written episodes

of Mission: Impossible, Gunsmoke, TheWild Wild West, Mod Squad, Kung Fu,

Medical Center, Dr. Kildare, 12 O'clockHigh, Daktari, Rawhide, I Spy, Streets ofSan Francisco, It Takes a Thief, TheFugitive, The Rifleman, Mannix, HawaiiFive-O, The Big Valley, Bonanza, TheName of the Game, Kojak, Mr. Novak,Run For Your Life, Serpico and Juddforthe Defense.

Herb Wright, Producer

Herb Wright has worked as a writer

and/or producer on series and mini-series

such as The Thorn Birds, Stingray,

Hunter and McCloud.Maurice Hurley, Producer

Hurley's best known credits include:

Supervising Producer on The Equalizer,

Executive Story Editor on Miami Vice.

Dorothy C. Fontana, Associate Producer

D.C. Fontana has more than 100 credits

as a writer on such diverse TV series as

Star Trek, The Waltons, The She Million

Dollar Man, The Streets ofSan Francisco

and Dallas. She has served as story editor

on Star Trek, Fantastic Journey andLogan's Run.

Bill Theiss, Costume Designer

Three-time Academy Award nominee(Bound For Glory, Butch and Sundance:

The Early Days, and Heart Like aWheel), Bill Theiss is no stranger to Star

Trek; he designed the costumes for the

original Star Trek TV series. He has

designed costumes for many plays, in-

cluding The World of Ray Bradbury andThe Wonderful Ice Cream Suit. Films he

has worked on include The Pink Panther,

Harold and Maude, Who'll Stop the

Rain, Goin ' South, Kidco, The Man with

One Red Shoe, Hickey and Boggs andPretty Maids All in a Row. His TV series

(and pilots) include Genesis II, Planet

Earth, The Disney Sunday Movie and

Nine to Five.

Herman Zimmerman, Art DirectorHerman Zimmerman has been the Art

Director for a number of successful

movies, TV series and mini-series, in-

cluding: The Word, Rumor of War, Tales

of the Unexpected, The Burning Bed,

Silence of the Heart, Cheers, Webster,

Brothers, Land of the Lost and Downand Out in Beverly Hills.


STARLOG/August 1987 15

movie from Boy in the Plastic Bubble to

Sarah T: Portrait of a Teenage Alcoholic.

But because this is an Amblin film, and

because it stars John Lithgow, it doesn't

take a nuclear physicist to figure out that the

"extraordinary situation" is a little more in-

triguing than this week's TV disease.

In this case, the "situation" is Bigfoot.

"We meet the creature on a camping trip

in the Cascade Mountains outside Seattle,"

Lithgow says. "We run into him and think

we killed him. We bring him back to show

the world, but he's not really dead. That's

how Harry enters our lives."

He not only ends up in the Hendersons'

lives, he transforms them.

"Harry comes into our home and makes

us feel our feelings much more intensely,"

Lithgow reveals. "That's something that I

think everybody is yearning for—if not a

creature, then something to come along and

remind us of how human we are. These are

grandiose ideas, but that's the strong feeling

of the film."

At least, that's the strong feeling of part

of the film. Lithgow stresses that what

makes Harry and the Hendersons special is

the mix of such feelings with very broad

comedy.

"It's unpredictable, God knows, because

we go from scenes that are knockabout silly

to scenes with great tenderness and

seriousness," he explains. "It seems like

over and over again, we reach a peak of

comedy which is followed by the depths of

Acting! Genius!

John Lithgow!By WILLIAM RABKIN

Planet 10s favorite son explains why he is

wild about "Harry & the Hendersons,"doesn't believe in "Santa Claus," but still

supports "The Manhattan Project."

John Lithgow plays normal guys. Just

average, run-of-the-mill, plain old

folks.

It's not his fault if those normal guys keep

getting mixed up with airplane-killing

gremlins, teenage nuclear terrorists, and jol-

ly old men with flying reindeer.

But whether it's his fault or not, it's hap-

W1LLIAM RABKIN, veteran STARLOGcorrespondent, contributes regularly to

Electronic Media. He visited the set ofHarry and the Hendersons in STARLOG#120.

16 STARLOG//1 ugwsf 7957

pening again. In his newest film, Univer-

sal/Amblin 's Harry and the Hendersons,

directed by Bill (Timerider) Dear, the actor

plays yet another normal, ordinary

Joe—which means that weirdness is just

around the corner.

"I play the father of two kids, an or-

dinary man who has to deal with the or-

dinary problems and issues in our lives,"

Lithgow explains. "Then, our family is put

in an extraordinary situation. The movie is

about how we respond to that extraordinary

situation."

OK, that description sounds like any TV

seriousness. It isn't just a silly comedy about

a creature stuck in a house."

The reason that's possible, the actor says,

is because both the comedy and the dramaare based on honest human emotions.

"At our most farcical, we don't really

depart from reality," Lithgow observes.

"We behave in very farcical ways, but that's

probably how you would behave if this

creature were in your house and for various

reasons, you had to hide it from the world.

Harry and the Hendersons has show-

stopping belly-laughs, but by the same

token, it's a tear-jerker. It'll break your

heart in very unexpected ways."

Or maybe those ways won't be so unex-

pected. After all, this isn't exactly the newest

story around—and didn't a certain film

about a lonely extraterrestrial offer the same

kind of belly-laughs and heartbreaks just a

few years back?

"I'm sure the comparisons with E.T. are

something that everyone at Universal and

Amblin want to discourage, because they

Acting! Genius! The Master Thespian (Jon

Lovitz) and his esteemed mentor

Baudelaire (John Lithgow) strike an intense

pose on Saturday Night Live. Aahhh, but

they're only acting!

i^

/

Is

r..

W.

i

The Manhattan Project "certainly aspired

to more than just a comic impact,"

Lithgow relates, adding that he loved the

movie which co-starred Christopher Collet.

"Acting is a real exuberant, entertaining

thing to do." Lithgow observes. And he

demonstrated that entertaining flam-

boyance in Buckaroo Banzai.

As a painfully shy man, Lithgow fell in lovewith "The Doll" and won an Emmy for his

Amazing Stories performance.

don't want it to look like a ripoff, "Lithgowcomments. "But it is in that genre and it

does evoke that very strong feeling."

Hairy HouseguestLike E. T. , Harry and the Hendersons re-

quires its actors to emote oppositesomething that isn't human. But for

Lithgow, that wasn't a problem."I'm working with a very human actor in

the role of Harry, Kevin Peter (Misfits ofScience) Hall [STARLOG #101]," Lithgowexplains. "I have a very warm relationship

with him personally, and he's a very goodactor. We're extremely fortunate, becausehe brings enormous warmth to the character

of Harry in his body English."

Of course, there's a limitation to howmuch Hall can do—after all, his face is

covered with a Rick Baker-designed mask,which is manipulated by technicians. Toallow the actors to develop a rapport,

Lithgow rehearsed with an out-of-costumeHall before bringing in Baker's crew.

"We really had to make the scenes workrelating to him as a person," Lithgow says.

"It's a good thing he's such a fine actor."When the mask went on, Lithgow had to

work out the scenes with six new ac-

tors—who were all playing Harry's face.

These are the Lectroids from Planet 10:

Vincent Schiavelli, Lithgow andChristopher Lloyd.

"It's a companionship between Kevin,

Rick Baker and Baker's crew, the people

who created his face. They all work with meon whatever scenes we have together. It's

like six people creating a dialogue between

two characters.

"We developed the rhythm over a pretty

long period of time," Lithgow continues.

"Fortunately, we started with easier scenes

and warmed up to very long dialogue

scenes. All the dialogue is ours, of course.

But it's like they must know exactly the

nuances of every single expression on his

face. It's fascinating. As it turns out, it's in-

credibly easy working with Harry. His face

is more expressive than most actors I've

worked with."

Which is not to put down the actors

Lithgow is working with in this film—he's

wild about all of Harry's cast.

"Melinda (Close Encounters) Dillon plays

my wife and she's just as loony as I am,"

Lithgow says. "In the film, that is— I won't

comment on her in real life. Don (Cocoon)

Ameche [STARLOG #107] plays old

Whitewood, a burned-out anthropologist

who long since gave up looking for this

creature, and he's a wonderful person for

that part. When you have an actor we've all

watched since he was young, it gives

wonderful poignance to a part like this

where his age and his lost years are a very

important part of his impact. It's like

Melvyn Douglas' role in Being There."

But with all these veterans around,

Lithgow saves his highest praise for a

relative unknown.

"David Suchet, a character actor from

England, gives reality to what is certainly the

most far-fetched character in the film—the

villain, a French-Canadian hunter who has

spent his life tracking this creature,"

Lithgow says. "When I first read the script,

I said, 'Come on, who's gonna buy this?'

But David makes this character not only real

but funny—and dangerous. An amazing

achievement."

Farfetched FantasiesLithgow shouldn't be too amazed—after

all, he has also spent most of his caret mak-

ing far-fetched characters seem real. He en-

dured a "Nightmare at 20,000 Feet" for

Twilight Zone the Movie (which he discuss-

ed in STARLOG #75). He battled Buckaroo

Banzai as the insanely hilarious Dr. Emilio

Lizardo and flew into space to solve the m

mystery of the Monolith in 2010%

(STARLOG #93). And in Amazing Stories, £

he bought a very special toy, "The Doll." a

Then, there's B.Z., the crooked toy£

manufacturer out to bankrupt old Saint 8

Nick in the multi-million dollar fantasy^

bomb Santa Claus, a role he took to please ?his young children. §

"I was pretty disappointed in Santa $

Claus" Lithgow admits. "I had hoped it|

would be a more stylish and magical film. •

When I saw it, I realized with great disap- gpointment and regret that the people behind £Santa Claus had lost track of children. The <3

idea was to make an epic for kids, and I

think they forgot about the 'for kids' aspect.

That's a dangerous business."

But, Lithgow says, he had fun making the

movie. He enjoyed working with co-stars

Dudley Moore, and took pleasure in the

broadness of B.Z. the baddie—who, he in-

sists, was not based on Richard Nixon.

"If anything, it was sort of Bob

Haldeman and John Erlichman, an

amalgamation of the two," Lithgow says.

"But at the same time, I thought of playing

a Disney cartoon villain; I almost tried to be

animated."

The failure of Santa Claus didn't bother

Lithgow, but the dismal box-office of his

next genre piece, The Manhattan Project

(STARLOG #105) did come as a blow.

"I had high hopes for The Manhattan

Project," the actor laments. "I loved the

Harry & the Hendersons, says Lithgow, is a

"tear-jerker" that will "break your heart in

very unexpected ways."

film and I loved working on it. It was in-

tense, adult, serious-minded. It was tinged

with comedy, but it certainly aspired to

more than just a comic impact. Time called

it one of the most gripping, intelligent

thrillers in years, and it only lasted in

theaters for about three weeks.

"It's a great disappointment to me, but

not hard to understand. In the summer

when ALIENS, Top Gun and The Fly are

the top films ... I think it would have had a

better audience if it hadn't been released in

the midst of a batch of summer movies and

if it had been pushed a little harder. By the

summer's end, people had forgotten it ever

existed. That's a shame because it's a lot

better than the films that did much better."

A current Lithgow project is Homer's

Odyssey, a comedic' tale of a smalltown

American inventor who actually invents and

flies—Wright Brothers notwithstan-

ding—man's first flying machine. Lithgow

is scripting and will make his directorial

debut on the film, one of the first entries

from Ed (Conan) Pressman's new com-

pany, Hollywoodway Pictures. Lithgow will

also star in and co-produce Homer's

Odyssey.

The actor doesn't accept film offers

because he thinks they'll be blockbusters.

"In general, my basic rule of thumb is

just act in things you would want to see

yourself in," Lithgow says. "I have a taste

for all kinds of movies. Usually, it's a ques-

tion of whether it will be fun, whether I re-

spect the people behind it, whether I would

like to work with them. I'm sure I'm a

serious-minded actor, but I still value the

frivolity of acting. It's a real exuberant, en-

tertaining thing to do. I never lose track of

that."* A

Though he enjoyed working with elfish Dudley Moore, Lithgow notes, "I was pretty

disappointed with Santa Claus."

STARLOGA4wgws/ 7957 19

JosephSargentOf Sharks &"Star Trek"

The director of"Jaws: The Revenge"

recalls arranging"The Corbomite Maneuver"

& planning'Colossus: The Forbin Project'

By EDWARD CROSS

"Star Trek was filled with imagination and substance," says Joseph Sargent, whodirected one early episode, "The Corbomite Maneuver".

From the depths of the ocean to the far

reaches of outer space, director

Joseph Sargent has made a point offavoring character over concept, humanpassion over action/adventure. This ap-proach to his art has become his trademark,as can be witnessed in Jaws: The Revenge,an episode of the original Star Trek TVseries and his cult classic, Colossus: TheForbin Project.

EDWARD GROSS, veteran STARLOGcorrespondent, reports for New YorkNightlife and FANGOR1A. He profiled

Richard Maibaum in STARLOG #120.


He is one of a handful of directors com-fortable behind both the television and mo-tion picture camera. His TV credits include

ihe recent Space mini-series (STARLOG#94) and various episodes of The Invaders,

The Immortal, The Man from UNCLE andmany other series. Sargent also helmed TheMarcus Nelson Murders (the Emmy-winning Kojak TV movie pilot), Sunshine,

Tribes, Hustling and The Taking of PelhamOne Two Three.

He calls Pelham "the toughest film I've

ever done," but admits that Jaws: TheRevenge is his biggest and perhaps riskiest.

"At first mention of Jaws 3, 4 orwhatever," the director notes candidly,

"you tend to feel like you're dealing with us-

ed clothing. But this movie is such a depar-

ture from the two previous Jaws in that

we're dealing with more of an emotional

base where you can more easily empathizewith the characters, which is why we've all

responded so enthusiastically."

This enthusiasm, which has spread

throughout the film's cast and crew, is a bit

surprising considering the project's genesis.

Jaws: The Revenge began—with a phonecall—in October 1986. It premieres summer1987. The speed at which the project has

come together is unprecedented, particularly

since this is a $23 million film with extensive

underwater photography.

"This is probably the quickest gestation

of any project, I think, in film history,"

Sargent concurs. "I got a call from [Univer-

sal President] Sid Sheinberg in October andhe suggested I do the new Jaws—to which I

laughed. But then he said the magic words:

'We want a quality people picture, not ashark picture,' That was an interesting

challenge. Essentially, he wanted a return in

quality to that of the original Jaws. Thatmade it another challenge. He gave me carte

blanche by saying, 'Joe, you're the producerand the director. Go out and put your teamtogether.' So I did, and was fortunate

enough to get Michael de Guzman to write

the screenplay.

"We had very little to go on to begin

with, so we began to pile 'bricks' one on top

of the other, until all of these lovely discon-

nected elements began to take on a formand a shape. Pretty soon, the piece's emo-tional content began to solidify, and before

we knew it, we had a very interesting

clothesline on which to hang all these

elements. Originally, we started with

nothing more than the death of Sheriff Mar-tin Brody, since we knew Roy Scheider

[STARLOG #90] couldn't do the picture

due to another commitment. So, we focused

on Ellen Brody [Lorraine Gary, Sheinberg's

actress wife] and her feeling that the shark,

in effect, had a vendetta against the family,

thereby introducing a whole mystical aspect

to the shark.

"We had a completed script five weeks

from the first phone call," Sargent con-

tinues. "When you think that the average

project takes two years to get from an

original conversation somewhere in the Polo

Lounge to the time it gets in front of the

cameras, it's really pretty amazing. I was in

production about three months after the

first phone call. It's unheard of, but it all fell

into place so quickly and I was so fortunate

to get the right crew. It's one of the finest

film crews I've ever worked with."

"Jaws" BreakerSargent's general approach has been to

act as though there had been no previous se-

quels to Steven Spielberg's Jaws, and that

this movie, essentially, is Jaws 2.

"I would tend to hope that people look at

this film that way," the director agrees,

"although there were excellent moments in

Jaws 2 in the fact that it furthered the Brody

family's growth. The boys were a little

older, and the family more firmly establish-

ed. This is almost like a very short mini-

series where we take the characters a few

years down the road."

And what can moviegoers expect from

Bruce the Shark's return this summer?Details are not quickly forthcoming, but

Sargent doesn't mind whetting fan appetites

by speaking in generalities.

"With Jaws: The Revenge," he reveals,

"the audience can expect a much more terri-

fying and more spectacular shark doing

rather spectacular things, and they can ex-

pect a very identifiable and heartwarming

emotional story since it deals with a womanwhose whole family seems to be

deteriorating, and her obsessive belief that

there is a vendetta against ttiem on the part

of the great white shark. The people content

is what turns me on. I'm not turned on by

cops, chases and too much melodrama. But

I am by relationship stories."

The original Star Trek TV series fit the

director's criteria perfectly and Sargent was

involved right at the point when NBCgreenlighted the show. His sole effort was

"The Corbomite Maneuver," which guest-

starred Clint Howard as the physically

childlike but intellectually superior Balok.

"They had done two pilots, but somehowthey didn't quite work," Sargent says.

"Fortunately, they chose mine [as the next

show filmed] to open up the series. Thecomforting thing is that I had a hand in

shaping the characters. For instance, they

had an Asian, a Scotsman and an alien. I

suggested that they have a black female

communications officer. Gene Roddenberry

instantly jumped on the idea because it pro-

vided an interesting balance."

Sargent, however, had a differing view of

that logical "alien," Mr. Spock.

"Leonard Nimoy was unhappy because

his character was without emotion,"

Sargent laughs. "He said, 'How can I play a

character without emotion? I don't knowhow to do that. I'm going to be on one note

^SSfc^S^t

IO0W€GARY IANCEGUBT MAJdOVANPEHtE KARWYOUNG«i

JDWAtfHBSONASC'St^XSa'HSASGWr-

According to Sargent, Jaws 4 is a "rela-

tionship" picture about a woman and ashark.

throughout the entire series.' I agreed with

him and we worked like hell to give him

some emotional context, but Gene said, 'No

way, the very nature of this character's con-

tribution is that he isn't an earthling. As a

Vulcan, he is intellect over emotion.'

Leonard was ready to quit because he didn't

know how he was going to do it.

Then-child actor Clint Howard guest starred as Balok in "The Corbomite Maneuver," directed by Sargent.

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Sargent believes Colossus: The Forbin Project carries a more disturbing, secondary

message—that mankind is "fearful that computers might not take over."

Humorously enough, after I saw Star Trek

IV, I called him and we discussed the ironies

of life. If he had quit, he wouldn't be

anywhere near where he is now. Not only is

he a household symbol, but he's also a very

high-priced director."

war BreakerDespite only directing one episode,

Sargent's feelings about Star Trek and what

it was trying to do are very succinct.

"I'm not a science-fiction fan because

after a while, it gets into a sameness," he an-

nounces. "But Star Trek was filled with im-

agination and substance. Each episode had

that distinctive added dimension to it. It's

science fiction with something to say, along

the lines of Ray Bradbury, who I think was

a big influence on Gene Roddenberry in

terms of making the stories say something as

well as provide entertainment. That's whyStar Trek has been so enduring. It's not just

because the characters are fun and appeal-

ing, which they are, and not just because

somebody's beaming somebody else up, but

also because they're beaming up something

a little more important than action andadventure."

The same could be said for Sargent's only

science-fiction film, Colossus: The Forbin

Project (STARLOG #113), a chilling view

of the future in which a man-made com-

puter quite literally takes over the world.

"I'm always amazed that Colossus has

become such a mini-cult film," Sargent

observes. "But it confirmed what I began to

suspect when we started shooting, which is

that events since then have proven that manwas not only carrying the terror that com-puters might take over, but he was also fear-

ful that they might not take over. That

seemed to be a funny kind of epilogue to

The Forbin Project. It occured to me right

after finishing the movie, before the first

cut, that we had the wrong theme. Deepdown, we really are afraid that the com-

puters might not take over, might not give

us leadership and might not make up for the

fact that we simply can't find a way to live

with each other.

"Look at how much trouble it is to get

Mikhail Gorbachev and Ronald Reagan to

agree on the most basic, simplistic kind of

arrangements to get rid of that bomb,"Joseph Sargent states emphatically. "If wehad two computers in place, one Soviet and

one American, and they linked up, and

refused to release any missiles, refused to go

to war and forced us into peace, it would be

an intriguing possibility. At this point in

history, I would welcome a resolution like

the one we have in The Forbin Project—let

a machine take over and make us do what

we're quite obviously incapable of doing."

KarenAllen

SpunkyAfter All

TheseYears

"I don't know if I've ever played a

character who's close to me," saysKaren Allen.

She remembers Marion, chasing the "Raiders

of the Lost Ark" with Indiana Jones & falling

in love with an alien "Starman."

BylRVSLIFKIN

With her auburn hair, freckled

face and emerald colored eyes,

Karen Allen is anything but the

typical screen heroine. She may not have

displayed the screen presence of Sigourney

Weaver, the range of Kathleen Turner or

the power of Meryl Streep. Yet, Allen has

impressed audiences in a number of diverse

roles with an attribute that is totally hers,

an idiosyncrasy that may be overlooked at

first, but is actually quite rare among to-

day's female stars.

It's called spunkiness.

Allen has brought an element of

spunkiness to all her movie roles, from her

screen debut in National Lampoon 's

Animal House to such overlooked Allen

outings as The Wanderers, A Small Circle

of Friends, Split Image and Until

September. And certainly Allen's distinc-

tive style has contributed to the success of

Raiders of the Lost Ark and Starman, her

two most popular genre films.

One wonders, then, if the real Karen

Allen is anything like the strong-willed,

sexy women she becomes on film.

"I don't know if I've ever played a

character who's close to me," confesses

Allen. "There have been some elements of

myself in different roles. Sometimes, I

show one side of myself and then complete-

ly conceal the other."

Reader & WriterHow the 34-year-old actress chooses her

diverse parts isn't all that simple. "It's a

very instinctual relationship, a reaction to

something in the script," she says. "I read

a script and ask myself, Ts this a story I

STARLOG/'August 1987 23

;-^^- •

^

With scenes like this one, is it any wonder Karen Allen is glad she's not signed forfuture Indy Jones expeditions?

want to tell?' An actor is really a story-

teller, and sometimes, the story being told

is as important as the character in the story.

"Sometimes, 1 look at a character andsay, 'I don't know the first thing about this

person, who she is and where she's comingfrom.' That fascinates me. I know in orderto get there, 1 have to do my work, to thinkthrough, in psychological terms, who this

person is, and examine her whole thinking


process. Sometimes, you recognize certain

elements of yourself that you didn't knowwere there.

"1 also write biographies of my charac-ters— ever since Animal House. I even dosome research into the background if it's

important. I create the character's history,

who her family was and other things. It

really does help."

Allen's own background could be the

"Jeff Bridges was a dream to work with,"comments Allen in praise of her Starman.

basis of one of her film characters. Born in

a small southern Illinois farming com-munity, she spent her first 10 years travel-

ing around the country with her FBI agentfather, her mother, and two sisters. Thefamily settled in Maryland, but she left

home at 17 and moved to New York to

study art and design. Allen returned to

Maryland and enrolled at the University ofMaryland to study writing. She soon left

there to travel to Mexico, Central Americaand several countries in South America. "Istudied many different things in college,"

Allen recalls. "I took art, then psychologyand several literature courses. But I guess I

never really liked the structure of educa-tion. I always relied on my own ways oflearning. I was more comfortable follow-

ing those."

Her interest in theater actually beganwhen she came back to the U.S. after an ex-

tended period of travel and saw the ex-

perimental Polish Theater Laboratory in

Washington, D.C. After taking acting

classes, she began performing with the

Washington Theater Lab. Following four

years with several Washington and Mary-land-based theater groups, Allen headed to

New York to pursue career acting. Shestudied at the prestigious Lee Strasberg In-

stitute and made a short, award-winningfilm, The Aftermath.

"When I arrived in New York," the ac-

tress recalls, "I made a serious commit-ment to work in theater. I went to a numberof theater auditions."

Film called her away from the stage andAllen made her 1978 screen debut in Na-tional Lampoon's Animal House. Sheplayed Katy, the level-headed college girl

who keeps trying to get her boy friend

Boone (Peter Riegert) to make a firmer

commitment to their relationship. Shot ona small budget with a cast of then-un-

knowns, Animal House surprised au-

diences with its off-the-wall gross-out

humor. It went on to become one of the

most popular comedies of the decade,

earning more than $200 million worldwide

at the box office.

"I knew the film had a wonderful

energy," Allen recalls. "The actors I work-ed with were wonderful. None of us anti-

cipated, however, what sort of hit AnimalHouse would become."

Circles of FriendsAnimal House brought Allen into the

Hollywood spotlight, and she was soon

cast in The Wanderers, another youth-

oriented tale. Based on a novel by Richard

Price and directed by Philip (The Right

Stuff) Kaufman (STARLOG #16,77), TheWanderers was a colorful, satiric and often

violent look at New York gang life in the

early 1960s. Allen played Nina, a guitar-

toting Bronx high school student who hungout with a tough, but likable, Italian gangcalled the Wanderers.

Released on the heels of Walter Hill's

controversial gang war opus, The War-

riors, The Wanderers quickly vanished

from theater screens. Over the years, Allen

reports, it has found its audience. "It has

become a cult film," she observes. "It's in-

credible. In London, there's a whole fol-

lowing around The Wanderers. It's an

amazing phenomenon."Although The Wanderers failed at the

U.S. box office, it did showcase Allen in

her second strong movie role. Her workcaught the eye of director Rob (Scan-

dalous) Cohen, who cast her in A Small

Circle ofFriends.With a title taken from a popular song

by Phil Ochs, the film depicted the rela-

tionship between three Harvard students

during the turbulent 1960s. Allen played

Jessie, an artist romantically involved with

both journalism major Brad (Midnight Ex-

press) Davis and med student Jameson(Simon and Simon) Parker.

The movie drew harsh criticism, and wasnever given wide theatrical exposure. Like

The Wanderers, A Small Circle ofFriendshas since extended its coterie of fans

through cable and videocassette release.

Many critics found the movie somewhatnaive in its attitudes about the tumultuous

decade. They claimed the story lacked

depth, especially when it dealt with the

period's important issues, like Vietnam,

changing sexual mores and campus unrest.

Allen, however, admires the film and still

supports it today.

"Much of the backlash from critics had

do with the fact that A Small Circle ofFriends tried to make a statement," Allen

suggests. "Rob Cohen and [writer] Ezra

Sacks felt that the revolutionary passion

that came from that era had dissipated in a

frightening sort of way when Vietnam was

over. Thus, Jessie and Jameson Parker's

characters became conventional. She wasan artist who became radicalized, then

later became a lawyer. He was a guy whowanted to become a doctor, but became a

psychologist. Both became seemingly dis-

passionate people.

"I think there was a backlash because

there wasn't enough distance between the

'60s and 1980 when the film came out.

Some recent films about the era haven't

been as shocking because of when they've

been released. But I don't think the

ultimate film about that period has been

made yet."

Following A Small Circle of Friends,

Allen took on roles in a few films and in

something she does rarely, television. Sheappeared with Al Pacino in William Fried-

kin's controversial Cruising. And she star-

red in a mini-series reworking of JohnSteinbeck's East ofEden.

In 1980, Allen was cast opposite Har-rison Ford as heroine Marion Ravenwoodin Raiders of the Lost Ark, directed bySteven Spielberg and produced by GeorgeLucas. Spielberg cast Allen after being im-

pressed with her performance in A SmallCircle of Friends.

The part of Marion required Allen to at-

tempt a different style of acting. She wasasked to partake in physically demanding,action-oriented sequences. And the pro-

duction would take her to a far away place

the well-traveled actress had never thoughtof visiting: Tunisia, located in Africa's

Sahara desert.

"It was all new to me," she muses. "I

never made a film like that one before.

Harrison, of course, was very experienced

and comfortable with the physical acting

since he had done Star Wars. I came to it

fascinated and very eager. But I really

didn't know how to do that kind of workon film.

"The acting really becomes technical.

You really have to work with the camera,as opposed to forgetting that the camera is

there and trying to get some emotional

depth. Instead, you have to look at the

camera and figure out how to move an ob-ject across it, how to move within the

frame, while creating some kind of feeling

at the same time."

Though she admired actor Harrison

Ford, who starred as the dashing adven-

turer Indiana Jones, she never really got

too close to him. "I worked with him for

four months, but I really didn't get to

know him well," explains Allen. "He wasvery professional and very good to workwith. At times, there's a thing with actors

where you get along wonderfully andbecome lifelong friends. Then, there are

times when you work with people and bare-

ly get to know them at all. I guess I didn't

get to know Harrison too well."

Did she have any idea Raiders of the

Lost Ark would become such a smash hit?

"Because Steven Spielberg and GeorgeLucas were involved, you couldn't help but

be aware that Raiders would have atremendous amount of attention paid to

it," Allen says. "This meant it could also

have been a tremendous bomb or a big hit.

Raiders was really an interesting story.

Watching Steven work on it, I know the

movie had a wonderful look to it. I watch-

ed the dailies every day while it was being

made. The first time I saw the completed

Unprepared for the "tortures" of location

lensing in Tunisia, Allen made the best of

her Raiders role.

film, I was pleasantly surprised at howwonderful and inventive it was and how it

moved along like a bat out of hell."

With one sequel (Indiana Jones and the

Temple ofDoom) down, and one more to

go, it's apparent Allen will never be called

on to reprise her role of Marion Raven-wood. She's happy with her work in

Raiders, but is also pleased about not com-mitting to any of the follow-ups.

"When I was asked to do the first one,

they told me they were doing three andwere going to go backwards in time,"

Allen remembers. "I said, 'Great!' I don't

know if I would have liked to have done all

three films. You do one, and two-and-a-

half-years later, when it's time to do the

next, you may not want to be in it. Maybeyou have another project at the same time.

"I hate the idea of agreeing to dosomething so much later. You can never

see far ahead enough to know if you wantto commit yourself to that."

Allies & AliensInstead of accepting to similar heroine-

type roles in other large-scale Hollywoodmovies, Allen decided to tackle more in-

IRVSLIFKIN, Philadelphia-based writer,

is associate editor of Home Viewer

Magazine. Heprofiled Marshall Brickmanin STARLOG Mill.

9


Paula (Allen) comes to the aid of a swooning Otter (Peter Riegert), a frat boy who hassuffered one too many Animal House antic.

timate parts which allowed her to expandher acting abilities. After several smaller

films and some New York stage work(which she discussed further in BEST OFSTARLOG #6), Allen returned to sizable

Hollywood productions in 1984. In the

romantic SF fantasy Starman, directed byJohn Carpenter, she played JennyHayden, a recently widowed woman whoencounters—and eventually falls in love

with— an alien who has taken on the formof her late husband. Jeff Bridges wasnominated for a Best Actor Oscar as the

extraterrestrial visitor.

Today, Allen says making Starman wasone of the most pleasurable experiences ofher screen acting career.

"Jeff was a dream to work with," she

notes. "He was the sweetest person in the

world. We hit it off right away. The first

time we met, he came over and gave me this

big hug, and said, 'It's great we're workingtogether.'

"

Allen also holds director John Carpenter(STARLOG #48,92,100,109,115) in high

esteem. With a record of past efforts like

Halloween and The Thing, Carpenter's

sensitive directing hand and skill with ac-

tors turned out to be something of a sur-

prise.

"John worked very well with Jeff andI," Allen says fondly. "He was very sup-portive and very much wanted us to create

this special relationship between cha-

racters. John also has a terrific crew of peo-ple he uses all the time which helped to

make the set very comfortable."

Allen says she has difficulty watching


her performances after her work has been

completed. She often sees changes she

would have liked to have made when she

takes another look at a movie a few years

after its original release. The role of JennyHayden in Starman posed an especially dif-

ficult problem for the actress. Yet, she's

pleased with the way things turned out.

"I'm very tough on myself," Allen ad-

mits. "I look at the most minute details

with each role. I was happy with what I did

in Starman— at least in terms of creating a

'What if situation.

"The 'What if?' was 'What if my hus-

band died, and I woke up in the middle ofthe night and saw this infant growing into a

man who turned out to be my dead hus-

band's body who actually turned out to bean alien from another world?' "

Allen pauses.

"You don't know how any human beingwould behave under those circumstan-

ces," she continues. "The problem for anactress is how to create a believable se-

quence of emotions from this stage begin-

ning to the point where the characters

believably fall in love with each other. Thelove has to remain even during chase scenes

and things like that.

"I felt, in some ways, Jeff and I weresuccessful in creating that relationship. ButI still look at Starman and cringe and say: 'I

wish 1 had done that scene differently' or 'I

wish I had taken more time here.'"

Movie "Menagerie"Although Allen hasn't been highly visi-

ble to moviegoers over the last two years,

she has been extremely busy. She has three

films set for future release. There's Ter-

minus, a French takeoff on Mad Max,which stars Allen as the driver of a com-puter-guided truck called Monster. Allen is

only featured in the first half of this

futurist road fight flick. Also completed is

Backfire, a suspense yarn, directed byGilbert Cates and co-starring Keith (Trour

ble in Mind) Carradine. In a change-of-

pace role, Allen plays a woman who is ac-

cused of murdering her husband.Allen welcomes the opportunity to play

someone so unusually complex. "Thereare more interior, deeper emotions andelements to this character," she says.

"Like this woman, I have different sides to

myself that are very fierce. Of course, I

would never be driven to murder, but it's

interesting to find a character you canunderstand, to learn how somebody could

be motivated to do such a thing."

She has also been involved in two stage

productions which have proven to be very

special to her. During the spring, Allen

returned to an Off-Broadway theater for a

presentation of The Miracle Worker. This

time, however, Allen played teacher AnnieSullivan to a younger actress' interpreta-

tion of Helen Keller. Allen essayed the cha-

racter that Jane Alexander and Ellen

Burstyn had so impressed her with several

years ago when Allen portrayed Helen in

Monday After the Miracle.

In a recent restaging of TennesseeWilliams' classic The Glass Menagerie,Allen played the demanding part of the

sad, crippled Laura at New England'sLong Wharf and Williamstown Theatres.

Joanne Woodward also starred as Laura's

mother, domineering Southern belle

Amanda Wingate. The production's suc-

cess led to a new film adaptation, directed

by Woodward's husband, Paul Newman,and featuring Allen, Woodward, John(Making Mr. Right) Malkovich and James(TV's Planet of the Apes) Naughton, set

for September release.

The Glass Menagerie's evolution fromstage to screen has been unusual. "PaulNewman came to see us from time to

time," recalls Allen. "Then, we started to

get all these offers to take the play to Lon-don, New York and other cities. At the

same time, Joanne really wanted to put it

on film. We were contacted by Showtime,HBO and American Playhouse, but the

Williams estate wanted too much moneyfor the rights, so it wasn't possible to do it

for TV."When Newman decided he wanted to di-

rect a film version of the play, according to

Allen, the money was quickly raised.

Certainly, the character of Lauradoesn't fit into the typical Allen mold. But,

strangely enough, Allen says she can iden-

tify with the lame, troubled girl.

"It's not a part of me I choose to showvery much, but there are elements of her

that are in my own makeup as well," KarenAllen says. "Laura is not exactly who I am,but I certainly do feel close to her."

Getting smallwith

The "innerspace" filmmaker ponders his

latest SF comedy, the length of motionpictures and the invasion of special effects.

By JESSIE HORSTINC

From trailer editor to cult film

favorite, Joe Dante has added his wry

sense ofhumor and copious imagina-

tion to the catalog offantasticfilm favorites

for 10 years. He continues the trend with the

Steven Spielberg presentation, Innerspace.

Starring Martin Short, Meg Ryan and Den-

nis Quaid, this comedic romp features

science-fiction themes with a nod toward the

sillier side of past epics. In the honoredtradition of Fantastic Voyage and The In-

credible Shrinking Man, Innerspace answers

the question, "What ifyou could shrink a

man to the size of a corpuscle?"—adding,

"And inject him into a neurotic super-

market clerk?"

In the following interview, Dante shares

his observations and sharp wit while discuss-

ing his current and past films and what it

takes to stay afloat in Hollywood.

STARLOG: Innerspace is your third time

out for Spielberg after Twilight Zone andGremlins!

JOE DANTE: Actually, it's myfifth— I did

two Amazing Stories segments.

STARLOG: That's quite a track record.

DANTE: 1 guess they needed somebody to

do the pictures Steven wasn't going to do. I

think Gremlins was the first one—to this

day, I don't know what possessed him to

hire me.

STARLOG: Possessed is an interesting

choice of words.

DANTE: He likea Piranha—which wasgood because Universal was threatening to

sue because it seemed like such a rip-off of

Jaws. Which it was. Steven saw the picture

and said, "No, no, no. It's OK. Don't sue."

If it wasn't for him, that picture wouldnever have been released and I wouldn't

have a job.

STARLOG: You must satisfy what he

wants to see or he wouldn't keep bringing

you back.

DANTE: Actually, Steven got involved in

this project after I did. Before Mike Finnell

and I did Explorers, we sat down with pro-

ducer Peter Guber and he told us this idea

[about a miniaturized explorer becoming

trapped inside another human]. I said,

"Well, that sounds a lot like Fantastic

Voyage." He said no, it was different. He

went off and hired a writer to do his story. I

did read a script based on that story by a

young man named Chip Proser whom I met

briefly one day. Mike and I thought, "Well,

this isn't going to happen—we'll have to

find another picture."

In the meantime, Peter's partner Bruce

Berman, an executive at Universal at the

time, moved over to Warner Bros. Peter and

Bruce took the project over there and hired

a different writer, Jeffrey Boam—the guy

who scripted The Dead Zone and The Lost

Boys. He's a terrific writer and he wrote a

wonderful script—completely the opposite

of the first.

It was everything we talked about; im-

aginative, funny, clever and the gimmick in

it was played down so that it wasn't a rip-off

of another picture, it was a separate entity.

STARLOG: So, how did Spielberg become

involved?

DANTE: Everybody at Warner was so en-

thusiastic about it, they thought it would be

a perfect picture for Steven to "present."

They took the script over to him to see if he

liked it and he did. I imagine if he didn't like

the director—me—he probably could have

had me replaced.

STARLOG: So, it really was your baby?

DANTE: No, it's really Peter's baby. I ac-

tually had less input than I usually do

because when I was presented with the

script, it was already terrific. Why fix it if it

isn't broken? We made the changes that wealways do, those things that normally comeup, but no big changes. There are two

writers credited, but Jeff Boam really wrote

the picture.

STARLOG: Did you always have Martin

Short in mind for the lead?

DANTE: Kind of, yeah. Martin was just

about the first person whom we saw. It got

narrowed down to a couple of people and

when we met Martin, he seemed like the

character. Just a regular guy, sorta wimpy, a

hypochondriac—not like Ed Grimley, but

somewhere between Ed Grimley and

Michael J. Fox. That's pretty much the way

Martin plays it. He's a wonderful guy to

work with.

It's rare that you look forward to work

because you know someone's going to be

there who will surprise you—or that

No 'Nam movies for Joe Dante—he's on the

laugh track venturing into Innerspace with

Mike Finnell (right).

something different is going to happen.

There was a real feeling of improvisation onthis set and everyone worked well together.

It wasn't people trying to grab lines for

themselves— it was people trying to makethe scenes better by giving their lines to

someone else. It was very positive.

STARLOG: Is that unusual?

DANTE: It's really not that unusual for me,

but I've seldom worked with a morecopacetic bunch of people.

STARLOG: Do you two share the same"language" when it comes to comedy?

DANTE: Yes, basically. See, Marty had just

come off Three Amigos and I don't knowhow happy Marty was with what he did in

that picture. He was unhappy about the

amount of stuff cut out of Three Amigoswhich related to his character. He found

himself playing a character who was a little

inexplicable until the movie's end when youfind out that his character used to be a child

star. The backstory was eliminated and mayhave caused Marty to be more wary about

his performance in Innerspace. He wanted

his character to "come off" in this picture

so he would constantly ask, "Is it too big?"

"Is it not big enough?" "Haven't we hadhim fall down an awful lot?" Where, in

reality, I think people will be surprised at

how restrained yet how funny his perfor-

mance is. It's not a heavily slapstick perfor-

mance—it's realistic within the character's

confines.

STARLOG: Strangely enough, he has said

that he didn't know how to play "broad."

DANTE: Oh, he has been known to play

broad on occasion. And it's the contrast

between his character and Dennis Quaid 's

that's one of the interesting things about In-

nerspace. When you think about it, that's

pretty much the picture's concept: One type

of guy inside his opposite and the only wayhe can get out is to make the other guy morelike himself.

STARLOG: Like making Silly Putty stand

up on its own.

JESSIE HORSTING, LA-based writer, is

the author of Stephen King at the Movies

(STARLOG PRESS/NAL, $9.95). She

visited the set of Innerspace in STARLOGM20.


DANTE: Exactly. Dennis is a real herotype. He has the chameleon-like ability to

resemble different actors in different

respects. Sometimes he looks like JackNicholson, sometimes he looks like Har-rison Ford. Sometimes, he looks like his

brother Randy Quaid. It's really weird. Butin this picture, he's as good or better thananything I've ever seen him in.

STARLOG: He has had some bad luck withmovie roles.

DANTE: Yes. Everyone thought Enemy

A Trip tothe Moon

Sometimes, an interviewer doesn 't evenhave to figure out her own questions.

There are times when the interviewee leans

in close and suggests his own line of inter-

rogation. Sometimes, like now—

JOE DANTE: Why don't you ask meabout Amazon Women on the Moon!STARLOG: OK. What about AmazonWomen on the Moon!DANTE: I can't tell you about AmazonWomen on the Moon. I don't knowanything about it. I don't know when it's

going to be released. I don't know whatthey're going to call it.

STARLOG: What do you know about it?

DANTE: I directed several segments. Thename comes from Bob Weiss' segment,which is very funny by the way—the best

parody of '50s science-fiction films that

I've ever seen. Bob's the guy who produc-ed Police Squad [as well as The BluesBrothers and Dr. Detroit].

Amazon is one of those multi-moviesthat never make any money. It's an an-thology film, like Kentucky Fried Movie,which John Landis directed a long timeago. And everybody more or less was con-sidering calling it Kentucky Fried Sequel orsomething like that, which would give it a

Mine [STARLOG #102] was going to be abetter picture—and it wasn't—andDreamscape [STARLOG #81], which I

think is a better picture than he thinks it is.

His Dreamscape character was kind of acallow guy, though.

The problem we had with Dennis'character in Innerspace was that it was writ-

ten for an older guy, kind of a burn-outcase. There was even talk of getting Clint

Eastwood to take a few weeks off from be-

ing mayor. But then it started seeming too

Before Dennis Quaid was chosen as theInnerspace micronaut, the mayor ofCarmel, California was considered.

much like a father/son casting which didn't

seem right.

Steve brought Dennis over to the set of"Greeble," the Amazing Stories episode I

shot. I had met Dennis before, but I hadforgotten he played an astronaut in TheRight Stuff. When I met him, I thought,"This might be a little too much on thenose"—too much like this other characterhe played. But there was something abouthim. He's more grown-up.

He's on the edge of being a very big star.

Dennis has a real leading man quality, andInnerspace really is an old-fashioned con-cept of a movie. It goes back to the DeanMartin and Jerry Lewis era as far as the con-trasts of characters are concerned. If youdon't have real contrasts with these twocharacters, it doesn't work at all. Dennis fills

the role of the straight man, but he plays thepart with a lot of humor. Most of the movie,he's in one place and there isn't much dif-

ference visually in the shots. All the action

and excitement takes place outside the bodyin which Dennis is trapped. We were afraid

it might be dull, but he doesn't let that hap-pen. Without having someone like Dennis in

the part, the whole picture wouldn't work.Another problem was finding a leading

man in Dennis' age group. When you get in-

to that 25-35 range, it becomes extremelydifficult to find someone who can command

little presence. But I think the KentuckyFried name is owned by the Zuckers and I

guess it couldn't be called that. So, they

called it "Untitled" while they were

shooting it. Then, they were going to havea contest to have somebody name the pic-

ture.

I came up with one I liked—Best Pic-

ture of the Year. When anybody reviewed

it and named the title, you could use that

for the blurbs, y'know? Rex Reed: "Best

Picture of the Year. .

. " Roger Ebert:

"Best Picture of the Year. .

."

Well, anyway, they didn't go for that.

So, they're calling it Amazon Women onthe Moon, which I think is a suicidal

mistake.

STARLOG: It would definitely keep mymother at home.DANTE: It might keep me at home. It

sounds like a picture you've already seen.

But they insist on calling it that.

But it was fun for me because it wasone of those non-union, el cheapo produc-tions somewhat like the stuff I used to dofor Roger Corman. The script made melaugh out loud, which is rare. They of-

fered it to me, John Landis, Carl Gottlieb

and Peter Horton. They asked us to pick

what we liked best and do it and then they

would stick 'em together. It was great.

There were many neat people involved andI got to hire a whole bunch of my friends

and work with several other people I

hadn't met in a real fast and dirty kind of

movie. And we really could do what wewanted. It was fun. I don't know if the

fun is communicated or not, cause I

haven't really seen the movie.

STARLOG: You seem to feel strongly that

they're making a fatal error with the title.

DANTE: I do, but there's nothing / cando about it. It would be different if I wasthe director, but I'm not. I'm one offivedirectors—John is the producer along with

Bob and they like it. I've told them I

think it's a big mistake, but they don't,

so

What do I know? One of us will beproved right. I just can't imagine mostpeople going to see a movie with that title.

I don't think most people will get the jokebecause it sounds like a straight picture. It

sounds like there's an actual, serious

movie called Amazon Women on the

Moon, and when you do a funny ad for

it, it's going to look like MoronsfromOuter Space—which no one was interested

in seeing.

STARLOG: You could argue that it's toomuch of an in-joke.

DANTE: Well, yeah! There's in andthere's in. There are many in-jokes in the

movie, but they don't get in the way ofthe real jokes. The title is an in-joke that

gets in the way of the whole movie. That's

the way I feel. By the time this interview

comes out, I'll either have been wrong—or

the movie will be on television already.

—Jessie Horsting


a picture—and most of them are working,

which is another problem. And you don't

want to have to go to your TomSellecks—your television people—because

there's something about TV stars that

doesn't work on film. Poor Tom Selleck is a

perfect example. None of the pictures he has

made have been that bad— I liked

Runaway—but there's something about the

persona of a guy you can see on TV for free:

No matter what he's playing, he looks like

the same character you can see every week

for free. He was the original choice for In-

diana Jones in Raiders of the Lost Ark and

he lost it because of the TV series and he

never really recovered from that. No one's

really sure why.

STARLOG: If you knew why people liked

what they liked, it would take most of the

guess work out of filming.

DANTE: Yes and no. If we knew what

everyone would like, then that's what

everyone would make, but it doesn't meaneveryone can make that sort of film. I can

see certain kinds of films becoming

popular—say Vietnam films after Platoon's

success—but I wouldn't be able to makethose. I didn't go to Vietnam. There are so

many people who'll be able to make better

pictures out of that material than I will. Youcan't just go out and make whatever is

popular—not only do you not know what's

going to be popular, but chances are what's

popular isn't what you do well.

STARLOG: I don't think anyone would

argue that what you do well is the kind of

movie you're doing—though, judging by

the script, Innerspace is a lot less appliance

heavy than your other films.

Quaid proved to Dante that he had the

"right stuff" to boldly go into Innerspace.

DANTE: A lot less appliance heavy. Whenwe ran Innerspace without the effects, it

worked just fine. If anything, we'll have to

be careful where we put the special effects,

because when the character stuff is working,

you don't want to stop it for some spec-

tacular moment that would impede the pic-

ture's flow. At this point, it's kind of long.

I'm a believer in shorter movies, but In-

nerspace is so complicated and seems to

move so fast, we've been unsuccessful in try-

ing to find much to cut out of it.

STARLOG: And you still have FX to add.

DANTE: Yes. Before Steven left for China

to film Empire of the Sun, he said, "You'll

have to face it. The picture's going to be be-

tween 115 minutes and two hours. That's

the way it's going to have to be." It makes

me nervous, though.

STARLOG: Why? Do you think people are

going to get twitchy before it's over?

DANTE: No, they won't get twitchy. Thepeople we've shown it to have all had a good

time—nobody's looking at their watches. It

seems to play fine. But personally, it makes

me nervous. If a picture is two hours long, it

better be damn good.

STARLOG: Ten years ago, nobody thought

two hours was too long.

DANTE: No. It's not that. It's just that

many of my favorite films are only 70

minutes long.

STARLOG: Like what? Bambi Meets God-zilla!

DANTE: Like The Black Cat. That's only

65 minutes. House of EviPs only 87

minutes. On the other hand, Citizen Kane is

two hours long, and I sat through that.

STARLOG: Not to mention Citizen Kanehas virtually no spaceships.

DANTE: That was made before ILM went

into business. Dennis Muren is supervising

Innerspace's FX with the regular gang up

there in Marin County. I don't want to

mislead you—there are many effects in this

film. In fact, after Steven saw the pkture, he

added more—as is his wont: "Oh, this is

good, but let's do more."

And the funny thing is, most of the addi-

tions are the very things we cut out when we

were budgeting. The budget was going to be

too high and we didn't want to spend all

that money, so we cut a bunch of effects

and then Steven saw the picture. He thought

it would be great if we put a bunch of effects

back in. And so we did. He can do things

like that, and it's one of the great things

about working with him. He tends to be able

to get what he wants.

STARLOG: He's a great buffer.

With a little help from their friend, Jack(Short) and Lydia (Meg Ryan) team upagainst the baddies.

Innerspace is not another FantasticVoyage, it's humor in a jugular vein.

DANTE: Yes. He has a great relationship

with most of the studios because he doeswant them to be happy. He doesn't want to

force things on these guys that they don't

want. He wants to make successful moviesthat everybody likes and makes the studio

happy and makes him happy and makes the

audience happy.

Who could argue with that? It soundsfine to me. The only differences you havewith Steven are honest differences about

what audiences will really like—or whether

what you intend to do is really best for the

picture or not. And it always boils down to

what's best for the picture. It becomes a

subjective point-of-view as to who is right.

Sometimes, he's right. Sometimes, I'm

right. It has worked pretty well.

STARLOG: He has moved into a position

where he can exert a great deal of in-

fluence—and does.

DANTE: Of course. But you could give that

argument for Harry Cohn or Orson Welles.

The fact is that very few of us work for

ourselves. You always work for somebody

else. Very rarely do people get as successful

as Steven. He's able to work for himself

while working for other people—but don't

think that when he goes off to China to

work on Empire of the Sun and all the

money that's behind it, don't think he

doesn't feel a tremendous sense of respon-

sibility to the people spending the money

The scientists prepare to inject neurotic

Jack Putter (Martin Short, on the gurney)

with an enemy Innerspaceman.

and paying his check. If he comes back and

they don't like the ending, he'll have to

seriously consider if he wants to go with that

ending. Power always has its limitations and

there's always a pecking order.

If I had made this picture without Steven,

then I probably would have had to deal with

a studio as an entity throughout the picture,

rather than with Steven.

STARLOG: Which would have been less

pleasant

.

DANTE: Not that it would have been less

pleasant—it's just more difficult because a

studio is not any one person. It's several

people or committees or groups of people

who all have different ideas. That's why I've

often compared working with Steven to

working with Roger Corman. I've been

lucky—working for Roger, there was one

guy and whatever his idiosyncracies mayhave been, you could start figuring them

out. You could find out what he liked and

what you liked that he liked and what

divergences there were, and you could start

diplomatically to try and make the picture

you both wanted to do. It's the same with

Steven. And they're both filmmakers. Roger

has forgotten more than most filmmakers

know. And believe me, he's forgotten plenty.

STARLOG: So, it turned out that In-

nerspace is the picture both you and Steven

Spielberg wanted to make?DANTE: Yeah. There's a great deal I could

tell you about this picture, but I don't think

I'm supposed to.

It is in color. It hasn't been colorized,

although we're having the work print col-

orized. Vernon Wells is in the picture and

he's very good. Fiona Lewis [STARLOG(continued on page 64)

STARLOGA4wgws/ 1987 31

The Guests of««Trek

MELVIN & CAESARBELLI: "AND THECHILDREN SHALL

LEAD"Attorney Melvin M. Belli is one of the

most celebrated lawyers in America to-

day. He has participated in scores of land-

mark cases, and has numbered among his

clients the famous and infamous. He may be

best-known as the defender of Jack Ruby,the man who shot John F. Kennedy's

assassin Lee Harvey Oswald. Belli has faced

many formidable opponents in his day, but

none so dangerous as Captain Kirk and Mr.Spock. Like Sherlock Holmes, Belli has

always had a "flair for the dramatic," andStar Trek provided him with a stage outside

the courtroom arena.

Belli made his TV debut October 11,

1968, in the episode entitled "And the

Children Shall Lead." The attorney essayed

the role of Gorgan, the villain in this third

season offering. His son, Caesar Belli,

played Steve, one of five space orphans in

the segment.

As the story opens, it's Stardate 5029.5.

The Enterprise receives a distress signal froma Federation expedition on the planet

Triacus. When the starship arrives, Kirk anda landing party discover all the adults have

committed suicide. Five children survive,

but show little concern or emotion over the

tragic loss of their parents. It turns out the

children are under the Svengali-like spell of

an alien named Gorgan (Melvin Belli). Therotund alien produced such anxiety in the

parents that he induced them all to take their

own lives.

In the finale, Kirk and Spock break

Gorgan 's power by showing the children

tapes of their parents. When the orphans at

last begin to display grief, the alien has nooutlet for the hate he so freely exported to

others. As the evil rebounds on him, Gorganmelts into a hideous mass of deformed flesh

and dematerializes forever.

Ensconced behind a desk in his San Fran-

cisco offices, Belli, now 80, says he can't!

recall who originally contacted him about c

the show. "I honestly forget who called*

me," he admits, "but I do remember they >•

were initially interested only in Caesar to*play one of the children. Once my son was

5

cast, somebody thought it would be a great 3

idea to have me as the villain. I accepted im-fmediately.

"I enjoyed myself immensely" the fam-

ed lawyer continues, "and I was struck bythe professionalism of William Shatner,

Leonard Nimoy and all the rest. They were

very professional—yet were imbued with a

great sense of fun.

"The most fun for me personally was my'melting' death scene. Even though they hadtaken casts of my face much earlier, the

makeup required for the scene still took the

better part of the morning. They wouldshoot for a time, pause, then take me back

to makeup to make me look more hideous. I

remember they built up my nose with putty

and made my jowls sag with each successive

stage. Then, it was back to the soundstage

to shoot some more."

The mere mention of Star Trek taps a rich

vein of memories for Caesar Belli. Now 29

and a lawyer in his own right, he was only 10

at the time of the episode's lensing. The ex-

perience was a lasting one and transformed

him into a confirmed Trekker. "Dad and I

were on the Paramount lot for about a

Although he's celebrated attorney, it is

Star Trek which made Melvin M. Belli afamiliar face.

.week," the younger Belli remembers. "It

was filmed the last week in June, then wecame back for two extra days after the

fourth of July holiday."

Since Caesar was already a fan, it was a

special treat to be able to "beam" on to the

bridge of the Enterprise. "Oh, it was a lot of

fun," he says, "but I was disappointed that

nothing really worked. I had vision of these

banks of working computers, but all the

switches and buttons on the bridge were

dummies, and the bridge itself was all madeof wood!"

Belli junior also vividly recalls the

mistakes made during filming, some of

which have found their way onto the

famous "blooper reel." "When Kirk tried

to get some ice cream from the food

dispenser," Belli laughs, "the compartment

wouldn't work! Time and again, Shatner

would reach inside the compartment, only

to have the little door come crashing downon his hand before he could grab the ice

cream!"

Another occasion proved the old adage

"let sleeping dogs lie." As Caesar Belli re-

counts, "One of the other child actors, a girl

named Pamela Ferdin, just about had her

hand taken off by Shatner 's doberman! The

dog was sleeping at the time, and she

shouldn't have disturbed him, but no, she

knew better than the rest of us. As she

reached down, the dog woke and let out a

fierce growl that scared the living daylights

out of her! She was unhurt, but she turned

stark white, and it was the talk of the set for

the rest of the day."

Caesar Belli is proud of his contributions

to Trek, and notes the show sparked an in-

terest in space. "Since I'm now a lawyer,

you could say Dad and I were the first real-

life attorneys on Star Trek. And whoknows? I might be the first attorney to

journey into real outer space!"

Belli senior sums up the family's Star

Trek with an anecdote. "Once I was sitting

in the lobby of the Plaza Hotel with fellow

lawyer F. Lee Bailey," Melvin Belli explains. I

"To pass the time, we wondered which of us

'

was the more famous. To settle the issue, wemade a bet: Whoever was recognized first

'

would win the wager. Sure enough, a

,

stranger came up and asked me if I wasMelvin Belli. Pleased that I beat my col-

1

league, I asked the man how he had come to .

recognize me. Newspaper photos of one of

my famous cases perhaps? TV coverage of i

the Ruby trial? Wo,' came the reply, 'I saw

you on Star TrekV "'

—Eric Niderost

One of the children who followed had nochoice. Caesar Belli, portraying a Triacus

orphan, ended up with his father cast as

the villain.

CLOUD WILLIAM OP"THE OMEGA GLORY"

oy Jensen left behind a powerful

image in "The Omega Glory" as the

physically imposing Cloud William, leader

of the Yangs, who were engaged in a savage

civil war with the aggressive Kohms."As a young actor, 'The Omega Glory'

was one of my first guest starring roles and

it was a pleasure to do. There were no prob-

lems at all. And, of course, at that time,

Star Trek was one of the best shows on the

air," observes Jensen, who, as CloudWilliam, learned the meaning of what he

was fighting for after Captain Kirk expli-

cates their "worship words" (a mangledpreamble to the U.S. Constitution).

"I've seen many episodes of Star Trek

and they were always good," says Jensen.

"They can't be dated. However, 1 haven't

seen 'The Omega Glory' in awhile."

Nevertheless, the actor recalls Irene

Kelley, who played Cloud William's

"Woman" Sirah with affection. "It was

the first time in my acting career that I hadever had a leading lady," he says. "She wasbeautiful, just lovely— not that it did meany good!"

Jensen fondly remembers the working

relationship he had with William Shatner

and guest star Morgan Woodward, whoplayed the devious Captain RonaldTracey. "Bill Shatner was a real gentleman

and a profound pro," says Jensen. "Andas far as Morgan is concerned, we're goodfriends today. I've worked several times

with him—you've just got to watch your

P's and Q's with Morgan."He admits that recognition from his Star

Trek role has been an infrequent thing. "I

was out of the country when 'OmegaGlory' originally aired, making a film

down in Mexico, so there was no im-

mediate feedback." And the actor, who

appears blond as Cloud William, thanks to

a dye job he received for a Man fromU.N.C.L.E. segment, is actually dark-

haired.

Some of the most rewarding praise

Jensen receives for his work in Star Trek

and other projects comes from his fellow

actors, "who will sometimes see you in

something and compliment you on a nice

job."

Jensen, now working on a series of

videos spotlighting travel tips to various

nations, has made it a point to watch the

Star Trek films and he has liked what he

has seen. "I have seen them all," he says.

"When George Lucas made Star Wars,

that was a tough act to follow. However,

the Star Trek films are entertaining and

that's what it's all about."

Although Jensen has appeared in such

films as Soylent Green, The Way We Were,

Paint Your Wagon and Chinatown, the

versatile actor may be more familiar to fans

from reruns of such genre fare as The

Outer Limits, Voyage to the Bottom oftheSea and The Invaders, where he played an

alien who literally vaporized guest star

Suzanne Pleshette in "The Mutation."

"I really like playing the nasty heavies,"

Roy Jensen confesses. "And I've always

enjoyed working and paying the bills. But

as I get older, I wouldn't mind some roles

where I can play a nice Daddy or Grandpa!

After all, Hollywood is still a dreamworld."

—Mark Phillips

"I really like playing the nasty heavies,"

says Roy Jensen, a guest in Star Trek

past.


THE COMPANY OF WOLVESClassic, folk and original melodies by

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STAR TREK TV-Vd 1 & 2

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VIDEOLOGf

He'sHe's

not a number. He's on videocassette.The Prisoner (Patrick McGoohan).

zany International House (1933) with an ab-

solutely stellar cast romping through a Mon-ty Pythonesque fantasy. Set in Art DecoChina, a mysterious Dr. Wong (EdmundBreese) has just invented a new television

device called a radioscope, which can"materialize anything, anytime." As a

demonstration, Dr. Wong attempts to tunein New York City's six-day bicycle race, but

gets various vaudeville acts instead. Never-

theless, representatives of the world's big-

gest electric companies flock to Wu-Hu andits famous International House Hotel to buyup the rights. Bela Lugosi, general managerof the Moscow Utility Company tries to out-

I bid Stuart Erwin of the American Electric

Company and others from Berlin Lens andOptical. Hotel manager Franklin Pangborn

_ defends his hostelry against the onslaught

I* with his usual prissy aplomb, but when

| W.C. Fields tops the bidding by landing his

3 autogyro (an early helicopter with wings that

la also carries a small automobile as a "spare")

| on the hotel roof, precise wit becomes ab-

surdist mayhem. Others in the cast are:

George Burns and Gracie Allen (the hotel's

doctor and nurse—heaven help you), Sterl-

favorite films from the Warner Bros, vaults,

which has been marked at the fabulous price

of $19.98 each.

The Flame and the Arrow (1950), set in

medieval Italy, is a rollicking Robin Hood-like yarn which revels in breathtaking stunts

and period spectacle. As Dardo the Arrow,Lancaster leads his intrepid band of moun-tain fighters against a dastardly Hessian

warlord seeking to impose his unwantedrulership. Max Steiner's zingy musical score

was nominated for an Academy Award.Topping this is Lancaster's legendary and

near ultra-cult swashbuckler, The CrimsonPirate (1952). This is the film that everybodytries to imitate, copy and remake, but all to

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MPI Home Video has uncovered a special

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have long asserted the existence of an alter-

nate version of 'The Chimes of Big Ben"(released in 1984 on the MPI label) andthrough an international search by ThePrisoner Appreciation Society (Six of One),

ROLL OUT THE"SOLARBABIES"

Alan Johnson, who made his direc-

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with the Brooksfilms production of Solar-

babies, $79.95 in Dolby surround stereo,

VHS and Beta Hi-Fi from MGM/UAHome Video. Ambitious animation effects

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shine the performances by juvenile leads

Jami Gertz, Jason Patric, Lukas Haas andPeter De Luise, who play athletic orphansattempting to find fellowship with a glow-

ing, globular visitor from outer space.

Richard Jordan, Charles Durning and the

ever-evil Sarah Douglas (STARLOG #111)

co-star. Music is by three-time AcademyAward winner Maurice Jarre.

CBS/Fox Video has announced a special

price break on a collection of science fiction,

adventure and horror titles. Marked downto a new, low price of $29.98 are: The Em-pire Strikes Back, Carrie, Cat's Eye, TheReturn to Boggy Creek, The Omen, Da-mien—Omen II, The Final Conflict,

ALIEN, Sanctuary of Fear, The NightStalker, Young Frankenstein, Hound of the

Baskervilles (1959), The Day the Earth

Stood Still, Rollerball, WarGames and Iron

Eagle.

Laserdisc fans have a special treat in store

for them with MCA Home Video's latest

release in its Classic Encore series: the ultra-

Rolling out on video are the Solarbabies from Brooksfilms.

ing Holloway, "Baby" Rose Marie, Col.

Stoopnagle and Budd, Cab Calloway with a

chorus line of "The Cellophane Girls,"

Rudy Vallee and real-life socialite PeggyHopkins Joyce. Side one is CLV and side

two is CAV format. Chapter stops mark the

musical numbers and the theatrical trailer is

included. Sound is monoaural, CX encod-

ed, $29.98.

Two Bun Lancaster adventures are part

of a new "Screen Legends" series of

the last surviving print was found in a

Toronto film vault. The Prisoner LostEpisode ($29.95) contains more than twodozen differences in this alternate version of"The Chimes of Big Ben," including: dif-

ferent theme music, additional scenes, alter-

nate takes, additional dialogue, and a clos-

ing, symbolic explanation of the Penny-

farthing bicycle.

Three Claymation shorts by Academy(continued on page 71)

36 SIARLOG/August 1987

.

Sfc.

V II

a *

«>

•vF^ M-f #

*. .i^'

*?

The "Unmaskingof superman

By KIM HOWARD JOHNSON

The actor reveals that the Man of Steel is still

just a man as he faces his most personal

conflicts in "Superman IV."

Inside the Metro Sport Club,Christopher Reeve confers with director

Sidney (Iron Eagle) Furie. Director of

Photography Ernest (Passage to India) Dayjoins in the conversation, as the three try to

determine the best way to shoot the upcom-

ing scene. Next to them stands a large

Nautilus machine, with weights and equip-

ment cluttering one end of the long room;

nearly a dozen weightlifting extras lounge

about, waiting for a cue.

At the far end of the room, a crowd of

i I I I I J

Has the Man of Steel (Christopher Reeve)

dumped Lois Lane (Margot Kidder) for

another woman? No, he's just taking her

on a confidence-sharing tour of the global

village we call Earth.

young, beautiful women in leotards stand

by, waiting to begin another round of

aerobics in the background of the shot.

The conference ends, and Furie calls for

the camera to roll. Reeve—in baggy sweat-

suit and familiar glasses—becomes Clark

Kent, well-intentioned klutz. In front of his

editor/girl friend Lacy (Mariel Hemingway),

one of the exercisers hands Clark a heavy set

of weights—which Clark proceeds to drop.

"No pain, no gain," scoffs the jock.

After bidding Lacy farewell, Clark

decides to pump a little iron on his ownwhen the yuppie bully asks, "Clark, can you

hand me those weights?" With a devilish

KIM HOWARD JOHNSON, veteran

STARLOG correspondent, profiled Margot

Kidder in issue #120.


The Daily Planet's new City Editor, Lacy Warfield (Mariel Hemingway) gives mild-mannered reporter Kent (Reeve) some tips on how to loosen up.

twinkle in his eye, Kent offhandedly tosses

the weights to the bully—who crashes to the

floor, astonished.

Clark Kent shrugs his shoulders innocent-

ly, and quietly comments, "No pain, nogain. .

."

Furie shouts "Cut!" and Kent/Reeveteasingly thumbs his nose at the other actor,

and says, "Nyah, nyah!"

Behind steel CamerasWhile the unit takes a break to allow the

camera crew to change positions, Reevewalks to the other side of the room, past the

rows of mirrors on the wall, which have

been carefully tilted so as not to betray the

film equipment and workers. He takes a seat

on the floor, leans his back against the wall,

and reflects on his motivation to return to

the title role in Superman IV.

"I felt we should make a movie in which

my personal feelings about Superman—andwhat he should do—could be used," says

Reeve. "Having played the character nowfor 10 years, I know him pretty well, and I

thought that would be a good place to start.

What would I like to see Superman do if I

were going to one of these movies? Well,

that started it out. I wrote the story uponwhich the screenplay was based; MarkRosenthal and Larry Konner did the hard

work of actually facing the blank sheet of

paper in the typewriter—they really wrote

the script. I have since written a couple of

extra scenes, but basically, the script is

theirs."

His interest in behind-the-camera pro-

cedures apparently increasing, Reeve admits

he has growing inclinations in that area, and

takes every opportunity to learn.

"I've been preparing for quite a while to

be a director," he explains. "I've been

directing some second unit on this one.

Also, Sidney and I collaborate on things. I

usually come in and help him stage the

scenes and suggest camera shots and stuff

because 1 really feel that I know how to

make this particular material work. He's be-

ing very generous as, in effect, the newkid on the block. Although he has morethan 30 years experience as a director, he has

a very nice attitude toward taking sugges-

tions from people who've been around here

awhile."

And, on Superman IV, there are a large

number of veterans returning, among both

cast and crew. All of the Superman regulars

are back, including Gene Hackman (Lex

Luthor), Jackie Cooper (Perry White),

Marc McClure (Jimmy Olsen) and Margot

Kidder (Lois Lane— this time on hand for

the entire story). Reeve says the shooting has

all the feel of a homecoming.

"In Superman III, Margot ended up go-

ing off to the Bahamas for some assign-

ment, so it's nice to have her around!" he

notes. "It's nice that the Daily Planet is in

place. Those are the kind of signposts along

the way that people who come to see a

Scenes such as Clark (Reeve) visiting his

parents' gravesites, Reeve hopes, will put

the "man" back in Superman for this

fourth film adventure.

Superman film enjoy—they'll know that the

team is in place.

"Gene Hackman is brilliant in this movie!

He actually steals it right out from

underneath me!" Reeve laughs. "He's very

charming and funny. I believe in the theory

of 'Get the best people around here that you

possibly can and you'll look better.' Somestars want to make sure there's nothing but

STARLOG/A i/i>ust 1987 39

incompetents around them, so they'll look

better. But it's really good to have the best

co-stars and supporting actors everywhere,

and we'll all end up looking better."

Filming on the current adventure comes10 years after the cameras turned for the

original Superman, but Reeve is puzzled to

consider the Man of Steel's evolution over

the years.

"I don't know how he haschanged—probably in intangible ways that I

couldn't appreciate. Somebody who has

watched all the movies could probably tell

me. The standing joke is that it now takes

me three steps to get off the ground, where

it used to take only one," Reeve laughs.

"1 look at Superman IVas the unmaskingof Superman,, with much more emphasis onKal-El, the being from Krypton. It becomesclear in the film that both of his identities

are a job—both Superman and Clark Kent

are personae that he has to become for other

people. At the film's heart—what we really

pay attention to— is who he is underneath,

which is Kal-El. The basic emotional change

is that Superman feels he is one of us now,

not a visitor anymore. As soon as someonefeels they belong someplace, rather than just

visiting, it completely changes the whole

range of actions they take, in terms of being

responsible for their new home."The most exciting scene, storywise, is

Superman speaking to the United Nations.

He tells delegates from all over the world

and a packed gallery of observers that he is

going to rid the world of nuclear weapons.

We shot that a few weeks ago, and it wentpretty well."

40 SIARLOG/August 1987

Down Memory LaneReeve says he is also excited about a new

scene they have recently written, which hehopes there will be time to shoot.

"It's a sequence where I take Lois Laneon a flight across America. Lois is Super-

man's point of contact with the human race,

and when he has a very difficult decision to

make, he confides in her. As Clark, he tells

Lois he doesn't want to go to this dinner

that they're going to—he says he has a lot of

thinking to do. He says, 'Can we go get

some fresh air?' and Lois thinks they're go-

ing to go out the front door. Instead, Clark

takes her by the hand and walks out to the

balcony. She says, 'Clark! It's not that bad!

Don't do it, Clark!'

"Still holding hands, Clark and Lois goright over the side of the building. Lois

drops like a rock and Clark passes through

the shot. Then, suddenly," Reeve whistles

and motions with his hand, "he courses upas Superman and catches her—but he still

has his glasses on. He's doing this to let Lois

know who he is. She gets it, and of course,

all the memories of their love together [from

Superman I & //] come back.

"Superman takes Lois flying around over

Maine, the villages of Vermont, the wheat

fields of Kansas, the Grand Canyon—andthey return to the apartment. He tells her

she's the only one he can talk to, and he

needed to be with her. He thanks her, then

kisses her to make her forget, and comesback as Clark. She says, 'Why am I standing

out here freezing my butt off?' And they goback out the door.

"To me, the most important part of the

The catalyst who involves Jimmy Olsen(Marc McClure) and pal Superman (Reeve)in the disarmament issue is little Jeremy(Damian McLawhorn).

script is this poignancy, a man who is trap-

ped underneath other peoples' needs and ex-

pectations," Reeve confesses. "Although he

wears it with a great deal of grace, never-

theless, it has got to weigh on him—that's

what we're looking for in this film. It's not

sad, it's not ponderous—there are manylaughs. There are probably more laughs in

this film than in all of the others put

together," says Reeve, though he anxiously

points out that these laughs are not the samekind as those in Superman III.

"The humor in Superman III wasparody," he says. "Those were jokey

laughs. Superman IV contains what is, I

think, genuine humor."One significant change in the latest Super-

man movie is the Man of Steel's relationship

with Lois Lane. Here, he explains, they have

become friends, rather than lovers.

"They change from lovers to almost sister

and brother. There's no way that relation-

ship—having given up his powers for her,

fallen in love, and turned the world

back—they can't get married and move to

Westchester. It must be an impossible

romance that he keeps very fond memoriesof—and there probably won't be anybodyelse for him. He also finds out, in this film,

that even as Clark, he can't have Lacy,"Reeve explains, swinging his Clark Kentglasses by one hand.

As for the future, Christopher Reeve is

entirely non-committal, and pleads in-

nocence regarding plans for a Superman V.

"I haven't given it a moment's thought,"

he says. "I would rather take Supermanfilms one at a time!" •&

* George Lucas . . . Steven Spielberg . . . Gene Roddenberry . .

.

Leonard Nimoy. . .Mark Hamill. . .Harrison Ford. . .Carrie Fisher. .

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Order Now While Supplies Last!!!#2 Interview: GeneRoddenberry. Space.

1999 Year OneEpisode Guide.

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FAN NETWORKf,Compiled & Edited byEddie Berganza & Daniel Dickholtz

The Fan Network invites contributions

from readers: photos, cartoons, convention

and fanzine reports and news about fan organiza-

tions and activities. No fiction or poetry. Nothing

can be returned unless accompanied by a self-

addressed, stamped envelope. Address all cor-

respondence to: Daniel Dickholtz, STARLOGFan Network, 475 Park Avenue South, NewYork, NY 10016.

STELLA STAR MEETS THE TWO DOCTORSExploring the possibilities of expanding her career to this side of the Atlantic,

fantasy film's First Lady Caroline Munro (STARLOG #57, FANGORIA #46) combinedtwo weeks of successful meetings with American agents and casting directors with

appearances at three October SF conventions, in Trenton, NJ, Baltimore, MD and NewYork City's Infinicon. Along the way, she encountered genre notables James Doohan,

George Takei, Paul (Blake's 7) Darrow, and a pair of Doctors Who, the late Patrick

Troughton (pictured here with Munro) and Peter Davison.

Munro 's next scheduled appearance will be at the 13th Annual Atlanta Fantasy

Fair, on July 31-August 2, 1987, at the Omni International Hotel and the Georgia World

Congress Center, in Atlanta, GA. Other guests include makeup FX wizard Tom Savini,

author Robert Bloch and STARLOG Senior Correspondent Steve Swires. For further in-

formation, write to: The Atlanta Fantasy Fair, 482 Gardner Road, Stockbridge, Georgia

30281.

CONVENTIONSQuestions about (he cons listed?

Please send a self-addressed,

stamped envelope to the address

listed for the con. Conventioneers,

please note: Send all pertinent info

no later than 6 months prior to the

event to STARLOG Convention

Calendar. 475 Park Ave. South,New York, NY 10016. STARLOGmakes no guarantees, due to space

limitations, that your con will be

listed here. This is a free service: to

ensure a listing in the magazine,

contact Connie Bartlctl(212-689-2830) for classifed ad rates

and advertise your con in the

classified ad section, too.

JULYINCONJUNCTIONVIIJuly 3-5

Adams Mark Hotel

Indianapolis, INInConJunctionP.O. Box 19776

Indianapolis. IN 46219

MAPLECON 9July 3-5

Ottawa. Ontario, CanadaMaplccon 9P.O. Box 3156Station "D"Ottawa, Ontario

Canada KIP6H7(613)741-3162

CONNOTE 8July 3-5

Net* Hall

Cambridge, EnglandConnotc8Trinity College

Cambridge, England CB2 ITQ

4TH ANNUALNORTHAMERICAN TIMEFESTIVALJuly 3-5

Hickory Ridge Conference Center

Ijsle, II.

Time Festival

1306 W. Illinois

Aurora, IL 60506

AUSTINFANTASY FAIRJuly 3-5

Austin Marriott

Austin, TXBulldog Productions

P.O. Box 820488Dallas, TX 75382(214) 349-3367

SHORE LEAVE IX WEAPONSCONJuly 10-12

Hunt Valley InnCockeysville, MDAllyson Mann2114 Seminary RoadSilver Spring, MD 20910Guests: Nichelle Nichols, BobFletcher, Bruce Hyde, BobGreenberger & Howard Weinstein

LIBERTYCON 1July 10-12

Sheraton City Center Hotel

Chattanooga. TNLibcrtyConP.O. Box 695

Hixson, TN 37343

THE ATLANTAFANTASY FAIRXIIIJuly 31- August 2

The Omni Hotel & Georgia WorldCongress CenterAtlanta. GAThe Atlanta Fantasy Fair

482 Gardner RoadStockbridge. GA 30281

(404) 662-6850Guests: STARLOG's KerryO'Quinn & Steve Swires

July 31-Augusl 2

Holiday Inn

Atlanta Airport NorthAtlanta, GA.Irv Kochc/o 835 Chattanooga Bank Bldg.

Chattanooga, TN 37402(404) 767-7360

TIMECON 87July 31-August 2

San Jose Convention CenterSan Jose, CATimccon "87

124-H Blossom Hill RoadSan Jose, CA 95123(408) 629-8078

OMACON 7July 31-August 2Holiday Inn Central

Omaha, NECraig A. Cleaver

9738 Brentwood RoadOmaha, NE68II4(402) 397-0159

AUGUSTCOMIC CONAugust I

L.A. Science Fantasy Society

North Hollywood, CARob Gustaveson1 1684 Ventura Boulevard, #335

Studio City, CA 91604

SAN DIEGOCOMIC-CONAugust 6-9

San Diego Convention

Performing Arts Center

San Diego Comic-ConP.O. Box 17066

San Dicgo.CA 92117

(619) 442-8272

DARK SHADOWSFELLOWSHIPFAIRAugust 7-8

Seelbach HotelLouisville, KVDark Shadows Fellowship

291 1 Preston HighwayLouisville. KY 40217

BABEL CON IXAugust 7-9

The President Inn

Grand Rapids, MlBabel Con IXc/o Roger Sorenscn

3042 Perry

Wyoming. Ml 49509-2531

STARLOG//l«gus« 1987 43

FAN NETWORK

f

EPPIB IS A BIT EA&&R PoR THE AtEWSTAR TREK T.V. SERIES TV BEGIN. I DON'T SEE WHATS SO FUNNY,

ARE YOU SERIOUS?o you have a pile of old stories gather-

ing dust at the bottom of a drawer

somewhere? Well, dig 'em out and send

them to the SF & Fantasy Workshop, madeup of more than 300 people who are serious

about selling what they write and about your

doing the same. Don't limit yourself to the

opinions of friends and relatives when you

can get constructive criticism from profes-

sional authors and editors and get a chanceto be published. The Workshop provides aninformation packet and market list, as well

as a monthly newsletter that updates, pro-

vides, informs and answers questions con-

cerning SF literature, published and un-

published. Another Workshop publication,

Promises, Pro-Mss, features one short story

(maximum: 7500 words) written by a

member, along with three critiques by pro-

fessional writers. Personal interest groups,

programs and functions are also encouraged

through the newsletter. For more informa-

tion, write: SF & Fantasy Workshop, c/oKathleen D. Woodbury, 1193 South 1900

East, Salt Lake City, UT 84108. All stories

submitted by members, even if not chosen

for the newsletter, still receive a critique.

—R.S. Sean O'Hulloran

HOUSTONFANTASY FAIRAugust 7-9

Houston Marriott AstrodomeHouston, TXBulldog Productions

P.O. Bex 820488Dallas. TX 75382(214) 349-3367

MI-CON 87(Trek)August 15-16

Midway Motor LodgeLansing. MlMi-Conc/o Bright Star, Ltd.

P.O. Box 88173Los Angeles, CA 90009

COSTUMED BALLBenefit for the ChaOenger Centerfor Space Science EducationAugust 21

Enterprise II

P.O. Box 501502Houston, TX 77250-1502(713)481-2565

Guest: Nichelle Nichols

STAR TREK—A CELEBRATIONAugust 22-23

Ramada InnNorthwest Crossing, TXEnterprise II

P.O. Box 501502Houston, TX 77250-1502Guests: Nichelle Nichols, MajelBarrett, James Uoohan

CONSPIRACY 8745th World SF ConAugust 27-September 2Metropole Hotel & ConferenceCenterBrighton. UKConspiracy '87

P.O. Box 43Cambridge, CBI 3JJ

ISISCON (Trek)August 28-30

Washington HUtonWashington, DCCCAT/lsisconP.O. Box 15677Chevy Chase. MD 20815Guests: Leonard Nimoy, MarkLenard. STARLOG's DavidGerrold & others

SEPTEMBERCACTUSCONSeptember 3-7

Phoenix Hilton, Hyatt Regency,San Carlos, Heritage

Tempe, AZCactusConP.O. Box 27201

Tempe, AZ 85282(602) 968-5673

PRETTY GOODCONVENTIONSeptember 4-7

Sheraton InnLansing, MIPretty Good ConventionP.O. Box 602Okemos, MI 48864-0602

TREKRUISEWESTSeptember 11-14

S.S. Azure Seas from L.A.P.O. Box 786Hollywood, FL 33022(305) 925-2539Guests: Star Trek cast members

SPACE 1999MINICONSeptember 13

Dragonara HotelLeeds. West Yorkshire. EnglandJohn Goodier9 Beech LaneBarnton. NorthwichCheshire, England CW8 4PR

TRIANGULUMSeptember 18-20

Red Carpel HotelMilwaukee, WlTriangulum Inc.

P.O. Box 92456Milwaukee, Wl 53202

GENESIS KHAN(Trek)September 19-20

Raleigh Inn

Raleigh, NCFran Cosiello

U.S.S. EndeavorP.O. Box 757

Garner. NC 27529(919) 779-2519

OCTOBERDRAGON CON87October 2-4

Pierremont Plaza Hold£ Conference CenterAtlanta, GADragon Con '87

P.O. Box 148

Clarkston, GA 30021(404) 296-7148

MIRACLE CONOctober 2-5

The Granby HotelHarrogate. North YorkshireDonna Foster

"Disa-Mariando"High Road. EssexEngland SSI 5 6BU

ORLANDOTREKON '87October 3-4

P.O. Box 786Hollywood. FL 33022(305) 925-2539

DREAMWERKSOctober 4The HUton Hold SyracuseSyracuse, NYDreamwerks Productions

65 Joyce Street

Moosic. PA 18507

Guests: James Doohan,STARLOG Editors DavidMcDonnell & David Hutchison

ROVACON 12October 9-11

Rovacon 12

P.O. Box 117

Salem. VA 24153(703) 389-9400

"STARLOG's Birthday Fantasy."a 15-minute 16mm color Aim. is

available for screening at your con-vention, schools or club.Organizers, write for details:

"STARLOG's Birthday Fantasy."475 Park Avenue South. NYC10016, or (England) contact PamelaBarnes, c/o Fanderson, P.O. Box308. London W4 1DL.

44 STARLOGA4i/gW5/ 1987

m FUTURE HASASIIVIR UMIHC.

Peterweller

One part Tin Man, one part Terminator, he'sa mean, clean law enforcement machine

fighting crime and searching for the key tohis shattered human past.

It'sa hot afternoon in Dallas, Texas, and

a summons has just arrived to interview

a robot. Mechanical men aren't muchfor socializing, so an offer like this one is

hard to refuse. The rendezvous is taking

place on a downtown street, near a cluster ofcorporate highrises that proclaim this city

the financial nerve center of the Southwest.

The robot in question is really Peter

(Buckaroo Banzai) Weller, playing the title

role in RoboCop: The Future of Law En-forcement, Orion's new $10 million ac-

tion/adventure. Although he's known in the

business as an actor of "James Dean" inten-

sity, Weller certainly looks relaxed at the

moment. He lounges in a barber chair inside

a trailer while two makeup artists hoveraround him.

"I'm putty in the hands of the masters

here," says Weller, pointing to makeupwizards Stephan DuPuis (STARLOG #104)

and Bart Mixon. "1 have my coffee, read

my script, they go to work, and that's it!"

Cyborg BirthOutside, it's a blistering hot day with

temperatures in the 90s, but inside the air-

conditioned trailer, Weller is insulated fromthe rigors of the Texas climate. The actor is

bare-chested, save for a towel draped across

The silver avenger (Weller) dispenses hisfuturistic brand of justice.


his shoulders, and the lower half of his bodyis clad in loose-fitting sweat pants. His feet

are encased in loafers, the heels of which are

propped against the metal footrest of the

makeup chair.

But it's Weller's head, not his body, that

gives the visitor pause. His facial transfor-

mation from human being to RoboCop is

almost complete, and the overall effect is

impressive. Once in full makeup, only his

eyes, nose and mouth are his own; the rest

of his head is covered in foam latex ap-pliances. A maze of robotic parts protrudebehind his ear, with metal conduits that in-

explicably end in a wall socket plug! A"shaven skull" rises above his eyebrows,flesh-colored to simulate the pitiful rem-nants of a man.The bald pate is perfectly smooth, save

for a bullet hole in the right temple. A grimsouvenir of his character's assassination, it

looks like a miniature moon crater with

fissures radiating star-like from its center. It

may not seem possible, but Weller lookseven more bizarre in this half-finished state.

A curious white line encircles his

countenance, the boundary zone betweenhis actual skin and the latex appliances. Astime goes on, this telltale line vanishes as

DuPuis and Mixon cover it with makeup.The set for today's action is located on

the 56th floor of the Renaissance Tower, aprominent downtown skyscraper. Themakeup trailer is parked on a nearby street,

dwarfed by the immensity of the steel-and-

concrete canyons all around it. To get to the

set, Weller must walk about 50 yards on apublic street, enter the Tower's lobby, thenwait until an elevator is available to whiskhim to the 56th floor. No attempt is made to

hide his Robo features during the journeyfrom trailer to set. Just what the briefcase-

loting businessmen think about a robotwalking the streets of their city—not to men-tion having to rub shoulders with one whilewaiting for an elevator— is unrecorded.

RoboCop provides Weller with a goldenopportunity to showcase his acting skills. Hehas a dual role in the picture; at first, he is

Murphy, a good cop and family man in

Detroit. Then, in a gruesome experimentconcocted by an all-powerful corporation,he is killed and turned into RoboCop, acybernetic law officer. Technically, Robo is

a cyborg, part human and part machine,enabling Weller to inject some subtle

shadings into his overall screen portrait.

"I feel good about playing a robot,"Weller explains, "in that I'm playing a

human being who has been transformed in-

to a cyborg. Aside from the action-

adventure, the corruption, corporatemachinery gone berserk, and so on, the

heart of all this is a morality tale. It's like

As an actor, it was Weller's challenge totransform a human being into a robotwithout resorting to mime techniques.

Beauty and the Beast, or the Tin Man ofThe Wizard ofOz. It's a great little jewel ofa human story."

Robot LifeWeller didn't have to audition for the

part, a fortunate turn of events for the lanky

actor. "Actually," Weller laughs, "Ihaven't had an audition for eight years! I've

never been a good auditioner; I don't 'read'

well. I've more or less BSed my way into all

the good parts I've done. Besides, anything I

had to sit down and read for, I never got

anyway!"

It was a meeting of minds, not formal

auditions, that landed him the role of Robo:"I knew director Paul Verhoeven's work,and he knew mine. Actually, he was one ofthe directors I wanted to work with in the

next 10 years. We sat down and talked, andhis vision of the picture paralleled my own.However arrogant it sounds, I'm at the stage

of the game where I don't necessarily wantto do a film if the director isn't on the samewavelength."

Working on RoboCop during the early

stages of the production was personally

frustrating, physically taxing, and emo-tionally exhausting. The ink had scarcely

dried on Weller's contract before he plungedheadlong into a grueling four-monthpreparation for his role. As he recalls, "I

worked with a mime for four months. Wewanted to take a human being andtransform him into a robot, walking in a suit

in such a way that was stylized, attractive,

yet computerized and mechanical without

being 'mimelike.' In essence, we wanted to

have some humanity breathe through this

robotic thing."

The filmmakers mutually agreed they

needed a unique robot costume for Weller,

Officer Murphy (Weller) is assassinated to

create the invincible RoboCop— like aphoenix from the ashes.

eter Weller sees RoboCas a morality tale in whichhas been cast asThe Wizard of Oz's Tin Man.

Weller blames Buckaroo BanzaPs box-

office hari-kiri on the lack of "press or

publicity it needed."

one that could stand up to the rigors of an

action-packed script. These intentions,

however admirable, almost killed the pro-

ject. An expert team headed by Rob(Legend) Bottin (STARLOG #103) began

work on the costume at once, but since they

were creating something new, delays were

inevitable. Originally, Weller was to have

had a full month's rehearsal in the suit

before a single frame of film was exposed. It

was not to be.

"It was almost a travesty," says Weller

with a grimace. "When the suit first arrived,

not only were there complications in film-

ing, there were complications in design. In

fact, I had to get in the suit and shoot a

scene the very first day it arrived, and I

couldn't move in it. They were tearing

things out, making adjustments, and I got

very despondent."

The RoboCop crisis was now at hand. Thefilm seemed poised on the brink of disaster,

pushed there by overambitious plans and a

crippling lack of time. As Weller

remembers, "Truthfully, it came down to a

matter of will. I thought, 'Look—out of all

this madness over whether the suit will fly or

not, it's going to be me in the costume. It'll

come down to me. With four months of

ERIC NIDEROST is a contributing editor

to Military History and World War II. Hevisited the RoboCop set in STARLOGHI 17.


preparation, and the wonderful wealth of

talent we have available, we're going to

make it work!' Well, they got Rob Bottin

down here along with a couple of engineers

who made the suit. We spent 10 hours one

Sunday on the problem, and within this

single day, we succeeded!"

When Weller is in costume, it seems all

the effort was worthwhile. As fully revealed,

RoboCop looks like a cross between a

medieval knight and C-3PO of Star Wars

fame. Dark blue armor covers his chest

down to his ribcage and also encases his

arms and legs. His midriff is "bare," reveal-

ing some of the cyborg's inner workings

(really a foam latex inner costume). The suit

is literally topped off by an egg-shaped

helmet that covers most of the actor's face.

The most medieval-looking item in the en-

tire get-up, the helmet, is pierced by a nar-

row visor slit.

Over the weeks, Weller has developed a

positive affection for his metallic alter-ego,

and can scarcely remember a time when he

wasn't wearing a robot suit. "I really hated

getting into the suit," he observes. "Thefirst five days, it was constricting,

claustrophobic, and hard to work with. It

took them hours to bolt me in, and it was as

much of a pain in the ass for these guys

[DuPuis and Mixon] as for me.

"But now," he quickly adds, "it has

become fun. I don't know what life is like if

I'm not in the suit. When I'm acting in it, I

feel everything's groovy, and my life is in

order. I'm starting to feel like one of those

prisoners who are so used to life in jail, they

can't wait to get back!"

Despite his newfound compatibility with

the Robosuit, there still have been sometouch-and-go moments along the way.

"Believe me, acting in this," he says, point-

ing to his prosthetics-covered face, "is a

dream compared to acting with the helmet.

You should have seen me the other day. I

had to walk down stairs into a disco through

smoke and 80 extras, descending at a 45°

angle with two inches of vision through the

helmet! It was the hardest thing I ever did!"

Banzai DeathThough he has appeared in only a hand-

ful of films to date, one of them, TheAdventures of Buckaroo Banzai: Across the

Eighth Dimension, has become a cult classic

(which he discussed in STARLOG #86).

Weller had the title role in the offbeat opus,

portraying a half-Japanese surgeon/rock

singer with a taste for derring-do. Thoughaudiences and critics drove Banzai to boxoffice hari-kiri, it has since gained new life

on video. The film's growing popularity has

caught everyone—Weller included—by sur-

prise. "I wasn't aware of the cult appeal,"

he says with a shrug. "While we were mak-ing it, we were certainly in the middle of

something bizarre. We didn't know what it

was—but it was fun!"

Weller pauses, and as the memories flood

back, his features stretch into a broad

"Robosmile." "I love the rock & roll scene

in Banzai," he exclaims, "and I love all the

stuff at the picture's end. Christopher Lloyd

[STARLOG #82] and John Lithgow

[STARLOG #93] are old buddies of mine,

though in that picture, they play myenemies. When I was in the Shock Tower, I

never laughed so hard in my life! They had

to stop the takes on that segment over andover because of the banter between Lloyd

and Lithgow. Lloyd was filling himself full

of Fritos, and Lithgow was spitting in myear about shocks to my auditory synapses."

Weller believes poor handling, at least in

part, was responsible for the film's initial

failure. "It just didn't get the press or

publicity it needed," the actor observes,

"and the picture got lost in the shuffle."

Weller would love to do a sequel to

Buckaroo Banzai, but says the concept is

"tied up in litigation." He doesn't explain

further, nor does he have much comment in

regard to Heroes in Trouble, the projected

TV series reminiscent of Buckaroo Banzai.

"Ohhhh," he cries in mock anguish as he

grips the makeup chair, "TV is stealing

from us! It happens all the timeVIt's nice to recall past pictures, but at the

moment, RoboCop is the focus of all his at-

tention. Sometimes when he speaks, Weller

assumes the guise of Murphy/RoboCop so

completely that you can't tell where he

leaves off and the fictional hero begins. It's

also hard to say if the actor is under the spell

of a good makeup job or is merely flexing

his Method-trained memory.

"I was raped, man!" he cries, a note of

indignation rising with the volume of his

voice. "They killed me on purpose and put

me in this machine. It's an emotional

catharsis when I discover I once had a wife

and a child and they're gone. When NancyAllen tells me who I once was—and it's not

available to me anymore ..." Weller's voice

trails off into inaudibility, as if he is drained

by the revelation.

Besides action/adventure, RoboCop of-

fers a subplot which serves as an allegory

about today's corporate world. The main

corporation in the movie, not only controls

the police but also finances the crime that

makes the robotic cops necessary.

"That's the key," Weller says forcefully.

"The guys that shot me are. part of the

military-industrial complex. These 'powers

that be' manage the police force and are also

behind the cybernetic cop idea. They are

also the people who are feeding the drug

wars, so they can build more robots and

fight the drug wars they themselves created!

All these people are guilty—not only the

people who shot me, but the people whomade me, too. When they realize that Robohas found out the truth about them, they try

to kill me."He is pleased to be in a movie that offers

more than formula action-adventure. AsPeter Weller observes, "It's a tight action

script, and very commercial, but its very

center, the core is discovery—the sadness

that this guy's life was taken away and he

was instilled into a killing machine. But the

wonderfulness is that he starts to discover

what he once was, and he pursues it like a

dream. In the end, to a degree, he wins it

back." i&

00" AGENTSWANTED

for the

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Send Check or Money Order to: STARLOG PRESS, 475 Park Avenue South, New York, New York 10016Indicate Quantity:

Q Manual Supplement, $10.00

James Bond 007 Boxed Basic Set, $13.00Goldfinger Adventure, $8.00

Octopussy Adventure, $8.00

Gamesmaster Pack, $9.00

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For Your Information Supplement, $10.00You Only Live Twice Adventure, $8.00Live and Let Die Adventure, $9.00Thrilling Locations Supplement, $10.00Goldfinger II Adventure, $8.00

Man With the Golden Gun Adventure, $8.00A View to a Kill Adventure, $8.00

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NAME

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A Product Of VICTORY GAMES, INC., New York, New York 10001 ©gJp^tiSTumited/Glidrose Publications Limited (1985)

TRIBUTE/RAY BOLCER1904-1987

e could while away the hours convers-

ing with the flowers, consulting with

the rain.

Ray Bolger died of cancer in a LosAngeles nursing home on January 15, 1987.

As the Scarecrow in The Wizard ofOz, the

rubbery dancer became a permanent fixture

in the American imagination.

Bolger was the last surviving Wizard ofOz star. He is survived by his wife of 57

years, Gwendolyn.Raymond Wallace Bolger was born on

January 10, 1904 in Boston. The sad-eyed|

performer first learned to dance from a 2bank night watchman who had been a pro- %fessional tap dancer. After his first Broad- iway appearance in 1926, the gangly hoofer 8

entertained stage, film and television au- Zdiences in a career spanning 55 years.

Of The Wizard of Oz, Bolger said, "1 Iknew that 1 was taking part in a strange kino a

of adventure." That adventure included Ibombing with the critics when the film was gfirst released in 1939. Nevertheless, the pic- o

lure finally redeemed itself when it began Iannual TV broadcasts in the 1950s, even- ^mally becoming an American institution. |

Although acclaimed for his erratic, mphysical footwork by dancers such as

George Balanchine, Bolger always thought

of himself as a comedian who only danced

for laughs.

His genre credits included the villainous

Barnaby in Disney's Babes in Toy/and

Ray Bolger, the straw man who captured aworld's heart, was the Scarecrow in searchof a brain from The Wizard of Oz.

(1961) and, more recently, as the android

Vector in the "Greetings from Earth"episode of Battlestar Galactica.

Yet he will be best remembered for his

portrayal of a singing, jumping, dancing

bale of straw that won over a little girl fromKansas and young souls around the

world—without any brains, but with a lot of

heart.

—John Sayers

DANNY KAYE1913-1987

The sound of "T-pocketa, t-pocketa"

still echoes, the chalice from the palace

still holds the brew that is true, and the inch-

worm still measures the marigolds, but the

actor who made those sounds and phrases

famous is no more.

Actor/singer/dancer Danny Kaye, whostarred in a number of fantasy-related films,

died of heart failure on March 3, 1987 in

Los Angeles, after a bout with hepatitis. Hewas 74.

The Brooklyn-born performer broke into

films in 1944 after a career on the Borscht

Belt comedy circuit and on Broadway.

Among his genre performances are the title

roles in The Secret Life of Walter Mitty

(1947), based on James Thurber's tale of a

daydreamer who leads an adventurous life

in his imagination; The Court Jester (1956),

a tale of a clown who becomes a hero andfrees a kingdom from tyranny; and HansChristian Anderson (1952), a fictionalized

biography of the great Danish fairy tale

author.

On television, Kaye played Captain Hookin a 1976 production of Peter Pan, opposite

Mia Farrow; and Geppetto in a later version

of Pinocchio. Among his last roles was an

appearance in 1986 on The Twilight Zone as

"The Paladin of the Lost Hour."—Patrick Daniel O'Neill

In his visit to The Twilight Zone, DannyKaye was the "Paladin of the

Lost Hour."

r^wWSSs

GARDNER F. FOX1911-1986

The passing of Gardner F. Fox on De-

cember 24, 1986 ironically came after

his greatest creation, the parallel Earths con-

cept of the DC Comics Universe, had been

abolished. Fox, pulp writer, SF and histori-

cal novelist and comic-book scripter, wasone of the stellar lights of both the Goldenand Silver Ages of comics.

A law school graduate, Fox was side-

tracked from a legal career when a school-

mate, DC editor Vincent Sullivan, offered

him work in the new comic book industry.

Applying his legal expertise, Fox created

crusading District Attorney Steve Saunders

for Detective Comics. As costumed heroes

Hawkman—and then, the Atom."Aside from superheroes, Fox was one of

the major contributors to Schwartz's now-classic comics, Strange Adventures andMysteries in Space. For the latter title, Foxcreated Adam Strange, a modern version of

Edgar Rice Burroughs' John Carter of

Mars. Strange, Earth archeologist, is

periodically teleported to the distant planet

Rann, where on each visit, he faces a newsuperscientific menace to that planet's in-

habitants.

An experienced SF novelist, Fox alsoscripted many Strange Adventures devoidof caped crimef ighters.

with a string of novels, beginning in 1953

with a historical fiction called The Borgia

Blade. But science fiction was the writer's

first love and through the '50s and beyond,

he penned many SF novels. Fox also created

the Kothar the Barbarian and Kyrik, War-rior Wizard paperback series.

The introduction of a new Flash in 1956

heralded the beginning of the Silver Age of

comics and Fox became one of the leading

architects of that new era.

"Late in 1959," Fox once recalled, "I was

thrilled when editor Julius Schwartz gave methe assignment of reviving the Justice Socie-

ty as the Justice League; a year later camethe revival of another old favorite,

Writer Gardner Fox has left behind a

legacy of legends.

overran the field, he conceived Sandman,Starman, and the original Hawkman andFlash. As an early Batman scripter, Foxwrote the 1939 story in which Batman first

fired a gun—leading to the editorial edict

that forbade Batman from ever again resor-

ting to firearms. Fox's greatest Golden Agecreation was the combining of DCs manysuperheroes into the Justice Society of

America, which ran in All-Star Comics from1940 to 1947.

Fox also wrote for the pulp magazines

Weird Tales and Planet Stories. He scripted

the very first barbarian comics character, the

Conan-inspired Crom the Barbarian, whosefour-color adventures appeared in a 1950

pulp, Out of This World Adventures. Forother comics lines, Fox created the Face,

Skyman and others.

When superheroes fell on hard times in

the '50s, Fox supplemented his comics work

Before film fantasies overtook the popularculture, Fox updated the John Carter

mythos by appointing Earthman AdamStrange guardian of the planet Rann.

Fox (and editor Julie Schwartz) introduced

the convention of parallel Earths to com-ics, which led to annual meetings betweenhis Golden Age heroes and their latter-day

counterparts.

In a story called "Flash of Two Worlds"

(Flash #123, September 1961), Fox applied

the pulp SF concept of parallel Earths to

DCs universe and revolutionized the com-pany's continuity. In that story, the modernFlash accidentally warps over to "Earth-2,"

home of the original '40s Flash. Their suc-

cessive teamings gave rise in 1963 to yearly

Justice Society/Justice League of Americacrossovers. Fox effectively integrated DCs1940s past with its '60s reality and bridged

the gap between the Golden and Silver Ages.

DC only recently overhauled their official

milieu, combining Earth- 1 and Earth-2,

eliminating duplicate heroes, and launching

a third version of the Fox superteam idea,

now called simply The Justice League.

The brilliant, logical and inexhaustibly

imaginative work of Gardner Fox left an in-

delible mark in the world of comics. His

death reinforces the sad fact that for DCcomics, an era has truly ended.

— Will Murray


a little bit stagey, why don't I put my handover somebody else's hand and that involves

more people. It makes it an event.'"

Henriksen, reflecting upon Bishop's posi-

tion with the Colonial Marines, observes, "I

see him as somebody who is basically a ser-

vant without being servile; a companion to

labor. At this time in history, it would be

demoralizing for a human to be around

someone who is being subservient. That's

why they call Bishop an Executive Officer,

which is just a fancy title for planetary

maneuverer. He's not a Marine, he's a part

of the ship, the Sulaco.

"He doesn't carry a weapon, there's noway. Because if you give an android a

weapon, you're getting into another area en-

tirely. You can make a weapon that can

shoot itself, like the smartgun, but you

don't give an android a weapon. There's a

vast difference."

However, Henriksen (previously inter-

viewed re: ALIENS in FANGORIA #55) is

quick to point out that Bishop can take

charge if necessary. "But only in a life-

threatening situation," he cautions. "It

would only be for a moment, like the scene

where Ripley was going to move Hicks and I

stopped her and said, 'No, we have to get a

stretcher.' Bishop finds a way to get around

things. It's like saying, 'Look, there's a fly

on the ceiling,' and while the guy is looking,

Bishop just goes ahead and does it."

As an artist who never stops learning

ALIENS presented Lance Henriksen

with the acting task of topping the

class acts of other movie "artificial

persons" like Ash (Ian Holm) andRoy Batty (Rutger Hauer).

Lance HenriksenGall Him Chameleon

He's an actor of many changes—whetheranecdotal cop facing a formidable

'Terminator/' nocturnal nomad prowling"Near Dark" or innocent android battling "ALIENS."

By JANE GAEL RAFFERTY

For Lance Henriksen, who portrays

Bishop, the "artificial person" in

ALIENS, his role as an android was

an interesting and challenging one.

"I had two months before I started film-

ing, so there was plenty of time," Henriksen

says of his preparation for the film. "I used

it all, believe me. If there was more to

Bishop, more of a story about him, you

would find out incredible things.

"My biggest problem was having to

follow two exceptional performances of an-

droids. Rutger Hauer [as Replicant Roy Bat-

ty] in Blade Runner was excellent, and I lov-

JANE GAEL RAFFERTY is a Michigan-

basedfreelance writer. This is herfirst article

for STARLOG.

ed Ian Holm's work as Ash in ALIEN. Wedidn't have the same problems. Holm had

to give the audience tips so that it all added

up at the end. That's a terrible spot for an

actor to be in."

With ALIENS, there was some question

regarding how to present Bishop to the au-

dience. "Jim [Cameron, writer/director]

and I talked for a month on the phone—he

was already in London—to try to figure out

the best way to introduce Bishop,"

Henriksen explains. "We had an idea about

him being alone, while everyone else was in

hypersleep, tending to meters and buttons

and doing a thousand, thousand push-ups.

You see this lonely figure in this ship by

himself. We realized that doesn't do muchstorywise, and then we came up with the

knife.

"I practiced that quite a bit. Then, whenwe got onto the set and finally were ready to

shoot the scene, I dragged one of the other

guys into it [Bill Paxton]. I said, 'Jim, this is

about his character, Henriksen was

fascinated with the way Bishop, a non-

organic being, saw the world. He discussed

these insights with James Cameron, the

writer/director of ALIENS (STARLOG#89, 110).

"I told Jim, 'Anything that's really

organically alive is fascinating to Bishop.

There's no good or evil—just this ultimate

respect for anything living.'

"I read a couple of books," Henriksen

remembers. "One was Mockingbird [by

Walter Tevis]. There's a bit in it where the

android knew how to play a piano, but

didn't know why. He didn't know what

music was, but he kept hearing it. It was

part of his builder's input that hadn't been

completely erased. That image stuck in mymind, and what it translated to me was that

there were feelings that Bishop didn't

understand, like a joke."

The actor also realized that his android

character was not without problems. "For

52 STARLOGA4 ugust 1987

him, the world is xenophobic. He's an alien

to anything alive. He must be as careful as,

say, a black man in South Africa, where youmake a mistake and you're out. You're

either replaced or you're destroyed."

Bishop had an innocence that intrigued

Henriksen. "I felt that he was only eight to

10 years old, mechanically, so I gave him the

emotional life of a 14-year-old," Henriksen

notes. "I was basically playing myself at that

age. There's the knowledge that you have

your whole life ahead of you to learn, yet

there's always that vulnerability to the

powers that be."

Vulnerability is also one of the realities of

an actor's life. Henriksen muses ruefully

After surviving alongside SigourneyWeaver in ALIENS, Henriksen wouldn'tmind joining director James Cameron for

another bout with the Terminator. The ac-

tor did mind this messy, milky FX scene.

over the numerous times his part in a film

has ended up on the cutting room floor.

"The lag is the problem," he says. "If

you're doing a play, you get some instant

gratification, or if you're winning the WorldSeries, it's happening right at that moment.But with a movie, you do it and then youwait six months or longer to see it. Whenyou realize you've been cut out, it's a stun.

"I worked for three months on Close En-counters, then got cut out." The same thing

happened when Henriksen portrayed Wally

Schirra in The Right Stuff. "Which was,"

he explains, "a great movie to work on. I

loved it, but the result just wasn't there."

Android DreamsHenriksen—who discussed The Right

Stuff in STARLOG #78—received moretime on screen in Nightmares, JimCameron's Piranha II: The Spawning andChoke Canyon, none of which were box of-

fice or critical hits. And he enjoyed his role

in Terminator, Cameron's earlier hit, as

Vukovich, the cop who never gets to finish

telling a story. "Oh, God, that was so muchfun! Paul Winfield [Lt. Traxler] and I jokedthat the relationship between those guys

would make a great TV series."

"They're going to do a second Ter-

minator," Henriksen reveals. "You never

see me die, so I was telling Jim Cameron

that it could start in the hospital with mecovered with scars saying, 'Look, if this guycame once, he's gonna come again. . .

.' "

With the success of ALIENS, 20th Cen-tury Fox is also eager for another sequel.

The way was left open by Cameron's deft

touch at the film's very end. "You can hear

the facehugger scampering across the screen.

Cameron did that on purpose," Henriksen

says, noting that there is a possibility that

Bishop could return in a sequel. "If there's a

good script, I would love to do that part

again. There's so much more to do.

"I would like to get into the whole con-

cept of how and why androids are made.Bishop is not biological, he wasn't built in

an organic way. If you can imagine yourown nerve synapses as being silicone—moreof a plasmatic gate to conduct the electrical

impulses. The synthetics are very advanced,

but they aren't organic yet. Jim and I were

talking and we realized that although Bishopis very advanced, we don't see him as the

end-all in terms of an android. Jim loves the

whole concept of androids. If you could

ever put psychology into a solid form,

building a human would be it."

ALIENS reunited Henriksen with Stan

Winston, who won a special visual effects

Oscar for his work on the film. Winston(FANGORIA #56-57) created both the Ter-

minator cyborg and the effects for Mansion


of the Doomed, a film Henriksen laughingly

characterizes as "a movie I don't talk

about." Henriksen will be starring in Pum-pkinhead, a horror film co-scripted and

directed by Winston.

Winston's effects for the Alien Queen's

attack employed "every technical device you

could possibly use in a movie, from the

oldest to things never before used. 1 never

saw so much talent being exercised on the

same soundstage," Henriksen says, slightly

awed by the memory."The last scene took almost two weeks to

shoot. It was like being in the center ring at

Ringling Brothers Circus. There I was, cut in

half, laying on the floor, covered with milk

and yogurt, looking up at the 15-foot queen.

Above and behind me, this big dropship is

smoking. The only thing missing was a guy

on a trapeze swinging down!"Feeling at home with his craft, Henriksen

literally metamorphosizes into his

characters. "A director friend calls me 'the

chameleon' because, somehow, depending

on what's happening with the person I'm

playing, I really change something. I do it

organically. Sometimes," he muses, "I see

my own films and say, 'God, I don't knowwho that guy is.'

"I'm trying to keep instant recognition at

a distance as long as I possibly can. I don't

want the audience to be taken out of a

movie because they know who /am. I would

hate to become as familiar as cornflakes

because it hurts your storytelling a little bit.

"The weirdest thing is happening. Even

when 1 have a beard, people recognize me as

Bishop. So, I'm in big trouble now. I don't

know how I'm going to get out of this one."

Henriksen grew the beard for his lead role

in Survival Quest, an independent produc-

tion that he finished filming last fall. "It was

an exciting piece for me because of the

mountain climbing, which I was terrified to

do. Fortunately, I had a really good climber

training me. I had to overcome my fear. Thewhole film had that aspect, where everyone

had to overcome something.

"Survival Quest is about people from all

walks of life who go out into the wilderness

for a month with a guide. They confront

themselves about what the meaning of life is

for them. I take a group out and the adven-

ture begins.. .

."

Having interacted with strong female

characters in many of his films, Henriksen

affirms that he likes competent women. "I

like the idea of a matriarchal system, which,

by its nature, is pretty good for men. It pro-

vides a natural nurturing process, which

works, especially in acting, and I think

there's a lot of room for women directors in

this business. My last film, Near Dark, was

with a woman director, Kathryn Bigelow,

who co-wrote it with Eric [The Hitcher]

Red. It's produced by Steven Jaffe, who is a

real gift to the industry. But Kathryn

Bigelow—that's a name to remember."

Maul in the FamilyNear Dark is a delicate mix of romance

and adventure, with a touch of the super-

natural carefully blended in. "It's one of the

most original scripts I've ever worked on,"

Henriksen states. "For two hours with a

film, you can create any kind of world as

long as you have set the parameters for it.

This movie asks the audience, not so muchto keep an open mind, as to be ready for an

experience."

Near Dark reunited Henriksen with his

ALIENS co-stars, Jenette Goldstein, whoportrayed Vasquez (STARLOG #115) and

Bill Paxton (Hudson) as a band of roving

immortals. "It's very rare that you go from

one movie to another as a group. As a

result, we were much more than an ensem-

ble. We came in with such strength after

working together in ALIENS," Henriksen

observes. "It was very powerful to be part

of it.

"I play Jesse Hooker, the leader of the

family. He's a romantic who has outlived

his era. He has seen all the changes take

place and his version of romance die terrible

deaths." Reluctant to linger on the tragedy

of immortality, Henriksen continues, "Bill

plays my right hand man and Jenette is mygirl friend, who was a flapper in the '20s and

came with me gladly.

"The family members are nocturnal

nomads—wanderers, very much like the

Romany. In fact, the word 1 used to

describe anyone who wasn't one of us was

gajo [not-Gypsy]. Their main purpose is to

keep the family together.

"They have to eat, but they're like wolves


The android dissects an Alien facehugger. Ironically, "For him, the world is xenophobic. He's an alien to anything alive,'

Henriksen states.

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ZIP

The sexy "Blake's 7" villainess admits herhidden desire to get amorous with Avon &reveals how she tapped her way into John

Nathan-Turner's heart.

You are undoubtedly the sexiest of-

ficer I have ever known," Servalan

is told in an early episode of Blake's

7. Both male and female fans of the showseem to agree. The British science-fiction

series tried to give villainy a new look andsucceeded beyond its wildest dreams with

Servalan, Supreme Commander and would-

be President of the evil, corrupt Federation.

As originally conceived, the ruthless

Supreme Commander, dedicated to becom-ing Galactic Dictator and destroying ter-

rorist forces such as Blake and his seven,

was a male in uniform, a kind of establish-

ment Rambo. But from this concept emerg-

ed the delicate-featured, exquisitely gownedbut utterly heartless Servalan.

"The interesting thing about playing Ser-

valan," says Jacqueline Pearce, the actress

who essayed the role, delightedly, "was that

Terry Nation [the show's creator and main

writer] said he couldn't write for women.When Servalan started out, she was a he\

Terry woke up one morning and said, 'No,

he should be a she.' So, he changed in mid-

stream and I think that's why she's so in-

teresting, because she does have male

characteristics as well as female. And that

makes Servalan a total human being."

But the character's male aspects mighthave overwhelmed the female if it hadn't

been for what Pearce calls her "utter lack"

of diplomacy. With her hair styled in what

at the time (1978) would easily have beenperceived as a man's cut, Pearce discovered

the costume the producer wanted her to

wear was "a military, safari-type outfit,"

she describes. "Jackets, trousers, jack-

boots—and a riding whip!"

Being, as she observes, not the most tact-

ful of people, Pearce's immediate response

was to tell him, "If you dress her like that,

with this haircut, you might as well cast a

man." Fortunately, the producer agreed

with her suggestion that going in the op-

posite direction—making her appear ultra-

feminine—would make the character

doubly dangerous. "Because if you look

one way and act another," the actress notes,

"people don't really know what to ex-

pect—and that is drama."Although she acknowledges that Servalan

"As Servalan and I developed as humanbeings, we fed each other," Pearce admits."I found out a good deal about myselfthrough her."

is the series' villain, Pearce is quick to point

out that she doesn't view the character as

thoroughly evil. "As Servalan and 1

developed as human beings, we fed each

other. She has enormous vulnerabili-

ty—which is a very different thing than

weakness. I'm sure she had weaknesses, /

don't know what they were." She laughs,

"If Servalan had any, she certainly wasn't

giving them away." Pearce herself was, she

admits with characteristic directness, "acompletely different person before Blake's

7. I was extremely quiet and shy and didn't

real Iv know who I was. Servalan was, in a

sense, my alter-ego. I found out a good deal

about myself through her. She was a very

misunderstood woman."While filming the show, Pearce

discovered that, to some extent, womendirectors were "probably moresympathetic," she says. "They didn't see

Servalan as quite so black and white. Theyweren't threatened by her as the men were,

and they probably had a greater empathyfor what I was trying to do." Although no

JEAN AIREY & LA URIE HALDEMAN,British fantasy experts, are the authors ofTravel Without the TARDIS (Target,

$3.25). They interviewed Michael Keating in

STARLOG #118.

STARLOG/'August 1987 59

Despite Pearce's insistence that "she was a very misunderstood woman," Servalanset out to conquer the galaxy with sheer ruthlessness and an unerring fashion sense.

Blake's 7 script ever emphasized what

Pearce perceived as the character's true

vulnerability, "We got quite close with

'Sand,' the Tanith Lee script, which showedwhy she was vulnerable. Servalan had been

rejected at 18 after a traumatic love affair

and built the image as a defense," Pearce

explains. "Only those who are sensitive to

thai, who can see through that, can get

through. And that's true— 1 think we all dothat in life."

Life played a part in creating the dialogue

Servalan may have wanted Blake's headon a platter, but Jacqueline Pearce didn't

mind sharing a few laughs with GarethThomas.

for "Sand" as well. One day during filming,

Steven (Tarrant) Pacey asked Pearce whyshe was looking so happy and she explained

that she had just bought a houseboat in

Chelsea. But, he protested, he also lived on

a houseboat in Chelsea. Smiling up at the

handsome young actor, Pearce said, with a

Servalan-like smile, "Gosh, Stevie, I'm the

girl next door!" Without a moment's hesita-

tion, he replied, "If you're the girl next

door, I'm moving!" Pearce told this story to

Tanith Lee—who proceeded to write the ex-

change into the script as part of a scene bet-

ween the boyish exuberant Tarrant and the

sophisticated Servalan that Paul (Avon)

Darrow (STARLOG #116) describes as "a

bit like introducing the Bride of Franken-

stein to Andy Hardy."

The only character who probably could

have coped with Servalan actually being the

girl-next-door was Darrow's character,

Avon, the series' occasional hero and im-

mutable gadfly. Terry Nation (STARLOG#106, 117), at the start of Blake's Ts third

season, implied that there could be some

kind of relationship between Servalan and

Avon. Both Darrow and Pearce regret that

possibility was never really developed. "I

always saw Servalan and Avon as opposite

sides of the coin. He was the only man whocould interest her, and she was the only

woman who could interest him," she notes.

Darrow has remarked that Avon admired

Servalan because he knew he could never

trust her—and he could deal with that!

During the series, sporadic problems

arose with new writers, unfamiliar with the

Blake's 7 characters, scripting "their ownideas of the characters which often bore no

resemblance to what they were really

about," according to Pearce. "We had dif-


ferent writers all the time, and they didn't

always understand what you had to do,"she says. "If you have a Terry Nation orTanith Lee script, you have no pro-

blem—they're such wonderful writers—but

unfortunately, not everybody writes like

them." As a result, the cast often altered the

script, adding or subtracting material. In the

third season episode "Aftermath," ascene between Avon and Servalan appearedtotally bland (and most uncharacteristic) un-til director Gerald Blake, Darrow andPearce took it in hand. Lines that were tamewhen delivered from across the room tookon new significance as Avon and Servalan

exchanged them and wound up in a pas-

sionate—if not exactly loving—embrace.Pearce is also familiar to Doctor Who

fans for her role as Chessene, the An-drogum—an animalistic creature artificially

evolved to a higher order—in "The TwoDoctors." Although also a villainous part,

Pearce approached it differently because the

character was so clearly alien. "I wasfascinated by being an Androgum," shesays, "by the fact that she had these opera-

tions but could revert back as she did—as

soon as she saw a bit of blood, she wentcrazy. But I had never seen a Doctor Whoepisode in my life when I did it. And now,I'm a great fan. They're a wonderful crew, I

love them. They welcomed me with openarms. I felt had always been there— it wasvery special."

Producer John Nathan-Turner(STARLOG #82, 101), having worked with

Pearce in "The Two Doctors," typically

decided to cast against type, asking Pearce

to play the Fairy Godmother in the 1985

Christmas pantomime production ofCinderella. The Christmas pantomimes are

a uniquely British entertainment. Based ontraditional tales, they combine newcharacters, old vaudeville jokes androutines, familiar songs, boys played by girls

and women (such as the ugly stepsisters)

played by men. They customarily star well-

known television actors.

Cinderella had been produced in 1984with Peter (The Fifth Doctor) Davison(STARLOG #102) playing the role of "But-tons" and his wife, Sandra (Hitchhiker's

Guide to the Galaxy) Dickinson as the Fairy

Godmother. The 1985 season's productionwould see Doctor Who veterans Colin (TheSixth Doctor) Baker (STARLOG #105) as

"Buttons," Nicola (Peri) Bryant as

Cinderella, Mary (Romana) Tamm as

Prince Charming, and Anthony (TheMaster) Ainley returning as Baron Hardup.Pearce had, she chuckles and says em-phatically, never done pantomime before

and, she observes, "I don't think you canhave two actresses more dissimilar than San-

dra Dickinson and Jacqueline Pearce. Therewas no way I could do the Fairy Godmotherlike Sandra. I don't have a voice like hers,

for one thing!

"John asked me if I would like to do it,

and showed me the video from the year

before. I said, 'Well, I can't sing or dance.'

'That's all right, darling,' he promised me,'you won't have to.' So, I went in on good

Yes, some TV shows do change people's lives. "I was a completely different personbefore Blake's 7," Pearce reveals. "I was extremely quiet and shy and didn't reallyknow who I was."

faith, thinking the part would be written in

such a way that I wouldn't have to sing ordance. I saw the video a few months later,

and I saw myself ripping my skirt off [as the

Fairy Godmother breaks into a flashy tap-

dancing number] and 'Tapping my TroublesAway,' and I don't know how it ever hap-pened to me. I will never forgive JohnNathan-Turner." But would she do it

again? "Absolutely. It stretched me," shesays exuberantly. "Doing things you can't

do, that terrify you, is the only way to

grow."

Part of her enjoyment in doing the pan-

tomime came from the freedom the cast felt

to play jokes on each other, such as oneaimed at Anthony Ainley (STARLOG #82).

"He had to announce to the audience that

somebody had won a Honda motor-cycle—whoever had this particular numberunder their seat—was to please come up on

the stage. Of course, no one had that

number because there weren't any motor-cycles at all. But somebody that night hadput the number under four different seats!

Suddenly, all these people came up on stage,

demanding this motorcycle!" She laughs.

"Poor Tony! Not fair! He managed very

well, though."

So, with her hair somewhat longer, her

career in television and theater continuing,

Jacqueline Pearce goes on, approachingevery job with a dedication that Servalan

would recognize and appreciate. "My feel-

ing is that you give 100 percent to everything

that you do. If your attitude is 'Take the

money and run,' then you run and youdon't take the money. There are too manytalented people out there who are not work-ing and who would be very grateful for the

opportunity to work and give it everything

they've got." -»*»


MEDIALOGf(continuedfrom page 9)

fall), Wizards of the Lost Kingdom II andBarbarian Queen II.

Interestingly, Laurel Entertainment has

registered a title long-rumored to belong to

the last Dead film, Twilight of the Dead.Return of the Living Dead—Part II, the

producers proudly announce, isn't a sequel,

but a sort of continuation of the theme of

the first Return (itself a kind of follow-up to

Night of the Living Dead). James Karen

(FANGORIA #54) and Thorn Mathews(FANGOR1A #59)—who starred in the first

Return—and died (in the flick) are back as

new but similar characters (gravediggers

who confront the re-activated dead).

Plans continue for yet another follow-up.

It's Phantasm II, sequel to the 1979 hit.

Speaking of other ghostly encores, there's

Poltergeist III. Reprising their original roles

in this sequel are Heather O'Rourke (as

Carol Anne) and Zelda Rubinstein (as the

celebrated Tangina). This sequel takes the

entire story to Chicago—where the film will

be shot on location—but the series' original

stars, Craig T. Nelson and JoBeth Williams,

won't be on hand for the continued haunt-

ings. Tom Skerritt and Nancy Allen are the

new leads. And what gets haunted? The70th floor of a skyscraper. Gary (WantedDead or Alive) Sherman directs from a

script he co-wrote with Wanted collaborator

Brian Taggert.

Universal Pictures is planning a sequel to

its 1974 Sensurround sensation Earthquake,

which leveled Los Angeles through the

magic of special effects. This time, the

disaster's up the coast in Earthquake: SanFrancisco.

The Deep II or Return to the Deep is still,

at least at this time, on Columbia's list ofprospective film projects.

Fantasy Films: Empire Pictures is work-ing on a full slate of genre low-budget flicks.

These projects include: Transformations;

Dream Invader, Vault (a $3.5 million yarn

about a billionaire's quest for the secrets of

immortality); Skeleton; Catacombs (set in

the burial chambers of Rome); Ghost Town;Deadly Weapon (not to be confused with

Richard Donner's Lethal Weapon—a kid

armed with an anti-matter gun terrorizes a

small town, scripted and directed byRoboCop co-writer Michael Miner);

Quadrant (SF); and Cellar Dweller (horror

comics come to life as FX wizard John

Buechler directs a cast including Dynasty's

Pamela Bellwood, Ben Casey's Vince Ed-wards and The Munsters' Yvonne de Carlo).

Northeast Kingdom is a $15-$20 million

fantasy thriller that Bob (Murder by Decree)

Clark will helm. It chronicles a young boy's

exploits with a band of monsters.

William Dear, currently represented in

theaters with Harry and the Hendersons, is

slated to spoof UFOs with Saucer. Phil

Austin and David Ossman penned the script

which Dear may direct.

Another Turnabout-styled fantasy com-edy is in production. In Vice Versa, a $10

million Columbia film, it's divorced yuppie

Judge (Beverly Hills Cop) Reinhold whoends up magically switching identities with

his son, Fred Savage of 777e Boy WhoCould Fly. Dick Clement and Ian LaFresnais scripted the December 11 release.

The similar Like Father, Like Son, a fantasy

comedy from Tri-Star (a studio partially

owned by Columbia), features a switcheroo

between pop Dudley Moore and kid Kirk

(Growing Pains) Cameron.Adventure is the name of the game in De

Laurentiis Entertainment's forthcoming

China Marines (a Raiders-like yarn to be

This is the world of Robojox. where trained champion athletes control giant robots(whose metallic boots are seen in the background) and battle each other to the deathto determine the fate of nations.

ATWAR WITH THEROBOJOX

After a trio of horror films for EmpirePictures—Re-Animator, From Beyond

and Dolls—director Stuart Gordon is bring-

ing his considerable talents to the science-

fiction genre with Empire's most ambitious

film to date, the futuristic fantasy Robojox,currently in production in Los Angeles. "It's

set in a post-nuclear era," says Gordon,"although it's not Mad Max. It's 100 years

after a nuclear war. The world has rebuilt

itself to some degree, but things are still pretty

shaky. People have decided they're never go-

ing to allow another war to take place, so nowall international disputes are settled by gigan-

tic robots fighting it out, piloted by what wecall the robot jockey or robojock representing

c their entire country. They sit in the robot's

| head and are a combination of warrior and

r astronaut, the best of the best,

c "Their entire country's fate rests on their

s shoulders. These battles take the place of

e football games as well as warfare. It's like the

!2 Super Bowl every time these guys come out.*

I think it's an interesting metaphor.

f>"Robojox is inspired by those Japanese

| robot toys," Gordon reveals. "The idea oc-" curred to me from looking at the illustrations

| on the boxes, with the maintenance crews

£ scrambling over these giant robots. It's a

I ready-made fantasy that no one had really

o tapped into yet, just waiting for a chance to

62 STARLOGA4«£WS/ 1987

helmed by Cobra's George Cosmatos) andCobra Verde (an "exotic" adventure with a

Brazilian setting directed by WernerHerzog). Klaus Kinski stars.

The Giant Rat of Sumatra is the latest

Sherlock Holmes movie in development.

This case, of course, pits the Great Detective

against that legendary creature mentioned

briefly in the Holmes canon. Michael Lind-

say is scripting.

Aliens seem to be on a real crime spree in

two different New Line Cinema produc-

tions. In Stranded, the aliens kidnap a

grandmom (Maureen O'Sullivan) and her

granddaughter. Joe (Brotherfrom AnotherPlanet) Morton (STARLOG #90) co-stars in

this upcoming release. Meanwhile, Hiddenchronicles evil aliens' misdeeds as they take

over various humans' bodies. Michael

(Flashdance) Nouri and Kyle (Dune)MacLachlan (STARLOG #89) co-star.

Scores: John Barry will once again score

James Bond's latest mission. Barry and the

Norwegian rock trio a-ha will co-write the

theme song for The Living Daylights (which

a-ha will perform).

Animation: ALF gets down and gets

animated for NBC Saturday mornings this

fall. The new ALF cartoon will feature the

gourmet cat lover's adventures before he

came to Earth—as well as his relatives. Thespin-off will be produced by DIC Enter-

prises (whose animation expertise includes

The Real Ghostbusters) and Saban Produc-

tions, partnered with Alien Productions(which does the live-action sitcom). Also in

development is a live-action ALF movie,

whose storyline would apparently take the

popular alien from Melmac to Earth.

There's also The Little Archies—fromDIC Enterprises & Saban— in whichyounger versions of the redheaded teenager

and his pals frolic to the rock soundtrack onNBC Saturday mornings. The partnered

companies are also working on a live-action

two-hour TV movie, The Archies, for possi-

ble NBC primetime airing.

The Greatest American Hero failed to

return last fall—in a distaff version—whenNBC passed on a live-action revival of the

old ABC series. Now, Stephen Cannell

Entertainment is preparing yet another

Great American Hero for TV. This one, of

course, is an animated version targeted at

Saturday morning.

Cannell Entertainment is working up

be up there on the screen, not in animatedform but live action where the sense of size

could really be created.

"Kids are already enjoying the robot toys

and playing on their own, but now we'll beable to use the magic of moviemaking to

create the illusion of these metal giants,"

Gordon observes. "It's a great fantasy for a

kid to have that kind of power and size. Thequestion was, could we do it for the type ofbudgets that are available at Empire? Initial-

ly, Empire was skeptical about that, but even-

tually they became intrigued by the idea. It's

Empire's largest budget yet, about $7 million.

"The main work is stop-motion animation

which is being done by David Allen, who was„,

nominated for an Academy Award for fYoung Sherlock Holmes. He has already §

done one sequence that I think is terrific, as <

good as anything in The Empire Strikes Back . %There will be some great battle scenes, as well Ias what I feel is missing from many SF films, c

the human story. That's really crucial in all |movies, to care about the people. I don't want §

the people in the story to be like the robots. 5-

There has to be some real flesh-and-blood femotions to which the audience can relate, oThe idea is to let the audience drive the robots |and let them play with these giant toys," £

Stuart Gordon comments. "Robojox is a -g

movie that will appeal to children, but I hope J

I

their parents can enjoy it as well, a real family Stuart Gordon, director of Re-Animatorexperience." and From Beyond, is at—John A . Gallagher the helm of Robojox.

Dinosauriors, yet another race of dinosaur

heroes, for possible syndication in fall 1988.

Updates: Made in Heaven, the angelic

romance betwen Tim Hutton and Kelly

McGillis, has been rescheduled for a fall

release.

The Scanners series pilot, to be written

and directed by David Cronenberg, will be a

two-hour TV movie.

Twilight Zone is back on the air this mon-th—with repeats as well as the previously

unaired segments being broadcast on CBS,Thursday at 10 p.m.

The Adventures of the Brave Little

Toaster apparently won't be released byColumbia after all. The animated feature

based on the Thomas Disch short story is

looking for another distributor.

And just who will direct The Shadow!The latest in the line of filmmakers an-

nounced to bring the classic crimefighter to

the screen is Todd Holland, a veteran ofAmazing Stories. Will he be the director

who finally makes The Shadow! That's a

question that can be answered in twowords—who knows?

—David McDonnell

"AN AUTHORYOU CAN'TREFUSE"

An unexpurgated booklet offunnyand thoughtprovokingquotes about writing taken

from David Gerro/d's highly

successful writing workshop.

It is about the relationship ofthe writer to his craft.

(Because ofthe candid nature ofthelanguage used, we recommendthat you be over 18 to purchase this

booklet).

ORDER YOURCOPY NOW!

SPECIAL STARLOGRATE

Send S3. 95 (plus $1.00 postageand handling) to:

"AUTHOR"BRASS CANNON, Dept SL587

P.O. Box 1190

Hoolvwood, CA 90078

STARLOGA4 ugust 1987 63

Brooks(continued from page 13)

never complained.

He's terrific, and he has some very cute

scenes. Some of them a little dirty with his

tail up a waitress' dress, etc.

STARLOG: Tell us about the film's hero,

Lone Starr.

BROOKS: Well, he's played by Bill

Pullman, who played the idiot in Ruthless

People. I think it was very brave of us to

pick a guy who played an idiot and makehim our leading man, but he turned out to

be sensational.

STARLOG: Did you have to do muchdesert shooting?

BROOKS: It seems that in every space

movie, they're always in the desert. Don't

ask me why, but they spend a great amountof time there.

Anyway, 'cause they go there, we gothere. Lucas went to Yuma, Arizona for

Return oftheJedi, and North Africa [where

Star Wars was partially lensed] was too far

away, so we went to Yuma.We went in October or November, figur-

ing it would be a little cooler there. It wasthe hottest three days America has ever

withstood, and we were right there in the

middle of it!

It was something like 140 degrees.

Cameras were melting. You take an ice

cube, you put it on your head, and by the

time you get it there, it's just hot water.

STARLOG: Can you compare Spaceballs to

anything else? There have been other SFspoofs, but mostly low-budget fare.

BROOKS: No, this is big stuff. We've got aweird picture. It's The Wizard of Oz in

space. It's a bunch of people trying to get

back home, and they keep running into badguys—including a gangster named Pizza the

Hut, whom they owe money.STARLOG: Spaceballs co-writer ThomasMeehan said you've written more than 1,000

pages and had enough material to do three

or four films. Is this a genre you wouldcome back to parody again?

BROOKS: You never know what the future

holds, but I think in this first one.'we've

really exhausted the great space cliches. I

don't know if we've overlooked any cliches,

but it would be very difficult to come backand do a Spaceballs II.

STARLOG: Well, when you talk aboutmaking movies for 15-year-olds or

thereabouts, that speaks to manySTARLOG readers.

BROOKS: It's important! Who else will

wait in the rain to see a movie? These days,

the doctors and dentists who love MelBrooks wait for the cassette. That's why I've

got to corral these youngsters and showthem what a big, gleaming, crazy, witty

comedy is all about.

STARLOG: Do you have a parting shot? Alife's philosophy you would like to share

with us?

BROOKS: Yes. My life philosophy is this: If

you really want to see Spaceballs on the first

day, get there the day before. ijr


Geirold(continuedfrom page 15)

Andrew Probert, Senior Illustrator

Working as an illustrator, Andy Probert

designed the Cylons for Battlestar Galac-

tica. He designed the helicopter and flight

suits for Airwolf, and designed most ofthe space hardware for Star Trek: TheMotion Picture. He also designed the out-

side of the DeLorean time machine for

Back to the Future.

Rich Sternbach. Illustrator

Rich Sternbach won an Emmy for his

work as Assistant Art Director andSpecial Effects Supervisor on Carl

Sagan's Cosmos series. He created planet

images and storyboarded spacecraft ac-

tion for The Last Starfighter. Rich is nostranger to Star Trek, having worked as

an illustrator on Star Trek: The MotionPicture. Rich has been doing cover art for

magazines and books since 1973, in-

cluding Analog, Science Fiction, F & SF,

Galaxy, Astronomy Magazine and Skyand Telescope, as well as special pieces for

the National Air and Space Museum.Michael Okuda, Graphic Artist

Michael Okuda made his graphics debutin Star Trek IV, designing many of the

readouts and panels for the Klingon Bird

of Prey and various Starfleet vessels. Heis the world's foremost expert on Klingon

technical readouts. He has designed all ofthe signs, lettering, readouts and control

panels for the new Enterprise.

Corey Allen, Director "Encounterat Farpoint"

As an actor, Corey Allen has appeared in

such pictures as Sweet Bird of Youth, TheChapman Report, Darby's Rangers andRebel Without a Cause. (He played Buzz,

the gang leader.) He has also appeared in

TV series such as Bonanza, Gunsmoke,and Have Gun, Will Travel. He has

directed two feature films: Avalanche(with Rock Hudson and Mia Farrow),

and Thunder and Lightning (with DavidCarradine and Kate Jackson). He also

directed the premiere episodes of Murder,She Wrote, Simon and Simon and WhizKids. He earned two Emmy nominationsfor directing episodes of Hill Street Blues

and won the award once. He has also hadtwo Best Director nominations from the

Director's Guild and has been nominatedfor the Award for Cable Excellence.

Industrial Light & Magic

Industrial Light & Magic was created

specifically to visualize the extraordinary

special effects in Star Wars (and its twosequels, The Empire Strikes Back andReturn of the Jedi). ILM has also per-

formed special FX chores for both In-

diana Jones films, Raiders of the LostArk and Indiana Jones and the Temple ofDoom, as well as special effects for Star

Trek II, Star Trek III, Star Trek IV, Ex-plorers, The Goonies, Gremlins, Back to

the Future and Innerspace. £?

Column copyright 1987 David Gerrold

Dante(continuedfrom page 31)

#78] is in the picture and she's very good.

William Schallert [STARLOG #85] is in it,

along with many other people I've already

worked with— Kevin McCarthy[STARLOG #78], Bob Picardo [Wak in Ex-

plorers], Dick Miller

STARLOG: You use many of these actors

again and again—Joe Dante's Ensemble.

DANTE: Well, I don't keep them eating.

These guys eat whether I use them or not,

but they're people I like and they know what

I'm after. I can communicate with themeasily when the parts are right for them. If

the parts aren't right, there's no way I can

do it. But when the part's right, they're the

people I want to work with—that goes for

behind the camera, too. It's a nice at-

mosphere to have a bunch of people whoalready like each other and already knowwhat you're trying to do because they've

already gone through the process.

If you can manage to populate a film with

people you know well, so you can give themdirection #52 and know it will elicit a certain

response, it's much easier.

Sometimes, we don't even talk much,Dick Miller [FANGORIA #61] and I. It just

happens. He was very good in Explorers andI hardly told him anything about what he

should do. We just discussed the character

and he gave a performance which I liked. In

this picture, he has what I guess you would

call a cameo. Try as I did, I couldn't find a

real part for him.

STARLOG: You've used many of these ac-

tors since the beginning of your feature film

career. As if you had that in mind.

DANTE: I like these guys. I had seen themin the movies. I liked them and wanted to

meet them.

The people I liked when I was young are

now on in years. It's tough to find parts for

them— I mean, if I had done the "Kick the

Can" segment in Twilight Zone: TheMovie, you can bet the cast would have

been considerably different, but unless I doa film like Cocoon, it's going to be hard to

find enough roles for these guys. I have

enormous respect for them. They were in

the business at a time when I think the

movies were better.

STARLOG: Movies that influenced you.

DANTE: Yes, but there are people like BobPicardo, whom I used in The Howling [Ed-

die Quist] as well as Explorers—he plays a

Libyan cowboy in Innerspace. He's a very

funny guy. He'll go places if people just get

a chance to see what he does. He's terrific in

this picture—and he's a friend of mine.

STARLOG: And why not use your friends?

DANTE: Indeed, why not? All these people

are talented—there's not a bupke amongthem. It's not like there's some poor guywho's out of work and needs a job so yougive him the lead in your picture—these peo-

ple are all talented.

It's hard making movies and it's nice to

make it as easy as possible by having as

many nice people around you as possible/**?

In 2086, two peaceful aliens journey to

Earth seeking our help. In return, they

gave us the plans for our first hyper-

drive, allowing mankind to open the doorsto the stars.

We have assembled a team of unique in-

dividuals to protect Earth and our allies.

Courageous pioneers committed to the

highest ideals of justice and dedicated to

preserving law and order across the newfrontier.

These are the Adventures of the GalaxyRangers.

"It started out as an SF action-adventure

in space about a police force," explains

Robert Mandell, the syndicated series'

creator/producer and ITC Entertainment

vet. "It really evolved because the showneeded a handle. The basic story ofRangers—the idea of having two aliens

coming to Earth looking for help—wasalways there. And in the back of my mind, I

guess, I always knew it was based on TheMagnificent Seven and Seven Samurai, but

the obvious never hit me.

"I was very lucky to meet a guy namedBob Chrestani, who was an agent for

William Morris," Mandell continues. "Ishowed him the presentation, which wasthen called Beta Force. He loved it and im-

mediately signed the project representation.

It was Bob who brought the obvious to myattention. He said, 'Well, what's yourstory?' I told him two aliens come to Ear-

th—Seven Samurai, Magnificent Seven.

And he said, 'Well, you're crazy. It's sitting

right in front of you. It's a space Western. It

has all the classic Western themes, the mainone being justified violence, which is whatall Westerns have been builton— lawlessness, new frontier and pioneers

A bionic man, a Supertrooper, a telepath anda computer genius team-up as the extra-powered pioneers of the final frontier,

speeding through hyperspace in animatedadventures of cowboys & aliens.

By EDDIE BERCANZA

The Rangers take out a Crown Agent asthey assault the Queen's psychocrypt.

exploring unknown territories.' Once wehad the space Western hook, things sudden-

ly started to click. We developed the Galaxy

Rangers name together. The response I

began to get from various financing groups

was totally different. It was as if I came upwith the greatest thing since Star Trek."

Like the characters of that Wagon Train

to the stars, Mandell wanted to make his

Rangers as real as possible. "Throughout

the series' run, we tried to base an episode

on each Ranger to show their background,"

notes Mandell.

"The leader of the group, Zachary Foxx,

was always our straight-ahead West-Point-

mentality soldier. He is always doing things

by regulations. We designed him to be in

direct conflict with Shane Gooseman [the

group's shape-changer]," adds Mandell,

"who doesn't do anything by the book.

He's our Dirty Harry.

"It was very important for me to set their

characters from the beginning so that the in-

teraction between the four Rangers would

be very strong and the dialogue could reflect

a little bit of the characters' histories andpersonalities without being obvious. For ex-

ample, the conflict between Zack and Goose

has helped establish their backgrounds.

"Zack was never our most colorful

character and we played off that quality.

Because he comes from a world of perfect

order, he likes to see things in certain ways,

but in reality, nothing works that

way—especially in the whole new open

universe he now can explore."

When Rangers ClashContinuing his conservative characteriza-

tion, Foxx is the only Ranger who is married

with children. Mandell, though, did throw a

wrench into the man's seemingly simple life.

^

r

\

f

7

\

\^

"We wanted Zack to have his own personal

conflict and that turned out to be his

bionics," Mandell explains, noting a certain

irony. "He never really trusted machinery orhardware, but then he has an accident wheresuddenly, it is machinery and hardware that

saves his life. Now, he has this internal con-

.Ilict with how to deal with his own bionics.

I "We never really got a chance to explore

• that too much," Mandell says, "because

1 along came Goose. Since he turned out to bec such a colorful figure, we started catering

£ more stories toward him. Supertroopers was~j- such a great concept in its own right—the- last of the genetically bred soldiers who| Goose grew up with in a training camp. He2 was the one Supertrooper who developedcompassion and true human emotions. And

fdue to a bizarre experiment, all the other

" Supertroopers went crazy, revolted and15 broke away, forming an evil force.

| Gooseman stayed on with the Bureau of Ex-

| traterrestial Affairs (BETA) and eventually

| became a Galaxy Ranger.

| "Because of his background as a Super-

J-trooper, the Board of Leaders didn't really

<g trust him. The only way they would let him" become a Galaxy Ranger was if he became a

i|. bounty hunter and went out and brought all

| a the other Supertroopers back in. His con-° flict then is that he has to capture all his

< friends—dead or alive. Of course, that fit so

Swell into the Western theme.

S. "Niko has been kind of a special

Galaxy Rangers answers the ques-tion—what would have happened if SergioLeone was "into" SF?

The two peaceful aliens, Waldo and Zozo,give Earth the knowledge for its first hyper-drive to help combat galactic menaces.

character for us because we wanted a female

lead who would be able to handle herself as

well as the men," Mandell remarks. "Shehas psi powers, her abilities range fromtelekinesis to constructing force fields. Butthe concept is still that all the Rangers'

powers are based on natural abilities andamplified by a computer implant in their

brains. The Series Five Brain Implants are

charged by these energy chambers- theRangers stand in. The amplification lasts a

certain amount of time depending howpowerful the charge is. So, even the Rangersdon't really know how far they can pushtheir powers.

"The only Ranger we couldn't cover wasDoc," says Mandell. "He turned out to beone of everybody's favorite characters, and

STARLOG/Augusi 1987 67

The bouncy Squeegie proved easier to

characterize for Mandell than the furball's

owner, Captain Kidd.

got so much time on his own that we never

got a chance to do his origin episode."

Though not an origin, Walter "Doc"Hallord (don't call him "Wally") has been

showcased in episodes like "Murder on the

Andorian Express." A Galaxy Rangersaver-

sion of an Agatha Christie mystery, the

story has Doc and fellow Ranger Niko try-

ing lo solve the mysterious demise of an am-

bassador aboard the luxury spaceliner, S.S.

Christie. Such whimsical tales and their silly

predicaments suit the team's computer

wizard (who bears a bizarre resemblance to

Billy Dee Williams) much more than the

other three Rangers.

Galaxy GangsDrawing their wagons around the Galaxy

Rangers are an equally well-developed sup-

porting cast. Most important are the series'

two amiable alien instigators. Waldo, an

Andorian, is a member of the oldest and

most advanced culture in the galaxy, while

Zozo is an emotional Kiwi from the

underdeveloped farm planet Kirwin. "Avery strong underlying theme of Rangers is

low-tech vs. hi-tech," says Mandell. "Welike to expose the Rangers and their hi-tech

devices to the low-tech cultures with which

they deal."

Other characters that populate the series

are Buzzwang, a courageous, break-dancing

robot Ranger; Maya, the rebellious Princess

of Tarkon, a planet that disdains all

technology; Lazarus Slade, a Southern

gentleman scientist bent on world domina-

tion; Daisy O'Mega, a sweet lass with a

thick brogue and a penchant for crime—she

leads the villainous Black Hole Gang with a

swarthy knave named McCross; and Mogul

the space sorcerer, whose evil deeds are

thwarted by his incompetent assistant Larry.

Some characters worked better than

others and some just didn't work. "1 hate to

say it, but we had many problems with Cap-

tain Kidd," says Mandell of his alien space

pirate creation. "We never could find the

right place for Kidd. Originally, he was

designed as a strong villain and then he turn-

ed into our Harry Mudd. We mostly ended

up using Kidd in comic relief situations."

The Queen of the Crown, meanwhile, is

more like the queen in Disney's Snow White

gone cosmic. "She is certainly one of the

most evil characters in the series," Mandell

agrees. "The Queen has this mammothgalactic empire and things aren't going quite

well for her. She had her forces spread so

thin that if she doesn't act soon, her empire

is going to start crumbling. So, she begins to

experiment with psycho-crystal technology,

which is a great way to take the souls from

species and use their life forces to create

Slaver Lords. The Queen is able to use these

The four unique individuals who comprisethe Galaxy Rangers are (left to right) the

bionic-powered Zachery Foxx, computer"Doc" Walter Hartford, genetic chameleonShane Gooseman and the psionic Niko.

ghost forms as spies. She can see and hear

through them. This way, she can stay right

in her castle and maintain control.

"Her only problem is that she can't find a

life force strong enough to power the Slaver

Lords. Most of the aliens she has tried just

don't work. Suddenly, some humans showup and their spiritual force is so strong that

she finds that she can use one of them to

create a very powerful Slaver Lord that will

last a long time. She becomes obsessed with

hunting humans." The first two episodes of

the Galaxy Rangers series, "Phoenix" and

"New Frontier," recount how Zachary

Foxx lost part of his wife's essence to the

Queen's psychocrypt.

"I tried to create a very strong universe

because I figured up front I was doing 65

episodes," Mandell explains."! didn't want

to do a typical format show where every day

the same thing is happening. I knew it was a

dangerous approach in dealing with young

kids because they like the repetition. I tried

to make the stories as diversified as possible.

For example, many episodes don't have all

four Rangers in them. And that's unheard

of in animation strips." Some episodes

don't feature any Rangers, spotlighting in-

stead, Foxx's children and the Kiwis.

Among Mandell's writing staff is Brian

Daley, who helped embellish the Star Wars

saga through radio adaptations and HanSolo novels, as well as other noted authors.

"The project's story editors, are OwenLocke, head of Del Rey Books, and Chris

Rowley. The three of us mapped out the in-

itial elements of the universe. ThroughOwen, I've met several of the Del Rey

writers. We started bringing in other writers,

including Brian Daley." Novelist Tom DeHaven scripted Goose's bounty-hunting ex-

ploits in "Galaxy Stranger" and "OneMillion Emotions" in which the Rangers

chase after an alien sculpture which assaults

its bearer with a range of feelings; Lucia

Robeson, bestselling author of Ride of Ihe

Wind contributed "Mistwalker," based on

an adventure of the real-life Texas Rangers.

Jimmy Lasino, another Del Rey writer, pen-

ned the no-holds-barred "Birds of a

Feather" that utilized many of the Rangers'

rogues' gallery in pursuit of Bubble Head, a

Memory Bird in possession of the Super-

trooper juice formula.

"In addition to writers who had ex-

perience writing books, I also wanted to get

new writers involved to infuse the stories

with some new ideas and characterizations. I

avoided accomplished cartoon writing peo-

ple as I did the typical actors for cartoons,"

Mandell explains. "I wanted the natural

quality of an actor's voice portraying the

character as opposed to the commercial-

The vilest villain from the Rangers rogues'

gallery is the life force stealing Queen of

the Crown.

68 STARLOG/zlwgws/ 1987

oriented announcerish style that most pro-

ducers feel comfortable with just because

the audience can understand every word

they say." It was this thinking that garnered

Jerry (F/X) Orbach his first animated role,

voicing Zachary Foxx.

Toys Aren't UsThe producer's method of drafting more

writers for the series proved a bit unor-

thodox. "I took ads in the New York

Times, The Village Voice, circulated someflyers and put up some posters in colleges,"

Mandell says. "At the time, it seemed a bad

idea because I was suddenly swamped with

thousands and thousands of submissions.

Of course, how do you choose writers based

on a little sample? It was almost

impossible."

But Mandell and staff were in a race

against time to produce 65 episodes within a

one-year time limit and pushed on. "Owen,Chris and I started weeding through the

stuff," he recalls. "And we did manage to

find a pretty good group. We had to accept

many scripts that were not necessarily as

polished as we would have liked them to be,

but we had the flexibility to modify the

script throughout the whole production

schedule. So, as long as the plot was there, 1

could put the script into the storyboarding

phase, and then modify it again during the

actual recording session." What became ad-

vantageous to the producer was his methodof recording dialogue—the actors perform

the script initially as a guide for the

animators in Tokyo, but the final sound-

track is comprised of the actors "looping"

their lines along with the finished episode.

"It's more expensive and more time con-

suming," admits Mandell, "but you can't

compare the results. It's like apples andoranges. The actors get to see the characters

and the situations they're in. The illusion is

so far heightened, that it is worth the time

and money."

Though Mandell earned the luxuries of

time and money, he still lacked the one thing

that would have made producing GalaxyRangers simpler—a toy deal. "The mostunusual thing about Rangers is that it is the

only daily strip [airing once a day for a five-

day period] to get produced without the ma-jor support of a toy company," he says.

"There are now toys, but the licensing cameafter the show went into production. When1 put the concept together in January 1984,

the idea of strip production was just becom-ing very big.

"The syndication marketplace was just

starting to explode in '84 because of the suc-

cess of He-Man & The Masters of the

Universe. He-Man really set the trend for

producing animation with heavy toy com-pany involvement. Toy companies have

always been involved in Saturday morning

animation, but never to the extent that they

were producing 65 half hours of animation.

It's an extremely expensive endeavor. Theaverage cost per strip has been somewhere

near $15 million, which is a phenomenal

amount of money

—

it's like the budget for a

major motion picture. Most companies that

get involved are really looking for the big

toy hit, because it's the only way a financier

can expect a return."

Mandell admits there are some advan-

tages when a producer has a toy companybacking his project. "Toy companies com-mit a certain amount to advertising and that

whole media support of a product. That

media awareness can make or break a show.

It has hurt Galaxy Rangers to a certain

degree because we went on the air without

any of the media hype that shows like

Thundercats or Brave Starr have gotten."

Eventually, Tom Battista of ITF Enter-

prises, who had Americanized Voltron, put

Mandell in touch with the Gaylord Produc-

tion Company. "The Gaylord people got in-

volved not because there was a toy companybehind it—they hoped to get a toy com-pany—but because they liked the show's

feel. They thought it was going to be an ex-

citing adventure show for kids."

But the producer had more than

youngsters in mind for his demographics. "I

wanted to put enough into the show, so that

it would not only spill over into a teen

market, but that parents could watch andenjoy it with their kids."

With 65 episodes behind him, and his

own NY-based company, Transcom Media,

Inc., formed, Mandell is aiming for another

shootout with the financiers on his current

projects. "Kaduna Memories is an SF detec-

tive story which takes the classic Phillip

Marlowe elements and puts them in a

At the controls of The Adventures of the

Galaxy Rangers is creator/producer RobertMandell.

science-fiction setting," Mandell remarks.

"It's similar to what Blade Runner did, but

it's not as dark or heavy. The lead character

is Felix McTurk, a private eye who is look-

ing to be a super detective, and he falls in a

situation that is out of his control. There will

be an extensive use of computer animation

because in the world of 2180 there is a whole

other universe called Cyberspace. Chris

Rowley and I developed the concept.

"I also own a property called Eridahn

based on a book by Robert F. Young—notthe Marcus Welby actor," he adds.

"Unfortunately, Young passed away andwon't be able to see the book's fruition. It's

a terrific story, kind of a combination of In-

diana Jones and Time Machine. And the

third project, Musikins, is for younger kids.

It's about a young group of musicians

traveling across a fantasy land looking to

discover the 'lost sounds.'"

At this point, Mandell is only waiting for

the time to be right to produce his dreamproject, Larry Niven's Ringworld. "In order

to be done right, Ringworld would have to

use a major motion picture with a combina-

tion of puppetry, eel animation, computeranimation, live action—a full range of ef-

fects."

The producer sees the upcoming WhoFramed Roger Rabbit?, the Steven

Spielberg- Robert Zemeckis project which

combines live action and animatedcharacters as a positive sign. "This is where

filmmaking is going to be headed," Robert

Mandell says. "There is no reason why a

really solid action-adventure film cannot be

done in animation. Anything can be done in

animation if done well. If the elements that

go into making the product are competently

done, and the illusion is created and held

through 90 minutes, there is no reason an

animated adventure film can't work."

McCross is the leader of the Black Hole Gang, terrorists of small frontier worlds.

STARLOGA4wgus/ 1987 69

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Henriksen(continuedfrom page 54)

who take the weakest of the herd. Many ofthe people we take were asking for it—beg-

ging in fact. The family performs whatmight be considered a service, but not for

mankind," he comments wryly. "More of a

cosmic service."

In order to keep recognition at bay andbecome the character, Henriksen usually

changes his hair color for each role. Nochange has been as dramatic, however, as

the one he endured to portray Hooker. "Myhair was almost white and I wore it in apigtail down my back," he says. "I hadfingernails that were about an inch-and-a-

half long, and when I walked the streets this

way, people would step back and get out ofthe way. It was a great look, though. Jesse

was a classic."

To help get into character before filming,

Henriksen rented a car and drove to the

location in Arizona, picking up hitchhikers

along the way. "I stayed in character andwould say things like, 'Roll me a cigarette,'

and give him a tobacco pouch. The guywould roll one with great difficulty, and I

would say, 'You call that a cigarette?' andthen throw it out the window. Or, I wouldtell him to turn the radio on, then say,

'What kind of stupid music is that—turn it

off.'

"I wanted to see how much you can subt-

ly say to somebody before they start getting

scared." He sighs, "You know, after three

hours, this huge guy, who could probably

have crushed my head, was begging to get

out of the car. I felt so guilty for what I haddone that I gave him 30 bucks, all the moneyI had in my pocket."

Henriksen realizes, in retrospect, that

tormenting a hitcher might not have been a

really good idea. "When I think back on it,

I get a cold sweat," he confesses, "but,

then, we all got into the film in a very

organic way."

An accomplished screenwriter, Henriksencurrently has two scripts in which he plans

to star: Tracer Pierce, an SF-based ac-

tion/adventure story, and Rocket Man,which he wrote four years ago and is as

"passionate" about today as when he first

wrote it. Showing zest for the project, he

says, "If there's a film where I really want to

kick ass, Rocket Man is it. It's a reaction to

my disappointment with what didn 7 happenin The Right Stuff."

Henriksen characterizes Rocket Man as

soft science fiction with the focus oncharacterization, rather than hardware.

"There's this phenomenon of people whopostpone their lives, their dreams. RocketMan is about such a man who is finally

pushed into completing something, and as a

result, emerges as a healthy human being."

Leery of self-praise, Lance Henriksen ad-

mits, "If I was ever asked if there is onething I would love to have done, RocketMan is it. With this one, I'll really be able to

prove whether I should do this work, or be

out of it—either one." •&

Videolog(continuedfrom page 36)

Award winner Will Vinton have been

gathered in a single videocassette, The Little

Prince and Friends ($19.95). This 90-minute

program includes "The Little Prince"

(1979), "Rip Van Winkle" (1979) and"Martin the Cobbler" (1976)—all producedusing Vinton's extraordinary dimensional

animation technique.

"The Little Prince" re-creates Antoine deSaint Exupery's famous modern fairy tale

with narration by Cliff Robertson. "RipVan Winkle," narrated by Will Geer, receiv-

ed a 1979 Academy Award nomination for

Best Animated Short Subject. A special

highlight is Vinton's stunning dream se-

quence with Rip tumbling through the sky,

encountering a series of objects-come-to-life

who impart their special wisdom to him.

"Martin the Cobbler" is based on one of

Leo Tolstoy's best known stories, "WhereLove Is, God Is," retold by narrator Alex-

andra Tolstoy, the author's 94-year-old

daughter.

Walt Disney Cartoon Classics is a collec-

tion of Disney animated shorts, which havenever been released on video. Each volumeis priced at $14.95 and contains three shorts.

Here's Mickey (27 minutes) includes:

"Mickey's Garden" (1935), "OrphansBenefit" (1941) and "Mickey's Birthday

Party" (1941). Here's Donald (22 minutes)

includes: "Wide Open Spaces" (1947),

"Crazy with the Heat" (1947) and"Donald's Ostrich" (1937). Here's Pluto

(23 minutes): "Mail Dog" (1947), "Pantry

Pirate" (1941) and "Springtime for Pluto"

(1944). Here's Goofy (22 minutes): "ForWhom the Bulls Toil" (1953), "LionDown" (1950) and "Knight for a Day"(1945). Silly Symphonies! (25 minutes):

"Water Babies" (1935), "Toby Tortoise

Returns" (1936) and "Three Little Wolves"(1936).

Three stories from Rudyard Kipling's TheJungle Book feature animation by ChuckJones. "Mowgli's Brothers" and "TheWhite Seal," both narrated by RoddyMcDowall and "Rikki-Tikki-Tavi," nar-

rated by Orson Welles, have been released

on three separate videocassettes by FamilyHome Entertainment. Each title runs about30 minutes; $11.95 each.

This month's popcorn bomb, They CameFrom Beyond Space (1967), stars RobertHutton, Jennifer Jayne (remember her in

The Crawling EyeT), Zia Mohyeddin, Ber-

nard Kay and Michael Gough in a zinger

about aliens who take over people's bodies,

intent on manipulating their brains to save

their own planet. Hutton is protected by a

silver plate in his skull, so it's up to him to

save the world. The copy on the box pro-

mises: "They turn women into robots,

enslave men and make cities into places ofterror!" Directed by Freddie Francis from ascreenplay by Milton Subotsky. It's $59.95

(talk about brain manipulation) from Em-bassy Home Entertainment in Hi-Fi mono.

—David Hutchison

STAKhOG/August 1987 71

comm(continued from page 7)

making up their own minds, and that is what

scares those who would censor. They are afraid

that those persons they try to "shield" from views

opposed to their own personal ones will, if expos-

ed to other viewpoints, choose to believe

something other than the "approved" interpreta-

tion. Such people do not wish their children to

learn to use their imaginations because the

children might ask (or think), "What if. ..?"

For the record, I am a devout Christian whosees no conflict whatsoever between the Biblical

account of creation (the religious narrative) and

the scientific evidence of the actual creative pro-

cess. Whenever ai. one tries to argue this issue

with me, I simply tell them, "The Bible tells us

why God created the world, the scientists tell us

how He did it."

Linda Anne Watson

Sparta, TN

... 1 actually do agree with most of Kerry

O'Quinn's From the Bridge (STARLOG #113)

but his next to last paragraph really does make mewonder what O'Quinn knows about Christianity

and America. America, if one looks at its history,

was founded as a Christian nation. Consider our

Pledge of Allegiance: "...one nation, under

God, indivisible. .

.

". Consider also the fact that

the Pilgrims and Puritans came to this land to

worship their God as they chose. Perhaps a better

way for O'Quinn to have written that paragraph

would have been: ". . .There is a fundamentalist,

right-wing Christian movement alive in this coun-

try ... ." There is quite a large difference between

most Christians I know and the right-wing fun-

damentalists represented by Vicki Frost. I am a

Christian; I consider myself a conservative, but 1

know many who would consider me a left-wing

liberal compared to fundamentalist Christians.

However, 1 deplore censorship. I dislike anyone

telling how I can think and feel and what to read

or watch on television.

1 am not someone who wants to control what

other people and their children can read and

learn, whether in or out of school, i am not a per-

son who tries to control how and what other peo-

ple worship. I may agree in principle with what

Frost is trying to do, with the goal she has—to

teach her children the values she has lived by and

which have been a source of comfort to her—but

I cannot condone her actions.

Nor can I agree with Kerry O'Quinn when he

lumps all Christians together and compares them

to Nazis. That idea is abhorrent to me, and I'm

sure I'm not alone! Most "movements" don't last

20 years, let alone 2,000, and the millions who call

themselves Christians don't feel they are crazy to

cling to a belief that brings them comfort and

hope. That's really what Christianity is all about,

after all. And when you think about it, hope is

what science fiction is about, too. There's not

such a vast difference as O'Quinn seems to think.

Just a little something to think about, I hope.

Paula J. Mulvey

Richland, WA

For the record, the phrase "... under God. . .

"

was only added to the Pledge relatively

recently—after World War II.

. . . Frost's intent is not to ban any books

or to prevent other children from reading them,

but only to exercise her parental right in guiding

the educational and spiritual development of her

child. She is in court only to secure her right to

have alternate reading material available for the

child.

Therese M. Podolske

Los Angeles, CA

. . . Doubtless, Vicki Frost lives her life surround-

ed by the products of human imagination. People

who dared to conceive of previously unimagined

wonders have shaped her life. Such wonders in-

clude cars, telephones, immunizations against

disease, all our modern "conveniences," but most

notably the greatest idea conceived byhumanity—that each person is an individual whohas the right to believe as he or she will. Frost

blindly overlooks the most obvious. She only can

appear in court to espouse her ideas because peo-

ple with imagination cleared the path for her.

Julianne Tanski

Chula Vista, CA

. . . Does Frost believe that God Himself has no

imagination? If so, where did the world and all its

infinite diversity of creatures come from? In

whose image (//pagination) were we made?

I feel pity that Frost and those who think as she

does have limited themselves so harshly. Even

more do I feel for their children, who apparently

have no choice in the matter and will not be allow-

ed friends such as Jim Kirk, Bilbo Baggins or Eli-

jah Baley. 1 shudder to think of what I would be

had my own good parents limited my freedom of

imagination so.

Marsha D. Bell

Odessa, TX

TO REVIVE COLOSSUS... I was delighted that you ran an article on Col-

ossus: The Forbin Project (STARLOG #113), a

movie I've long held to be a little-known master-

piece of science fiction. If this gem still isn't

available on tape, are any companies planning its

release? What can / do' to help get it released? I

hope others who have seen the film and feel

likewise would respond, too—this film deserves

recognition!!

Thomas Crain

Wayne, NJ

"CAGE" COMMENTS. . .To my mind, "The Cage"—the first pilot of

the Star Trek TV show, which I've seen recently

on videocassette—has such a high level of artistic

excellence that this single episode should be rated

along the ranks of celluloid science-fiction classics

such as Forbidden Planet and Metropolis. So,

why not make the new Star Trek TV series take

place immediately after the events of "TheCage"?

This new show, first of all, would not run the

risk of having the major characters hated by

(most of) the audience. Captain Pike and Mr.

Spock are such well-established characters in Star

Trek that the audience wouldn't think that this

show would be anything else but Star Trek. Theprospect of casting new people for the two

characters (as well as Number One, Yeoman Colt

and Joe Tyler) is very intriguing. In fact, it would

be such a waste to let such wonderful characters

(aside, of course, from Spock) exist for only one

episode. Wouldn't it be interesting to find out

how Pike's and Yeoman Colt's relationship

would have developed? Or the friendship between

Pike and Spock? It would also be fascinating to

learn how a 1980s female audience would react to

Number One—and of course, should Paramountever decide to go along with this suggestion, Star

Trek fans would decide for themselves once and

for all, who would be the better captain of the

Enterprise—Christopher Pike or James T. Kirk.

Jose Zulueta

Jersey City, NJ

... I enjoyed "The Cage" with a different Enter-

prise and crew. The early style made you feel like

you were right there, whipping through space. It's

the best trek of all. I really enjoyed Jeffrey

Hunter's Captain Pike more than James Kirk.

Much of Kirk's style is hard to swallow. Hunter

would have been a better captain for the Enter-

prise than Kirk. It's too bad Hunter didn't makeit into the series.

And the quality of "The Cage" was mind-

blowing. From black and white to color, to see

"The Cage" was, to coin a phrase, fascinating!

Brian Hunter

Orlando, FL

WHERE ARE LINDA & LANA?. . .Cannon's decision to leave Supergirl out of

future Superman movies is poor indeed.

Why? First, Helen Slater is a delight to watch

and a powerful young leading lady.

Second, it would seem the series is abandoning

continuity. OK, Supergirl's back on Argo City,

Jimmy Olsen and Lucy Lane have promised never

to mention her existence. But in her disguise as

Linda Lee, Supergirl said she was Clark Kent's

cousin. So, Clark/Superman is bound to hear

about Linda Lee.

Superman IV should have either included

Supergirl or shown us a very confused Clark. But

of course, it won't do either.

This mess can only be cleared up by a confir-

mation that somehow. Superman IV occurs

before Supergirl. I don't know how they'll explain

Lana Lang's disappearance though. She only just

started working for the Daily Planet in Superman

IIP. The flu? Death? Or worse, "Lana Who?"Alan Steel

Camberwell, LondonEngland

BETTER COLORIZEDTHAN RED?

... 1 have a suggestion that could make Para-

mount Pictures some money. By using the new

computer recoloring system, they should change

the gaudy red uniforms in Star Trek II and /// to a

more neutral color and then sell them on cassette

to fans like myself who believe the gaudy red col-

or is a distraction and an embarrassment.

R. Wilson

Willagee, W. Australia

72 STARLOGA4w£//.s7 1987

YOUR PERSONALPASS TO

A Averse of womderM1^ i • m

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TEEN SF HEROES: D.A.R.Y.L.,Hi^0m ^m ^ M EXPLORERS & THE GOONIESHM

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LINERNOTES

We're breaking out the rice, dishing up the canapes anduncorking the champagne here at the STARLOGoffices. We're celebrating yet again.

OK, I admit it. We seem to do that frequently around here,

what with anniversaries, special salutes and the like. The cater-

ing bill is getting enormous and I'm growing tired of those itty-

bitty crackers with Cheez Wiz spritzed all over 'em, but wereally do have fine reasons to celebrate.

First off, our special congrats to longtime correspondent

Mike Clark and his wife Jody. They're the proud parents of a

brand-new daughter, Carrie Leigh Clark, their first child, born

not so long ago, on April 15.

You haven't seen Mike's byline in the magazine lately, not

since his much-praised interview with Guy Williams in issue

#114. Like many freelancers, Mike has another job—he serves

as Director of Video Operations at Columbia Pictures Televi-

sion—which limits the number of articles he has time to write.

That hasn't stopped him. Look for Mike's long-overdue update

chat—just completed and skedded for STARLOG #124—withthe man behind Space: 1999, Gerry Anderson.

Coincidentally, that same April 15, ABC aired an episode of

its low-rated but well-produced Spenser: For Hire in the usual

Dynasty time slot. The segment, "If You Knew Sammy," was[he first TV script sold by two other longtime STARLOGcontributors, West Coast Correspondent Lee Goldberg and his

collaborator Bill Rabkin. Previously, the pair scripted .357

Vigilante, a so-far-unproduced action film for New WorldPictures (based on the paperback series written by Lee as "Ian

Ludlow" for the since-defunct Pinnacle Books). Anyhow, in

this segment, Spenser (Robert Urich) and his sidekick Hawk(Avery Brooks) find themselves trying to save the life of

Sammy Backlin {Soap's Sal Viscuso), urban vigilante-turned-

obnoxious bestselling author. They get some help from his

publicist, Randy Lofficier (an "in-joke" name, portrayed byBig Trouble in Little China's Kate Burton).

Bill and Lee have sold a second Spenser script, complete

with a few other "in-jokes," which will turn up this fall //

ABC renews Spenser (no decision at presstime). Meanwhile,

they're writing Blade for New World, a prospective movie

adventure featuring the heroic vampire hunter created by MarvWolfman and Gene Colan for Marvel Comics' Tomb ofDracula.

That's why you've been seeing fewer stories by both Lee andBill in STARLOG. The same thing applies to a number of

other contributors: Like Randy & Jean-Marc Lofficier—they've

been working in comics (Renegade's French Ice and the

Moebius collections from Epic) as well as scripting episodes ofvarious animated TV series (Duck Tales, Real Ghostbusters,

Bionic Six). There are also fewer pieces from Brian Lowry,now with The Hollywood Reporter. . . from Senior Correspon-

dent Steve Swires, who's reviewing films for the very sameHollywood Reporter. . . from Bob Greenberger, whose con-

troversial assessment of Star Trek novels (#112) drew lotsa mail

and prompted Bob to try his own hand at a Trek novel, nowunderway for Pocket Books. They're all real busy.

Let me also note the addition to our regular correspondents

of the ever-reliable Marc Shapiro (one of the quickest-on-a-

-1 »

Meet two for terror retrospective specialist Tom Weaver (left,

with Forrest J Ackerman's Famous Monster of Filmland) andItalian Western scholar Tim Ferrante. They're both on handregularly in the pages of FANGORIA.

deadline writers I've encountered) and Jean Airey & Laurie

Haldeman (the co-authors of Travel Without the TARDIS,who know more about Blake's 7 and Doctor Who than any

human should). We've also had stellar contributions fromFANGORIA retrospective specialist Tom Weaver (who, to

paraphrase Joe Dante, has forgotten more about SF films than

most of us will ever know) and noted genre historian Bill

Warren (who knows everything Tom ever theoretically forgot).

You'll be seeing more articles from all five.

Sound like enough to celebrate? Well, it isn't. I've saved a

quartet of events for the finale as we gather the rice and pour

the champagne. Why? Weddings, of course.

August 1 is the matrimonial date for Eileen McCabe and

Edward Gross. He's the Director of Field Promotions for NY'sUnited Artists Theaters and a STARLOG correspondent. She's

a special education teacher on Long Island.

One week later, in West Virginia, it's the big day (August 8)

for John Sayers and Betsy Orndoff. She's a high school homeeconomics teacher in Virginia. He's the Managing Editor ofThe Videodisc Monitor, a trade industry bible, as well as co-

author of the STARLOG SF TRIVIA BOOK and a

STARLOG contributor.

Then, in a theater near you, on August 22, amid the pop-

corn and jujubees, it's wedding bells for Susan Avallone and

Carr D'Angelo (Yes, they are getting married in a New YorkCity movie theater! Really! Honest!) She's the Managing Editor

of the trade publication Library Journal (and the daughter of

mystery/SF/novelization author Michael Avallone). He's the

Managing Editor of STARLOG (but you knew that). How will

they ever get along? They'll manage.

And then, on Halloween, it's time for a trip down the aisle

by Eddie Berganza and Cheryl Warren. He's a longtime

STARLOG Contributing Editor and aspiring filmmaker. She's

a counselor with Planned Parenthood and a frequent

STARLOG interview/research assistant.

So, join me now in offering a bit of the bubbly—our

congratulations, our greetings, our thanks—to all these writers,

editors and teachers, to all these friends.

Bring out the Cheez Whiz.

—David McDonnell/Editor (May 1987)

Next Issue: Martin Short heads into the debriefing room to reveal a few of the outer secrets regarding thatfantastic voyage his pal Dennis Quaid took to the anatomical reaches of Innerspace.And director Paul Verhoeven unwinds with a few tales of his adventures in futuristic law enforcement, backing

up that half-man, half-machine, RoboCop, in the never-ending war against crime.Plus, more on Bond, James Bond 1

. . . David Gerrold's latest view of Star Trek: The Next Generation. . .classifiedads.

. .reader letters.. .and even indicia! It's all part of the surprise we're calling STARLOG #122 on sale

Tuesday, August 4, 1987.

74 STARLOGA4 ugust 1987

MAGAZINESSSBftSK-srf'

.""stbiooo.

b¥il

FUUCrjUW

^

rsSfsS

L

SpecialComboPackage48 pages of stories plus

8 giant posters! STAR TREK IV: THE

VOYAGE HOME SPECIAL , ALIENS BOOK , ROCKY IV BOOK

THE OPFICIA«. MOVIE BOC

***»"*»•?,

LL' f l {

Official Movie Magazines are packed with

interviews, articles, behind the scenes information anddozens of color photos! 64 pages!

MOVIE BLOCKBUSTERSr-^ .

1 '^-" ^-.

Official Poster Books unfold to make a giant 22" x 33" poster in

full cobr. On the flip side are articles, biographies and additional

color photos.

Official Poster Magazines contain 10 foldout posters eachmeasuring 16" x 22" plus complete stories of the films, biographies of

the stars and rare Dhotos!

Send cash, check, or moneyorder.

STARLOG PRESS475 Park Avenue SouthNew York, NY 10016

If you do not want to cut out me coupon, we w* accept written order*.

OFFICIAL MOVIE MAGAZINES

STAR TRB< IV: THE VOYAGEHOME $3.95

C STAR TREK IV: THE VOYAGEHOME SPECIAL $5.95

ALIENS $3.95

C ALIENS BOOK $5.95

ROCKY IV $3.95

ROCKY IV BOOK $4.95

A VIEW TO A KILL $3.95

EXPLORERS $3.95

STAR TREK III: THE SEARCH FORSPOCK$3.50STAR TREK II: THE WRATH OFKHAN $3.50OCTOPUSSY $3.50

ROCKY III $3.00BEST OF SYLVESTER STALLONE

HIGH ROAD TO CHINA $3.50STAYING ALIVE $3.002010$3.00ANNIE $2.95

OFFICIAL POSTER MAGAZINES

OVER THE TOP S3.50r STAR TREK III: THE SEARCH FOR

SPOCK$3.00CONAN THE DESTROYER $3.00SUPERMAN III $3.00STAR TREK IV: THE VOYAGEHOME $3.50

D ROCKY IV $3.50

D RAMBO$3.50

Name: _

Address:

City:

OFFICIAL POSTER BOOKSROCKY II $1.50

CHIGH ROAD TO CHINA $1.95

SF SUPERHEROES $1.50TV SUPERHEROES AND SPACEFANTASY $1.50

JOANIE LOVES CHACHI $1.95

FAME $1.95

ANNIE $1.75

State: Zip:

Please add postage and handling charge for each publication ordered.

Movie or Poster Magazine- $1.50 ; Poster Book-$l.OOAllow 6 to S weeki (or delivery

EVERYTHING YOU NEED TO START A GALACTIC WAR

Miniatures come unassembled and unpainted.

Take command of a Klingon battlecruiser, Romulan warbird, or Gorn raider and pit yourself against the mightywarships of Star Fleet with this exciting new game from FASA. The STAR TREK Starship Tactical Combat Game is actually

two games in one. First, it's a boardgame titled "Star Fleet Command And Staff College; Starship Tactics", and second,

it's a roleplaying game titled "Command And Control". Starship movement, weapons, shields, and damage repair are

presented in a three-part, learn-as-you-go format so that players are not bogged down with lengthy, complex rules systems.

Each game includes all the rules, charts, dice, and playing pieces (over 300 counters) needed to play. Don't wait.

Start a galactic war today with STAR TREK Starship Tactical Combat Game. (2003)

To add to the excitement and adventure, FASA also produces 1/3900 scale metal starship miniatures (Enterprise is

approximately 3" long) for use with the starship combat game or as collectibles. These finely detailed miniatures (someare pictured above) add another dimension to your gaming sesions and increase the "fun-factor" to levels "where noman has gone before". If you're going to start a galactic war, why not go all the way and include some of the FASA Star

Trek Starship Miniatures, winners of both the 1985 and 1986 H.G. Wells Awards for best miniatures.

STAR TREK IV SOURCEBOOKThe Star Trek IV Sourcebook contains detailed informa-

tion on the "Politics of Genesis Project", "State of the Fed-

eration", "Uniform Code of Military Justice", the manyaliens shown in the movie, prototype ships, articles on thesovereignty of member states, a review of security proce-

dures, a timeline of STAR TREK history, and where FASAproducts fit in. The real highlight of this book is the 1 6-pagecolor section depicting alien members of the United Feder-

ation of Planets and giving brief descriptions of their origins.

The Star Trek IV Sourcebook is a must for the serious

fan/gamer who wants to keep up with the ever-changinguniverse of Star Trek. (2224)

Send check or money order to:

STARLOG PRESS475 Park Avenue SouthNew York, NY 10016Star Trek is a registered trademark of Paramount Pictures CorporationCopyright c 1986 Paramount Pictures CorporationAll Rights Reserved.

(Please Print)

Address

City, State. Zip

Stk# Title

2003 Star Trek Starship Combat Simulator Game2224 Star Trek IV Sourcebook2501 USS Enterprise (New)2502 USS Reliant (Cruiser)

2503 KhrgonD-7 (Battlecruiser)2504 Romulan Bird of Prey (Cruiser)

2505 USS Enterprise (Old!

2506 Regula I Space Laboratory251 5 Romulan Winged Defender (Cruiser)

251 7 USS Excelsior (Battleship. ST III)

2518 Klingon L-42 Bird of Prey (Frigate. ST III)

2519 USS Gnssom (Research Vessel. ST III)

2523 Kobayashi Maru (Freighter)

2524 Romulan Gallant Wing (Cruiser)

2526 USS Baker (Destroyer)2527 Romulan Nova [Battleship)

2528 Romulan Bright One (Destroyer)2529 Klingon L-24lBattleship)

VISA MASTERCARD DISCOVER

Price

$20.0012.004.504 504504.504.504.504.50

9004504.504.504.504.509.004.509.00

SubtotalShipping & Handling

Total

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