T R • Teiep^fhSFs SPIDERWICK CHRON ICLES 10,000 BC \^"s *l? nmil hnvn I CTADI flt2 Mrutin AJltnir- rtvnc-mitr- a nnn 40C/1 *k ' ~ A. new hero! STARLOG Movie Magic presents april #364 John Connor

www.starlog.com f It's the end for Y: The Last Man on Earth. Brian K. Vaughan records the final days (see page 24).

INSIDE THIS ISSUE 56 HIS OF BABEL 13 JOHNNY DEPP SINGS Author weaves stories The actor has a manner most odd as of "hard " he recalls being Sweeney Todd 60 HUNTS AGAIN 16 "ROGER DEAR! TEA TIME!" Comics' fabled dinosaur hunter returns Lisa Davis savors 101 Dalmatians as well as in animated direct-to-DVD glory Queen of Outer Space 64 10.000 YEARS B.C. 24 LAST MAN ON EARTH & COMPANY Roland Emmerich goes back to the Stone Age While he ends his acclaimed comic, for a mammoth epic Brian K. Vaughan monkeys around 68 THE NEW JOHN CONNOR 28 ECHOES OF JERICHO Heroes' Thomas Dekker faces a tomorrow of Here's how fans saved the show & Terminators what the second season promises 72 WHO'S EFFECTS? 32 JUMPER'S STORY The TV show's visuals were doctored up by the Steven Could penned the novel exploits fine folks at the Mill 36 THE BIG LEAP 76 PREDATOR + ALIEN = PREDALIEN Screenwriter Simon Kinberg explains how The ADI guys imagine the very latest in Jumper bounced to cinemas extraterrestrial nightmares 41 OF ORIGINS IN IRON 80 SHE WIELDS THE GOLDEN COMPASS in 1963, walked into comics history Young Dakota Blue Richards emerges as a smart, new heroine 46 IRON MAN LIVES! And now the Golden Avenger flies 84 THEIR DARK MATERIALS onto the silver screen Nicole Kidman & Eva Green remember 52 DIRECTING SPIDERWICK 87 ASRIEL, LORD ASRIEL Mark Waters chronicles its fairy-tale odyssey Daniel Craig is also renewing his license to a theater near you to thrill as FRIES OF THE SILVER SURFER

"HOW WEIRD IS THAT?"

v THE FOUR-TOED LOST 'SOTUE MVSTERV IS SOLVED. 4 S\tX.m/April 2008 President THOMAS DeFEO

Publisher WIN A MARTIAN CHILD! NORMAN JACOBS We've actually met "The Martian Assistant Publisher Child"—David Gerrold's real, adopt- RITA EISENSTEIN ed son (who inspired the award-winning lOGunes tale). Gerrold brought him along on a visit to Executive Art Director W.R. MOHALLEY the STARLOG offices some years ago. He didn't seem alien _ Editor DAVID MCDONNELL QUOTE OF THE MONTH to us, but then "If I had known how much you talk, I'd we work in sci- Art Director never come out of my coma." ence fiction. The MARTIAN HEINER FEIL i —Sir Wilfrid Robarts (Charles story, of course, CHILD Managing Editor Laughton), Witness for the Prosecution became the basis ALLAN DART of the recent

Contributing Editors SAD EVENT movie starring ANTHONY TIMPONE OF THE MONTH John Cusack as MICHAEL GINCOLD TOM WEAVER A freak fire in December burned down the Gerrold's alter- IAN SPELLING Illinois warehouse where all STAR- ego. Now that JOE NAZZARO LOG, FANGORIA, STAR TREK, movie Martian Child is WILL MURRAY tie-in and other magazines were stored, thus on DVD (New STARLOC GROUP, destroying 95 percent of our archived back Line Home En- A CREATIVE CROUP Company issues (thousands of copies). Fortunately, tertainment, JOSEPH V. AVALLONE, CEO none of the warehouse's 20 employees were $28.99, out Feb- Executive Assistants: Dee Erwine, Lizzie hurt. But this means no more back issues ruary 12), what Benbow, Meghan D'Anton. Win a free Martian will be available directly from us until we better film for Technical Support: Steve Vallianos, Jesse Child DVD (actual child Thornton. inventory the scattered copies (mere hun- STARLOG to not included). Correspondents: (LA) Pat Jankiewicz, Bob dreds) housed in an office storeroom. And, give away? Free\ Miller, Marc Shapiro, Bill warren, Dan Yakir; (NYC) Dan Dickholtz, Keith oiexa; () of course, this means the issues that you To five of you. Here's how to enter: Print Kim Howard Johnson; (Phoenix) Bill Flo- readers already own are now rarer—and your name and address on a postcard legibly. rence; (D.c.) Rhonda Krafchin; (Canada) Mark Phillips; (Booklog) Penny Kenny, Jean- more valuable. Postcards only please. One entry per house- Marc & Randy Lofficier, ; hold. Multiple entries will be disqualified. (Toons) Alain "bortQ." Chaperon, Mike Fish- STUPID DECISIONS Mail to STARLOG, Creative Group, 1560 er, Tom Holtkamp, Bob Muleady; (Photos) Donn Nottage, Lisa Orris. OF THE MONTH Broadway, 9th Floor, Suite 900, NY, NY Thanks to: Evan Baily, Laura Bantit, Carol a triple play of utter abandonment. NBC 10036. All entries must be received in our Barbee, Tawna Boucher, Michael Broidy, Tra- It's 8.E Mi Callahan, Will Cohen, Gene Colan, Lisa rules Journeyman out by not actually can- offices by March 7. A random drawing will Davis, Thomas Dekker, Johnny Depp, Steve celling it but letting its option for more be held shortly thereafter and DVD prizes Ditko, Robert Downey Jr., soni Ede, Roland Emmerich, Jon Favreau, Kevin Feige, Alec episodes expire. And then USA Network sent out. Employees (and their family mem- Cillis, , Steven Gould, Eva strikes out The Dead Zone and The 4400 by bers) of STARLOG, the Creative Group, Green, Howard Green, Allegra Haddigan, airing their last episodes in Don Heck, Dave Houghton, Terrence September 2007 Howard, David Hyde, Nicole Kidman, Lana but not revealing that crucial fact to anyone Kim, Simon Kinberg, , Henry until December. Not quite cricket, that! Kujawa, Bob Layton, Stan Lee, , Dot Lin, Donna Lucas, Susanna Martin, Claire MCNulty, David Michelinie, Matt Moring, FIVE OF OUR HEROES MEW RELEASE Andrew Neskoromny, Paul S. Newman, Tah- include Jane Goodall, woman moh Penikett, Dakota Blue Richards, C. They Robert Rotter, Laura Salvato, Conor Sellers, among the apes. Michael Swanwick, Brian K. Vaughan, Jeff Terry Pratchett, fantasy's premier Walker, Mark Waters, Karl Williams, Jen WIs- nowski, Tom woodruff Jr. humorist, now facing an uncertain future Cover Images: Iron Man: Zade Rosen- with courage. thal/©2007 mvlffllc. All Rights Reserved. Trademark & ©2007 Marvel. All Rights Stan Lee, the Marvel Man. Excelsior, Reserved. Photo: Courtesy Paramount Pic- true believers. tures; Jumper: Trademark & ©2008 20th Century Fox & Regency Entertainment Michael Crichton, the writer with his (USA), inc. All Rights Reserved; Terminator: eye on tomorrow. Jill Greenberg/©2007 Fox Broadcasting Company. David Gerrold, our former columnist For Advertising information: who raised . (212) 342-8122; FAX (646) 723-2273 Ad Director: Rita Eisenstein iiSji BENE: Lt ft BDHXS SCIENCE DF PUP CULTURE SERIES west Coast Ads: Robyn Faust, 2111 255th Street, Lomita, CA 90717 (424) 558-1523 Cel (310) 710-8146 FAX (310) 373-8760 international Licensing Rep: Robert J. ^SCIENCE" Abramson & Associates, Inc., 720 Post Road, Scarsdale, NY 10583 MICHAEL CRICHTON MeuroGenesis BOOK OF NOTE npted murder by time dila sly evolving spacecraft OS Ben Bella Books has yet another intriguing with an ominous avian sp volume of interest: The Science of Michael Crichton: An Unauthorized Exploration Into the velation of old secrets... Real Science Behind the Fictional Worlds of A fatally mismatched crew... Michael Crichton (tpb, $17.95), edited by Kevin R. doom a desperate mission to save the hon

Grazier. Out next month, it includes various essays examining Crichton's works from The Melen Collins Andromeda Strain and The Terminal Man to An Unauthorized Exploration into the Real Science Sphere, Congo, Jurassic Park and beyond. Behind the Fictional Worlds of Michael Crichton Available through: www.HelenCollins.net or Edited by Kevin Brazier, PhD www.SpeculativeFictionReview.com www.starlog.com — —

New Line Cinema and associated companies Fighter, Tom Corbett: IF ONLY WE MADE 'EM OEt'T. are ineligible. Void where prohibited by law. Space Cadet and his co- Decisions of the judges are final. Good luck! creation The Jungle %fismtWMOG wwsmm fa Twins). rm& ter iv/i iim ktor THE LAST FAREWELLS Peter Haining (No- m The universe sadly salutes vember) He edited num- THE SPIKED POLITICAL SPEECHES! these fantastic talents who died recently. erous genre fiction an- George Sewell (April 2007, STARLOG thologies while also just learned of his death) The co-star of UFO writing a library's worth (as Colonel Alec Freeman). He was also in of reference books on Gerry Anderson's Journey to the Far Side of such subjects as Doctor the Sun and Doctor Who ("Remembrance of Who, , the Daleks"). James Bond, Franken- Arch Whiting (May) Sparks on TV's stein and . Voyage to the Bottom of the Sea. He Jeanne Bates (No- appeared on Star Trek ("The Alternative Fac- vember) The serial he- tor"), , , Land of the Giants roine who fought (as ("Terror-Go-Round") and the TV movies Diana Palmer) alongside The Stranger (1973) and Death in Space. The Phantom (1943). Aida Young (August) The British movie She was also in The Re- producer whose Hammer Films projects turn of the Vampire, the included Dracula Has Risenfrom the Grave, TV movie The Stranger Taste the Blood of Dracula, The Scars of (1973) and, yes, Eraser- Dracula, She, The Vengeance of She, One head. On TV, she was Million Years B.C., Prehistoric Women and seen in The Lone Ran- When Dinosaurs Ruled the Earth. For ger, The Twilight Zone British TV, she worked on Invisible Man and ("It's a Good Life"), One later produced Secret Agent, The Thief of Step Beyond and Won- Baghdad (1978) and The Secret Life of Ian der Woman. (COMICS Fleming. SCENE #44) Robert Sabaroff (September) The TV George MacDonald writer who scripted episodes of Star Trek Fraser (January 2008) ("The Immunity Syndrome"), Star Trek: The The simply brilliant storyteller who wrote Army, due out this summer. Next Generation ("Home Soil," "Conspira- the 12-volume saga, the delightful Will Murray, C.J. Henderson and cy"), Tarzan, The Invaders, , Flip- memoirs of a British "heroic" rascal who Richard Dean Starr are among the contribu- per and others. (STARLOG #203) managed to survive the Charge of the Light tors to The Phantom Chronicles (Moonstone Peter Moffatt (October) The British TV Brigade, America's Civil War, Khartoum Press, tpb, $15.95), which features all-new director who helmed several pivotal Doctor and Custer's Last Stand while meeting vari- short story exploits of the comic strip jun- Who sagas (including "The Two Doctors" ous historical personages. Other books gle's famed "Ghost Who Walks." In March, and "The Five Doctors" multi-Time Lord include Mr. American, The Pyrates and The Moonstone unleashes 77ie Avenger Chroni- team-ups). History of the World. He also cles (tpb, $17.95), a similar volume devoted (November) The artist who scripted movies Royal (adapting his to the pulp magazine crimefighter (not the co-created Aquaman. Later, he drew the Jun- own Flashman novel), , Red Marvel superhero team or John Steed & gle Jim and newspaper strips Sonja, The Three Musketeers (1973), The Emma Peel). It too will include Murray, and various comic books for Dell and Four Musketeers and The Return of the Mus- Greenberger, Henderson and Starr yarns Key (, Tarzan, Magnus, Robot keteers. plus a new tale by Ron Goulart (who wrote 12 Avenger paperbacks in the mid-70s). For BY OUR CONTRIBUTORS more info, see the website (www.moon- SUBSCRIBER SERVICES we ever list all of our legion of con- stonebooks.com) Missing copies? Moving? Renewals? Can tributors' countless works? Probably not, In his role as pulp historian, Murray pro- Receiving duplicates? Subscription questions? but we keep trying. Bob Greenberger has vides an introduction to Ka-Zar: The Com- Write to: STARLOG teamed with Michael Jan Friedman to pen an plete Pulp Magazine Adventures by Bob all-new novel hunter carnage, (Altus Press, tpb, puts Subscriber Services, RO. Box 430 of alien Byrd $24.99) which Mt. Morris, IL 61054-0430 Predator: Flesh and Blood (Dark Horse, pb, the three 1936-7 magazine novels included Inquiries to editorial offices only delay matters. $6.99). Right now, Greenberger's writing the (King of Fang and Claw, Roar of the Jungle, novelization of Hellboy II: The Golden The Lost Empire) into historical context. NEW SUBSCRIBERS: See subscription ad in this issue. 0191-4626, is published monthly except for February Do NOT send money to above address. STARLOG (ISSN Canadian GST number: R-124704826) & September by STARLOG GROUP, INC., a CREATIVE GROUP Company, 1560 Broadway, Suite 900, 9th Fir., New Attach Mailing Label Here York, NY 10036. STARLOG and The Science Fiction Universe are registered trademarks of STARLOG GROUP, INC. This is issue Number 364, April 2008. Entire contents are copyright ©2008 by starlog GROUP, INC. All rights reserved. Reprint or reproduction in part or in whole—including the reprinting or posting of articles and NAME graphics on any Internet website—without the publishers' written permission is strictly forbidden. STAR- LOG accepts no responsibility for unsolicited manuscripts, photos or other materials, but if submittals are accompanied by a self-addressed, stamped envelope, they'll be considered and, if necessary, returned. Please do not call the editorial office re: this material. Due to time constraints, freelancer phone calls will ADDRESS not be accepted. STARLOG does not publish fiction. Fiction submissions are not accepted and are discard- ed without reply. Products advertised are not necessarily endorsed by STARLOG, and views expressed in editorial copy are not necessarily those of STARLOG. Please note: Due to a warehouse fire, back issues are no longer available directly from STARLOG. Periodicals postage paid at New York, NY and additional mailing offices. Subscription rates: $56.97 one year (12 issues) delivered in U.S. only. Canadian and foreign subscrip- CITY. tions $66.97 in U.S. funds only. Mew subscriptions send directly to starlog, creative Group, 1560 Broadway, suite 900, 9th Fir, New York, NY 10036. Notification of change of address or renewals send to STARLOG Sub- scription Dept., P.O. Box 430, Mt. Morris, IL 61054-0430. POSTMASTER: Send change of address to STARLOG STATE ZIP. Subscription Dept., P.O. Box 430, Mt. Morris, IL 61054-0430. Printed in U.S.A.

www.starlog.com include Captain Future, , Her- | cule Poirot, , Northwest £ Smith, the Men from U.N.C.L.E., Eric John J Stark, Bertie & , D'Artagnan, Captain % Nemo, Cyrano de Bergerac, Charles Foster f Kane, , Eliza Doolittle and Victor o o . Among the contributors are 5 John Shirley, , John Peel, &

Brian Stableford, , Xavier 3j Maumejean and (with another £ wonderful "Angels of Music" tale featuring ? Erik, a.k.a. the Phantom of the Opera, and his ^ * Charlie's Angels-like, period heroines team). For the company's extensive catalog, see the website (www.blackcoatpress.com). FILM FANTASY CALENDAR Release dates are extremely subject to change and may shift without notice. Decades later, Stan Lee and Jack Kirby Jones (tpb, $20.95). It's an original novel by February: Jumper (2/15), The Spiderwick reconceived this pulp Tarzan as Marvel the Lofficiers, a sequel of sorts to Edwin Chronicles (2/15). Comics' Ka-Zar of the Savage Land. For Arnold's classic Gullivar Jones of Mars March: 10,000 B.C. (3/7), Horton Hears a more info, see the website (www.Altus- combined with various Vincent Price AIP Who (3/14), Doomsday (3/14). Press.com). Poe films. In this dark adventure fantasy, May: Iron Man (5/2), Speed Racer (5/9), The FANGORIA's Mark Salisbury has writ- Poe, Jones and two sorcerers named Ligeia Chronicles of Narnia: Prince Caspian ten the companion book to Sweeney Todd: and Montressor fight Rodrik Usher—in a (5/16), Indiana Jones and the Kingdom ofthe The Demon Barber of Fleet Street (Titan war for Mars' future. Crystal Skull (5/22), Starship Dave (5/30). Books, he, $30). It's a photo-filled in-depth Also, there's Tales of the Shadowmen, June: Kung Fu Panda (6/6), The Happening look at the Tim Burton movie, complete with Volume Four: Lords of Terror (tpb, $22.95), (6/13), The Incredible Hulk (6/13), Wall*e an introduction by Burton. Bloody terrific! the latest in their annual series of heroic (6/27), Wanted (6/27). Randy & Jean-Marc Lofficier's Black anthologies of all-new yarns teaming various July: Hancock (7/2), Journey 3-D (7/11), Coat Press has published Edgar Allan Poe on pop-culture heroes in the never-ending battle Hellboy If: The Golden Army (7/11), The Mars: The Further Adventures of Gullivar against evil. Characters on board this time Dark Knight (7/18), X-Files 2 (7/25).

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UPDATES an animated multimedia platform project. Its The legal matters have been settled, bring- goal: to give financial advice to youngsters. ing peace at last to the Middle-Earth Johnny Depp speaks about Sweeney Todd movie war between New Line Cinema and on page 13. He's working beyond the law in Peter Jackson. Which means Jackson and his next film as well, portraying gangster

Fran Walsh will be involved in the two-part icon John Dillinger in Public Enemies. It's movie adaptation of J.R.R. Tolkien's MdiWG The based on Bryan Burrough's brilliant non-fic- Hobbit (but as executive producers). Jackson By DAVID MCDONNELL tion account of America's criminals of the is too busy (The Lovely Bones, Tintin) to 1920s & '30s (highly recommended read- direct, so Sam Raimi may indeed be at the ing). Michael Mann will direct. helm instead. But the movies will lens in Steve (The League of Extraordinary Gentle- New Zealand and use Weta for FX, keeping men) Norrington is returning to direct again. GENRE TV a production-designed world consistent with He'll helm the Clash of the Titans redux. Showtime has acquired the hit British sit- what was seen in The Lord of the Rings. New com Secret Diary of a Call Girl and will Line and MGM (which owns certain rights COMICS SCENE begin airing it later this year. SF fans may be to the property) will team on the project, It'll be Adam Brody as the Flash/Wally interested—because Doctor Who's Billie with Hobbit I targeted for 2010 and // for I West in the movie. Piper stars in the show.

2011. Look for Iron Man promotional tie-ins at SCI FI Channel is working on a Captain Most of DreamWorks Animation's 7-11, Burger King and Audi. Drake TV movie starring Highlander's Adri- upcoming projects will also be released in Meanwhile, IDW has a number of new an Paul and Temuera Morrison. It transforms IMAX 3-D versions. These include Kung Fu Star Trek comics of interest debuting this real-life British explorer Sir Francis Drake Panda, Monsters vs. Aliens, How to Train year: a New Frontier mini-series (with Peter into a sort-of Sinbad. Your and Shrek Goes Fourth. David bringing his paperback Trek to comics And SCI FI ordered yet another pilot, It's going to take James Cameron and next month); an April Star Trek: Year Four Revolution. It'll mirror the events of the company longer to make the CG-motion- mini-series sequel to her "Enterprise Inci- American War for Independence, replayed capture FX extravaganza Avatar. Release dent" by Trek legend D.C. Fontana; May's on a far-off planet colonized by folks from has been pushed back from May 2009 to five-part "Assignment: Earth" by John Earth. colleagues Ed December 18, 2009. Byrne (following up on that Classic Trek Redlich and John Bellucci created the show Ice Age 3 will be seen in digital 3-D. So pilot with Robert Lansing as Gary Seven just and are scripting. They'll be executive pro- why don't they call it Ice Age 3-DH as if it had actually sold and become a ducers with Simon (Lara Croft: Tomb - series); and two "Mirror Universe" mini- der) West and Jib Polhemus. West will SEQUELS/PREQUELS series. probably direct the pilot. Christian Bale is taking on the challenge of Speaking of SCI FI, the network has being mankind's savior John Connor in CHARACTER CASTINGS added a new anime slot (Tuesdays, 1 1 p.m.), Terminator Salvation: The Future Begins. Here's a fortunate twist: Andy Serkis complementing its existing Monday anime It'll start production in Budapest in April. (Gollum, ) will reunite with block. For now, Tuesdays will mostly feature McG directs. It's unrelated to Fox's new TV Peter Jackson to again do performance-cap- movies. series, Terminator: The Sarah Connor ture roles for Tintin (but he won't play the Chronicles, where Thomas Dekker (page 68) title role). FANTASY WORLDS is a younger John Connor. Frank Langella has joined the cast of The is finally getting his shot at Amanda (Martian Child) Peet, Billy Box, the movie version of Richard Mathe- media stardom. While and (Timeline) Connolly and rapper Xzibit have son's "Button, Button." (his fellow heroes created by joined the cast of the second X-Files movie. Adam West is narrating The Centsables, and chronicled by the Chris Carter directs. ghost writers) have

The next James Bond film is now lensing. landed TV series and movies, scientific Dame Judi Dench is back again as M. Jeffrey DOOMSDAY APPROACHES adventurer Swift has languished, even fading Wright returns as CIA agent Felix Leiter. Remember the date, March 14, the day from print. Former cable exec Albie Hecht Mathieu (The Diving Bell and the Butterfly) the world ends and the new movie from (of and Spike) has formed a Amalric is the bad guy. Gemma (St. Trin- writer-director Neil (The Descent) company, Worldwide Biggies. He's master- Marshall begins. That's when Rhona ian's) Arterton is the new Bond woman. minding an attempt to launch Tom Swift in (Boston Legal) Mitra leads an IMF-like Yes, Virginia, there will be Night at the film, TV and video games. team into a quarantined nation ravaged Museum 2: Escape from the Smithsonian— Eric (Anonymous Rex) Garcia's novel by the deadly Reaper virus, killer of sequel to be shot partially at America's Repossession is being filmed for millions. Their impossible mission: find Mambo greatest museum, the Smithsonian Institu- the cure, survive the experience and Universal. Garcia and Garrett Lerner script- tion. Shawn Levy will once again direct. And bring it back alive. STARLOG favorites ed. Liev Schreiber, Jude Law and Forest Ben Stiller will again star. Bob Hoskins, Malcolm McDowell and Whitaker star. It's a kind of Logan's Run— Alexander Siddig co-star.ar. with artificial human THE REMAKE CAME organs the repossession Peter (The Kingdom) Berg says he's goal. going to direct a new theatrical Harry Potter and the version of Frank Herbert's seminal SF Goblet of Fire director novel (previously a 1984 David Mike Newell will helm Lynch film and a 2000 SCI FI Channel Prince of Persia: The mini-series). Sands of Time, based on Producers Thomas (Alexander) the hit video game. Jef- Schiihly and Mario (72) Kassar have frey (The Day After acquired rights to Fritz Lang's classic Tomorrow) Nachmanoff Metropolis. They're planning a and game creator Jordan remake. But why? Mechner have scripted After several years of "retirement," for Disney.

8 STARLOG/V//2008 . From the author of Waterfall Glen DAVI3 H3ND3RSDN

WRITERS' STRIKE LOST The Writers Guild of America strike—still New season (eight episodes) debuts 1/31 on ongoing at presstime—has affected almost ABC, airing Thursdays, 9 p.m. all of these genre series. Some are on early Production is on hiatus. Already renewed for production hiatuses due to lack of complete two more seasons. scripts, thus seriously curtailing the number of

- new episodes. Expect more reruns. MEDIUM m> ' die. Returned 1/7 on NBC, airing Mondays, 10 BATTLESTAR CALACTICA p.m. Nine episodes have been produced. Renewed for a fourth (and final) 22-episode Production is on hiatus. season by SCI FI. Scheduled to debut in April, but production is on hiatus now due to MOONLIGHT the writers' strike. Battlestar Galactica: Sea- Airs Fridays on CBS. Ratings are good. son 3 hits DVD 3/23. Production is on hiatus. BIONIC WOMAN NEW AMSTERDAM irs on NBC. In danger of cancellation, ew series about an immortal detective P'reduction is on hiatus due to the strike. N changed time slots againl After two spe- cial preview episodes (broadcast on 3/4 & CHUCK 3/6), it is now scheduled to debut 3/10 on Fox, Airs on NBC. Renewed for the rest of the airing Mondays, 9 p.m. 4/7: Two-hour season season (nine more episodes),

but production is on hiatus. THE DEAD ZONE Cancelled by USA. The last new episode aired in September. Nothing to see here. Move along. FLASH CORDON Airs Fridays on SCI FI. 1/25: "Cold Day in Hell."

THE 4400 IN TOMORROW'S WORLD Cancelled by USA. The last new episode aired in Sept- there are no more butterflies, coral ember. Nothing to see here. Move along. finale. Fox cut the episode order from 13 shows to the seven already produced. reefs, or rainbows. There are only GHOST HUNTERS supercomputers and The Common INTERNATIONAL PUSHING DAISIES Chost Hunters spin-off series, which pre- Airs on ABC, repeats to appear intermit- Good. Then Detective Ben Travis, miered 1/9, focuses on exploits set in tently Fridays, 8 and/or 9 p.m. Renewed

Europe. Airs Wednesdays, 9 p.m. on SCI FI. for the rest of the season, but production is on during the course of a murder hiatus. JERICHO investigation, discovers the randomly Being resurrected by CBS as a mid-season REAPER generated emotional flaw in his replacement (seven episodes). Returns Airs Tuesdays on the CW, moving to 2/12, airing Tuesdays, 10 p.m. Carol Barbee Thursdays, 9 p.m. (as of 2/28) genetically engineered partner, "Perfect previews the second season on page 28. STARGATE ATLANTIS Paula": an all-too-human belief in love. JOURNEYMAN Renewed for a fifth 20-episode season. New NBC let its option to renew the program fourth season shows air Fridays, 10 p.m. expire, effectively (though unofficially) on SCI FI. 1/25: "Harmony."

cancelling it. Fans would like to change the network's mind, and thus have set up two TERMINATOR: THE SARAH websites (SaveJourneyman.net, SaveJour- CONNOR CHRONICLES neyman.funurl.com). New series airs Mondays, 9 p.m. on Fox. 3/7 (Friday): Two-hour season finale. KNIGHT RIDER Thomas Dekker chats on page 68. ISBN* 9781933836461 The two-hour TV movie revival/series pilot Trade Paperback Science Fiction premieres on NBC 2/17. Justin Bruening TORCHWOOD / stars. Will Arnett voices K.I.T.T. David The second season debuts on BBC America US $15.95 / CDN $17.95 Hasselhoff cameos. 1/26. MARCH 2008 daviehenderson.bravehosc.com

Note: Airdates shift without notice. Airtimes are EST. Series are only listed for which STARLOG has new info. ww.medallionpress.com www.starlog.com Lt"' KNIGHT MADNESS The same sort of thing, but in space, is a pretty Who let the dogs out? (Not that we mind!) good description of Millennium Crisis (Shock-O- Kept on a short leash in the company ken- Rama, $19.95), about an ancient alien race called nels the last decade, the original (1961) 101 the Kluduthu (who comes up with these names?) Dalmatians will soon become one of Walt Dis- inciting a new interstellar war with the Androme- ney Studios Home Entertainment's deluxe two- deans, using as a secret weapon a descendant of a disc Platinum Editions ($29.99). Based on a chameleon-like race of humanoids, and so on, and

book by Dodie Smith, it's the story of Dalma- so on. Maybe it'll make better sense if we first tians Pongo and Perdita, their 15 puppies and take in the bonus features: interviews with "Ted the wicked woman who wants their fur: one of Raimi and other cast" (that should give you a good Disney's most deliciously evil characters, idea of what the "other cast" is like—and we like Craella De Vil (who recently made the Ameri- By TOM WEAVER STARLOG favorite Ted Raimi!), commentary can Film Institute's list of Best Villains of All with the director and producer, etc. Kluduthu??

Time). TlMEONUY From his lair in the ocean depths, Cthulhu is calling. ..his lawyer. Besides a new digital re- storation, Disney hopes fans will sit up and take notice of COMICS JUSTICE the long list of bonus features, The second DC Universe original animated movie, Warner Home including a "Making of; Marc Video's Justice League: The New Frontier, hits store shelves on Davis (one of Disney's "Nine DVD, HD DVD and Blu-ray Disc on February 26. Based on Darwyn Old Men") on Cruella's cre- Cooke's and produced by Michael Goguen and anima-

ation; a Cruella music video: tion legend Bruce Timm, it's the epic tale of the founding of the Jus- 202 pop-up trivia facts (101 for tice League (, Batman and are featured, as the family, another 101 for the well as , Martian Manhunter and the Flash). The voice collector); an interactive "Virtual cast includes David Boreanaz, Lucy Lawless, Miguel Ferrer, Kyra Dalmatian" game; deleted songs; Sedgwick, Jeremy Sisto, Brooke Shields and Kyle MacLachlan.

plus, spoken replications of cor- As a single DVD, it's $19.98; there will also be a $24.98 two-disc respondence between Walt Dis- Special Edition that contains additional supplemental features: three Timm-selected bonus episodes from the Justice. League animated In malls, you some c series, audio commentaries, the doc "Super Heroes United!: The trade in a glass slipper for th Complete Justice League History" (a 47-year Justice League latest Cinderella DVD. chronology with interviewees Michael Uslan, , Denny O'Neil, Mike Carlin and ), "The Legion of Doom: The ney and Smith. Smith's voice is provided by Lisa Davis, the actress Pathology of the Super Villain" and " Commentary: who (in the movie) plays Anita, owner of Perdita—and who talks Homage to The New Frontier'.' about that experience, and others less pleasant, in this very issue (page In Legion of Super Heroes: Volume Two (Warner, $14.98), 31st- 16). As usual, this Platinum Edition will be available for a limited time century superheroes attempt to time travel to the early 21st century to

only, so fetch it right away on March 4. enlist the help of Superman, but make a wrong turn at Albuquerque In other fairy-tale news from CandyLand, Disney's direct-to- video (or something), go back too far and end up having to settle for a young 2002 release Cinderella II: Dreams Come True is now a $29.99 Spe- Clark Kent, who hasn't yet assumed his Superman identity. D'oh! As cial Edition with a "Musical Magic" featurette, "Race to the Royal they try to straighten out that mess, a same-price Warner double-fea- Banquet" and "Cinderella's Enhanced Castle" games, a music video ture pairs Batman & Mr. Freeze: and more. And this announcement from EyeCandyLand: Subversive SubZero with Batman: Mask of the Cinema has rescued from the vaults a 1976 version of Alice in Won- Phantasm ($14.98). Marvel fans derland ($29.95) that's a titillating twist on the children's tale—X- can meanwhile check out Fantastic rated then, but reportedly tame today. The fantasy/musical/Sexy Time Four: World's Greatest Heroes:

romp stars Playboy Playmate Kristine DeBell, and is being DVDis- Volume Three (Fox Home Enter- tributed as a Limited Storybook Edition. They've even used the origi- tainment, $14.98), a collection of

nal Jack Davis-created poster as the box art. What's a nice girl like the episodes "Annihilation" (en-

you doing on a knight like this? I counters with Doctor Doom and

Knights joust on motorcycles at modern-day fairs (and for 145 i Annihilus in the Negative Zone), minutes, no less) in the George A. Romero-written and -directed "Doomsday Plus One" (again Knightriders, now at a lower price from Starz/Anchor Bay ($14.98). battling Doom), "Out of Time" For a slightly truer-to-life look at ancient times, there's Terry Jones' (again battling Doom) and "Shell Barbarians, with the Monty Python mainstay leading viewers on an Games" (again battling. ..well, entertaining expedition through Roman history from the perspective guess). of the Barbarians. Scholarly research combines with Jones' familiar iconoclastic humor in the two-disc Koch Vision release ($29.98). And, taking yet another step backward in time, Paramount's ani- mated ($19.99) features voice stars Kiefer Sutherland and Lucy Lawless in a typically tangled tale of a long-ago quest to find of gods who forsook a longer-ago world, a magical staff, a MOON SHADOWS Queen of Darkness, an army of dragons and place names like Krynn. Fox has dusted off another quartet of mystery oldies and compiled If sagas like these are your cup of nectar, then also check out Darkon them into The Charlie Chan Collection: Volume Four ($49.98). (Porchlight Home Entertainment, $26.98), the recent documentary This newest batch brings fans into the era of Sidney Toler as the saga- about the American subculture of medieval fantasy war-gaming. Set cious sleuth, starting off with the actor's debut vehicle Charlie Chan

in Baltimore, it features a group of weekend "warrior knights," fully in Honolulu (1938) and progressing through Charlie Chan in Reno costumed, camping out (in more ways than one) and staging battle (with future Spy Smasher and Shadow Kane Richmond), Charlie scenarios involving competitive strategies, real-looking props and Chan at Treasure Island (with future Cesar Romero) and City of full-contact "combat." Gadzooks, Gamgee, hast thee not yet set Darkness (with future Mr. Waverly Leo G. Carroll). Bonus material thy ringer on vibrate? includes featurettes ("Reinventing Chan," "Sidney Toler: The Man

10 STARL0G/4pr// 2008 www.starlog.com —

Ancient Chinese saying: Sidney 71-105 for $59.98. Collect 'em all—or not! k Toler is "The Man Who Became Paramount's Beauty Beast with Linda Hamilton and Ron Chan" in a new collection and the % of detective Charlie's cases. Perlman is up to the third season (a $50.99 three-disc box set), while Blade: The Series, all 13 episodes, is out from New Line Home Enter- Who Became Chan," more) and tainment ($39.98). The baker' s-dozen "extended" segments featuring even an interview with one of the the reborn vampire hunter are in a four-disc set along with the behind- sole surviving cast members, As the vampire hunter created by Marv 1930s leading lady (and future Sticky Fingaz stars in Blade: The Serie: screenwriter of The Blob) Kay Linaker. Serial fans may enjoy some of the new releases from VCI, includ- ing the 12-chapter The Phantom Creeps (1939) with Bela Lugosi as a crooked scientist, cooking up mad inventions like a scowling eight-foot robot and a belt that makes its wearer invisible (not a bad way to appear in productions on this level!). More death-dealing devices are found 20,000 feet below 's property in the 1935 The Phantom Empire, a 12-episode chapterplay starring "The Singing Cowboy" as a dude who finds an entrance to the subterranean city Murania. Empire's, main menaces its "army" of robots—were props left over from a Joan Crawford the-scenes "Turning Blade" documentary and audio commentaries by musical comedy. various writers and directors. From the ridiculous to the sublime: Ron Howard presents the doc- A fantastical world of young heroes controlling transforming vehi- umentary In the Shadow of the Moon (THINKFilm, $19.99), which cles comes to life in two DVD sets from Sony Pictures Home Enter- assembles surviving crew members from every single Apollo space tainment: Storm Hawks: Hawks Rise Again and Storm Hawks: Tales mission, to tell their story in their own words, interwoven with mater- from the Atmos (both $16.97). In addition to episodes from the Car- ial from the NASA film library (like space shots that have been remas- toon Network's 3-D animated series, there are also special features: tered from the original film rolls). The list of on-screen heroes Hawks Rise Again includes montages of the Storm Hawks and their includes Jim Lovell, Dave Scott, John Young, Gene Cernan, Mike weapons; Tales has a montage of the Cyclonians. Also, each volume Collins, Buzz Aldrin, Alan Bean, Edgar Mitchell, Charlie Duke and contains a bonus episode and a limited edition Storm Hawks comic Harrison Schmitt. The DVD extra features include director commen- book in a foil and embossed O-ring. tary, deleted and extended scenes with more stories from the astro- Then, too, there's the lovable (to whom!) prankster Dennis the nauts and never-before-seen footage from the Apollo missions. Hats Menace, the freckled-faced comic strip protagonist turned animated off to Howard: What other Hollywood actor would get behind a doc series star. In the seven episodes headed for DVD, he pursues crooks about Apollo Moonwalkers? who stole the Mona Lisa, is pursued by Mayan natives, rounds up wild Oops! That would be Tom Hanks, presenter and narrator of Mag- kangaroos in Sydney, accidentally releases the Pamplona bulls and nificent Desolation: Walking on the Moon (HBO Video, $19.98), stops a volcanic eruption. Dennis the Menace: Trouble, Trouble which features voiceover accounts from Aldrin and Neil Armstrong Everywhere is $14.98 from Fox. Not to be outdone, Scooby-Doo takes plus, for what it's worth, input from Paul Newman, Matt Damon, on alien invaders and lands on Zombie Island in Turner Home Enter- Matthew McConaughey and John Travolta {none of whom walked on tainment's aptly named, same-price twin bill Scooby-Doo and the the Moon). There's also the interactive bonus feature "Lunar Explo- Alien Invaders!Scooby-Doo on Zombie Island. ration Command Center" that focuses on the Apollo missions, includ- ing NASA pix, a video diary, trivia game and Moon maps. Desolation is 40 minutes long, while Shadow (which costs a penny more) is 1 10. DVDS IN BRIEF One small step in price, one giant leap in running time! Martian Child (New Line, $28.98): It's based on the Hugo-win- The creator of Star Trek never walked on the Moon, either, but for ning, semi-autobiographical tale by former STARLOG columnist those who would like to hear his views on space, Trek and more, the David Gerrold. John Cusack stars as an SF writer adopting a boy who DVD Gene Roddenberry: Up Close and Personal is available for pur- says he's from Mars. Includes a featurette on "The Real Martian chase at www.roddenberryinterview.com ($19.95). It's an hour-plus Child!' 1981 chat filmed in Roddenberry's Beverly Hills home, and original- Terry Pratchett's Hogfather (Genius Products, $14.95): In Disc- ly aired only in Tucson, Arizona, that summer in conjunction with the world—a parallel universe drifting through space perched on top of first 24-hour Star Trek episode marathon. It hasn't been viewed by the four elephants standing on the shell of a giant turtle—the Hogfather public since. Roddenberry discusses his Hollywood start, Trek's, early (the alternate reality's Santa Claus) contends with specters who want days, the challenges he faced in getting it produced, his favorite the Hogfather gone and the human race destroyed. But never fear... episodes and his beliefs on religion, writing and more. Eugene Rod- Death is here to lend a bony hand! Based on a true story. denberry Jr. furnishes a special introduction. Sunshine (Fox, $29.98): In 2057, the fate of billions rests with a daring eight men and women who attempt to re-ignite our dying Sun with a nuclear weapon before mankind perishes. Added-value materi- TV ON DVD al includes deleted scenes, director commentary, web production This month's "You Shoulda Waited, Sucka" award goes to all you diaries, etc. Also on Blu-ray. fans of vintage Brit SF who paid $29.98 for MPI Home Video's The American Gangster (Sony, $14.94): Kind of off-topic, we Invisible Man: Season One, then waited four months and paid $29.98 know. But this 1992 documentary was directed by Lucasfilm's sound for Season Two.. .and now guess what's coming to DVD? Why, it's wizard Ben Burtt! And it chronicles the explosive lives of "Lucky" MPFs Invisible Man Collection, the whole shebang on four DVDs for Luciano, "Bugsy" Siegel, Meyer Lansky and Jar-Jar Binks. (OK, we

$39.98... Or, if you get it from one of those discount websites, just just added that last name to see if you were paying attention.) you guessed it! —$29.98. Those non-suckas who waited can now use Newhart: The Complete First Season (Fox, $39.98): For what pos- the shekels they saved to continue re-buying from MPI all the sible reason could this be mentioned? Howzabout STARLOG favorite episodes (1,200-plus!) of TV's Gothic soaper Dark Shadows, which (collect 'em all!) William (Blade Runner) Sanderson in a regular role, has begun appearing on home video again; MPFs most recent offering starting with the second episode, as Larry. Or was he Darryl? Or per- is Dark Shadows: The Beginning: DVD Collection Three, episodes haps Darryl?

STARLOG/4pri/200fl 11 future of his tribe. www.10000bcmovie.com

YVONNE STRAHOVSKI This column showcases web- PAGE sites for SF, fantasy, comics & You can't disagree with the name animation creators and their cre- of this website! The alluring

ations. Websites are listed for free young Aussie is a hit on Chuck, entirely at STARLOG's discretion. essaying Agent Sarah Walker on Site operators may nominate their this NBC show. Yvonne more? sites for inclusion by sending rele- Then the hot spot you should visit

vant info via e-mail only to is [email protected] www.strahotski.com

THE SHADOW'S JUMPER WEBSITE SANCTUM SITE Steven Gould's novel is now a Dedicated to the 1930s crime- motion picture directed by Doug fighter from the pulps, radio, (The Bourne Identity) Liman and movies and comics, this web page scripted by Batman Begins' David is the work of Anthony Tollin, the S. Goyer and Simon Kinberg. The pop culture historian whose back- film follows Davey (Star Wars' ground articles on the hero can be Hayden Christensen), a young found in the new Shadow paper- "Jumper" who can teleport him- back reprint series. You can buy self at will—and finds himself in these popular volumes here. the middle of a deadly rivalry. www.shadowsanctum.com www.jumperthemovie.com

IRON MAN WEB PAGE ROBERT PICARDO His first comics appearance was WEBSITE in Tales of Suspense #39 in 1963. STEVEN GOULD WEB PAGE MICHAEL SWANWICK The Howling, Explorers, Legend, Some 40-plus years later, Tony Teleportation, alternate dimen- PAGE Total Recall, Gremlins 2—this Stark makes his first movie sions, mind control—welcome to Swanwick has received the Hugo, STARLOG favorite has been a appearance. Robert Downey Jr. is the world of this genre author. Nebula, Theodore Sturgeon and fixture in SF & fantasy for three the cinematic Iron Man, joined by Besides Jumper (the film adapta- World Fantasy Awards for his decades. And, of course, we all Terrence Howard as Jim Rhodes, tion is out February 14), Gould work. His novel Stations of the know him best as the Doctor, Star Gwyneth Paltrow as Virginia has penned Wildside, Greenwar, Tide was honored with the Nebula Trek: Voyager's Emergency "Pepper" Potts and Jeff Bridges as Helm and Blind Waves. To view Award, and was also nominated Medical Hologram. Obadiah Stane. Shellhead gets his posts, comments, musings and for the Hugo and Arthur C. Clarke www.robertpicardo.com polished at latest doings, "jump" over to Awards. His stories have appeared www.ironmanmovie.com www.digitalnoir.com/s in Omni, Amazing and Asimov's, HORTON HEARS A WHO! and his books include In the Drift, MOVIE SITE AMALGAMATED SAMANTHA EGGAR Griffin's Egg and The Iron When Horton the elephant hears a

DYNAMICS INC. SITE WEBSITE Dragon 's Daughter. cry coming from a speck of dust, Alec Gillis and Tom Woodruff She talked with the animals in www.michaelswanwick.com he discovers the microscopic head ADI, the FX company Doctor Dolittle, discovered The Whos, who live in the city of responsible for some of the most Light at the Edge of the World, 10,000 B.C. WEB PAGE Whoville. Blue Sky Studios has amazing prosthetic makeups, ani- gave birth to The Brood and Writer-director Roland Emmerich turned Dr. Seuss' beloved book rnatronic puppets, actor duplicates played Captain Picard's sister-in- gave us a modern Ice Age in The into a CG-animated treat featur-

and replica animals seen on law on Star Trek. Walk, Don 't Run Day After Tomorrow. Now, he ing the voices of Jim Carrey and screen. Check out their latest to this web page for more info on takes us back in time in this pre- Steve Carell. The Who's Who of work on AVP.R and more at this accomplished actress. historic epic about a young mam- Dr. Seuss fans flock to www.studioadi.com www.samanthaeggar.net moth hunter's quest to secure the www.hortonmovie.com

CONVENTIONS Questions about cons? Send a self- addressed, stamped envelope to the con's address. Do NOT con- tact STARLOG. Note: Listed guests may not appear and cons may be cancelled without notice. CREATION APRIL Conventioneers: Send info (with phone number and e-mail address) no later than three months prior March 7-9 CREATION STARCATE to the event to STARLOG Con Calendar, 1560 Broadway, 9th Fir, Suite 900, NY, NY 10036 or e- Crowne Plaza Meadowlands April 3-6 mail [email protected] This is a free service. STARLOG makes no guarantees, due to Secaucus, NJ Hilton Metrotown Vancouver space limitations, that your con will be listed. Creation Burnaby, BC, Canada See earlier address Creation Guests: Rene Auberjonois, Armin Shimerman, See earlier address Dominic Keating, Curtis, Casey Biggs, FEBRUARY MARCH Guests: Michael Shanks, Momoa, Gary J.G. Hertzler; Patrick Stewart (Sunday only) FANCORIA'S WEEKEND MEGACON Jones, Lexa Doig, etc. OF HORRORS March 7-9 VULKON February 22-24 Orange County Convention Center NY COMIC CON March 14-16 April 18-20 Wyndham Chicago O'Hare Orlando, FL Sheraton North Houston Javhs Center Rosemont, IL MegaCon Houston, TX NY, NY Creation P.O. Box 1097 Vulkon Entertainment www.nycomiccon.com 1010 North Central, Suite 400 Safety Harbor, FL 34695 P.O. Box 551437 Guests: , Neal Adams, Alex Glendale, CA 91202 www.megaconvention.coin 33355-1437 Ft. Lauderdale, FL Ross, , Jimmy Palmiotti, Amanda (818) 409-0960 Guests: Adrian Pasdar. June & Anne Lockhart, www.vulkon.com Conner, etc. www.creationent.com Kristy Swanson, Peter Mayhew, Robin Curtis, Guests: Avery Brooks, Anthony Montgomery Guests: Tony Todd, Adrienne King, Adrienne Noel Neill, Erin Gray, Gil Gerard, Dylan Neal.

Barbeau, Betsy Palmer, Tony Timpone, etc. Jack O'Halloran, etc.

12 mm/April 2008 www.starlog.com

There was a barber and his wife, and she was beautiful. A foolish barber and his wife, she was his reason and his life. But poor Benjamin Barker (Depp) was framed and transported, losing all he held dear. Now, he's back in London with a new identity—and a thirst for revenge.

Italicized Caption Excerpts: Selected Sweeney Todd Lyrics by Stephen Sondheim

Mrs. Lovett, how I've lived without you all

these years I'll never know! How delectable! Also undetectable! Partnered anew with Corpse Bride co-star Helena Bonham Carter, Depp finds merriment in the macabre and a meat pie menu

I too have sailed the world, and seen its wonders. For the cruelty of men is as wondrous as Peru, but there's no place like London. That's why director Tim Burton reunited with Depp to lense Sweeney Todd on soundstages there. ^ All Sweeney Todd Photos: Copyright 2007 DreamWorks LLC & Warner Bros. Entertainment Inc. All Rights Reserved.

phen Sondheim's masterpiece. And, of course, video of Angela Lansbury [who played Mrs. the Sweeney Todd number, "My Friends."

Sweeney is no sweetie. Once known as the Lovett to Len Cariou's Sweeney in the original Depp gave the tape to Burton, who played it very decent barber Benjamin Barker, he's now award-winning Broadway production] and lis- for producer Richard Zanuck and, voila!, a singing madman who slits the throats of tened to it quite extensively. I had also seen the break out the razors. almost all who enter his establishment. The more recent production [with Patti LuPone "I was probably more frightened than any- bodies are dropped headfirst into a basement, and Michael Cerveris], and just thought it one—except maybe Tim," Depp recalls. "Tim where one Mrs. Lovett (Helena Bonham might be a great opportunity to find a new was amazing. He really trusted me with it, and Carter) grinds them into the special ingredient Sweeney, a different Sweeney in a good way, a I was very lucky that he allowed me to [do that makes her meat pies so bloody yummy. slightly more contemporary way, like a punk that], I didn't have a process, really, in terms of The Demon Barber—who is angry at the rock Sweeney." singing. I had never sung before in my life, so world and oblivious to Mrs. Lovett's affec- No one would question whether or not I had to find my way to it. And I thought it was tions—more specifically seeks revenge: Judge Depp could pull off the part in a straight, non- important that I keep it low-key. So, initially, I Turpin (Alan Rickman) sent him away to musical iteration. But could he... sing? did these demos in my friend's garage studio, prison on a bogus charge, and when Sweeney Sondheim wielded casting approval over the because I didn't know if I would be able to hit gets back to town, he learns that, apparently, Sweeney and Mrs. Lovett roles in any poten- a note, to be honest. I really didn't. I wanted to his beloved wife Lucy (Laura Michelle Kelly) tial big-screen adaptation, and he trusted make sure I could do it for Tim. So the first has died, and their daughter Johanna (Jayne Depp, essentially stating that if the actor felt demo I cut was my friend's, and I sent it to

Wisener) is being raised by the lecherous he could handle it, then he felt the actor could Tim, crossed my fingers and waited for the

Turpin. handle it, too. Depp—who had played guitar outcome." "I was familiar to some degree with the in rock bands over the years—phoned an old As for the character, Depp had to consider earlier versions," Depp notes. "I had seen the musician friend, and together they recorded whether Sweeney was a victim, just a guy out

14 mm/April 2008 goodbye. To learn glisten. See this one even more, see the shine. How he smiles in Depp interviews the light. Will his blade in STARLOG #271 work earn Depp an & #349. Oscar nod? Many critics r think so.

And I will get him back even as he gloats.

In the meantime, I'll practice on less honorable throats. While filming, Alan Rickman (as the evil Judge Turpin) was nervous about getting too close a shave from Depp on camera.

He shaved the faces of gentlemen who never thereafter were heard of again. In a public duel, Todd matches his razor wits against da king of barbers, da barber of kings, Adolfo Pirelli (Sacha Baron Cohen). ^

for revenge—or both. "It's probably all of And while Sweeney spends nearly the things that were totally, perfectly acceptable in that," he says. "Layer by layer, and one thing entire film in various states of fury, Depp and the 1970s, for example, macrame owls, resin leads to another. Yeah, initially he's a victim Burton actually had themselves a blast. "The grapes and fake fruit. Plastic fruit on your who dreams of revenge and becomes obsessed set was a laugh riot," he remarks. "It was a kitchen table? Nobody thought twice about

with that dream of revenge. Then it becomes a great time, a great experience, great fun. We that. So it was this instant connection on the

compulsive obsession, madness, and that's the laughed like fiends." spot. Ever since then, I've only wanted to, as only thing he has; it's the only thing that dri- Sweeney Todd marks the sixth—and likely an actor, and as a friend, give Tim as close to ves him and keeps him alive." not last—time Depp and Burton have teamed what he wants—or what I think he wants. In Edward Scissorhands, Depp played an up. Their previous joint ventures include "An actor's job is to give the director a

eccentric character skilled with pointy things Edward Scissorhands, Ed Wood, Sleepy Hol- bunch of options. The funny thing is when I go

as well, but the actor doesn't see many other low, Charlie and the Chocolate Factory and into a movie and am [preparing] a character, I

similarities between the naive Edward and the The Corpse Bride. Depp smiles as he tries to start getting these ideas that come to me, and I vengeful Sweeney. "Edward was a bit more put into words his relationship with Burton, try to incorporate them into the character and = innocent," Depp offers. "I think there's only and what his friend extracts from him that per- feel good about it myself, in hopes that others ^ one moment [in that movie] when you see haps no other director can. will feel the same. But when I'm working with c Edward get angry. Having worked with sharp "Tim, since the first second we met all Tim, as I'm coming up with the character, =

objects before, everything went fine with the those years ago in that little coffee shop in LA, before I think about what / feel about the char- g razors [in Sweeney Todd] until I had to shave for me there was an instant connection on acter, I'm thinking about him. 3 someone. Poor Alan Rickman. That was one many different levels," Depp says. "And on the "I just hope that I won't let him down," *

1 of the most uncomfortable moments of my most obtuse levels—with this weird fascina- Johnny Depp concludes. "So Tim comes first, --j-

life." tion or understanding of the absurdity of and then I come in there." -jff a www.starlog.com STARLOG/V//2O08 15 call for "lots of active women Lisa Davis soo ound herself in costume and Zsa Zsa Gabor's bad graces.

ay all the bad things you want about the low-rent SF movies in the 1950s' "planet of women'' subgenre—Cat-Women of the Moon, Abbott and Costcllo Go to

Mars, Missile to the Moon, et. al- and chances are, they'll all be

true. Just don 't criticize their producers ' knack for hiring beautiful women to don the space

babes ' form-fitting leotards and mini-skirts: Whether on Mars, Venus, our Moon or one of Jupiter's, the panorama ofpulchritude, some- times dominated by beauty pageant entrants, "When you watch our love scenes in the brought new meaning to the expression "heav- movie," Davis says of shared scenes with enly bodies." co-star Patrick Waltz, "they're real." A 21-year-old English rose, Lisa Davis

was no stranger to the silver screen or the IA Zsa Zsa wore in it was brand new, custom- social scene when she landed a top role in the made for her, and ours were all retreads, used Technicolor Queen of Outer Space (1958). As stuff from Costume that was made for

the beautiful Motiya, a Venusian girl anxious Today, Davis lectures about her career to another science fiction movie, Forbidden to help free her people from tyranny, she was packed houses aboard cruise ships to Planet. My clothes were Anne Francis', and victimized on-camera by her planet's masked, Hawaii and the Caribbean. the outfits the astronauts wore were also from despotic ruler (Laurie Mitchell), and off-cam- that. The Queen of Outer Space set was, like, era by the movie's star, the high-camp, higher- [laughs]. Those were the days of Roger Cor- made of cardboard [laughs]—the film was maintenance celebutant Zsa Zsa Gabon Davis man and quick movies, and it was rare that you nothing that you would tell anybody that you recently reminisced about all the bad, good did something that was of quality. For were doing with any great pride! It's only in

and great things that resulted from her notori- instance, working for Disney on 101 later years that it has become such a bad movie

ous voyage to Venus. Dalmatians was definitely quality. But Queen that it's a good movie. of Outer Space was shot very quickly at Allied STARLOG: Was that your only time working STARLOG: It has been 50 years since you Artists Studio over near Vermont Avenue in with Gabor? made Queen of Outer Space, and the thing is the LA area, and there was hardly any prepa- DAVIS: No. In those days, there was a popu-

still playing, and just came out on DVD. ration for it. lar disc jockey named Peter Potter, who was

LISA DAVIS: I'm just blown away by its con- The film was really just a starring vehicle married to my sister, [singer] Beryl Davis.

tinuing popularity, because when we made the for Zsa Zsa Gabon In fact, I believe that the Peter had a show called Juke Box Jury, which

movie, it was so minor. I mean, it was defi- budget was higher for her wardrobe than it was was on both radio and TV, where sitting with

nitely nothing that I was proud of at the time for the rest of the movie! [Laughs] Everything him would be four panel members, two men

16 mm/April 2008 and two women. He would play a record, and Outer Space. She was a horror. She did not Ed Bernds! they would all comment on whether they like women at all, and here she was in this pic- STARLOG: Do you remember how you got thought the record would be a hit or a miss. ture with all these women! She especially did the part in Queenl

Juke Box Jury was a hugely popular show, not like blondes, and I was a blonde, and she DAVIS: The casting call went out for "lots of

and it had an orange juice sponsor, and part of made my life hell on that picture. In fact, I attractive women" for Queen of Outer Space, the deal was that everybody had a glass of never change my costume in the movie, so they were seeing all the young women orange juice to drink. I was Miss Juke Box because she wouldn't let me. You know what about town, and I was one of them. It was a

Jury, and I would wear a cute little, short, stu- our characters go through—running through standard audition over at Allied Artists, and I pid outfit and pick up their ballots. Then I the Venusian jungle, the explosions, the fight met the producer Ben Schwalb and Ed, and I

would serve them orange juice. with the giant and stuff—and read for it. Incidentally, I was always good at Zsa Zsa, being who she was at the time, everybody's sort of a mess. doing my own hair and makeup, and for was one of the "outrageous-type" guests: But once the "vicked kveen" has been Queen, I swept it back up in that very long

"Dahlingk, that vuz the vurst thing I've ever overcome and the movie is coming to its end, ponytail. When, many, many years later, heard in my life. That vuz horrible, sveet- there's a sequence where we're celebrating Madonna did her Blond Ambition tour, that heart!" And when she guested on Juke Box that victory. Well, you'll notice in that scene was exactly the hairstyle that she used. And Jury, she was a handful. Zsa Zsa always want- that everybody [the actresses playing the other when she was asked in an interview where she ed her own, very specific dressing room and insurgents] has changed into something more got the idea, she said, "From a '50s science other things, in order to do the show. She glamorous, into "jubilant costumes," except fiction movie." She didn't say which movie,

would want tea, and when she would be served for me. I'm in the same outfit I wore through- but I know it was my hairstyle from Queen. the tea, she might not like the cup it was in. out the entire movie! STARLOG: Before we get back to Zsa Zsa,

She would want a particular fine china I'll tell you what happened: I came onto talk about the movie's other actors. because she wouldn't drink from just any the set in my "jubilant costume"—a beautiful DAVIS: Eric Fleming was a very sweet man. cup—it had to be in the right cup. silver lame pantsuit which was also from Eric later died in an accident, falling out of a canoe in a river [while making a movie] in What was "the Peru. Dave Willock [another Earth astronaut] word" on Queen was also very nice and very funny. Laurie star Zsa Zsa?, Mitchell, who played the Queen, was sweet, STARLOG asks. and she suffered dreadfully in that "radiation "The B word!" Davis reveals. burn" makeup. It was extremely hard on her, terribly uncomfortable and terribly ugly. And

While still in her teens, Davis began playing highly decorative roles in Hollywood A-, B- and Z-features.

So whatever problems she could create, —and we were all waiting she would create. [Celebrities] didn't do that at for Zsa Zsa to make her appearance in her that time; this was just television. But she most glamorous costume, which they had looked beautiful, and she would always dress saved for the last sequence. Well, she took one up and have the furs, the jewelry and.. .you look at me in that pantsuit, turned around and know.. .she would "do" Zsa Zsa, which was shut herself up in her dressing room and schtick. She lived for publicity, and she would wouldn't come out. One of the assistant direc- always sweep in with a boy friend and a ret- tors came to me and said, "I'm terribly sorry, inue of people. Also, in addition to seeing her Lisa, but Zsa Zsa says she will not finish the on Juke Box Jury, I was one of the "glamorous picture with you in that outfit. You look too young women" out about town, and Zsa Zsa good, and she won't stand near you if you're was, too—but she was much older, of course. wearing that. You're gonna have to go back to So Queen of Outer Space was definitely not your original costume." my first encounter with her. We were "aware" I thought, for the sake of the picture, it of each other. Zsa Zsa dated anybody who was wasn't very professional, and it didn't really wealthy, and I dated many of the same people make much sense plot-wise [for Motiya to that she did, so that caused problems, too. And continue to wear the same outfit], but I said, she was always worried that I would become "Oh, to heck with it. That's fine," and I involved with [international playboy Porfirio] changed back into the original costume. Many, Rubirosa, whom she was crazy about. many years later, the director Ed Bernds STARLOG: How was she to work with on phoned me to apologize. He said, "Oh, can Queen of Outer Space? you ever forgive me for doing that to you?"

DAVIS: She was just a bitch on Queen of And I said, "Of course, of course!" Oh, sweet www.starlog.com STARLOG/V/2008 17 —

once they put it on her, she had it on all day. to me. It was only because Patrick was such a [the moviemakers] gave up on her and put her

When she walked around with the makeup nice person that I was even interested in him, lines on cue cards, and then they put the lines between takes, she would wear a beige piece because I had had it with all of the sexual on a monitor for her. If you look at the scene of fabric, like a heavy veil, totally over her innuendo that was part of every attractive in her laboratory, you can see that she's read- head, down to her shoulders, so nobody could young woman's life in show business. ing off the monitor. And she could never

see her, because it was frightening |see the STARLOG: And the other girls in the movie, remember my character's name. She would

Mitchell interview, #346]. what were they like? say, "Dahlingk, vot is your name in this dread-

STARLOG: Another one of the heroes was DAVIS: Zsa Zsa got on well with Barbara ful movie? Vot is your name, sveetheart?" I played by Patrick Waltz, whom you met for Darrow [the insurgent Kaeel], because would say, "Motiya," and she would reply, the first time on that movie, and later married. Barbara was a brunette, and Zsa Zsa didn't "Oh, this is terrible, dahlingk. I can never

How many days did it take you to realize that mind if Barbara stood next to her, while I was remember your name..." you liked him? always delegated out of the shot. There was Zsa Zsa was ill-prepared every day. Queen DAVIS: It was immediate. When you watch another girl in the cast who was after Pat, of Outer Space was really an opportunity for our love scenes in the movie.. .they're real. We Mary Ford [a guard]. She was crazy about her to pose around in beautiful dresses, make-

were definitely not acting; that was the real Pat— I had to push her out of the way! up and hair, and she didn't respect the fact that thing. Now, Paul Birch, who played the pro- [Laughs] Oh, she was really after him! she was acting in a movie. It was a lark to her.

fessor, was a little difficult, a bit disgruntled, But I must tell you, she was an extremely because all the other actors playing Earth Many of beautiful woman, and a tremendous courtesan. Queen's astronauts got to kiss the girls. So he was I mean, she was trained for that—that is what pinching every girl's bottom, every opportuni- props and the mother [Magda] trained her daughters to costumes ty he had. Of course, that was a common thing be. And Zsa Zsa certainly knew how to flirt were during that time. When I think back to the sex- and deal with men. second- ual intimidation that occurred on sets, in those You had already done a picture hand, STARLOG: days. ..[sighs]. That's another story altogether. perhaps for Schwalb, in 1955. In the early '50s, when I was 14, I was under most DAVIS: With , yes. That was contract at MGM—I was later under contract provocatively a horror, that was awful, because they were so to Columbia and Fox—and I would find Davis' gold difficult to work with. Huntz Hall and Leo myself running away from all of these very mini-skirt Gorcey carried hip flasks, and they were drunk (formerly famous men [studio bigwigs] who had their the entire time—especially Leo. It was the Anne girl friends in the studio system. There were Francis' in lots of girls somewhat in that position on On-the-make astronaut Larry Turner Forbidden Queen girls who were there because they (Waltz) only has eyes for space — Planet). were willing and able to "give a little" in order siren Motiya (Davis). He won her heart in reel and real life.

Slit-skirted scientist Zsa Zsa is backed-up by "ray gun"-toting members of Marilyn Buferd [an insurgent guard killed by kind of film where I didn't even want to tell Queen's glam squad (including Davis the Queen] was a former Miss USA, a beauti- people what I was working on. If somebody and Barbara Darrow, left). ful blonde. Marya Stevens [another guard] was asked, "What are you doing?", I would say, lovely. She was a serious actress caught up in [Davis mumbles unintelligibly].

to "get a little." this mess. Marjorie Durant [an angry guard] STARLOG: According to Bernds, on Queen,

When I came to Hollywood at age 14, it was an heiress, and she was related in some Waltz actually cut his head during the fight was in the midst of the "casting couch" era, way to the Post [cereal] family. She was very with the giant spider which was definitely a reality, and very promi- wealthy and doing the whole thing as a lark. DAVIS: Yes, he did.

nent. By the time I was 21 and doing Queen of STARLOG: Getting back to Zsa Zsa, Bernds STARLOG: —and Zsa Zsa, when she saw the

Outer Space, I was at the stage where I was told me that in pre-production he went with blood, started laughing. Bernds told me he was

totally fed up with it all, and not at all inter- her to Western Costume, and when she started so furious, he wanted "to kick her Hungarian ested in romance or sex, so to speak, because making lots of demands, he slipped away to a ass"!

every time I turned around, somebody was phone and called Schwalb and tried to get him DAVIS: I definitely did not enjoy working pinching my butt, or tweaking my breast, or to dump her. with her. But she did say a wonderful thing to

doing .something. I was always "escaping" and DAVIS: Ben was so nervous! He used to come Pat, a great line: When we did that cave running from people who wanted to offer me a on set and would be in such a state, because sequence where the giant spider jumps on him,

role if I would "cooperate." I managed to come Zsa Zsa never learned the lines. She was so he was very diligent and did the huge fight

through that unscathed—I don't know how I busy with her makeup and her hair that she with it, and then the spider blew up and caught

did it, but I managed it, which was important didn't know the lines or the scenes. Finally, on fire. At one point, when the giant spider

18 WIOG/April 2008 was lying on Pat, we were all standing in the Walt Disney saw me in that and thought that I started, some of his earliest animated movies cave looking down at him between takes, and would make a good Alice [in Wonderland] in [Alice Comedies] had animated characters

Zsa Zsa said, "Dahlingk, if I were you, I would his upcoming movie. around a young girl playing a live-action get myself a new agent!" [Laughs] STARLOG: I didn't know you made a movie Alice. STARLOG: What adds to the weirdness of in England. STARLOG: Like Gene Kelly dancing with Queen of Outer Space is that it's neither fish DAVIS: I made many movies in England. I Jerry the Mouse in... nor fowl—it goes back and forth between started working when I was five, under the DAVIS: Exactly, in Anchors Aweigh [1945]. I being semi-straight SF and campy. name of Cherry Davis. looked just like Alice when I was a little girl: I

DAVIS: Oh, very campy. I think that's why it's STARLOG: Is that your real name? had long hair, and always used to wear a hair so popular. That, and Zsa Zsa, and the fact that DAVIS: Yes, my father gave me that name band. However, Walt changed his mind, everybody can imitate her and "do" her line, "I because he said my eyes were as big as two because it was phenomenally expensive to do hate that kveen!" When she says that, the audi- huge cherries. Walt Disney brought me to it that way, and he sent me back to England a ence falls apart! America to audition for Alice in Wonderland, very, very disappointed 12-year-old. But I got That picture was done in January 1958, because his original concept for the movie was back to America when I was 14. My first agent and in February, I went to Palm Beach, to have a live Alice and animated characters was Peter Shaw, Angela Lansbury's husband, Florida, to do a beautiful play at the Royal around her. Back in the '20s, when he first and he got me a contract at MGM. Then I went Poinciana Playhouse: Holiday for Lovers with Bob Cummings. And Zsa Zsa was there, chas- Waltz (right) had Davis as a Queen squeeze, Dave Willock (left) had Darrow. stag actor Paul Birch had roving hands. ing after Rubirosa! Palm Beach was where Envious

Rubirosa hung out, and I was staying at the same hotel as Zsa Zsa. She knew that I was there, so she phoned me in my room, "Dahlingk, have you seen Ruby yet?" STARLOG: [Laughs] You couldn't get away from her!

DAVIS: No! And I said, "Yes, Zsa Zsa, as a matter of fact, I was with him last night!" I had been out to a club, and he was hanging out there. Oh, she was mad about Rubirosa. I saw Zsa Zsa many times after Queen of Outer Space, and she was more friendly to me after the fact than she was on the movie, because I was no longer in scenes with her.

Maybe it was Davis' English breeding that equipped her to pass safely through Hollywood's horndog-dominated 1950s minefields.

STARLOG: How did you get into the busi- ness?

DAVIS: I was born to a show business family in England. My mother and father were in vaudeville, and my sister Beryl Davis was a singer. I went to a professional school in

England called Arts Educational, which still exists and trains children for show business. It was just a natural progression for me, follow- ing my family. I played Jean Simmons as a child in The Woman in the Hall [1947], and www.starlog.com STARLOG/V20O0 " over to Columbia, where I did The Long Gray ried on June 28, 1958, and, as time progressed, Reitherman, very, very famous, and one of

Line [1955], and 20th Century Fox, where I Queen of Outer Space came out. Well, when Disney's "Nine Old Men." Today, it's done did The Virgin Queen [1955]. we saw the poster, and he noticed that my differently, with celebrities [doing the voice- STARLOG: All the sexual intimidation you billing was over his, he was quite upset! Pat work], which Disney never did. Well, he did a

mentioned earlier began in America? wanted to be a star very badly; it was part of little bit of that, but very rarely, because he DAVIS: I didn't really have a problem with his "small-town boy makes good" dream. And didn't want people listening for the celebrity; that in England. But I definitely had it here. We one of the first major fights of our young mar- he wanted the character to have precedence had come to America to further my career, so I riage was because I got better billing than he over who was doing the voice. Now, when you felt a huge responsibility. I was trying to did [laughs]. He couldn't stand it! see an animated movie, you're listening for please everybody and yet remain a good girl, STARLOG: You did finally work for Walt Robin Williams or whoever, rather than watch- and keep working, and keep paying the bills, Disney, doing a voice in 101 Dalmatians. ing the character. And Disney, incidentally, and trying to go to school, and I had all of DAVIS: That's something else good that came was wonderful, paternal and very kind. these big, big people, heads of studios and out of Queen of Outer Space. I learned, STARLOG: Did you see the live-action 101 what have you, coming after me. Every time I because of that picture, to imitate Zsa Zsa, and Dalmatians [1996]?

was approached by one of those dreadful peo- I can do a very good Zsa Zsa impression. And DAVIS: Yes, but I didn't care for it. I'm too

ple—who scared the daylights out of me, when Walt first started casting 101 prejudiced. I think the original is sensational.

because I was only 14 or 15—I would say, Dalmatians, he envisioned Cruella De Vil as It was a wonderful thing to be part of 101 "I'm flattered that you find me attractive, sir, Zsa Zsa-like, because at that time Zsa Zsa was Dalmatians. but if you touch me, you will go to jail, always out at premieres draped in expensive STARLOG: Why did you drift away from because I'm San Quentin quail." It was a dan- minks and chinchilla. She loved furs, and that gerous world out there. Even some of the was the character of Cruella. So when Walt Her other camp movie was the B-Western Dalton Girls, in actors I worked with were nightmares. wanted her with a Zsa Zsa accent, he called me The which she played "sort of the female STARLOG: Some, not all, yes? in to interview for Cruella De Vil. Jack Palance"; "that was a riot, too." DAVIS: Some people were very well- I was reading with Walt in a small, private behaved. John Forsythe was a gentleman on casting room, and he was playing the role of

Bachelor Father. Bob Cummings was wonder- Anita, and I was doing Cruella like Zsa Zsa.

ful when I did The Bob Cummings Show. But as we read, I was struggling with it,

Efrem Zimbalist on 77 Sunset Strip was a joy because Cruella really wasn 't who I was at all.

to work with. But there were other ones who I was 21 or 22, 1 wasn't this evil character, and

would take terrible advantage of the fact that I thought, "How do I tell the great Walt Disney they had a lovely young girl, and they would that he has brought me in for the wrong role?"

make no bones about it: If you wanted to be at But I got brave enough, and I said, "Excuse

work the next day, you had better cooperate. me, sir, but as we read this, I realize that I'm

A Venusian spider has a leg-up on Waltz. Between arachnid action takes, Zsa Zsa advised the actor to get a new agent!

So by the time I encountered Paul Birch on much more Anita than I am Cruella." And he

Queen of Outer Space at age 21, 1 had had it, said, "Would you rather be Anita?" I replied,

and I got quite nasty with him, and he got "Oh, I would much rather, sir." "Well, let's try nasty with me. When I met Pat, who was so that." That's how I got to play Anita. Queen's closing credits listed Davis and decent, on that picture, I married him because STARLOG: You did voicework on that movie Waltz as THE LOVERS. By the film's bow, I wanted to be safe. I was fed up with it, and I off and on for quite a long time. they had wed and argued about billing. was looking for safety. He was so nice and dif- DAVIS: I was on that picture for about three ferent, basically a straight, corny small-town years! When I was called in [to do a bit of acting? boy from Akron, Ohio who happened to be an voicework], I would be shown cartoon pic- DAVIS: Because my husband died very

actor. I said, "Oh, this is for me. He's a nice tures of the particular scene that they wanted young, and I had our three children to support, guy, and I'll be safe." If it hadn't been for Pat, me to do that day. Then I would do the and I had to do something that would bring in

I don't know where I might have wound up. voiceover—which would very often be as lit- some steady, regular money. That's why I

He was so nice, gentle and unusual in a sea of tle as one line. One line, over and over again! drifted, purely for economic reasons. I worked people who were so. ..lecherousl "Oh, the puppies are not for sale, Cruella." for 20 years as a consultant for a plastic sur- Incidentally, I started dating Pat during And that was all that I would do. geon—and I still work for him. Queen of Outer Space, then I left to go to STARLOG: When you went in to record STARLOG: Your husband died in the early

Florida to do the play, and when I returned, we lines, would it just be you? None of the people 1970s. May I ask what he died of?

started dating seriously. After I came back, our you were talking to? DAVIS: Yes, he had his third heart attack. This very first date was to Disneyland. We got mar- DAVIS: Just me, yes. The director was Woolie business killed him. I was much more casual

20 STARL0G/4pn/ 2008 about [acting as a career], I was very lucky in revered by the current crop of people who It was very prestigious to work for Disney, the

that I had a natural, easy access into show work there, it's inspirational to them, and cream of the crop, the Rolls-Royce of the stu-

business, because I had grown up in a showbiz they're just thrilled to meet with me and hear dios, and I was aware that it was a quality

family and, for me, it was second nature; show about how we made it. And everybody wants product. Of course, I wasn't aware at the time

business was all I knew. Pat was the son of a me to say one line from the movie, "Roger, of the longevity it would have. It just knocks

policeman walking around Firestone Tire and dear! Tea time! Tea time!" So I do quite a bit me out, the way it keeps on going. The same Rubber in Akron, Ohio, which was far away of in-front-of-an-audience-type work, which thing is true of Queen of Outer Space, but for

from the type of [showbiz environment] that I I'm extremely comfortable with, and enjoy a different reason, and that's because it's so had grown up in. He was [sighs]. ..oh, very much. darn campy and funny. The film is infamous, starstruck. That's why he was so upset when STARLOG: Any final thoughts on Queen of as opposed to famous. These days, I'm my Queen of Outer Space billing was over his. Outer Space as it hits the half-century mark? delighted that I was a part of Queen of Outer

It meant more to him. I couldn't have cared DAVIS: It's a good memory now, and it did Space, because it has given me such a ride!

less whether I had any billing! Pat never made bring me my husband.

it the way he wanted to make it, and it literal- We had three children ly broke his heart. together, and I now

STARLOG: 101 Dalmatians is coming out on have three grandchil- DVD March 4. dren. So that picture

DAVIS: Yes, and I participated in the docu- brought me many

mentary that accompanies it, which talks gifts, and now enables about the movie's making. The DVD also me to work on cruise

includes [readings of] the original letters that ships. As I started out Walt Disney and Dodie Smith—who authored this interview by the 101 Dalmatians novel—wrote back and telling you, it was forth to each other, and I do Dodie's voice. So done in a very fast

not only did I do an interview about the manner, Zsa Zsa acted

movie's making, but I actually played Dodie up and was ill-behaved

for them, which was nice. and it was nothing that

STARLOG: Did you enjoy doing your first I was proud to say I

"acting" in quite a while? was doing. When I did

DAVIS: Well, I can't say it's on the silver 101 Dalmatians, that

screen, but I do things that are show business- was entirely different,

related. For instance, I lecture on board because there were Holland America cruise ships—I'm what's years devoted to that.

During her audition, Davis spoke up and told Walt Disney that Anita was actually more her type—and that's the role she ended up voicing.

Fans can admire Davis' work in 101 Dalmatians when the Platinum Edition DVD bows March 4.

Davis' "vicked" imitation of Zsa Zsa won her an audition to play 101 Dalmatians' villainess Cruella DeVil.

called "an exploration speaker." I do four pre-

sentations for 600 or so people. One is called

"London, the Early Years," and it deals with

my life in England, and growing up as a child in show business and vaudeville. The second one is "Lights, Camera, Action—The Golden

Years of the Silver Screen," and it involves my starting off in the studio system, and lots about Queen of Outer Space. The third lecture, "Remembering Walt—Memories of 101 Dalmatians," deals with that movie and some of the Disney history, and my personal involvement with Walt. And then the fourth is a Q&A on the three previous lectures. I also do work for Disney, giving lectures for the Collectors Clubs at Disneyland as well as the current people at the studio who want to

know what it was like to actually have worked

with Walt Disney. 101 Dalmatians is so www.starlog.com mm/April 2008 21

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EXP VISA MASTER CARD * * * SALES TAX Applicable to NY State residents only. Y Comics scribe Brian K. Vaughan endsids 1 The77 Last Man white eyeing new beginnings.

By JOE NAZZARO

las, poor Yorick. We Yorick's protection). As the really interesting side trips, so we did make knew him well. ..in an group tries to determine what some discoveries as we went along, but always irreverent, post-apoca- caused the plague, they in the service of reaching the destination we

lyptic, last-man-on- encounter all manner of adver- intended." nl Earth-and-his-monkey saries, including the militant kind of way. But sadly, that's Daughters of the Amazon, a Life & Death about to change: After five squad of Israeli commandos Longtime readers who have followed the years and 60 issues, writer and Yorick's own sister, Hero, book since issue #1 already know that Brian K. Vaughan's critically whose loyalties are unknown. Vaughan takes no prisoners in terms of hard- acclaimed graphic novel Y: The As Y: The Last Man con- hitting emotional content—even if that means Last Man—co-created with cludes with a final double- killing off some of his favorite characters by artist Pia Guerra—is coming to sized issue, Vaughan gets to the end. "Part of me felt it would be easier," he an end. end the story the way he had admits, "because if you brought them into this For the uninitiated, the always intended, going back to world, you certainly should be the one who series takes place in a world After five years, writer when he pitched it to gets to take them out. I think with Agent 355 devastated by a deadly plague Brian K. Vaughan DC/Vertigo nearly seven years in particular, it was really Pia who kept lobby- (pictured) and artist Pia that destroys every adult mam- ago. "From the very first ing for a stay of execution, and it was the last Guerra are ending the mal with a Y chromosome, the issue," he claims, "I knew what thing that I wanted to do anyway. But I guess post-apocalyptic comic only exceptions being Yorick the final sentence of the final they say 'kill your darlings,' and that's what as planned. Brown—a young slacker and panel of the final page was the story dictated. I never like to defend or would-be escape artist—and Ampersand, his going to be, and I also knew in broad strokes explain why these things needed to happen or untrained helper monkey. After the plague what the journey would be. why we chose to do it, but that was definitely seemingly reduces the world's eligible human "When I pitched the series, I knew in great the hardest moment in the book up to that male population to exactly one, Yorick sets off detail what the first year was going to be, and point. And without spoiling anything, there are across a ruined America, accompanied by I realized geographically where Yorick and some more difficult decisions to come in the Ampersand, biochemist Dr. Allison Mann and company needed to go, but I also knew that I final issue." the mysterious Agent 355 (who is hiding an would make discoveries along the way. Whether by accident or design, Y: The Last agenda that may involve much more than Certainly, Pia made suggestions that created Man has been a lightning rod for controversy

24 STARLOG/V/7 2008 Yorick might be the last man on Earth, but there are certainly plenty of women still around.

from the very beginning, as it took on hot-but- ton issues such as feminism, religion, politics and medical ethics. "It was interesting," Vaughan remembers. "From the very first issue, there was an auction on eBay where someone had ripped the comic in half and was saying, 'I'm auctioning this off to be bird- liner. This is Zionist propaganda, and the book is presenting this Israeli soldier who doesn't kill anyone, who is clearly going to be the story's protagonist, and they're whitewashing the Israeli army!' "I thought that was pretty spectacular: to be out of the gate and already have people accusing the book of being propaganda for the IDF—especially when I knew this woman was going to be the book's major antagonist. That was good. So one week I would [read] that the book is misogynist garbage, and then Ms. Magazine would write something saying that it's a feminist triumph. I guess it has always been even-handed. And when there have been complaints, we're a bit of a moving target, so people have a hard time trying to decide exact- ly who we're offending. I would say for the most part, people have been very supportive of the book, and only rarely have I heard any real complaints." With Y: The Last Man getting mainstream attention from day one, it was just a matter of time before Hollywood came calling. "The phone started ringing after issue #1 came out," Vaughan says. "It was the right time. Comics were just starting to cross over, so Hollywood was hungry for what we had to offer. "I was allowed to take a stab at the script, which is moving slowly through the develop- ment process right now, so anything could happen: I could be replaced, they could use part of my script, they might use none of it, the movie might never come out... But I'm grate- ful that they at least let me say my piece and write the story, especially because I hear non- stop about how people are so frustrated. 'Why can't it be an HBO show? It should only be a TV series!' I guess because I'm one of the few people who knew how the series ended, I always saw it as something with a distinct beginning, middle and end, and I realized the or two, before I return to an ongoing series like "[Artist] Tony Harris and I spent a long scope of it needed the big screen. So I think it Y—which I would like to do again someday, time discussing it, because it made us uncom- translates pretty well. The script is very differ- but not right away. Certainly, at least not until fortable, but we knew that [the comic] would ent, though. It's the same characters and Ex Machina is completed." be a failure if it was only going to be the themes, but almost an entirely new story." shocking last page [of #1, which shows one of The last few years have marked a major Pride & Heroism the WTC towers still standing]. We didn't transition for Vaughan, who moved to the West Vaughan's other ongoing book is want it to be like one of EC Comics' old-

Coast in order to try his hand at screenwriting. Wildstorm's Ex Machina, which will end with school twist endings. It had to be impactful,

Even so, he isn't about to leave comics behind. issue #50 about a year from now. It's the story because it was important to the character and, "It's not like working in a coal mine," he jokes. of Mitchell Hundred, a superhero-turned- more importantly, to this four- or five-year "It's never hard, but they're definitely long politician who becomes Mayor of New York journey we were going to take with this char- hours. after his efforts to save people during the ter- acter. So we had to have a certain integrity of

"There was a point a year or two ago when rorist attacks of 9/11. The blend of reality and intent. And I think because we did, and we

I was doing five books a month, where I was fiction makes Ex Machina a very different knew we wanted to talk about the post-9/11 really at the end of my rope. I did some of my book, although the inclusion of such powerful landscape and what it means to be a hero—and best work then, but I also knew I couldn't go real-life events can be tricky at times. "It if there really is such a thing—it felt right to at that speed forever, so I look forward to a raised my hackles," he insists, "in that I was in do it, even if it made us uncomfortable. It def- slower pace. Now that Y is over, there will New York for 9/1 1 and watched from the roof initely felt too soon, but we always say as probably be another something like Pride of of my apartment as the towers fell, so I guess artists, 'You would rather be too soon than too " Baghdad, another stand-alone graphic novel I felt unclean writing and talking about it. late to talk about something.' www.starlog.com STARLOG//lpr///TO 25 Ring of Truth rather quickly, but the execution was a little collects issues more arduous. It was the first time I had ever #24-31 of Y, in done a stand-alone graphic novel, and I think, which Yorick's at the time, people were saying, 'Vaughan is sister follows Cliffhanger Guy. He has killer cliffhangers!' him to San Francisco, That was flattering, but as a writer, you're where she always wary about being pigeonholed, and I discovers he knew that it was becoming a bit of a crutch, so may be dying I wanted to remove that.

from the "I had gotten really good at telling month- male-killing ly serialized comics, and right when I had got- plague. ten good at it, I forced myself to not rely on other things that people had pointed out, like, 'Oh, Vaughan likes pop culture references. He obviously can't do that if he has talking lions

in Baghdad!' So I removed all the little things

that I was becoming overly reliant on, and I forced myself to tell a story in a different way.

It was hard, but working with an artist as good as Niko Henrichon made the experience much easier."

Faith & Hope Vaughan may be saying goodbye to his two

oldest literary children, but there is other comic book work in the offing. Looking ahead, he has a Dr. Strange project and the Wolverine mini-series Logan, both slated for early 2008. He also just wrapped up "No Future For You," a four-issue arc for Dark Horse's Buffy Season Eight book, featuring Faith in a storyline originally planned for home video production.

"It isn't quite in the form it ended up being in the comic," he clarifies. "Joss Whedon had been a big Runaways fan and, a few years ago, he asked if I had any interest in working on a direct-to-DVD Buffy movie, something focus- ing on Faith. That was a huge honor, and this

was long before I started working on Lost, so it was unimaginable to me—to not even have written a spec [script] and have that offered to

me. But I loved the Bujfy-vase. and revered his

writing so much that it was great just to go out and knock around ideas together. "I eventually made an offhand suggestion

about Faith being a Slayer-Slayer, and it felt like a good starting point and an interesting

place to take the character. I was sad that the movies never got off the ground for whatever

silly financial reasons, but the Season Eight comic was the perfect place to continue to explore those themes." Another major change in Vaughan's evolu- tion as a writer took place this past season Touching on feminism, religion, politics and medial ethics, Y has garnered Vaughan when he landed a coveted staff position on both controversy and acclaim. This is the day all the males died. Lost. "Damon Lindelof, one of the creators

While Vaughan has attracted a loyal fol- recalls. "One was to do a talking animal book, and executive producers, is a big Y: The Last lowing for such long-running books as Y: The just because I wanted to challenge myself to Man fan," he remarks, "and I had moved to LA

Last Man and Ex Machina, it was his work on do something unlike anything I had done lured in part by the possibility of maybe work- last year's graphic novel Pride of Baghdad before. And comics has such a good history of ing on those Faith movies—and also to baby- that elevated his talents as a storyteller into a it—whether it's Scrooge McDuck, Teenage sit the adaptations of Y and Ex Machina. whole new category. Loosely based on a 2003 Mutant Ninja Turtles or Maus. It's something Damon heard that I was out in LA, so when news item, the story is about a pride of lions that comics has done well, so I wanted to try there was an opening on Lost, he said, 'Do you that escape from a Baghdad zoo during an my hand at that. have any interest in at least coming in for a

American bombing raid in the midst of "This was in 2003, so I wanted to talk meeting?' I figured there was no way, having

Operation Iraqi Freedom, and allowed the about the Iraq War in some capacity, but I did never written a spec script to this day as a sam- writer to examine the concept of life during not dream about combining the two ideas. ple to show what I'm capable of doing, but we wartime in an unforgettable fashion. When I read that news story, though, it all had a good meeting, and we all seemed to get

"There were two things that I really want- crystallized immediately, and I saw the story along well. ed to do with Pride of Baghdad," Vaughan very clearly. In that respect, the idea happened "He and [executive producer] Carlton Cuse

26 Smm/April 2008 —

told me from the get-go, 'If you're a good sto- He'll always be writer, ryteller in one medium, we feel you'll do well a comics but Vaughan here, but have no illusions: It's very different, who also scripts and there will probably be a transition phase.' TV's Lost— And there was. The entire act of [TV] writing would like to is completely different from working alone — dabble in other to doing something with several writers in the media, too. room to having to do something on the fly. So if I get a call from Hawaii on my cell phone from a director saying, 'We need a line of dia- logue now!' while I'm in the commissary hav- ing lunch, I have to deal with it. People have described writing for TV as playing the piano in the middle of a war zone, and it does feel that way sometimes. It's very different from the luxury of staying up until 4 a.m. alone in my quiet room. But I love it. I wanted a chal- lenge, and while I haven't always met it at work with Jeff Pinkner—another executive Ex Machina, another Lost, it has always been a challenge." producer and a seasoned TV writer—so they Vaughan Vaughan's first script, "Catch-22," came didn't throw me to the wolves. But as far as book, is midway through Season Three, but as the new paying dues and the nonstop hazing, that con- also kid on the block discovered from day one, he tinues to this day. They will never stop wrapping wasn't there just to make coffee. "I was told, reminding me that I'm the new guy and — up. The 'We didn't hire you to sit around; you're deservedly so." post-9/11 expected to chip in!' I think I came in at And looking ahead a bit, despite his grow- title tells the episode 12 or 13, and my first script was last ing success as a Hollywood writer, Vaughan tale of a season's episode 17, so it happened fairly assures his loyal readership that he still has superhero- quickly, but I didn't write the show myself. All plenty of comic books in him. "I've been real- turned-NY Mayor. of the episodes are co-written, and I got to ly nostalgic recently with Y ending and these books coming to a close," he Ex Machina Art: says. "Around 2001, 1 could Tony Harris definitely feel a point where

I was working on Y, Run-

aways and The Hood, and all of these things came about at Pride wasn't the same moment as a young "BRIAN K. VAUGHAN a sin, but writer. I always tell people NIKO HENRICHON rather a that old saw about writers success, for having about 10,000 bad Vaughan, pages in them, and you have who always to get to 10,001. And I liter- wanted to ally got to 10,001 sometime do a talking in 2001. So that was a defin- animal book. ing moment. "I don't what the know Baghdad Art: next defining moment will Niko Henrichon/ Trademark & be, but I'll always be a Copyright 2006 comics writer who dabbles Brian K. in other things, not vice Vaughan & Niko Henrichon. versa. I would like to get All Rights some more movie stuff Reserved.

under my belt, I love the challenge of being a TV His four- writer and I would love the issue arc for challenge of directing some- Dark day as well. I think my next Horse's graphic novel will be a big Buffy series leap forward and another focuses on thing that will either be a Faith in a storyline complete catastrophe or initially something special. intended as "Every day I wake up a DVD and say to myself, 'I really release. don't want to do this,

because it will be so much work!' " Brian K. Vaughan grins. "But I can't stop

thinking about it. So I be- Will Yorick be the Last Man standing when #60 ends the lieve my next big comic will series? Vaughan says he knew from the very first issue be something good..! Buffy Characters & Art: Trademark & Copyright 2007 how he was going to finish this journey. hope!" 20th Century Fox Film Corp. All Rights Reserved. www.starlog.com Smm/April 2008 27 —

"I was thrilled with the season finale," Barbee says. "We were dealing with lots of different issues at that point, in erms of fin-

ishing out the stories that we hi id set out to

tell for the year. We had always i ntended for

it to end in that way. The one pi ;ce that was new—as of maybe two or thiee episodes before we actually shot the final ;—was hav- ing Johnston Green die. We had always 1 intended Johnston to die. We weren't quite sure when it was going to hap jen, but we

knew it had to happen, because the story of

Jericho is the story of the prodigal son returning and taking his rightful place as After taking his father's place as the town's leader, Jake Green the leader of this town. (Skeet Ulrich) now must prepare for invading forces. "So we always understood that at some Jericho, thanks to its many fans, lives "Once we figured that out and set a point Jake had to replace his father. When another day. Carol Barbee, Jericho's course, we stuck with it," she adds. "We we were coming near Season One's end, producer and showrunner, can't thank wrote a story, a mythology, that we all there were questions of whetht r we would the faithful enough for their crazy, effective, agreed upon, and that was the season's be picked up or not, so we decided we Star Trek-esque nut campaign, nor can she overarcing backbone. When we wrote the should go for broke, not count on tomorrow wait to preview Season Two. First, however, episodes, we could look at that arc and say, and just tell the story. It actually turned out a look back at Year One, in which long- 'All right, this is where we are,' and we to be the right time story-wise, because we absent Jake Green (Skeet I I- _ — -„ would slay true to that. Before had a war coming. We knew wt were going rich) returned to the titular that, because of all the voices to be marched on, and that th it would be

j town just before a nuclear at- I I and all of the input—and be- how we would end the first season. So it was tack cut it off from the rest of cause we were trying to figure actually the perfect time to give Johnston a America. out what was working and hero's exit.

"I was incredibly happy mj what wasn't Jericho was a lit- "I watch that episode, an! I'm very with the second half of the sea- * tle all over the moved and proud of it. I constantly talk j| map." son," says Barbee (who dis- ^PvH about, when you're arcing out stories, the cussed Jericho's origins in Why we Fight ball rolling downhill. Your job is to get that STARLOG #350). "I feel like Season One ended with the ball rolling in the right directum and, ulti- the first half of the season got us 1 episode "Why We Fight." It mately, if you have done it riglit, that ball where we needed to go and got was loaded with action, drama, rolls down the hill to an inevitable climax, the show picked up, but around Barbee blamesI ames last flashbacks and teases of things year's n episode seven or eight, we really mid-seasond-season t0 come for Jake and the resi- hiatus forfc Jericho's started to figure it out, and I den ts of Jericho. Johnston ratmratingss decline1 and was very happy with Jericho 9 Green (Gerald McRaney) died eventualitu'T from that point on. The trick during the battle with New canecancellation.lation about getting a series off the Bern, but not before telling his ground is that, in the beginning, there are so sons what they most needed to hear: He let many voices. There are 15 executives from Jake know he was proud of him, and he the studio and the network. There are lots expressed his love for Eric (Kenneth of producers and lots of writers, and they're Mitchell). Hawkins (Lennie James), whose all trying to figure out which vision is going motives remain a mystery, continued to to be the predominant one. I think that's help track the town's enemies, even at the the hardest thing about starting a new risk of exposing his location. And Heather show. So I feel that our early growing pains (Sprague Grayden) was found alive, and were a good deal about that—just trying to woke up to discover a little something about figure out which voices were the right mix. the Allied States of America.

,

do 11 more. So I understood why called to say they were going to bring they wanted to do it. us back, and that was the most

"What I think is, in retrospect, shocking moment of all. The nut you just can't be off the air that long, campaign lasted about three weeks, without even reruns, and expect peo- and there came a moment about two ple to understand that you're still on weeks in where I started feeling real- the air. I believe people thought we ly scared for the fans, because I just had been cancelled. And the ratings knew they were going to get their wars are so close these days, [the hearts broken. I was talking to these networks] don't like to rerun things people on radio shows and I was that aren't going to knock the socks reading their blogs, and I was literal- The last time we saw Emily (Ashley Scott) and Jake off of the ratings. But there is a cer- ly hearing their voices. together in "Why We Fight," it looked like the two would be tain of maintenance that "Then, when called and said amount getting back together. CBS must be done to keep an audience they were bringing us back, my first engaged. So that was a mistake, because cre- "So I was shocked. It was a gut punch. I reaction was pure joy for the fans. I was like, atively, I don't think it could have been better was surprised, really, and heartsick about it for 'Oh, dear God, thank you! Thank you!' They for what we were trying to accomplish." three days, until the fans started going crazy wouldn't feel like they were completely

and this momentum started. At the beginning, slammed again. So I feel good for them. And

Nuts to Surrender when I knew that [the Save Jericho] campaign since then, I still talk to the fans, and it has Despite the precipitous ratings decline, was starting up, I thought, 'Thanks, guys. made a huge difference in many people's lives.

Barbee admits that she never for a second You're so sweet. God bless you.' It made me They feel like they've accomplished some- believed CBS would ax the show. The people feel good, and it made Karim [Zreik] and Dan thing, and it was a big win. So it was a pretty she dealt with on a daily basis at the network [O'Shannon], the other two producers, feel cool event, and it was fun to be a part of it." and the studio, she explains, loved Jericho and good. Then, as the campaign picked up its own CBS—which had literally received a ton of were deeply invested in it and the story. And momentum, it started getting really fun. Our nuts, with fans inspired by Jake's WWII/Battle that ran all way up the food chain to CBS pro- actors joined in. All the writers joined in. And of Bastogne-derived response of "nuts" to a gramming boss Nina Tassler. "Honestly, in my it became this fun ride. It was also our way of demand for surrender—ordered seven heart of hearts, I never thought they would holding off the abject depression that was episodes that would constitute an abbreviated cancel us, because I thought that they under- coming out of having been cancelled. second season. The first, "Reconstruction," stood that taking us off the air had been the "At the same time, I will tell you, we were airs on February 12. Reconvening the cast and mistake," Barbee says. "But, ultimately, the taking meetings with other networks and other crew for the first day back on set, Barbee number crunchers are the ones who cancelled entities to talk about taking the show some- raves, was... "Awesome. People say it all the us. Nina didn't want us to go away, but they where else," Barbee reveals. "So we were try- time, but it's true of Jericho: These guys love have a business to run, and Nina isn't the ulti- ing to keep Jericho alive, and I think it proba- coming to work, and they love working mate say. bly would have kept living, but then CBS together. Skeet, Lennie, Ashley [Scott], Alicia

lis

Despite an explosive finale, CBS. axed Jericl Nine months later, on February 12, Reconsti starts off a string of seven new episodes.

30 mm/April 2008 — —

Last year, much [Coppola] and Brad [Beyer], they're all come to Jericho and stop this war from hap-

was revealed friends now. We work well with them. The pening. We pay off all of that in the teaser and about Jake's producers and the writers have become bud- show you exactly what happened. Then, dur- past. This dies. So it's a nice place to come to work, ing the episode, we establish the Cheyenne season, the focus which was the other thing people were mourn- government coming to town to rebuild Jericho. will be more on ing when we got cancelled. It was, 'Oh, great, And then kick off the mission that Jake Jake's—and we and Jericho's—future. now I have to go find another job and hope Hawkins will be on through the seven that it's good and that I like the people.' It just episodes. It's really exciting. It's an action felt like this reprieve, like, 'Oh my God, we movie.

get a second chance.' "I have to tell you, the dirty little secret is As the Cheyenne "There was also this feeling—and I have to that having seven hours is a great amount of government tries say it carried through all seven episodes—that time to arc out and be able to tell your story. to rebuild we were riding this wave of goodwill, and that Twenty-two is a daunting task, and you end up Jericho, Jake and were doing this for people Hawkins (Lennie we who so wanted breaking it up into seven-episode arcs anyway. James) leave this and so appreciated this. I made a speech at So seven was a perfect number for us. We town to embark the wrap party where I basically said we did originally arced out a second season that took on a dangerous not do these seven episodes for the ratings place in three different cities: Jericho, mission. although we hope the ratings are good—and Cheyenne and New York, and all the stories

we didn't do it for a third sea- were going to dovetail, but we were going to son—although God knows we tell the story on a broader scale. When we want a third season—but we did were brought back for seven episodes at a

it because the fans wanted it, and more restricted budget, and with only seven-

we owed it to them. We want to day shoots instead of eight-day shoots—which continue telling the story for the is a huge difference—we couldn't tell all three people who wanted Jericho so stories. So we chose one, the Jericho story, and

much that they got it brought we told that entire season arc in seven

back. That's a fun place to be." episodes. And it's huge. That's why I'm saying that big things happen in every episode, and To the Battlefield there's just no treading water." And after all that, Barbee And now, the most important question: Are promises, Season Two will deliv- these seven episodes the next chapter in the

er the goods. "This is an epic Jericho tale, the final chapter in the Jericho

story told in seven episodes," she tale or perhaps both? "We had to look at it as

declares. "It's a movie. It's a both," replies Barbee, who is now also work- beginning, a middle and an end. ing on another CBS series, the upcoming In seven episodes, there isn't the Swingtown, which had only shot a pilot and time or luxury or even need for us one episode before the writers' strike shut

to tread water. Big things happen down production. "I think we actually pulled it in every single episode, and the off. I've seen all seven episodes. We shot an

trajectory is straight up until it alternate ending for that seventh episode, at

reaches the climax. I am so excit- CBS' request. At first, we were fighting that ed about these episodes. We tell alternate ending, because we didn't want to

one story, basically. There are lit- give them a way to turn the lights out. But we

tle B-stories and personal stories pulled off a great thing. The ending that I call

woven throughout, but it's really the alternate ending doesn't close the series. It

one story going on. doesn't say, 'Oh, and here it is, here's who did

"In the teaser for episode 201, it and here's why they did it,' and wrap up

we pick up exactly where we left everything in a nice, tight bow. It doesn't spill

off in 'Why We Fight.' We're on all the secrets. We couldn't possibly tell all of

that battlefield with Jake and all the show's mythology in one episode or one our guys getting ready to be fired ending. on by an overwhelming force. We "That wouldn't have been credible,"

have Hawkins in a tank, trying to Barbee continues. "But what it does do is give stop a troop train from getting to a closure to these seven episodes that says, Embraced by the fans, Jericho lives on. Barbee says this season is dedicated to the viewers. the battlefield. We have Heather 'Now this story is over.' What we call the orig-

"We owed it to them." and the Cheyenne Army trying to inal ending—the one that we intended to have in there—takes you into a cliffhanger for one of the stories, so you can see where we would

be going in a third season. When I watched

both endings, I realized that CBS' ending—the

alternate ending, I'll call it, which we wrote closes out the season and tells you where

everybody is, and it's very emotionally satis- fying. "If we use that ending—it's pretty good, and in some ways I actually prefer it—and we get another year," Carol Barbee remarks, "then we'll take the story content of our origi- Esai Morales guest stars as Major Edward Beck, but nal ending and make it the beginning of Barbee is cagey about Season Three, and that will kick off the next revealing too much adventure." information about Season Two's storylines. jjjwn SWm/April 2008 31 I Steven Gould's Jumper series leaps from printed page to Hollywood heroics.

^ ^

I

Book-to-movie adaptations can present a minefield of conflicting emotions for an author. Take Jumper, for in- stance—both the film, jumping (ahem) into theaters this month from 20th Century Fox, and the two Steven Gould novels upon which

it's based: Jumper and Reflex. On the positive side, Gould gets a sizeable royalty check and a likely surge in book sales. There's also the prestige factor—not every writer gets to see their work transformed into a multimillion-dollar Hollywood specta- cle. Interestingly, Gould even got to pen a third book out of the deal, Jumper: Griffin's Story—a movie tie-in that pre- sents the background of a character actu- ally created by the screenwriters. On the other hand, Griffin's existence illustrates how Gould essentially had to relinquish control of his Jumper mythology to the filmmakers—for better or worse. "The core of the first book is, 'What if you're the only person who can jump?' But they wanted to add more Jumpers right from the beginning," Gould explains. Director Doug (The Bourne Identity) Liman and screenwriters David Goyer, Jim Uhls and Simon Kinberg (see page 36) made plenty of other changes too, but the story still centers on a young man named David (Star Wars' Hayden Christensen) who can instantly teleport himself to any place in the world. plays David's girl friend, Millie, and Samuel L. Jackson essays a new character, Roland, a deadly "Paladin"

who hunts Jumpers. Griffin (Jamie Bell) is another young Jumper. Gould had no involvement in the produc- tion, although he did communicate regular-

ly with one of its producers, Stacy Maes, on the progress of Griffin's Story. "Other than that, I watched from a distance," the author says. Maes provided him with each new draft of the script as a kind of blueprint for the third novel, and Gould sent her his chapters every few weeks, receiving notes in return.

32 mm/April 2008 (The studio had approval rights, and gets a got some specific things of mine in the share of the book's royalties.) Once, early in movie. And, of course, there's an overall the production, Maes flew out to Gould's the theme of Steve i Gould's Jumper is. quite literally, escape. feeling that's straight from my work, like the Jmagtne a Holden C aulfield with the power of fife or death over home in New Mexico to show him some of Book Review idea that someone would pop into some the first dailies from the set. other place thousands of miles away for fair- So, even though Gould hasn't yet seen ly minor reasons. the finished film, he has a good idea of how "No matter what they do with the film, the fact that they've chosen to spend millions of dollars and the creative efforts .of hun- frtm dreds of people on something that is based Readers first g on my work is incredibly cool," Gould adds. teleported to "Who knows how I'll react when I see the Steven Gould's movie for the first time? Sure, the filmmak- Universe in Jumper. The ers did make some decisions that... I would

author wrote it as not have made. But we'll see how it turns an SF novel for out. In fairness, the books have a strongly adults, but the refle interior view of someone's struggles, and book caught on that's hard to capture in a movie, where it's with the Young third-person by nature. Adult crowd. "Plus, we all know that films are collab- orative efforts. Unless they're totally in love Steven gould with the novel to start with, directors, writers and everyone else involved want to bring their own ideas to a film. In some ways, I'm very happy not to be part of that process. My few attempts at collaboration were very Not a huge fan of sequels, it took hard. I wrote a book with my wife [writer Gould 10 years to pen the follow-up to Laura Mixon] called Greenwar, and that was Jumper, Reflex. It's set a decade later. a real struggle." to make a commercially successful but bad movie from one of my novels. That way, Jump Points people will see the movie, read the book and Griffin's Story came about because the

say, 'Oh, the book is so much better!' Now, I studio was interested in a book tie-in, but don't actually believe that about the Jumper Gould was unwilling to sell novelization

film. I think it's going to be pretty good, rights. "I wanted Jumper, my original book,

even though it's different." to be the movie's novelization," he relates. In Jumper (published in 1992) and Reflex "So instead, we decided to work with the

(2004), Davy is one-of-a-kind. No one else Griffin character. I really like Jamie, who

in the world has his innate ability to teleport, had been cast as Griffin by then, so it seemed

although Millie does acquire the talent in a good fit. I had Jamie's face in mind as I

Reflex. Davy isn't pursued by nefarious ele- wrote that novel. What's interesting is, I had ments until three-quarters of the way written somewhere between a third and a through the first book, and when that un- half when they told me they were going to

wanted attention finally surfaces, it's from let Jamie speak with his British accent. the National Security Agency, not a secret Earlier, he was going to be an American, so Unlike some writers organization of Paladins. Twas writing him as one. It wasn't too bad, disgruntled by the Davy spends most of Jumper learning the because the locations didn't change, but I movies made of their extent of his power, finding his own moral had to go back and make Griffin and his works, Gould is happy compass, dealing with his abusive Dad, find- family ex-pats from Britain, instead of being

that more people will be ing his Mom and losing her again and, ulti- from Akron, Ohio. I also did what I could to introduced to the Jumper mately, fighting terrorists. Neither Jumper give Griffin a British dialect." series by the new film. nor Reflex contain any mention of a cen- Of course, Griffin's Story would never turies-old secret war between Jumpers and have been written if not for Jumper, which Paladins, nor any references to "jump scars" was Gould's first novel after 10 years spent in the fabric of space-time that allow one penning short fiction. His short story "Rory" Jumper to follow another through a jump. earned a nomination in 1985, Both elements, and more, were dreamed up and his novelette Peaches for Mad Molly the movie departs from his books. So do by the screenwriters. picked up nominations for both the Hugo

many of those who have read Jumper and "I admit that I did cringe when I read the and Nebula in 1988. With those accolades seen the preview trailers, and judging by the first script," Gould says. "The changes made under his belt, Gould sold Jumper after just

comments they've posted at Gould's website me wince. But I got over it, and after that I one rejection. (digitalnoir.com), they aren't pleased. was braced for additional changes, like when "The idea for Jumper sprang from a col- "I, personally, am not angry or disgrun- they brought in the whole secret history lege bull session," Gould explains. "I was tled [by the alterations]," Gould insists. "I thing. None of that's mine. involved with the science fiction group at just have many angry and disgruntled fans "But just by looking at the trailers, I can Texas A&M University. Someone asked, who I'm trying to respond to in a kind and see definite, discreet moments and elements 'What would you do if you were the only understanding way. I keep pointing out that that are right out of my books—things like person on the planet who could teleport?' thousands of people will now read the book, falling down the face of a building as some- That's really Jumper's absolute core idea."

who never would have read it without the one teleports in and out. Another example is Jumper helped Gould address some per- movie happening. I'll tell you something the stuff going on with the father shouting sonal issues. Just as Davy's Dad is an alco-

else that I always say: I would like someone through the door at Davy. So I've definitely holic, so too was Gould's father. "My Dad

www.starlog.com mm/April 2008 33 —

truly belongs on that list," he ventures. "In felt so out of touch with the book that it took fact, I don't think most of the books on that a long time to get started again. This was list, many of which I admire, belong there." killing our forward momentum, so we sat (The list includes such classics as The down and plotted the whole story out. Then Adventures of Huckleberry Finn and OfMice Laura wrote a draft all the way to the end, and Men, plus such genre titles as Bridge to and I came in next and did a pass. That was

Terabithia, The Handmaid's Tale, the Harry the only book I really plotted so closely." Potter series and Brave New World). Gould went solo again for Helm (1998), "Consider, though, that if a book isn't in which the last remnants of Earth's culture

popular enough, it isn't going to get suffi- send a handful of colonists to a distant world cient attention to make such a list," Gould with a few precious "imprinting devices" ump e r notes. "Jumper was popular enough to be that contain all of Earth's scientific knowl- attacked enough times to make it on there." edge. Eventually, however, the colony regresses to a state of extremely limited Reflex Actions technology. Finally, one young man dons the After Jumper, Gould wrote a number of stand-alone novels, most of them in the Young Adult SF category. The first of these

was Wildside, published in 1996. It features

an 1 8-year-old protagonist who finds a tun- nel to a parallel Earth, where mammoths and LAURA J. MIXON saber-toothed tigers still roam. Gould's 'A page-turner sure to delight Tout Clancy interest in environmental issues helped fuel readers and Geologists alike!" the story. "If there's a message, it's definite- UBfSABY JfHIMuU.

He didn't want a Jumper novelization, so ly an environmental one," he reflects. "But Gould came up with Griffin's Story, which it's also about the fact that kids can be self- follows a new character from the movie. reliant." Next, he completed Greenwar (1997) has been sober now for almost 30 years, with Mixon, and while not strictly SF, the thank goodness," he says. "My father was novel did teach Gould about the perils of not physically abusive. But there was stuff [I collaboration. "The notion was to create an experienced] growing up that ties right in to eco-thriller," he comments. "It was an idea the stuff happening with Davy. The whole that our publisher had—to do a thriller with theme of teleportation is actually a way to ecological concerns. Laura is an environ- examine running away from your own prob- mental engineer by training, so that was part lems, and not dealing with them. No matter of it. Greenwar is Tom Clancy-ish in the way how far you teleport away, the one thing you it's on the edge of technology. It flips back can't run away from is yourself. I was trying and forth between two viewpoints, one male to do that all through my early 20s, as a and one female, so Laura and I tried at first result of my upbringing. There were times to divide the writing that way. when I wished I could jump away from my "Unfortunately, we found early on that family situation. So writing Jumper was like we couldn't do that, because by the time one therapy; it was a cathartic experience." of us finished his or her chapter, the other An environmental thriller, Greenwar was a It's also true that Gould used to spend a difficult collaboration between Gould and great deal of time in airports and on air- his writer-wife Laura Mixon. planes because his father was an Army offi- cer. "I'm sure you've spent time in a securi- STEVE one remaining "Glass Helm" when he isn't ty line, or waiting around after a delayed 0ULD supposed to, giving him extraordinary tal- flight, wishing you could just be in the place ents and knowledge. you needed to be, instantly'' he says, chuck- "That's the first novel in which I created ling. a whole new world," Gould observes. "One "His w«tm, deliglttfjt, When first published, Jumper was pre- | of the things the kid learns to do with the iiml Gtfitljjubtyety sented as an adult novel by Tor Books. | rentable novel helmet is Aikido, since I know something I display assured Gould was adamant about that. "But it was about it." Indeed, Gould is a third-degree storytelling skill." immediately picked up by the American PoMiam MfeeMt black belt in that Japanese martial art. Library Association as a best book for young on km*' Gould returned to Earth with Blind m Est j :* adults," he recalls. "Certainly, it features a Waves (2000), a thriller that takes place after young adult protagonist, and it's very much melting Antarctic ice has drowned much of a coming-of-age story. In fact, I was strong- the world. Two political issues relevant to ly influenced by Robert A. Heinlein's Young the real world today crop up in the story Adult novels, like Tunnel in the Sky. Still, I immigration and global warming—even think those works are totally readable and though Gould was writing several years enjoyable by adults, as well as by kids. They before either one had reached today's hot- don't talk down to kids at all. Those were the button status. books I grew up with, and I still like them." "In the book, the [elevated sea level cre- Interestingly, Jumper wound up (at num- ates] a huge refugee problem, and the INS ber 94) on the ALA's list of the 100 Most becomes the largest branch of the Armed Challenged Books of 1990-99, thanks to a Forces," Gould says. "It wasn't that current couple of violent incidents that occur within Gould took a walk on the Wildside in his an issue then, but it has become much bigger the first 10 pages. For Gould, the distinction tale of a parallel Earth where mammoths now. Examining trends that are actually hap- is a badge of honor. "I don't think Jumper and saber-toothed tigers still live. pening in our time is certainly compelling

34 STARLOG/V// 2008 — i

and important, but I don't want to be a pro- Reflex, Davy and Millie decide to have a pagandist. I want these issues to be [a natur- family, and that has some interesting possi- al] part of the story, to be there in service to bilities. The movie doesn't matter with the story. That's the most effective way to be respect to my novels. I can go ahead with an activist, too. Because when you get whatever I want, without any particular con- preachy in a book, a work of fiction, people straints. Essentially, I would have to ignore put it down." the film, unless I came to a separate agree- Finally, he returned to the Jumper Uni- ment with them." verse with Reflex. "Yes, I resisted doing the At the moment, Gould is working on a sequel for a while," he muses. "However, I new, as-yet-untitled novel about the emer- do admire writers who are able to create gence of thumb-sized bugs that consume compelling series. I'm a big fan of Lois metal and create a disaster in the American McMaster Bujold. She has been able to do Southwest. "They eat anything electronic, some amazing stuff with the growth of her and when they do, they multiply," he characters in a long-running series [the explains. Miles ]. So I'm not as averse What is it about SF that appeals to him? to sequels as I used to be. Ultimately, I write "The Q ship!" is Gould's enigmatic reply. for the same reason I read: I want to see He's referring to the anti-submarine vessels, what's going to happen." disguised as merchant ships, used by Britain Since Gould wrote Reflex 10 years after in WWI and the U.S. in WWII against Jumper, he wanted Davy and Millie to be 10 German U-boats. "Science fiction is like years older, too. As the book opens, they're that. It's perceived by some as safe to read married adults who are grappling with the because it isn't about anything [significant]. issue of whether or not to have children Therefore, you can hide really important another element from the author's personal issues in it. Jumper looks like it's just about life. "I already had kids at that point, but I how cool it would be to teleport, but it deals had gone through some of those arguments with significant topics like child abuse and Immigration and global warming are at and doubts about parenthood, because of my alcoholism. With science fiction, I can delve the heart of Blind Waves, which deals with into some serious stuff that people might not own issues with parents," Gould confesses. an Earth flooded by melted Antarctic ice. "I thought of Reflex as an adult story, but have read otherwise. I think that's particular- it was still picked up as a best book for particularly relied on travel guides like ly good for Young Adult works." young adults," he adds. "I don't know why. Fodor's. Then, with Reflex and Griffin's If a Jumper cinematic sequel did become

It isn't about young characters, and it isn't Story, I turned to Google Earth. You can also a reality, would he want to be involved in really a coming-of-age story, although the check out people's vacation photos at any way? Steven Gould laughs a moment, characters do grow and change. It's a dark flickr.com, where you can see exactly what and then offers, "Well, I have told them that novel. Some nasty types figure out a way to certain places look like." I would love to do some stunts. As an Aikido hold Davy captive, and they work on 'condi- Gould says he may eventually decide to expert, I know how to fall down. I figure I tioning' him. It does involve implants and pen a fourth book in the Jumper Universe, can fall down on camera for them, even if stimulation of the vagus nerve, which keeps whether or not the film spawns sequels. "I it's just in a crowd scene. That would be a the heart beating, among other things." have some vague ideas about how I would nice little cameo for me."

handle it," he says. "At the end of Leap Years The novels and the movie may be Like Jumper, Griffin's Story takes place drastically different, but Gould anywhere is possible. all over the world. Griffin's parents are accepts the alterations that the killed by Paladins at the beginning, so filmmakers made to bring his work Griffin, age 9, goes on the run. Over the next to the big screen. *JLJ IV/l F3 EE seven years, he finds people who help him in Mexico, England, , ERIF^F-irsJ'S Thailand and elsewhere, but whenever ,yvvi >erc is P° ' i i (1 — ~I "Y^ attachments, his friends usu- he makes moM ti ir ninrcTon nr ally end up dead. THE HOUflNE IDENTITY "Griffin's Story is a little grim,"

Gould admits. "And it was harder to _Jl_iiv/i 1DENTIT write than even the arguably grimmer BOURNE stuff in Reflex. That's because with Griffin's Story, I had a very tight dead- line. Normally, when I finish an emo-

tionally demanding scene, I can go take a

break afterward. I can step back and relax and do something else for a couple of

weeks, if it was really tough. But with Griffin's Story, I had to keep going be- cause of the time constraints. That was a new experience for me." As for the books' worldwide locations, Gould points out that the Internet is a pow- erful tool. "I do love travel, but I've never been to 90 percent of those places," he reveals. "When I was writing Jumper, the

Internet wasn't quite there yet, so I spent an enormous amount of time in the library. I www.starlog.com STARLOG/V 2008 The last time we saw Hayden Christensen in Revenge of the Sith, love wasn't in the cards for him. Perhaps as Jumper's David, he'll have a happier romance with Millie (Rachel Bilson).

What would your life be like if you suddenly discovered the ability to instantly teleport from one place to another just about anywhere in the world? That's the premise of the new SF thriller Jumper, starring Hayden Christensen as the reluctant protagonist, who discovers that his newfound abilities actually place him in the middle of a global war that has been raging for centuries. Based on the bestselling novels by Steven Gould, the film also stars Jamie Bell as Griffin, a roguish fellow Jumper; Rachel Bilson as David's former childhood sweet-

's heart, Millie; Diane Lane and Michael Rooker | as his parents; and Samuel L. Jackson as £ Roland, leader of the Paladins, a shadowy | organization sworn to track down and wipe £ out every Jumper on Earth. 3 According to writer-producer Simon Kinberg, readers original jj of the Jumper novel ~ will be in for a number of surprises when they

•3 see the film, which opens in February. "Even | if you read the book," notes Kinberg, "you'll | still be left pretty blind, because we really | only took the main concept and part of the 1 main character from the book. Other than that,

>. and the idea that he has an abusive father and o S an absent mother, we really used the book as £ ajumping-off point—no pun intended. * "We've built an entirely different mytholo-

£ gy, both for the Jumpers and the people who 5 are chasing them. In the book, there aren't any g real discernible villains, so we created a £ whole villain mythology and culture. We've ° also created another Jumper who, in turn, g Steven loved so much that he recently wrote a 2 new Jumper book using that character = [Griffin's Story], There was a really nice back 0 and forth between Steven and us, and he was o °s excited to see his book turned into a movie, S and to see us use the core idea. u1 "The book is dramatic and serious and £ gritty and realistic, and I think the tone is what g appealed to Doug Liman, our director, as | much as anything. But in terms of the story t elements, secondary characters and visuals, 1 they were created from scratch as we were 2 building the movie. Again, much of what we < took was the idea of: If someone in the real

36 miOG/April 2008 www.stai world, a young guy in his late teens or early Begins) Goyer. Kinberg then approached his 20s, developed a superpower, what would he former Mr. and Mrs. Smith collaborator

really do with it? Liman. "Doug had lots of ideas for the screen-

"He wouldn't go out and start fighting play, and I think David wasn't available to

crime, because he wasn't a policeman to begin keep working on it, nor was 1. 1 was living in with. He would actually probably go out and Vancouver at the time, working on X-Men: start committing crimes, and that's a bit of the The Last Stand, so we hired another writer,

book's ethos, and it's entirely the movie's Jim Uhls, who wrote Fight Club. I came on as

ethos. To some extent, Jumper is a superhero a producer to work with Doug and refine some film where the superhero doesn't do anything of his ideas and how to integrate them into the morally upright until late in the film, so his arc script, and Jim wrote a draft and, when he was

as a hero is the architecture of the movie." done, it was Christmas 2005. 1 was wrapping X-Men, and we were talking about going into Jumping Aboard pre-production on Jumper in January or

Kinberg originally came aboard Jumper in February, so I came aboard to officially finish

summer 2005, by which time a draft had the script. At that point, Doug and I worked Jumping into already been written by David (Batman shoulder to shoulder in his apartment in New York, ripping it all apart and putting it back

'. : new adventures, . together again, with many of the pieces that Simon Kinberg helps teleport Jumper to the big screen.

David and Jim and Steven had created, and creating many new pieces ourselves." The final draft retained a number of Goyer's original concepts, but the story itself went in a very different direction. "What we Various kept from David's script was really the first act screenwriters of the film," says Kinberg. "It's about this guy

jumped in and in his mid-teens when we meet him, the life he out of the has with his father, the discovery of his power project. Scribe to teleport, how he runs away from Ann Arbor Simon Kinberg and how he makes a new life in New York by says David's robbing banks and setting himself up as this agenda is entirely different strangely rich teenage boy in . from the We absolutely retained that origin from original script. David's draft. David also created Griffin, the second Jumper, and although much of his per- sona and backstory changed, the idea that

there's a second person with this power is a very big element. "From there, we created an entirely differ- ent story. In David's version, the main charac-

SWm/April2008 37 Samuel L. Jackson's character's powers is obviously an important character was thing in creating a character," he says, "but as one of several important as the powers are, equally important new additions are the limitations on those powers. When you to the story. don't have set limitations in the first act, in He's a "Paladin" some ways you lose jeopardy for the rest who hunts of Jumpers. the movie, because the audience feels, 'Oh, well, at some point they're going to augment their powers so that they'll be able to get away from anywhere or anything!' "It's very important that when people have a power—in this case, to jump away, or in other movies I've worked on, they've had the power to fly or you can't hurt them like Wolverine—that you establish some vulnera- bility. Otherwise, you [sacrifice] jeopardy to

the action, because you feel it doesn't matter. I It's like Neo in the second and third Matrix movies: You know he's going to survive. It's very hard for all of us who are vulnerable and imperfect to identify emotionally with charac- ters who don't also have vulnerability and

ter [who's also named David] develops this "A few years later, I had worked on other imperfections. So on an emotional and a nar-

power and uses it to track down the terrorists movies at Fox—including Mr. and Mrs. rative level, it's crucial to quickly lay down who killed his mother. In our movie, his moth- Smith—and when they were having problems those power origins and limitations." er is still alive, and there aren't any terrorists. with Fantastic Four and needed some rewrites As far as Jumper goes, the two key rules David's agenda is to reconnect with his high done quickly, they hired me to come in and for "jumping" were: a) you can jump any-

school sweetheart, whom he hasn't seen in 10 [polish the script]. I ended up working on the where you can currently see, and b) you can years. But because he's sort of ignoring his movie for about two months during the last jump anywhere you've seen before, even in a

responsibilities and the people who are com- stage of pre-production and into photography, photograph, provided you still have a strong

ing after him, David and his entire family are keeping it on the rails, really. When that was visual memory of it. "That was something we suddenly at risk. And working with Griffin, he done, they were getting ready to do X-Men 3 sat down and really talked about," says has to take a stand and fight against Roland with Bryan Singer, but when Bryan left to Kinberg. "I grew up loving comic books and and the people hunting him. make , he took his writers watching comic book cartoons and movies, "In the early script incarnations, the equiv- with him. Suddenly, there was this huge vacu- and I've always been pretty religious about alent of Sam Jackson's character was just an um of no director and no writers, and yet they superheroes or people with powers. Doug

NSA agent trying to work with the movie's already had a release date for the film, and all comes from a totally different vantage point: main character. Sam now belongs to an the actors were attached for a very specific He has never read comics, and isn't that inter-

ancient mythic organization of hunters who shooting schedule, so they called me. ested in the genre. Doug is curious, but not have been going after Jumpers for hundreds, "Actually," Kinberg grins, "I was at a somebody who has a real emotional connec-

even thousands, of years, so that's all very dif- comic book convention, and Avi came up to tion to it, and he wanted to try his hand at ferent. But in many ways, one of the most me and said, 'I'm going to make your dreams doing his version of [a superhero film].

important elements for a writer is creating come true!' I had no idea what he was talking "Doug was less interested in the powers

tone, and David's draft and Steven's novel did about, but that week I got a call asking me if I and more interested in the metaphors for those

a very good job of creating the template for the would like to come in and talk about X3. And powers. For him, this movie was all about

tone, and that was something to which we I replied, 'Of course, I would drop everything somebody who runs away from his problems, " remained pretty loyal." in my life to do that!' and what better way to express that than some- As a longtime comic book fan himself, one who can literally jump away at any point? Jumping Around Kinberg realized that one of the biggest prior- But it's also important that the audience Kinberg is no stranger to big-screen super- ities with a superhero-type film is to establish understands that David can't just blink and hero stories, having recently worked on both the characters' rules and powers early on, and disappear to the Arctic if he has never been the Fantastic Four and X-Men film franchises. Jumper was no exception. "The origin of a there. And there needed to be a trail that the

"When I first came to LA," he explains, "I did the rounds of Kinberg points out that meetings with producers and director Doug Liman wasn't executives, and two of the first so much interested in

people I met were Avi Arad David's powers as in the metaphors for his abilities. and Kevin Feige at Marvel. I remember sitting in that room trembling with anticipation, because I was so excited about their universe and, at one point, Avi said, 'If you could work in any of our fran- chises, what would it be? Spider-Man^. The HulkT And

I said, 'No, it would be X- MenV At that time, they had just finished the first X-Men film, so he said, 'OK,' and filed that away.

38 STARLOG/4pr//200fl villains could track, so that David feels that With loads of material left from the first film, Kinberg would eagerly jump at the he's running out of options. That's why we opportunity to pen sequels. created those rules, and as you'll see in the film, there are moments when those rules get in the way of his survival, and there are moments when they're very advantageous to him." Jumping Ahead David's antithetical figure in the film is Griffin, the brash, more seasoned Jumper who initially represents everything to which the less experienced David aspires. "Griffin was affected at the age of five when these Paladins, who hunt Jumpers, came to his house to kill him," says Kinberg. "Griffin escapes, but his parents are killed, so from age five onward, Griffin has been on the run. He has always been afraid, but he taught himself how to sur- vive and fight these mysterious but powerful people who have weapons that are retrofitted to specifically hunt Jumpers. And their organi- zation is global in its reach.

"Griffin is a warrior and already empowered when we meet him at Cruise and Ben Stiller as now- 20. He has 'jump sites' and dysfunctional brothers, 25 years weapons all over the world, so after their heyday as boy detec- there's something about him that's tives. And there's an untitled SF very inspiring to David, who, at 25, project he'll be producing with suddenly finds himself in the mid- Liman, about a group of dle of this war that he never even colonists trying to establish a knew existed. For reasons that will base on the Moon, only to have ultimately be revealed, David has things go disastrously wrong. been protected, but Griffin has "I'm also writing an adapta- been on his own the entire time. tion of the Robert Ludlum book David has been living a life where The Osterman Weekend, which he interacted with people and fell Sam Peckinpah directed 25

in love with this girl, so he's some- years ago," reveals Kinberg.

one who is still of our world. But "That's going to be a really Griffin has been living in a cave cool, character-driven spy mo-

underneath an ancient site in the vie. It's about what would hap- Sahara Desert for 10 or 15 years." pen if the CIA came to you and X-Men: The Last Stand was a dream job for Kinberg, who happily The conflict between these two said, 'Your closest friends are accepted the scripting duties despite the short schedule. characters also leads to some of the actually spies and a threat to film's major action setpieces, which Kinberg world," he argues. "We have a big action national security. We need you to infiltrate that promises will be unlike anything that movie- sequence that takes place in the Colosseum in ring of friends and work for them.' It has the

goers have seen before. "The Bourne Identity Rome. We were actually the first movie in 60 same tone and many of the same issues as The originally came from Doug's boredom with years allowed to shoot there. We had the Bourne Identity'' the James Bond movies and feeling that kids Colosseum to ourselves from three in the after- And if all goes well, Kinberg hopes to re- couldn't relate to a man in a tuxedo drinking a noon until dawn the next day, for three days team with Liman on a further series of Jumper martini," reveals Kinberg. "But they could straight. I've never had an experience quite like adventures, exploring the mythology they cre-

relate to somebody who is down and dirty and that, where you show up to the set, and the set ated in the first film. "This has been almost a

on the run, and I think there's a real similarity is the Colosseum! If you think about Gladiator two-year odyssey," he observes, "and many of [to David]. even—which has an amazing re-creation of the our conversations along the way have been, "No matter how good the greenscreen and ancient Colosseum—visually, there's nothing 'That's a really good idea, but there isn't visual effects are—and, believe me, I've like being in the actual space. enough space in this movie for that!' worked on movies where they put lots of "We also shot for a few weeks in Tokyo, "Your instinct is to always try and cram

money into the visual effects, and they look and being on the streets of Tokyo is entirely everything into the first film, because you may

great—I've never seen visual effects as good different from greenscreening it or faking it in well not get a second—and you often don't. as they are in this film. Weta, which does all of downtown LA. We also shot in Egypt, But a lot of being a writer is knowing when Peter Jackson's movies and right now is doing London, Paris, we shot all over New York and you need to put things aside. As much as

James Cameron's new film [Avatar], really did some of it in Canada. Most of the places you something feels great and precious to you, if it an astonishing job of creating visual effects see in the movie aren't greenscreened or doesn't work and doesn't integrate itself very the likes of which I've never seen. Even the faked—it's really Times Square, the top of the well into the story, you have to jettison it. physical jump itself needed to look like some- Empire State Building or the Colosseum. It "So I have files and files in my computer thing that was integrated into our world and was important to Doug to shoot at all these full of new scenes, characters, villains, other could be happening in our midst right now, places all over the world." Jumpers, new reveals about their mythology

while also having a science fiction flair to it. With his work on Jumper finished, Kinberg and backstories," explains Simon Kinberg. "Despite the greatest visual effects in the has a wide range of projects to keep him busy. "There's lots of stuff we didn't have space for world, there's nothing like actually being in There's Hardy Men—a reworking of the in the first movie that, God willing, we'll have that space, which is why we shot all over the Hardy Boys mystery books—starring Tom room for in other films!" www.starlog.com mm/April 2008 39 Hi GNP THE SOUND OF §CI-FI RECORD

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By WILL MURRAY O H I G I MS /Sp% /^H^ ^ T Marvel spent: time lH ironing out: the kinks in this IRON man in armor.

Marvel Brainstormed by Lee Editor Stan tJack by «J designed /es5 Man "vesinTa Kirby, Iron ^ #33. of Suspense

ine himself to be. He was almost a god, but Mi he was also a prisoner of his own inven- IRON tion." No one, not Lee or Kirby, yet knew who was destined to don that dramatic armor. Reportedly, some thought was given to giving the new character his own magazine to replace the doomed Hulk. But publisher Martin Goodman once said that "robots, rocketships and rayguns" were the three cover ingredients that

took four men to build Iron Man. ItThe year was 1962. The nascent Marvel Universe was only in its sec- ond year, and already in flux. and Ant-Man were going through their earliest exploits. The Fantastic Jvffig/jk Four's Human Torch had been spun off into his own series in Strange Tales. Amazing Fantasy had been discontinued after one Spider-Man adventure. And The Incredible Hulk was slated for cancellation. One fantasy title was still superhero-less: Tales of Sus- pense. Under Editor Stan Lee's direction, chief artist Jack Kirby had produced concept art for a new hero: An ordinary man who donned an electronic suit of armor in order to become...Iron Man! "Iron Man was a concept of sur- vival," Kirby explained in The Art ofJack Kirby. "This guy could not survive without a specially designed suit—so with this suit he made himself more power ful than he could ever imag- www.starlog.com —

Revolving artists (Kirby, Don Solo heroes—including Heck, Steve Ditko) drew Shell- charter member Iron Man- head's early exploits. He didn't initially assembled as always look quite the same. the Avengers.

It's the red and gold look. Shades of iron(y)! The grey Inventor Tony Stark's first armor was soon restyled significant armor upgrade yellow—for a less drab, more occurred in his battle colorful Marvel superhero. with Mister Doll. #41 Art: Jack Kirby/George Roussos Avengers #4 Art: Jack Kirby

never sold comics. And Iron Man looked Man." It was an auspicious start. away. Lee discovered, as he had with the like a robot. Lee had other concerns as well. Inaugural Iron Man artist Heck recalled, Hulk a year before, that even though Marvel Kirby was busy pencilling Fantastic Four, "Stan called me one day and said, 'You're had a superior grey hue to work with, that Thor, Ant-Man, Rawhide Kid and the new going to be doing a new character called Iron color was too flat and dull for a new hero.

Two-Gun Kid. He couldn't be spared. Man.' I had no idea what it was or what I was "Iron Man was grey in his first story," Meanwhile, sales on Amazing Fantasy's going to do. Kirby had designed a costume explained Stan Goldberg in Alter

last issue showed that Steve Ditko's Spider- and contributed some ideas. Stan and I Ego. "It made more sense. The color of iron

Man was a surprise hit. Goodman decided to expanded on those ideas, and then Larry is grey. But we changed it to yellow because

award Spider-Man his own title instead. Iron Lieber wound up writing the final story." it looked better. Now he didn't look like a Man would go into Tales of Suspense. Heck soon received Kirby's concept robot and wasn't as scary-looking." sketch in the mail, now mocked up as the Lee commissioned Kirby to draw an Iron Grey Knight cover to Tales of Suspense #39, dated March Man story, wherein Tony Stark spray-paints

Lee began brainstorming the new con- 1963. He thought it needed work. So with his dull-looking armor a gleaming heroic cept. His interest focused on the man within Lee's blessing, Heck modified Kirby's orig- gold. inked. Without Heck to the armor. As Lee related in Sons of Origins, inal design, dispensing with a metallic skirt keep the character on-model, Iron Man

"We would create a character who seemed to and radically changing the bullet helmet. reverted to the pure Kirby look. It was only have everything a man could wish for "I tried to put a face, almost like a skull the beginning of a slew of problems Lee and wealth, fame, good looks, success. He would on him," Heck recounted. "But the character his collaborators would have with the be a playboy, a tycoon, a man's man. But he himself, features-wise, became an Errol Golden Avenger's design. would have some secret sorrow, some secret Flynn type." For several months, Kirby and Heck trad- life-and-death problem that would plague "Don did an excellent job of interpreting ed off drawing the new hero. Veteran scripter and torment him each day of his life. And the Iron Man," Kirby complimented. "He Robert Bernstein scripted from Lee's plots

more I thought about it, the faster it all came redesigned the costume and strengthened the under the pseudonym of R. Berns. Early on, together. character. I think what he did was very pro- Lee and Heck introduced a pair of support- "What if our hero had an injured heart fessional. A character like this should ing characters, both of whom worked at a heart that required him to wear some sort evolve, and I couldn't have done the job any .

of metal device to keep it beating? The metal better." "Tony Stark needed friends, people to device could be the basic element in an Next came Lee's brother, Lieber, whose relate to," explained Lee. "I wanted him to entire suit of armor which could both power job was to flesh out Lee's plot synopsis into have a secretary who loved him and with him and conceal his identity. I loved it. It had a full script for Heck to break down. "The whom he was in love, but he never dared tell the right ring to it. I knew it would work. idea of Iron Man wasn't mine," Lieber her because he knew his heart could fail him "So, working with my old friend, artist admitted. "I didn't even have to know what at any minute and didn't want the girl he Don Heck, I modeled Iron Man after he looked like—a guy in an iron suit—and loved to be faced with the prospect of Howard Hughes, who had designed, built then I would just write the story. I added, but becoming a young widow. As for Happy, I

and flown his own plane and had been a bil- I didn't make it up." Lieber also gave him wanted him included so Tony would have lionaire industrialist inventor. In the course the memorable name of Anthony Stark. someone to trust and confide in—and also of the story, I arranged for our hero. ..Tony Heck was the perfect choice to draw the someone who could inject some humor Stark to be captured by the enemy on a bat- story set in Vietnam. A decade before, he whenever possible." tlefield while observing the efficiency of one drew many war stories set in Korea for Lee. "Pepper Potts was fashioned after

of his weapons. The enemy was about to tor- But Goodman didn't see it that way. He Schultzy [The Brady Bunch's Ann B. Davis] ture him for the secrets of his weapons. The thought the moody melodrama lacked dra- of the Bob Cummings TV show," Heck only way he could earn his freedom was to matic punch. Lee took Heck off the strip in explained in Fantastic Firsts. "'She was in create a weapon for them. They gave him the favor of Kirby, with Heck inking for consis- love with her boss, but sadly remaining noth-

material, but he used it to fashion an iron suit tency. ing more than in comparison for himself instead, thus becoming Iron Another snag developed almost right to his array of beautiful women. Happy

42 STARLOG/V// 2008 Hogan was a Damon Runyon ex-prize fight- created as a bodyguard. Lucky for me as the he says now. "We must have tried a Man," g . er type whom one might find somewhere in writer, nobody ever seemed to notice that million things. But I never felt like we had % Brooklyn. But unlike Tony Stark, Damon Stark and his bodyguard were never seen the perfect Iron Man costume. All I can tell g $ Runyon never got the girl." together." you is—I was always trying to change Iron ^ ^ Problems continued with the basic char- While the Avengers were going through Man's costume! No matter who drew it or -=2

acter. "The hardest thing was getting expres- their formative adventures, Lee decided to who designed it, I was never satisfied. As for £ oo = sion on Iron Man's mask," Lee says today. radically revamp Iron Man. Assuming the my particular instructions to Steve, I simply * < "It looked too dull if it never expressed any role of scripter, he teamed with artist Ditko, don't remember them." % s emotion sucri as anger, fear, confusion, The story impetus for Stark to redesign I 2 whatever. Yet, how do we get an iron mask to his armor came from a new foe, Mister Pain, £ | change expression? We finally took whatev- who molded an effigy of Iron Man through £ £ er liberties we could by changing the angle which he inflicted unbearable pain on Stark, « ^ of the eye slits, which helped a little." forcing him to reappear in new red-and-gold 1 s armor. Ditko created a streamlined collapsi- " ^

Golden Avenger ble suit that could be carried in a briefcase, «> 8 While Iron Man was struggling, It included a flip-up faceplate and larger eye z o Goodman ordered Lee to create a new super- and mouth slits to help communicate Stark's ™ hero team book. Lee decided that his latest emotional states. ^ g crop of creations should form the nucleus of It was a bumpy transition. Problems with ~ *f

The Avengers. "After kicking it around for a the Comics Code forced Lee to change the g S while," Lee related in Sons of Origins, "we name of the witch doctor-like foe from ^2 g No came up with what seemed like a perfect Mister Pain to Mister Doll, and rewrite the * „ combo. We would start with the Hulk, just to finished story to minimize the voodoo ele- J g make it difficult. Then, we would include ments. Everyone seemed pleased with the 1 of Thor, because there's always room for a God new Iron Man—except original designer § 2 of Thunder. Iron Man would be able to sup- Kirby, who reportedly expressed the opinion c-g ply them all with weapons and bread when- that he preferred the bulky version, because 1 t.

ever they needed it, and we would toss in it reminded him of the Hulk. | g Ant-Man and the Wasp just for the sheer Ayers, who inked most of Kirby's Iron °.o lunacy of it." Man stories—as well as the Ditko tale that 8 ? "Here were several personalities who introduced the modified armor—agreed. "I were designed to be solo heroes," observed was favorable more to Jack's first Iron Man," £ 1 Kirby, "and we had to produce an effective he said. 'Twas more fun inking that one." g g portrayal of them working together—close- Ditko left after another issue to concen- § & In his most formidable challenge £ 00 ly. course, they would argue. They might trate on Spider-Man. again, the strip < 2 Of (and a comic book milestone), Stark faced Once to killing other. '| 15 even come close each But alcoholism, the "Demon in a Bottle." fell to co-originator Heck. Lee was pleased. the idea worked, and we managed to make a "Don was my first choice to draw Iron Man," 3 r. convincing story out of a very improbable fresh from his success launching Spider- he noted. "I knew that his combination of gS;

c situation." Man. With Heck inking, they produced a realistic storytelling and sophistication were | » f. Headquartered in Stark's Manhattan final outing for the original golden armor, just what a strip about a handsome play- 2 2 ™ mansion, the Avengers kept their true identi- pitting him against the Melter. Then, in Tales boy/adventurer needed. Our sales later |j g g ties from one another. "Of course, nobody of Suspense #48, they radically revamped proved that he indeed had been the perfect = r knew that Iron Man was really Tony Stark," Kirby's design. choice." * S » Lee observed. "He pretended to the world Lee no longer recalls the exact reasons As for Heck, he enjoyed the new Iron 2 m

* that Iron Man was a robot whom Stark had for the change. "I was never happy with Iron Man. "I found it easier than drawing that < 2

www.starlog.com mm/April 2008 43 —

Stark couldn't Eventually, got ?S%|^ GROUP'S' \}&\£,\] When Rhodes THE INVINCIBLE play the hero anymore, his his own armor and a pilot pal Jim Rhodes took separate super identity as over as Iron Man. War Machine.

Bob Layton is the other Who is the New Iron artist most associated with Man? Usually, it's Stark. Iron Man (as , In the film, he's Robert and writer). Downey Jr. #170 Art: Luke McDonnell/Steve Mitchell #215 Art: Mark Bright/Bob Layton bulky old thing," he told Comics Feature. time. My first book might have been Iron Man they inherited.

"The earlier costume, the robot-looking one, Daredevil, and then Iron Man. And I think Huge change entered Stark's troubled life was more Kirbyish." Stan chose them for me." when writer David Michelinie and artist Bob Even so, Heck tinkered with Iron Man's Like every artist who came before him, Layton assumed creative control over the transistorized suit, once again redesigning Colan took a hard look at the red-and-gold series in 1978. "It was simply a matter of the helmet, dispensing with the Ditko flip- armor. "My approach was that Iron Man looking at the character as if he was a real top faceplate and restoring the death's-head needed to be flexible enough to fly around person," Michelinie says today. "When Bob version. "Yeah, there were suddenly rivets and do the things he was able to do," Colan and I took over plotting Iron Man, Tony was pushed into it," Heck acknowledged. "That explains. "The way they had him bulked up, hip-deep in all kinds of stress, both in his was definitely stuff that I got in, with chang- there was no way he could look good. My civilian and superhero personas. His ing this or doing that." idea was to thin him down. I tried to make 'friends' had attempted a forced takeover of That issue also introduced Iron Man's him look as athletic as he could in spite of Stark International, the government was try- latest and most malevolent foe, the the armor. It was difficult for me, because I ing to regulate the Avengers and his most

Mandarin. "That was Stan's character, real- didn't know how to approach it. But I found recent girl friend was targeting him for ly," Heck related. "He said, T want a charac- my niche. Apparently, the fans liked it." assassination. Add to that the pressures of ter like .' Stan always liked the Iron Man's ever-changing headgear still running a global business and trying to save Shakespearean-type character, where he put presented a problem. "I thought about his that globe as a costumed hero, and you've his hand to his head and [would] rant off. So helmet a bit," Colan notes, "and I [consid- got a strong formula for a breakdown. A those two types of things were what Stan ered] how metal can't move, so I took poet- human being trying to cope with so much wanted in this character." ic license with his face mask to show emo- crap in his life would need an escape valve tion. Not a lot, but just #44 Art: Keron Grant/Rob Stull enough to put emo- Armored Hero MARVEL There's a new (almost With a formidable new superfoe, Iron tion across." annual) look to Iron Man. Man settled into a comfortable groove at Colan went on to This is the 2002 model last. When not fighting the Mandarin, he was such a long stint on (per Mike Greli). battling Cold War counterparts like the the strip that he Crimson Dynamo and the Titanium Man. "I became the artist most was given the names of the players and associated with the allowed to fashion them as I liked," Heck character during the stated. '60s, and his version But over at The Avengers, Lee was hav- of the armor became ing problems managing the intercontinuity the standard well into between the cast and their individual fea- the '70s. But when tures. He replaced all of the original mem- Iron Man got his own bers. On the strength of his Iron Man book in 1968, Colan work—which included co-creating Hawk- dropped out after eye, the former Iron Man foe-turned- issue #1, due to the Avenger—Heck was drafted to draw the demands of working revamped series. on Daredevil. A suc- Enter Gene Colan. "I think Stan assigned cession of artists it to me, but I'm not sure," the artist recalls principally Johnny today. "I I wanted a book of own. Craig and know my George Have repulsor rays, Some of the artists had books of their own Tuska—carried the will travel. Compare this because they were trusted enough to hold series forward, essen- Iron Man to the cinematic down that amount of work and get it in on tially adhering to the version (see page 46). #54 Art: Mike Grell/Ang Tsang

44 mm/April 2008 or they would blow up. And in the mid-80s, reassumed control of his business, regaining fascinated with certain aspects of science,

before cocaine became the celebrity indul- his identity as Iron Man (with Rhodes later and I love applying what I read to my work. gence of choice, alcohol was the accepted emerging as a superhero in his own right, My philosophy has been that the Iron Man and acceptable method executives used to the metal-clad War Machine). "I still don't technology should continue to evolve and

cope. So it seemed like a perfectly realistic know how David did it," Lee praised in The streamline. The one thing that Marvel does move to have Tony turn in that direction." Power of Iron Man. "These have to be that drives me nuts is that they keep making And thus began the acclaimed "Demon in a among the best scripted, most meticulously the Iron Man armor more bulky, more Bottle" alcoholism storyline. crafted superhero tales ever written. David loaded with clunky crap. I believe that the Under pressure from the superspy orga- breathed such sensitiveness and believabili- next 20 years is going to open up new nization S.H.I.E.L.D., which had bought an ty into these sequences that you seem to be avenues of scientific exploration that has interest in his munitions company and rival living the stories right along with Tony only been dreamt of in the past. Tony Stark industrialist Justin Hammer, Stark falls into Stark." should always be on the cutting-edge of that an alcoholic period in which he's forced to During this period, inspired by an old technological frontier." relinquish control over his armor. He does Batman story featuring special-purpose In the many years since, Stark has con- recover his armor and his sobriety, but later Batman costumes, Layton introduced variant tinued to have his ups and downs. Most relapses, losing Stark International. versions of Iron Man's essential armor that recently (in 2006-7), he spearheaded the Homeless, Stark is out of action for months were deployed for unique occasions such as Marvel Universe's government-mandated while his personal pilot Jim Rhodes dons his deep-sea and outer space missions. registration of all superhumans, prompting

armor, becoming the new Iron Man. "What was cutting-edge 10 years ago is the Marvel-wide Civil War and the eventual Ultimately, Stark recovered for good and totally obsolete today," Layton notes now. murder of Stark's former friend, Captain

"Technology is con- America. Stark emerged from the chaos as #17 Art: Gerald Parel stantly evolving, and so something less than a hero and now the Whether invincible or — should (once led by anoth- inevitable, Stark is BS THE INITIATIVE Iron Man. That director of S.H.I.E.L.D. always on the cutting-edge was my thinking when I er pal, Nick Fury). But even before all these of technology. created the concept of troubles, Lee observed, "Poor Tony has had the specialty armors. countless modifications in his armor, usual- There's a huge differ- ly caused by different artists handling the ence between a stock book and deciding they want to change his car and an Indy car. appearance. He had more problems with his Each is designed for factory, his transistors, his girl friend, his specific tasks, and that weak heart and his countless enemies than

was the thinking that anyone can tally. But still he perseveres. David and I used when Now, if that's not invincibility, then what approaching stories fea- is?" turing the Iron Man The same can be said for Lee. As is cus- armor. It's unrealistic to tomary, if not downright traditional, he has a

presume that one cameo in the Iron Man film. "All I can say is,

device can adapt to all it involves me and three beautiful blondes!" situations and environ- Stan Lee relates. "Just my luck—no one' 11 ments. Making this fic- look at me! But it's a funny bit. The director,

tional technology be- Jon Favreau, dreamed it up. He's a genius.

lievable is the to I get to talk to Robert Jr. What Today, after Civil War, key And Downey Stark is a far more making the entire pre- more could a ham like me want? Well, of complex (and mise work. course, they could have put my name above controversial) hero. "I've always been the title—but hey, why be greedy?" Inevitable #1 Art: Frazer Irving

STARLOG/V// 2008 45 0

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jrse, was of utmost importance. See page 41 to learn more about the armored iterations concocted by the comic's artists.

mm/April 2008 47 —

hangar-like buildings that once housed the rev up Iron Man. famed Howard Hughes aircraft plant. Since Nick {Alpha Dog) Cassavetes was report- its conversion to a thriving film production ed to have signed on to direct and rewrite an facility several years ago, some very big early draft of the screenplay in 2004. films have maneuvered their way through Negotiations with Cassavetes broke down, these cavernous soundstages. but the buzz around Iron Man continued, But in Iron Man's case, there's much with both Tom Cruise and Nicolas Cage more at stake than simply the latest Marvel expressing interest in playing the troubled offspring to make it to the big screen. After billionaire industrialist playboy crimefight- years of letting Hollywood studios gobble up er. After two years of unsuccessful attempts a very big piece of the action, Marvel, with by New Line to get the film off the ground, Iron Man, has decided to remain in charge Marvel took back the rights and made the making the story of the man in the metal suit big step to self-financing Iron Man them-

Downey, who can turn every answer into an adventure, recalls his reasoning for taking the role. "Suddenly, all of my friends were

doing these kinds of movies, so I thought,

'Wow, these things must be getting legit.' I just felt that this one was different enough to accommodate whatever snobbery my seri- ous-acting friends might unleash upon me." The Iron Man script is by Children of the flagship film for Marvel Studios selves under the Marvel Studios banner. Men's Mark Fergus & Hawk Ostby and Art

( will distribute it). However, by that time, Cage had gone off Marcum & Matt Holloway. It focuses on "With the majority of our films, we've to be another Marvel hero (Ghost Rider), Tony Stark, a billionaire industrialist and had great partnerships," explains Kevin while Cruise declared he was no longer inventor who makes weapons, not war. Feige, Marvel Studios President and Iron interested. For their Iron Man, the filmmak- While on a field test in the Middle East,

Man executive producer. "It's nice now to ers eventually turned to Robert Downey Jr. Stark is kidnapped by a zealot terrorist orga- have the final say over our projects, and to And director Favreau applauded the deci- nization and forced to make weapons of

have complete control. We've learned things sion. "When Robert was cast, it completely mass destruction for them. Unbeknownst to from all the experiences we've had. But the freed me," Favreau reveals. "He brings a his captors, Stark fashions a crude armor

pressure is on us now. If Iron Man is some- reality, a humor, a panache and a life of power suit and uses it to escape. After thing that people don't like or respond to, experience that is very much what Tony returning to America, the psychologically

then we only have ourselves to blame." Stark is about. I didn't have to teach him to scarred Stark makes improvements on the

play Tony. He already had a lot of that char- suit and vows to use its powers to fight the iron Will acter in him." forces of evil. Not surprisingly, an Iron Man film has

taken seemingly forever to make it to the screen. Feige points out that's nothing new. "Almost every movie we've made has taken at least 10 to 15 years to get off the ground. The rights seemingly belonged to everybody at one point or another." But while Iron Man's road to the cinema was less complicated than, say, Spider-Man

or Fantastic Four, it has been no less color- ful. Iron Man has been a comic book staple since the early 1960s and his debut in Tales of Suspense (see the history on page 41). At one point in the 1990s, Stuart (Re-Animator) Gordon was working on a low-budget Iron

Man, which went nowhere. It took until early 2003—when Marvel and New Line Cinema entered into a partnership—to really

48 STARLOG/4pr//;?00» —

The Iron Man suit not only provides protection, but contains an arsenal of weapons, including a repulsor ray.

A fairly straightforward origin story, the ing Iron Man as I was up for the challenge," been countless arcs, stories and interpreta- film culls elements from various Iron Man he declares. "I've got a solid body of work tions of the character over the years. The

arcs and storylines. But those expecting behind me, but now I'm making something 'Demon in a Bottle' storyline from the '80s is large snippets of the recent Civil War story- that will play to a larger audience than any of great stuff. The nice thing about Iron Man is

line or the legendary "Demon in a Bottle" my films have ever had before. I just want to that if we're allowed to make more than one arc will have to look elsewhere. make sure that we're giving everybody what movie, then we'll be able to follow the char- "Frankly, Iron Man has been pretty cool they want." acter's development and his changes rather in the comics all these years," explains The director celebrated the Iron Man gig than simply making a series of films in which Feige. "Making him contemporary and by going on a crash diet that resulted in a he's just fighting different bad guys." bringing him into the modern day were real- loss of 70 pounds. Currently subsisting on Favreau is well aware of the importance ly the only changes we had to make. Almost 900 calories a day, he's philosophical about of helming the first Marvel Studios film and

every element of the film is from the comics. his approach to creating Iron Man and getting it right, which is why his approach is

We've picked bits and pieces from all of the seemingly like everybody connected to this fairly conservative. "All I want to do is stay elements. It was never our intention to play production—is driven by the comic books' true to the books and, in particular, stay true the alcoholism 'Demon in a Bottle' storyline decades-long mythology. to the broad strokes of what the comic books right from the start. But who knows? Three "I'm trying to be dictated by the stories," are," he replies. "We aren't going to change or four films down the road, that plot just he says. "And there's so much to draw on. the universe so much that the purists will might come into play." Iron Man started in the '60s, and there have think we've betrayed the story's underlying Besides Downey, the cast includes he signed replies, Terrence Howard as Jim Rhodes (the once Asked why on as Jim "Rhodey" Rhodes, Terrence Howard "Man, it was War Machine!" and future War Machine), Gwyneth Paltrow as Virginia "Pepper" Potts and Jeff Bridges as Obadiah Stane. Apparently, Samuel L. Jackson shows up for a cameo wearing an eyepatch as an Ultimates-style Nick Fury, Agent of S.H.I.E.L.D. Of course, this would not be Iron Man without special FX; han- dling the practical side is Stan Winston, while all things visual are being managed by Industrial Light & Magic. And the unions around town will be happy to know that Iron Man was shot entirely in . iron Constitution Favreau is no stranger to fantasy. He helmed both Elf and Zathura, and if the fates had been kinder, he might have ended up making John Carter ofMars. During a break in the day's schedule, the actor-director admits that Iron Man was definitely some- thing new. "I wasn't so much leery of direct- www.starlog.com mm/April 2008 49 —

'm doing Iron Man. I'm kind of a nerd about this stuff. But what I've found since accepting the role is that many other people in this town are as well. Nobody has given me any guff about Iron Man. In fact, I've had people pretty high up in the industry come up to me at parties, undo their ties and just start geeking out about the character." But being in the Iron Man suit for a good part of the shoot has given Downey a real

workout. "I like the idea that we 're doing so

much of the Iron Man stuff practically, but it has been tough," he confesses. "It gets in my head. The first time I put on the Iron Man

costume, I felt like I could destroy anybody.

But I've got to tell you that it's hard not to have a personality meltdown. After about seven hours in that suit, I'm calling up every

therapeutic moment I can think of just to get Another surprise casting was Sky Captain's Gwyneth Paltrow as Stark's lovelorn through the day. Oh, and for you suit com- assistant, Virginia "Pepper" Potts. pletists out there, it is possible to relieve yourself while wearing the suit and not have truths. We've done our homework on this holding this press conference. There were anybody know it!" he laughs. film." about 400 extras in it, and we were ready to Downey committed to a fairly strenuous When you're calling the shots on a pro- shoot and, suddenly, Robert decides he exercise regime to prep for the role. "That duction of Iron Man's size, there are count- wants to have these 400 people sit down has been an excruciating process for me," he less details that require a director's attention. rather than stand. Now, the scene had says. "I'm in my 40s now, and it's getting

To name just a few, Favreau has had to deal already been lit for them to be standing, but tough to not look like a pot-bellied pig." with the design of the Iron Man suit, the Jon decided to go with Robert's suggestion. The actor has reached a point where "I'm extensive action sequences and the give-and- And it ended up taking that scene to a whole able to keep an aesthetic distance from the take that went on when the filmmakers ven- other place." characters I play, but I can honestly say that tured to Edwards Air Force Base for a num- Howard made his reputation with such Tony Stark is the coolest character I've ever ber of high-flying sequences. socially relevant fare as Hustle & Flow and played. I'm not drawing on other things to "The logistics of shooting at Edwards Crash, but the actor gets all geeky when play Tony. I consider him a real entity. If I were very challenging," states Favreau. asked what attracted him to the part of Jim look at anything, it's the mythology that has

"Because of the nature of their operations, "Rhodey" Rhodes. "Man, it was War grown up around him and how I can use that there were many things we couldn't point Machine!" he exclaims. "I loved the idea of to raise this movie to a really high order of our cameras at," Favreau remarks. "We've playing a superhero and going up in jets. The art." been lucky on this film to have a group of first person I called when I got the part was Downey smiles when the question of people who are good at creating action, my father. He was a big Iron Man fan when rampant improvisation on the set is because I don't have much action experi- he was growing up. When I told him I was broached. "You know, I'm not the kind of ence. I can tell a good story and make some- going to be in the movie, it made his day. guy to come in and say this is all wrong and thing compelling, but what I bring to the "In the comics, Rhodey was always a bit demand a rewrite," he explains. ' What it has table is the humanity. The trick to this film is of a . But we're trying to appease the been like on this set is I'll come in and say, to make the human story feel like it belongs Department of Defense, so we've had to pull 'Well, we have this amount of time, and we to the comic book genre—and to hold the back on him a little. From the very begin- can get this many shots.' Basically, Jon has action elements up to a certain reality level. ning, Rhodey is completely disgusted with been very flexible, and Jon and I have been

The action stuff will have a broadness to it, how Tony has lived his life. But at a certain creating Tony. I've come in on a number of but it won't look like we just went off and point, he realizes that perhaps there is a dif- days and said, 'I've seen this in a movie " did whatever the hell we wanted." ferent way. And that's what we're dealing before. But what if we do thisT Favreau concedes that Iron Man—his with: Whose life is the right way? Is it the An assistant gives Downey the "one first full-throttle foray into big summer FX strict military life? Or is it the life of an inde- more question" sign. It's time for the actor to films—has had its surprises. "I'm shocked pendent?" return to the set and put Stark back into play. that I'm on schedule," he admits. "I thought The actor laughs at the question of The last question asked is a personal one: that there were going to be curveballs, and whether or not Rhodey will actually become Given Downey's own history of alcohol so much of that is out of my control. But so War Machine at some point in this movie. "If problems as well as other life challenges, is far, so good. Still, I don't want to lie to you. you read the comic books, you know what he channeling past demons to play the simi-

At the end of the day, I just hope that it all happens," comments Howard. "But you'll larly flawed character? comes together." have to wait, because I'm not going to open A smile crosses Downey's face. He my mouth and end up having Iron Man 2 and cracks wise, indicating he half-expected that iron work 3 taken away from me." question to arise. And he isn't about to avoid

Much of the buzz surrounding Iron Man Lensing the sequence of an angst-ridden answering it. "Sure, I've been through stuff, involves the large degree of improvisation Stark at home continues throughout the rest rehab and all that. But by the time you get that has been going on. Howard (who isn't of the day. At one point, Downey takes a out of Dodge and do the right thing, you working this day, but came in anyway just to break and, looking a bit on the dazed, hag- really don't relate to that person you were chat), offers up an example. "Jon comes gard side, settles into a chair away from the any more. from an improvisational background, and so set to offer up some Iron Man insights "Tony has been known to go bonkers and he has brought to Iron Man that trust in what often with tongue firmly planted in cheek. be irresponsible. He's a conflicted guy," his actors can do to make things better," says "If I love something and it impacts me, observes Robert Downey Jr. "That's why the Howard. "A perfect example of that was the then I'm in until the wheels fall off," he character is so ideally suited for me, and day we were filming the scene where Tony is offers. "And that's pretty much the reason why I'm ideally suited for Tony Stark."

50 mm/April 2008 www.starlog.com STARLOG Subscriptions

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Dear Reader: You will soon see that there are fantastical creatures living among us. But, be forewarned, a rare few are, quite frankly, to be feared." —Arthur Spiderwick

That's the case as director Mark {Freaky Friday) Waters finishes up the film version of The Spiderwick Chronicles (based on the children's fantasy saga by Tony DiTerlizzi and Holly Black). Today, Waters is dividing his time between two special FX meccas Industrial Light & Magic's new home at San Francisco's Presidio and Phil Tippett Studio across the Bay in Berkeley—all the better to make some final visual FX approvals on the film (due out February 15 from and Paramount Pictures). The Spiderwick Chronicles follows the exploits of the Grace children—twins Jared and Simon (both played by Charlie and the Chocolate Factory's Freddie Highmore) and big sister Mallory (Stormbreaker's Sarah Bolger), who relocate to an ancestral home with their Mom (Mary-Louise Parker). Using their great-great-uncle Arthur Spider- wick's detailed Field Guide, they discover that they're now living in a fantastical world, surrounded by unseen trolls, goblins, sprites and other fairy-tale creatures. "I wanted to do for trolls and goblins what Jurassic Park did for dinosaurs," Waters declares. "I read through the books, and I " started thinking, 'This thing feels real.' Waters was editing another movie () when he first encountered Spiderwick.

It eventually took three accomplished screenwriters, all working separately, to

Fantasy filmmaker Mark Waters directs The IDING Spiderwick Chronicles. > J

By DAVID MCDONNELL & PAT JANKIEWICZ I ELD transform the five-volume series into one [went with] a completely new story. That's embracing the entire arc of the Grace story motion picture. David (Elf) Berenbaum did a where we tried to take half the book and split in one big movie. That was something that draft. Karey (The Hitchhiker's Guide to the it into two parts. John came on in fall 2005 hadn't occurred to us before, and afterward,

Galaxy) Kirkpatrick came on board to script and said, 'I know a way to take this and con- it's all we ever tried to do." the final version. In between them, John dense it, and make it work as one complete

(The Brother from Another Planet) Sayles movie.' He also brought to it: 'Let's treat this in Which we Shoot tackled the project. with real veracity of how a family deals with Waters assembled what he calls "this "John was the first writer who said, each other; how a family going through a incredible A-Team" of creative collabora- 'Let's try to take all five books and make one divorce interacts.' Even though Karey did tors. Besides Phil Tippett and ILM (repre- movie,' " Waters reveals. "Before that, there almost every line of dialogue, John estab- sented first by visual FX supervisor Pablo was one adaptation that took a few ideas and lished the tone as well as this concept of Herman, later Tim Alexander), they include

52 SMm/April 2008 Jared (Freddie Highmore) and Mallory (Sarah Bolger) Grace

find adventure. "This is the kind of movie that I saw as a kid that made me want to make movies," Waters announces.

pie at ILM. They said, 'Let's pretend that these creatures could have evolved on Earth, and design them as if they're combinations or mutations of living creatures. Let's treat

this whole thing as if it's completely real,

and then let it become fantastic. Once we realize the big world of these creatures around us, our eyes will never be closed again.' That was the excitement of this pro- ject. We're gonna have a movie that feels

like you're actually in it. And if you're an American kid, this could happen to you." Pre-production began in May 2006, with shooting starting in September in Montreal. "The process was like a moveable feast,"

Waters observes. "We kept on saying, 'If we The director recalls convincing Highmore can come up with a better version of this to play twins Simon (left) and Jared: scene, let's not limit ourselves because we're "You're the only actor who can do shooting in two weeks. Let's change it now.' this, but you'll need to create two distinct We did most of the previsualization—where characters with different American you [determine] entire effects scenes—as we accents." He said, "OK, fine." production designer James (E.T.) Bissell, cinematographer Caleb (The Right Stuff) Deschanel, film editor Michael (Raiders of the Lost Ark) Kahn and composer James

(Titanic) Horner. "I'm not shy. I'll say, 'Hey, tell me how we can make this better.' " The common goal: to make Spiderwick Chro- nicles look and sound real. "In the fantasy genre, the movies—the Narnias, the Harry Potters, even Lemony Snicket—always have this feeling that they're occurring in the past, and in Britain, or to Gothic orphans," Waters relates. "But it never feels like it's actually happening to [American] kids. This is something Tony and Holly and I talked about: 'Let's all be believers, and say that these creatures are all around us, and they're completely tangible, completely real, we just can't see them. And that's why we lose our socks and can't find our car keys—because a brownie moved into our house. Everything in the real world can be explained by these fantastical creatures around us. Let's adopt that pose.' "We're doing our own American fantasy film here," Waters emphasizes. That's "Then when I talked to Phil and the peo- legendary Arthur Spiderwick (David Strathairn), chronicler of the fantastic. www.starlog.com mm/April 2008 53 —

were shooting other sequences. That went on all throughout production, and then we pur- posely wrapped early in December so we could shoot an extra three weeks in LA in the early spring [2007], because we wanted to see what we had and come up with ideas Hogsqueal hangs to make all the sequences that much out. "We| wanted to h feel like grander." make m a real creature that In some ways, having lensed all the live- you cor/drun into action first and then plunging into the FX

in your I backyard," elements, Waters was doing one picture after Waterls explains. another. "It did feel like shooting the movie was the first step in going grocery shop- ping," he admits. "The actual preparation of the meal was a much longer, more involved process once we got back home. But it has been fun, because I'm directing animators the way I would work with actors. I talk with them about the emotional quality of a scene.

I do hambone line readings and tell them stuff like, 'No, he stabs him like this!' It's incredible the nuances these guys bring on the animation level. "We've tried to "When you first put a movie together, make Spiderwick what you think that the movie is, it's just a really exciting, thimbleful of what it's going to become. The dynamic and action-packed," specifics for these guys is when you're on says Waters. See the set with Thimbletack [the Spiderwick for yourself mansion's resident brownie] on a table here, February 15. and Freddie is acting opposite a little man- nequin, and you have an actor on set doing Thimbletack's lines. Then you take that thing away, and you learn to play the eyeline given them off-camera. And after that, you shoot all this reference stuff. When you decide exactly the specific [frames] you need for the shot, you send it to these guys the kids face a fearsome river troll, now easy directing. I didn't realize how easy I and say, 'OK, we want ILM doing these transformed for the movie into this land- had it until I was in Montreal trying to do lines, looking in this direction, doing this based, moss-backed, rock-scaled monster. Spiderwick Chronicles." action.' At first, they do a rough animation The biggest challenge for Waters was The script couldn't contain some of the it's on the computer, but it almost looks "the complexity of planning something changes—especially when it came to hand-drawn. 'Do his hands go like this or where you're combining one actor playing Thimbletack (voiced by Martin Short) and like that? Should he be moving or walking?' two people with the special effects teams on the hobgoblin Hogsqueal (Knocked Up's

[As a director], you decide these things, and set. I was coordinating all these different Rogen). "When you have those guys in after several phases of the process, you get to groups and saying, 'We need to have both an ADR stage and you're riffing with them, the point where it's a photorealistic little Jared and Simon running away from the there's the way the characters were original- creature sitting in your living room. It's an ogre, who's going to smash through this. So ly written in the books, how we modified incredible process that I can 't entirely under- we need someone running through [the shot] them for the script and what they're going to stand myself. Every time another level of with a cardboard ogre, and we're gonna do it come up with in the room," Waters says. animation or rendering comes back to me, right when this door blows off.' It's not like "Once you get them in character, they start

I'm like, 'Oh my God. This is magic!' And having Mark Ruffalo and Reese Wither- ad-libbing and it's incredibly funny. they say, 'That's why we call ourselves that.' spoon sitting in a room talking, which was "Seth was a weird one, because we It's a phenomenal thing to watch." my last picture, Just Like Heaven. That's thought we would cast some older guy with a gravelly voice. But we heard Seth's in Which we Cast "By the time I voice, and, 'That's Hogsqueal!' And finished, I did start Of course, there were alterations from the he's a 24-year-old guy. We had cast to believe," Waters original saga, as Waters discloses: "Every- Nick Nolte just as a voice actor for

says. "There is a , thing took off from the books, but some- ie creature Mulgarath. And then we little guy in your times we made it way more elaborate. For house who's .me up with the concept of: 'What instance, the kids have to go down to see stealing socks. f Nick presents himself as a feeble Aunt Lucinda [Joan Plowright in the film]. It He's Hn man, but he's actually this used to be that they drove with Mom and Thimbletack ogre?' Ron Perlman as [goblin there were goblins outside the car. We said, leader] Redcap was a casting

'Well, what if they have to make it into town, coup, and he was phenome- but there is no car, and they have to run there nal as well. through an underground tunnel, which a troll "Everybody was really: gets into and tries to eat 'Who is the best person we could them?' Then, they're possibly think of for the part?' It still getting to Auntf | was bizarre. We said, 'Wouldn't Lucinda's, but in a more it be great if David Strathairn fun way." In the books, played Dr. Spiderwick?' Tony

54 STARL0G/4pr// 2008 —

and Holly were like, 'I always pictured initely some big thrills and some big "It's not always something fairy dust and David Strathairn.' We called him up and scares..." he laughs, "but no eating cats." magical," Waters observes. Nonetheless, " the sprites look pretty magical. 'Yeah, I'll do it.' "What? Really?!?' Most importantly, Highmore was cast as in Which We Recall Spiderwick's twin brothers, Jared and -born but Indiana-bred Waters Simon. "Freddie has that really spooky and his brother, hip screenwriter Dan Waters Dakota Fanning/Haley Joel Osment thing (of Heathers and Batman Returns fame), going on; that weird old-soul thing where have a darkly comic worldview that fre- you don't feel like you're dealing with a 13- quently haunts their films. "When you grow year-old actor but with this amazing up in the Midwest, the rest of the world

Shakespearean actor who has been doing it seems pretty interesting," the director quips. for years." "You don't really feel like you're part of the

The filmmakers had considered using scene. You're curiously looking at it, and actual twins in the roles. "Having a minor then you grow up, move to LA and get

who can only shoot five hours a day, doing sucked into it." motion-control shots with him, because he's Once in LA, Waters graduated from the acting opposite himself while acting oppo- American Film Institute's directing program site an ogre that's breaking through a wall... in 1994, and then made his mark doing the The complexity of those things was extreme- screen adaptation and directing The House

ly time-consuming. Luckily, we had an actor of Yes (1997). But it was his 2003 remake of as good as Freddie, who was doing both the body-swapping tale Freaky Friday that Jamie Lee came in after another actress who characters with American accents as well, brought him into the genre. "You would like will remain nameless [Annette Bening] just to add to the degree of difficulty. We had to say there's some great plan to everything dropped out 10 days before shooting, so

held a nationwide, England and Ireland twin you're doing, but there never is," he laughs. Jamie saved us! It ended up being the best search to see if any of those twins could act. "It's really just that a project comes down thing that could have happened." That was a resounding 'No!' And frankly, the pike! 'Oh, they're remaking Freaky On the other hand, Freaky Friday's suc-

when we were casting, we thought, 'Well, Friday,' and I was like, T love that movie cess almost typecast him. "After I made that,

what if we do fraternal twins?' We couldn't I know exactly how to remake that.' I went I read Tina Fey's Mean Girls and thought it

find any two actors who were as good as into Disney and said, T read your script. I was the most hilarious script I've ever read,

Freddie by himself. Even though we had to hate it, but ;/ you were going to do Freaky so I was like, 'OK, I've got to make this bite the bullet and say, 'OK, this is going to Friday now, it would have to be this, and you movie. And wow, who's perfect to play the

be a really hard thing to do,' it paid off hav- should get a rock band in there, etc' By the lead? God, I guess Lindsay again.' And pret-

ing this amazing dual performance, which is time [the meeting] was over, they were say- ty soon I was the guy who does... 'teenage wonderfully loyal to the books." ing, 'That sounds good. Why don't we do girl movies.' Then, I made a vow: When they

The DiTerlizzi-Black books do have their that?' It was simply because I had an inspi- say 'background action,' if I hear locker

morbid parts that provide a kind of kid ration." doors slamming, I know I need to leave the gross-out appeal—like cats being eaten and Exchanging bodies with daughter Lind- set! That's why I did Just Like Heaven; I dwarves being massacred. But the film has say Lohan, Jamie Lee Curtis gives a tour-de- needed something different." " downplayed those elements. 'Down- force performance. "Oh, she just nailed it," Heaven, a love story between a ghost girl played' isn't the right word," Waters cau- Waters praises. "At first, I was trying to get (Witherspoon) and the guy now living in her

tions. "There are some gross things in the Jodie [Foster, the daughter in the 1977 apartment (Ruffalo), is charming, until its books that we didn't do, but we also added Freaky] to play the Mom part, and she just surprising finale (SPOILER ALERT) where

more gross stuff. We got a PG rating, which shot us right down. But Jodie saw the movie the ghost is allowed to come back to life.

is great, but there are some dynamic and and called to let me know that she loved it The happy ending seems like a studio-

scary sequences in the movie. There are def- and should have done it, so that was cool. imposed cheat. "Believe it or not, that was not studio-imposed—she actually comes Meet Mulgarath. back to life in every version, even in the Waters notes, [source] novel," Waters reveals. "Maybe it

"I said, 'Why was cheesy, but at least it was cheesy based don't we faithfully on the material!" super-size the Waters isn't leaving fantasy behind for Spiderwick books his next film. "I'm always intrigued by tak- and create ing the real world, making it whacked and something seeing how people react," he says. "My next movie is a fantastic romantic comedy, The Ghosts of Girl Friends Past. It's a takeoff on A Christmas Carol, only with a shameless lothario who breaks all these women's hearts ' BP and needs a magical comeuppance. He gets visited by the ghosts of girl friends past, pre- sent and future and realizes the error of his

ways. I should be shooting soon with Matt- hew McConaughey and Jennifer Garner." V Beyond that, there's always the chance, if The Spiderwick Chronicles is a hit, that Mark Waters could return to this fantasy landscape to lead another guided tour. "It's

such an exciting world," he says, "so if it

continued to delight me, I would certainly go

for more. I would love to keep making these movies." -4s www.sfarlog.com mm/April 2008 55

—

Michael Swanwick redefines fantasy with world-weary elves & steamed-up dragons

world, it can glow with a familiar mystical photographing the faerie ring, and he looked

radiance known everywhere from Dungeons disgusted, and said, 'Don't tell me you still & Dragons' to World of believe in faeries?'

Warcraft's Azeroth, but it might just as easi- "That really struck me hard," Swanwick ly describe a formation of sylph-piloted B- admits. "Kids from the British Isles grew up 52s dropping napalm on the Shire, or be a with things like castles, ring forts and stone

euphemism for an elven non-com dispatch- circles in their backyards, whereas I grew up m ing her squad leader with the business end of with junkyards and shopping malls. So for a

an arrow. long time, I gave up the idea of doing high

Swanwick. in fact, is that rarest of tal- fantasy at all. Then, one day, while I was dri "TV ents: a writer who fearlessly branches out ving to Pittsburgh, I was talking to my wife j\ /I c beyond the safe confines of a genre's roots, about fantasy and steam dragons, and I made JL t JLv while permitting those very roots to anchor some joke about the locomotive works near

isn't writing your grand- him in the tradition. It's why Swanwick can by, and it clicked. That was ultimately where pa's fantasy, no sir. The have an older healer woman throwing the this idea came from, but not for Dragons of

prolific author doesn't toe bones or casting simple spells on the same Babel, at first. It was for an earlier fantasy

the line of myth and magic, he page that chrome-plated, gas-guzzling drag- novel I wrote called The Iron Dragon's

completely redraws it, as his lat- ons streak out from the sky. bristling with Daughter, but that gave me the confidence

est book, guns and anti-personnel ordnance. that I could write fantasy and use all of my (Tor, he, $25.95), illustrates. With But why did Dragons of Babel have to experiences first-hand, rather than pick from dragons, elves, magic spells and noble challenge the accepted view of fantasy at other people's books and folklore and sto-

heroes, it's fantasy, sure, but make no all? Why create a hero who is compelled to ries." mistake Babel has as much in common crawl daily into the belly-cockpit of a Though not a sequel. Dragons of Babel with Lord of the Rings as a Theremin does downed dragon fighter, helps an existential occurs in the same world as Iron Dragon's with a hurdy-gurdy elf lord foment a revolution from derelict Daughter: a world teeming with monsters,

That's not, to suggest that the author dis subway tunnels and confronts a city more magic, quests and great battles, but also lit- likes what J.R.R. Tolkien and his literary akin to Manhattan than Gondor? tered with fast cars, hard drugs, robots and successors hath wrought. "I'm a big fan of "As I learned to write," Swanwick says, even Pepsi. But that's the key to Babel's— classic fantasy," Swanwick explains. "I love "more and more it seemed to me that high and Swanwick's—charm: keeping it real. E.R. Eddison [The Worm Ourboros], "When you're writing serious fantasy." Mervyn Peake [Gormenghast]. Tolkien and "I read The Lord of Swanwick notes, "you can't sugarcoat the all that ilk. I read The Lord of the Rings in the Rings. It made me world you create: you can't just pretend that 1966 or 1967, and it rang me like a bell; it it's a better place than it is. If you have wolf turned me around. It made me determined to determined to be a boys running around in your novel, they be a writer. I think that in order to be taken writer/' shouldn't be any safer to hang out with than seriously [these days], fantasy needs to use a petty criminals. I was trying to take my richer, more textured language than. say. pop fantasy, as Tolkien wrote it. really wasn't world [in Dragons of Babel] seriously, and fiction. Fantasy is half language anyway. anything that an American had a right to not make it a pretend world, but real. And in

There isn't any real faerie world—we can't [tackle], because it was so different from all the real world, there are consequences for all is even pretend that there —but in a fantasy of our experiences. I went to Ireland in 1 982. sorts of actions. Everything conies back to book, the language can create that other and we went to photograph this ring fort, my own experiences." realm, the one that's 'other' than ours, where which the signs [around the fort] describe as There is a fantasy phenomenon that things can be expressed differently." a faerie ring. We started taking pictures, and Swanwick admits little experience in.

Expressed differently? Take something then this 10-year-old boy approached us and though he has his views on it: on-line gam- like faerie fire. In Swanwick's magical asked what we were doing. I said we were ing. "I'm 57 years old." he quips. "I haven't

mm/April 2008 57 played any of these [on-line] fantasy games. I really value that; it expresses a great deal hero," Swanwick says. "Jane was a

I don't disapprove of them. I see the younger about all these different types of cultures." changeling. She came from our world, and people getting genuine pleasure out of it. It's But Swanwick admits, "I couldn't find didn't belong in that world. She couldn't a different phenomenon, though, a social an exact analogy for the role of African- make a place for herself in it. Will, on the phenomenon. People play games in order to Americans. In Iron Dragon 's Daughter, that other hand, was born there, he belongs in interact with other people, often with their role was taken by dwarves, because you that world and there's no question that he friends, but sometimes with strangers, who could look at them and see they were can make a place for himself. That was real- can become temporary friends. That's very dwarves; they were short [so they looked ly the question I posed [in Babel]: What kind different than a reader with a book. different]. They filled the role, but some- of honest arrangement can Will make with

"I tell you one thing that fantasy games thing still didn't feel right. So in Dragons of his world? Because it's a pretty dishonest have done: they've altered the notion of Babel, I wrote more about Haints." place. A lot of bad goes on there." A name for spirits in America's Southeast, Haints are often the movers and The Mutilated world shakers in Babel—even if they can pass Swanwick's fantasy setting is exception- through walls. "They're moderately big," ally dishonest and hard, in fact. Jane's exis- Swanwick says, "so that they would have a tence in Iron Dragon's Daughter is that of presence." And there are other races, too. hardship after hardship. Will has it easier, Knockers, trolls, centaurs, nightgaunts, but he's still hurt, betrayed, spurned and constantly forced to live outside the law. "It to has be "What I was getting at with the world is, in something you don't a way, that Will is second fddle to it," Swanwick notes. "The condition of the

think you can do, or world is imperfect, in that the world cannot else the interest and conform to our desires and never will, but I still believe it's a worthwhile place. A Polish the challenge aren't poet, Adam Zagajewski, wrote a poem there." called 'Try to Praise the Mutilated World.' The idea is that the world is imperfect, but

cluricauns and rusalkas represent only a it's still a praiseworthy place, and we should teeny portion of the cultures that clash in the value and cherish the world despite its giant city of Babel—a city so clearly pat- imperfections. In some cases, because of its terned after New York City, even Swanwick imperfections.

would be hard-pressed to deny it. As if he wanted to. "I love New York," he effuses. "My mother was born in the West Village, and growing up, most of my family Although inspired by other authors, was in the city, so I would visit them on the

Swanwick realized "that I could write train all the time. I wanted to anchor the fan- fantasy and use all of my experiences tasy and make it real. That's always a prob- first-hand, rather than pick from other lem in fantasy: plausible deniability. That people's books and stories." what is happening isn't really happening magic. If you look at Lord of the Rings, for here. It's happening in Faerie or Pern, and so

instance, there's very little magic in the tril- it doesn't matter. I really cared desperately ogy. Gandalf doesn't actually do a lot in the about the characters and what happened to Lord of the Rings books. ..lighting pine them, so I wanted to have them in [a place cones?" Swanwick laughs. "RPGs have like] New York City. New York City is curi-

made everyone magic; they've mass-pro- ous: when you approach it, driving up in duced magic. Everybody gets lots and lots of your car, it's terrifying. It's like Fritz Lang's magical artifacts. And at the same time, Metropolis—at least until you get there. MICHAEL they've seemingly taken all the cultures of When you're on the street, then it's a pretty the world, all the mythologies and all the friendly, human-scale place." SWANWICK folklore, and thrown them into a blender set As it turns out, though, Dragons of Babel AUTHOR OF BONES OF THE BARTH to puree. These games have had a really per- does take place in the same universe as Iron vasive effect on fantasy, but I don't disap- Dragon's Daughter. "I wasn't sure of that

it." I started writing it," Swanwick con- prove of it, and I find my uses for when THE DOG SAID fesses. "About halfway or three-quarters of The the way through, I realized it could be the BOW-WOW Dragons of Babel introduces a crazy same world because the dragons and the The Dog Said Bow-Wow is a collection of quilt of races and cultures, though rather logic are identical. But there weren't any Swanwick tales. "I discovered by accident than being mashed together, they hold their place names, characters or gods that they that I have a knack for writing short essentially I'm an had in common. I figured readers would like own. "It's because stories," he admits. American," the writer says. "I live in a coun- them to be the same world, and it wouldn't try that's very rich, culturally, with all these do any harm, so to show that, I took Jane, the "Now, Will is a terrorist," Swanwick different types of people bumping up against first book's protagonist, and I had her do a adds. "Potentially he is, though he doesn't each other, and that's great. In Philadelphia, cameo, where she meets Will at a party. It's know it. He's given good reason to want one of my favorite things is going down to a little something extra for those people who revenge, and he's put in a good position to the Italian market and getting a Vietnamese read the first book, but if you didn't, it isn't achieve it. His job in the book, though, is to hoagie. There's this Vietnamese shop nearby anything you would miss." find an excuse for letting everybody live.

that has its own version of an Italian The cameo is short-lived, and probably Will just can't find this excuse because he's his experi- hoagie—it's about half the size and has dif- just as well, as Babel's son has enough going 'good'; he has to learn, through ferent meats and veggies, and it's incredible. on. "Will is your quintessential fantasy ences, to value the world as it is."

58 STARLOG/V/7 2008 " —

Will isn't totally alone and friend- It's awful, with tantric sex and nega- less, either. An existential elf noble, MICHAEL SWANWICK tive constellations, and it's compound- the aptly named Lord Weary, becomes ed by all the strangest things that I find

a twisted father figure for a time, compelling. But it's the most interest- before subjecting Will to the ultimate ing book that I've ever written. I've

betrayal of his senses. Then lovable only gotten a few questions about it, rogue Nat Wilk becomes Will's men- 'The about clarification regarding this or tor, and reveals considerably more that. And I think that's because people besides. But it's Esme, a charming lit- iragohs don't want me to ruin their view of the tle girl whom Will informally adopts, book. Those times I tried to answer a that really shows the goodness in the question, people would go, 'No! No!

world.. .even if she's without memo- Don't tell me.' ry—and possibly immortal. J^abel Swanwick may only have eight "Esme came out of nowhere," novels under his belt (the others being Swanwick laughs. "I was just writing , In the Drift, the story, and she ran into it and , Griffin's Egg and

almost ran away with it. I had to keep ), but the wealth of short

playing her down, because she was so stories he has written is astonishing

much more charming than everybody enough to fill several collections. He else." has even managed to pen a story for One of Will's most consistent every element in the periodic table

threats, in contrast, is a figure called (which appeared first on the SCI FI the Burning Man. "He's simply an Channel website before being collect- honest man," Swanwick says. ed into a book).

"There's so much of the novel where "I discovered by accident that I Will is being pursued by evil people, have a knack for writing short stories

fools, etc. I wanted to have a person and series," Swanwick says. "I wrote a chasing him who was none of the couple of abecedaries, one for each

above. The Burning Man is honest. He letter of the alphabet, and I did The

mtten, beautifully conceived, itts one of th* vs~/ fft-.v Until-/ nccl-. a duty. ivcdly has sense of He has no bad in unreic recommend . 1 love everything about this book." Sleep of Reason, a series of short sto- MicHAiL Moorcock motives whatsoever. It's just that cir- ries based on the Los Caprichos etch- cumstances put him in opposition to ings by Francisco Goya." Speaking of his newest novel, The Dragons of Babel, Will. If the circumstances had been How does Swanwick find the forti- Swanwick says, "When you're writing serious fantasy, different, then they could have been tude to write so different tales? you can't sugercoat the world you create." many great friends. "I discovered that you have to make it "Lord Weary," Swanwick says, returning fantasy works of Mervyn Peake, Clark a challenge," he says. "It has to be some-

to the jaded elf lord, "is actually based on Ashton Smith, Lord Dunsany, and I tied it thing you don't think you can do, or else the

someone I knew. This person was very cyni- into contemporary fantasy writers who I interest and the challenge aren't there. The cal. He had many lines under his eyes, and thought were doing really important, indi- periodic table idea was challenging, and

he was superior in his cynicism, and his vidual and unique work in the field. It does there were several times where it almost

view and thinking that nothing was good not mean that I consider secondary or deriv- defeated me. I couldn't find anything inter-

made him [feel] vastly superior. I waited for ative stories bad... Terry Pratchett is amaz- esting about Vanadium, except that it was a

years to find a good role for him, but I don't ing, and his work relies heavily on pre-exist- vital ingredient in chickens' diet. Vanadium view Lord Weary as particularly existential. ing fantasy books." has many fans, though, and they were mad at

He's a challenge to Will, and of all Will's me for dissing their boy. Writing like that is fathers, he's the bad father." The SF Tradition similar to being a tightrope walker: You Weary is a high elf—they're the most Before anyone thinks that Swanwick don't want the tightrope walker to fall off, important race in Babel, the ones with the pens only fantasy, his first award-winning but you want there to be the possibility that clout and the money, but they're also deca- novel, , is an interplane- he'll fall off. And the periodic table stories dent and vile. Swanwick was very particular tary adventure in the SF tradition—sort of. were done in that spirit." in their creation. "There was a visceral—I'm "If Iron Dragon 's Daughter could be con- So what does Swanwick have to say to not sure this is the right word—but a raising sidered science-fiction fantasy," he says, those aspiring and hopefully genre-bending of the hairs on the back of my neck when I "then Stations of the Tide is fantasy science writers out there? "You have to write, and was dealing with the high elves. I have a fiction. When I wrote Stations of the Tide, I you have to keep on writing in spite of the class-consciousness, a hostility toward the decided that there was going to be an act of fact that what you write is going to be bad rich. I've met some good people who are magic in every chapter, but it would be the for a long time. You have to have confidence rich, but on the whole, the rich people I've in it. And not only that you're going to be a met haven't been worth it. They've all been "In the real world, publishable writer, but that you're a great conscious of their superiority. And it's sort there are writer. And you have to aim as high as you of cringing. But money is magic, and to a possibly can. certain degree that's true." consequences for all " and I both broke out at When asked the term "hard fantasy" how sorts of actions." the same time in the 1980s with our first came to be applied to Swanwick's novel, or books," Michael Swanwick points out. "My where such a term came from in the first kind of magic that could operate in the real desire was to be a published writer, and I place, the writer doesn't miss a beat. "I world. It had to be the sort of magic that succeeded; his desire was to rewrite the dic- invented the term," he declares. "Hard fanta- should believe would exist. So tion of science fiction, and he failed. But sy usually boils down to 'The Good Stuff.' it's all factual. because he was aiming so much higher, he

My own meaning for it is that the work isn't "The fact that I won an award for that hit higher. If new writers can aim that high, like anything else out there. book was astonishing," he laughs. "When I they have a much better chance of getting

"I wrote an essay years back called 'In was writing Stations of the Tide, I thought, work published that I would want to read." the Tradition,' basically about the classic 'No one is going to understand a word of it.' Words to write by. W www.starlog.com STARLOG/Vj/20flS 59 The animated Turok returns to adventure begins February 5 when battle dinosaurs in Turok: Son of Stone an animated land debuts on DVD. that time forgot. By WILL MURRAY

gems. We knew we wanted to do a new Turok animated film. When you look at what's out there in comics and graphic nov- els, there's so much incredibly innovative SON OF storytelling. It's darker and more intense and mature than comics were allowed to be years ago. But when you look at the animated stuff that's based on comics, there's a disconnect. We felt there was an opportunity to give comic book fans something with this Turok film, something they weren't getting. We saw in Turok a great character with an

startling figure has returned from the Now, Gold Key/Classic Media—in asso- incredible story and a really rich world that Aprimeval four-color forest of classic ciation with Film Roman—have gone back could afford us an opportunity for an epic comic books. Turok, Son of Stone to the source material and made a direct-to- tale." was a popular title under the Dell and Gold DVD movie out February 5, Turok: Son of Key imprints for nearly three decades. Its Stone (Classic Media/Genius Products, Dinosaur Hunter premise was deceptively simple: A Kiowa $19.95). Once more, Turok and Andar must Turok: Son of Stone is a relentlessly sav- brave and his youthful companion become battle for supremacy in a land not their own, age tale that would probably be rated R for trapped in a lost valley where dinosaurs still as they seek a way back to their home hunt- violence were it made for the silver screen. rule the Earth, and survival is their only ing grounds. Blood flows freely, and dinosaurs feast on imperative. Today, an updated Turok sur- "That was the goal," asserts producer and flesh. No thought was given to adapting the vives in the form of a popular video game, co-writer Evan Baily. "We wanted to go more recent version of the Turok: Dinosaur Hunter, first launched in back to the roots. Classic Media now owns long-lived property, which evolved into the

1997. Turok, and it has always been one of the basis for the Turok: Dinosaur Hunter video

60 STARL0G/V7 2008 game. This despite the fact that co-writer ple is, 'There's something wrong with you. Tony Bedard had been one of the key play- You don't belong among us.' In that scene ers in reinventing Turok at Valiant. where Turok is banished, the Shaman says, While the movie references the original 'There's darkness in this boy. And whatever

stories, this isn't a strict adaptation of any is speaking through him, is not our land. It's

single vintage Turok adventure. "The pre- some other dark and savage land.' So it's

mise gave us a great deal," Baily acknow- almost as if, without knowing it, from his ledges. "Tony was just a treasure trove of youth, Turok's destiny is this Lost Land." Turok knowledge because of his longstand- After 16 years in exile, Turok becomes ing involvement. We went back and read the withdrawn and self-sufficient. But all that comics, but our goal wasn't to lift from them changes when his tribe is virtually wiped out so much as it was to be true to their essence." by an old enemy—a rival warrior from Working with Bedard and co-producers another tribe named Chichak. Only his A longtime comic book icon and video Michael (Batman) Uslan, F.J. DeSanto and nephew Andar and Catori—the widow of game hero, Turok returns as part of an Mike Weiss, Baily helped brainstorm a rivet- Turok's brother, Chief Nashoba—survive. effort to relaunch the classic character. ing revival of the character. Baily and Vowing to protect them, Turok fights his Bedard then co-wrote the story, which way to the Lost Land. idea was to use the Lost Land as a mirror for Bedard first drafted as a screenplay. Then "What happens to him when he gets to him, and have Turok really only be in his with Weiss, the duo revised and revised until the Lost Land is that, in a weird way, he element when he gets there. Tad Stones, who they had an exciting shooting script. comes alive again," Baily notes. "And is the supervising director, had a brilliant

"The five of us cast about, trying to find through being forced to protect Catori and encapsulation of it. He said that when Turok the right seed for the story," Baily recalls. Andar, and through being in this place where gets to the Lost Land, he comes into his own "And what we all agreed on from the begin- his violence and aggression are not a liabili- because he's finally in a place where there ning was, 'Let's not have Turok just stumble ty but an asset, Turok realizes that he can be are bigger monsters than the monster that he into the valley.' The goal was to do a reimag- who he is. The rules are different here. The felt he was." ining of his origin story, hewing close to the property's roots, but going somewhere new with it. And the conclusion that we came to was that Turok going to the valley should be his hero's journey. Traveling to the Lost

Land is something that he must do to become more fully himself." That meant looking to other inspirations. "Early on, we decided that there would be a revenge component," Baily explains. "We thought about films like Payback and Unforgiven." For a time, William Munny, Clint East- wood's character in Unforgiven, was the dra- matic model for Turok: a man who is pushed and pushed until he explodes in justifiable fury. But that approach was discarded as too passive for a Kiowa brave. Back to basics they went. "What did we know about this guy?" Baily muses. "We knew that he went to the Lost Land and got trapped in this primeval landscape, but how could we use that for the character? In the beginning, Turok manifests this violence and aggression. And when it comes out of him, the reaction from his peo-

Co-writer Evan Turok: Son Stone combines the classic Baily says, "This of themes of vs. nature with man vs. man. film is relentless. man It's a series of Unlike the original comics, though, Turok's tests—adversity arch-foe also finds himself trapped in the after adversity, one Jurassic-era tropical valley. "Chichak, like life-threatening any great villain, doesn't think, 'I'm evil. situation after I'm insane,' " Baily observes. "He thinks, another." 'I'm righteous. And everybody else is unrighteous.' These two are mortal adver- saries."

"As carefree kids There is a blood vendetta between them, running through and it can only end one way. "In terms of the woods, Turok making the most of the Lost Land, we start- and Nashoba ed the Turok-vs. -Chichak antagonism in competed for the their world," Baily says. "But once they beautiful Catori's cross over into the Lost Land, and it's now favor, but then everything took a playing out against the backdrop of terrible turn for dinosaurs and this savage landscape, it ups Turok," Baily says. the ante for their battle. Of course, Turok www.starlog.com STARLOG//lpr//W 61 joins forces with the Cliff People, and Chichak gets his own private army of these sub-human Neanderthal cave-dwellers. The

mortal combat between these two is the

thread that carries us all the way through the story." Kiowa Brave Adam (Flags of Our Fathers) Beach plays Turok. Adam G. is Andar. Robert (Prison Break) Knepper voices Chichak.

Irene (Pocahontas) Bedard is Catori. And Cree (Hellboy: Blood and Iron) Summer plays Sepenta. Native American icons Graham Greene and Russell Means also pro- vide voices. Frank Squillace, Curt Geda and Dan Riba all co-directed. Besides using Native American actors, there was an effort to make the story's tribal aspects authentic. "We had a consultant, Valerie Red-Horse, who worked with us," Baily says. "Even though this is pulp, not history, we wanted to make sure we were

getting it right." The DVD also features commentaries by the project's creators, as well as "Total

Turok," a featurette about the character in all his prior incarnations. "I have a personal connection to that era," Baily reveals. "My grandfather, Bernard Baily, was the DC

to return for a wounded Andar. An avalanche later seals that exit. Although the duo never gave up, that was as WARRIOR close to escape as they ever came. With that issue, DuBois gave way PAST to the superprolific Paul S. Newman. Like DuBois, he had been scripting Turok, Son of Stone had many fathers. The character began as a The , and gave Turok cre- reinvention of a series that writer Gaylord DuBois had been ator credit to Murphy, with whom he

scripting for Dell's Lone Ranger comic, starring a Mandan Indian originated Dr. . "I know I did

brave called Young Hawk. some changes on it," Newman recalled

Inspired by New Mexico's immense and mysterious Carlsbad in 1992. "If you look at the first issues, Caverns, DuBois scripted a full-length Young Hawk story for Dell's you'll see that Turok and Andar are the

Four Color Comics #596, dated December 1954, which he titled same age. I reduced Andar's age to

"Young Hawk Finds the World Below." In it, Young Hawk and his give him a sense of youthful spontane- youthful companion, Little Buck, stumble upon a lush tropical valley ity and wildness, and have the more populated by surviving dinosaurs. mature [Turok saying], 'Hey, listen, " Unbeknownst to DuBois, editor Matt Murphy and artist Rex son, we'll get into trouble that way.' Maxon reinterpreted his script, transforming Young Hawk into a pre- Newman scripted virtually every Columbian Kiowa warrior named Turok, and renaming his companion Turok issue from that point on, chang-

Andar. A former Tarzan newspaper strip artist, Maxon claimed that he ing DuBois' colloquial description of and Murphy co-created marauding dinosaurs as

Turok. In truth, the first "hoppers" to "honkers," adventure mirrored a while pitting the resource- sequence that Hal Foster ful Kiowa hunters against did for the Tarzan news- an unending procession of paper strip in 1932. Tyrannosaurus rexes, After two outings, the allosaurs and assorted heroic pair moved on to sauropods. For variety,

their own title, Turok, Son they also encountered Throughout a 26-year run, of Stone, dated March- cavemen, prehistoric pyg- Turok and Andar evaded May 1956. DuBois mies, giants, mastodons, the snapping jaws of brought the series to a smilodons, pteranodons, countless dinosaurs. temporary conclusion in plesiosaurs and King Kong-sized monster apes, eternally issue #8, where Turok discovering hidden canyons and far mesas in the seem- finds a cliff-path out of Turok first wandered onto the comics scene ingly infinite Lost Valley, and staying alive thanks to Lost Valley, but is forced in 1954. And promptly got lost. arrows and spears dipped in a special poison that could

62 STARL0G/V» —

"Nashoba and Turok are both the sons of the Chief," explains Baiiy. "Nashoba went on to become Chief; Turok, to become the Unibomber."

This may only be the first of Turok's new exploits. Other Gold Key heroes could follow.

Comics artist responsible for The Spectre become excited about what's happening may be brought to life in other media down

and Hour Man. I'm fascinated by that time with it now. the road. "The ones that immediately float to in comics. I read The of "But beyond this, yeah, we hope to do the surface are Magnus, Robot Fighter, Kavalier & Clay thinking, 'Oh, that's what it lots more. We've set the stage with Andar's M.A.R.S. Patrol: Total War and Dr. Solar, " was like for Grandpa.' coming of age in this movie to do much Man of the Atom" Baily says. "We don't Turok: Son of Stone concludes in the more with him. And Catori is a character I have a go project for any of these, but when same open-ended way that spawned endless would love to develop more. There's just a you own these incredibly rich properties, sequels in the comics days (see sidebar). world of potential here." many people are interested in them.

Many more adventures await. "We feel like Potential beyond the direct-to-DVD mar- "For us, it's about finding the right idea the sky is the limit," Baily says. "This is such ket, Baily is quick to point out. "By the and the right creative team before we're

an exciting time for Turok. This moment is nature of our business, we have lots of con- ready to move forward," Evan Baily con- in some way the rebirth of Turok as a fran- versations with lots of people about lots of cludes. "Magnus is so cool and, in many

chise, and we would like to see it go every- things. I can tell you that there's an appetite ways, so ahead of its time. When you look at

where that it can go. Hopefully, this will for a Turok feature film. Hopefully, we'll everything from /, Robot to The Matrix, the become a place where everyone who has had have more news on that score soon." Rise of the Robots has become a genre unto

any connection with Turok over the years And beyond even that, other former Gold itself. I think the time is definitely right for the old comics, the video games—can Key properties now owned by Classic Media Magnus." ^

! fell a T. rex in its tracks. Magnus, Robot Fighter #12.

After a succession of artists including Ray Working with artists Bart S Bailey, Bob Fujitani and Bob Correa, Dell's Sears and Randy Elliot, writer \

i premier adventure artist Alberto Giolitti took David Michelinie relaunched i over the strip, bringing an appropriately natu- the property in Turok, Dinosaur

; ralistic feel to the series with Turok #24. "Al- Hunter. It was a radical

1 berto's art is tough to rival," Newman praised in revamping. Turok and Andar

Robin Snyder's The Comics. "How reassuring were now 1 8th-century Native

it was to know that no matter how middlingly I Americans, and the Lost Valley laid out each page or described each panel, was transmuted into a timeless when Albert took my script, the final art would interdimensional Lost Land. show an incredible rhythm spreading out across Turok found his way to 20th- the open pages, a range of human expressions century Colombia, where he on the individualized faces, and the dinosaurs battled genetically-created would receive their spiky due." "bionosaurs." In later years, Gold Key's Turok was Most Turok, Son of Stone issues featured "I don't know specifically revived as a Valiant Comics title, later becoming a hit two adventures, which were sometimes con- why Valiant chose to alter the video game. nected by minor characters who seldom lasted original Turok, other than that more than two or three stories—like the wolf pup Ski-Yu introduced revivals are almost always updated to make them more appealing to by DuBois, or Newman's Hutec, a warrior of the Tolnac tribe of pyra- the current crop of readers," Michelinie says. "However, it's likely mid-building Indians who thought he knew a way out of Lost Valley. that Valiant's major purpose was to bring Turok into the Valiant Still, the limited premise never inhibited Newman and Giolitti Universe, so that he could interact with established Valiant characters, from producing issue after issue, and the sales only dropped when originals as well as the licensed ones (like Solar and Magnus)." they strayed from the core concept: Indians vs. dinosaurs. "There was A later retooling turned Turok into a hereditary post occupied by one point where they made a big discovery," Newman recalled. "The successive generations of the Native American Fireseed family, with

i sales of any Turok magazine that had a dinosaur on the cover did 30 20-year-old Joshua Fireseed becoming the "Turok" of the present-day. percent better than if there was no dinosaur." His duty was to protect planet Earth from dinosaurs. But beyond the | n Through two publishers—Dell gave way to in wildly popular video game spin-off, neither version quite captured the

! 1962—Newman piloted his protagonists until the title expired in original comic's imagination.

; 1980, with issue #130. It was the longest continually-published origi- The final assessment belongs to Newman, who told Comic Book

; nal book in the Dell-Gold Key line. Marketplace, "The artist and writer were handed a heritage which

; "I liked Turok," Newman mused. "I could identify with someone they should either have respected.. .or passed on the project. Where

! who was lost. That was a real challenge. I wrote Turok for 26 years. I Alberto's art had shown a face of wisdom, experience and understand-

i mean, how lost can you be? It wasn't that big of a valley." ing, the new artist's ink lines had slashed out a face of anger and until j Turok and Andar remained missing 1993, when Valiant angst! They turned an intelligent Indian armed with poison arrows Comics licensed various Gold Key characters and revamped the prop- into a Neanderthal thug with an AK-47." | i erty for their new comics line. The first modern Turok story ran in —Will Murray

www.starlog.com SINim/April 2008 63 hk oland Emmerich is at home direct- now I could make a movie that was not only research done for this movie—not only for the H ing in any era, whether it's The Day about Stone Age people, but about the clash of mammoth hunters, but for the first farmers, HK After Tomorrow or 10,000 B.C. His Stone Age people and high cultures, and, in- and for how they built the pyramids. On the new epic, due out March 7, is the between, I could show the first farmers. I real- other hand, we took a huge liberty, because

mm mm, story of a young mammoth hunter ly latched onto that idea, and out of it came this is an odd hybrid between reality and his-

who must journey through uncharted territory 10,000 B.C." torical accuracy and total fantasy. It's more and battle unknown dangers to save his tribe. about this idea of what would happen if Stone The director reveals that 10,000 B.C. was actu- Mammoth Hunters Age people clashed with high culture. That ally inspired by a documentary about our real- Emmerich—who co-wrote the script with was always, for me, the core of the film. The life cavemen ancestors. his friend Harald Kloser—notes that he com- movie's message is that the highest culture "I was watching a documentary many, bined fact with speculation to stage the spec- isn't necessarily the best—they're actually the many years ago about man hunting mam- tacular mammoth-hunting sequences. "We evil guys. It also tells you a bit about how we

moths," says Emmerich. "I was fascinated, know a lot about how mammoths looked, as a people can lose our innocence if we play

and I immediately knew there was a movie because we still find them in the ice," he God." there. But over the years, there wasn't enough, explains. "But we don't know much about the The overall story changed a great deal over just having some Stone Age people hunting hunting. Most theories say that [the hunters] the years. "From the very beginning, it was a

mammoths. I did lots of research, and I real- turned the mammoths until they would fall small story about a boy and a girl in the mam-

ized how many other animals lived in that era. over a cliff, but that seemed a little bit too pre-

But there was still something missing. Then, cise for me. We devised some other methods,

maybe five or six years ago, I read a book where they also herd them, but into a canyon, called Fingerprints of God, [which deals with and there's a net... the] theory that there's a lost civilization that "There was existed on Earth and spawned the first high great deal of cultures. "I've always been fascinated by the Pyramids of Giza, and there's a theory that

these [structures were built] much ear-

lier than we think. I thought that was cool, because

Afl crAPinr./;W,7 nnt African or made-up language. That worked quite well. That way, we could be in our

heroes' heads and still have the other lan- guages." While many films have featured prehis- toric humans—from the fantastic {One Million Years B.C.) to the more realistic {Quest for Fire) and even to the comedic {Caveman)— Emmerich was more inspired by realism. "I was most influenced by Quest for Fire" he

reveals. "It's a seminal movie. It's like director

[Jean-Iacques Annaud] said, 'OK, I'll show you how we came to be as people.' But his period was much earlier than 10,000 B.C. At

the time he made the film, he thought it was

about 35,000 B.C., but now we know it was more likely around 200,000 B.C. when that happened. As a kid, naturally, I saw One Million Years B.C., but that was a fantasy, and

I wanted to do something in between, some-

thing you haven 't seen. On the one hand, this movie looks very real, and lots of time and Here there be tigers. Mammoth hunter D'Leh (Steven Strait) encounters saber-toothed cats and other prehistoric predators during his odyssey. money were spent to make it look real. But on the other hand, it still has a fantastical ele- moth-hunting world," says Emmerich. "Then from early humans who barely speak at all to ment." it grew into a story in which she gets taken and those who invent their own primitive language he must go after her and discover the world. to those who speak English. Emmerich opted Native Tribes Then, the pyramids element came in when we for the latter. "We went for the English ver- Probably the most challenging aspect was decided to add something for the third act sion," he explains. "We tried out different crafting realistic-looking mammoths. "It's which was spectacular. It's also a lot about things, and had all of our dialogue in some very difficult to create hair, especially long how legends are formed, which came relative- fake language, but it just didn't work. So we hair, in the computer," he explains. "It's actu- ly late into the script." went with the notion that we can understand ally one of the last elements that computer

Previous films set in prehistoric times have the mammoth hunters, and they speak English, people are afraid of, long hair. I saw, funny featured different ranges of human speech: but everybody else speaks in some other enough, Monsters, Inc., and knew that you HVNTIK1CI IIAIIIMTIl TH£ After envisioning The Day After Tomorrow, Roland Emmerich travels back to 10,000 B.C. for another speculative epic.

By KIM HOWARD JOHNSON —

tone, it's closest to Stargate, because it has the same realism, along with the totally fantastic," he says. "It's the same kind of mix. Many peo-

ple have told me, 'It reminds me of Stargate,' which I'm very happy about. In a weird way,

it's the same feel." Some of the most memorable scenes in

10,000 B.C. don't involve any FX at all. "I always like going throughout the world, look- ing for the most untouched, fantastic land-

scapes, but I've realized that the human face is the most amazing thing," he says. "We went to

Spitzkoppe [in Namibia], which is a magical place—Stanley Kubrick shot his background plates for 2007 there, when the movie opens

and built a set and had to populate it. We found

an African tribe right next to it, and there was this old man with an amazing face. Our script had a [character called] The Wise Man, and so we took 15 of them and flew them to Swakopmund on the coast. "Most of these guys had never seen the Liberties were taken in the name of storytelling, but Emmerich says they did lots of ocean, even though they only live 200 miles research into the different cultures and their architectural achievements. could now do longer hair and make the move- Inspired by a book, ment natural. I took that technology and tried Emmerich (far left) teamed to make it photo-real. We had to develop the up with Harald mammoths for more than a year before we saw Kloser to co- the first walk cycle with full hair. It was nerve- write this epic wracking, but when we watched it, we really, adventure about really liked it. But the problem was that it took the clash 16 hours to render one frame! I asked, 'Why is between Stone this clip so short?' and they said, 'Well... This Age people and actually took us more than 10 days.' I said, high cultures. 'You must be kidding me!' "But then, through tricks—like reducing the number of hairs, because we realized that half the hair looks the same—we got it down to six hours' rendering time, which is still enormous, but not as bad. We had to be very Photo: Ollie Upton careful with the animation, because most of the time, we could only render a shot once. If model and the same light and background. you know anything about that world, that's a That model shot was composited with thou- scary thought! We did lots of testing before- sands of people and dust and tarps that flutter hand, and the animation had to be absolutely in the wind." set. I couldn't say, 'Oh, could he turn his head Emmerich is an old hand at CGI, particu- now to the other side? A little bit higher? A lit- larly in films like The Day After Tomorrow and tle lower?' Godzilla, but he says 10,000 B.C. is actually

"The animals are all CG, and sometimes more similar to another of his movies. "In the people are CG. At the very end of the movie, we have a con- struction site with these enormous pyramids, and I insisted on build- ing the biggest model in the same area where we shot the set in Namibia.

It was as big as a soccer field! Throughout the film, there are many mammoth-hunter heli- copter shots, and we have the same field at the movie's end as at the beginning, only, natural- ly, this construction site doesn't exist. But you really get the feeling that you're there, Although the cast is mostly unknowns, genre fans may recognize because you have the Camilla Belle (as Evolet) from the When a Stranger Calls remake.

66 STARLOG/y/l 200fl —

away from it. Then we heard from the hotel young unknown actors and older unknown The Day After Tomorrow has gotten a much people that some of them showered all night, actors. It was quite difficult, but we found better reputation. Every newspaper is talking because they had never seen a shower! They them in the end. For most of them, it was their about the subject matter [global warming], were the nicest, nicest people, but they were first time doing a big movie, but I'm a real there have been documentaries made about really concerned about one thing. They said, down-to-Earth guy, and they realized they how the public's perception has changed, and 'Everything you do looks fantastic, but we could talk to me, and don't know about the [saber-toothed] tiger.' very fast, they all And then we realized that, because we were seemed like pros." always carrying a cutout of the tiger for the There's one glaring camera operators, they thought that was our exception to the direc- tiger! We had to tell them, 'That's not our tor's "unknowns only" tiger,' and they were so relieved!" casting rule: Omar

The director confesses that it has been dif- Sharif as Old Baku. "But ficult for him to enjoy the scenes he has shot I only used his voice!" for 10,000 B.C.—or for any of his films. "I argues Emmerich. "He's never like what I do!" he laughs. "But even the narrator. Everybody still, there were a couple of shots where I thinks he's in the movie, went, 'Oh my God! This isn't real!' So in the but he's not—it's only end, I lost some of those shots, because I fig- his voice. We asked for ured people would think they were digital. an Omar Sharif-esque They were so beautiful, they looked unreal, narrator!" and I didn't want anything to look unreal. It's Emmerich's previous fantasy, but fantasy has to look real. That's project was the contro- why I liked Lord of the Rings, because it versial SF film The Day looked very real. That's my kind of movie." After Tomorrow, and, even now, he's slightly For more of Emmerich's past projects, see the interviews in Fantastic voyages surprised at the response STARLOG #182, #253, #274 & #323. Emmerich cast his new film with relative it generated in the U.S. unknowns, including Steven (Sky High) Strait "It got a very different reaction here in The Day After Tomorrow is a big part of that." as mammoth hunter D'Leh, Camilla (2006's America than in Europe and the rest of the As for future projects, Emmerich is busy

When a Stranger Calls) Belle as Evolet and world," he notes. "It's really strange. In developing several at the moment. One is a

Cliff (Live Free or Die Hard) Curtis as Tic- America, it was fought over, and some of the secret, but the other is the long-planned

Tic. "I didn't want to have any known actor reviews were really ugly, but in Europe and the Fantastic Voyage remake. "I developed it, but running around in the Stone Age," he says. "I rest of the world, it was a lovefest. They all because of the writers' strike, I won't write it couldn't see Jake Gyllenhaal or anybody with thought it was my strongest movie, and they myself, so I'll have to wait," he says. "I don't a known face. So we did a really big search for praised it. In the last three or four years, I think like to talk about stuff if I don't know whether

I'll do it or not. With Fantastic Voyage, I was

This tiger may be long in the actually attached to make it right after

tooth, but it looks far from elderly. Stargate. We [Emmerich and then-partner,

Digital FX were used to render producer Dean Devlin] then gave it back to this fearsome, wet beast, Fox, because we went over to Sony, and they

gave it to James Cameron. Later, he called me

and asked me if I wanted to do the project, and

I said I had already been attached, but send me

the script. I didn't like the script very much,

though, because they put it in some nebulous

future, and I always felt that wasn't the right approach. And then, after years and years, Fox

asked me if I would be interested in it again. I

; said, 'Yes, but we have to start at the begin- ning.' And then the writers' strike happened! Just as we had found the perfect writers... But

that's fine. I knew it was going to be a long process. "I really liked the original movie. You

know how it is when you love a thing, and you

really want to do it justice? Maybe we'll never pull that off and we'll never make the movie,

and that's fine, too. I don't want to ruin

Fantastic Voyage, which is dear to my heart. I would like to do more of an updating, because

I think it has to have some political back-

ground. I want to stay very much to the origi- nal, but with other characters." One thing appears certain: Despite the suc- cess of comic book movies, Roland Emmerich has no intention of doing a superhero film.

"Not me! I don't believe in superheroes. When you look at whatever I've done, I've always liked normal, regular people in my movies they're wimps like me!"

mm/April 2008 67 ore than any other cast member Terminator 2: Judgment Day was even more of Terminator: The Sarah influential for the young thespian (and for Connor Chronicles, Thomas the TV show). Surprisingly, Dekker hasn't

Dekker is a big fan of the yet seen 2003 's Terminator 3: Rise of the M Terminator films upon which Machines. the Fox TV show is based. That's why "That's odd, I know, because I've seen Dekker—who plays future hero John the first and second movies probably 100 Connor in the new series—was skeptical times," he laughs. "I got them on VHS when when he first heard that the franchise was I was about 10 years old. I have them on coming to the small screen for weekly DVD; they're in my trailer right now. The adventures in 2008. fact that I've never seen the third one isn't so "I grew up watching and loving the important, because the mythology of our Terminator movies, especially John Con- show takes off right after the second film. nor's character and his storyline with Sarah," Besides, the whole point of the Terminator explains Dekker. "So, while that made the story is that the future is changeable. It isn't opportunity to play John attractive to me, I set. So we aren't really taking the third confess I was a little concerned about what a movie into account. People ask if Sarah's TV version of Terminator would be like. I going to die [in our show], because she was decided to do it after I sat down with [exec- dead in the third film, but we're ignoring that utive producers] Josh Friedman and James one."

Middleton and [director] David Nutter. I found out what the show was really about, Heroic Struggles what its message was and where they want- As the third major actor to play John ed to go with it." Connor—following Edward Furlong in 72 Once he was convinced that The Sarah and Nick Stahl in T3—Dekker says with Connor Chronicles would strive to offer candid frankness that he neither wants nor more than simply an action-packed thrill needs to reinvent the part from scratch for

By BILL FLORENCE ride, Dekker enthusiasti- The Sarah Connor Chro- cally signed on, joining THE FUTURE nicles. Here again, Lena (300) Headey as though, it's Furlong's IS Sarah Connor and COMING portrayal of John in T2 Summer (Firefly) Glau as FAST FOR that matters most. Cameron, John's Termi- "Absolutely, that per- nator protector. "Some JOHN CONNOR formance affects my own people may think this BUT FOR take on the character," show is just an attempt to DEKKEI Dekker avows. "Every- cash in on the Terminator H0MAS one here knows that franchise, but it isn't," IT'S ALREADY we're treading on ground Dekker insists. "Right HERE. that has already been now, the threat of com- established. It's our job puter and machinery to make the show new It's called intelligence is relevant—maybe not in a lit- and exciting, but I know Lena cares about Terminator: The eral sense, but more metaphorically. There's Linda Hamilton's prior performances as Sarah Connor a lack of human emotional connection in Sarah, just as I care about Edward Furlong's Chronicles, but politics and science and everything going on work as John and the writers and producers mankind's in the world right now. care about the entire franchise. I'm trying to survival actually lies in "Our show seems more important and capture John's essence [from 72]. I want to the hands of John relevant now than in 1984 and 1991, when incorporate his instincts and his heart. He's Connor (Thomas the first two Terminator movies were made. wild, outspoken and impulsive. Dekker). Some of the robots [in The Sarah Connor "My John is older [15], and he's in a dif- Chronicles'] seem to have more heart than ferent situation than when we saw him in 72. the human characters. ..almost. It's all about In that one, he's about 10, and he thinks his this strange balance between feelings and Mom is crazy. John believes that it's OK to machines. I can't give away too much, but draw attention to himself. He doesn't care

we're going into these matters in far more [about the future] at first. In our show, John detail than the films did." has had to hide and put a damper on who he

The 20-year-old Dekker wasn't even is. He's scared, and he isn't ready for this born when James Cameron's original honor as 'leader of mankind's Resistance' Terminator took, theaters by storm in '84. He that seems to be getting closer and closer. watched it on video, of course—many times. Those are new elements to the role that I'm

68 STARLOG/V// Sarah (Lena trying to incorporate. But every day I play Headey) isn't the this part, I think about the original character touchy-feely type, and performance." but she will do Dekker pauses a moment, reflecting fur- anything to ther on his alter-ego, and then adds: "John protect her son from the wants to step up to the plate, because implacable throughout his life, he has been told about forces out to his big responsibility. He struggles with destroy him. wanting to get there already, to be the hero, while at the same time never wanting to get Photo: R. Foreman there. The teenage predicament for him is magnified a million times. Everyone tells John what he should or shouldn't be, and he

isn't prepared for it. He hasn't had a chance to know what he wants, and he doesn't know if he's capable of these future heroics. "Now, put that on the scale of having to save the entire world,

and it becomes very

stressful for him. I would like to see the character come to the realization that this [lead- ing the Resistance] isn't only were shooting the first two scripts, I was

like, 'God, this is so dark and miserable.' But when we got the scripts for episodes three and four, sometimes we would all laugh out

loud. The humor is coming, and it stems mainly from Cameron learning to exist in a world that has some strange social rules." Viewers can also look forward to "a real- ly interesting evolution" for each of the main characters. "Sarah finds herself in several

situations where she isn't sure if she's doing things to satisfy her own emotional desires or for the mission [to destroy SkyNet]," Dekker explains. "It's a battle within herself and with other people, which involves lots of scandalous things going on. Meanwhile,

Cameron is like a newborn child discovering the world. There are endless possibilities concerning how she might be taken advan- tage of, what she sees and what she figures out. "And for John, who maintains the core Terminator story, there are things that hap- The young actor has played other Heroes. He was Zach, friend to Claire (Hayden pen at his school and in other parts of his life Panettiere) in 11 first season episodes. that are very dark and intriguing. He discov- what he has to do, but that he has to do it "Once John finds out what Cameron real- ers a big mystery that doesn't seem to be now—start building his army and making ly is, he's thoroughly disappointed," Dekker linked to the Terminator prophecy of plans. I would also like to see John come to says. "It's such a weird thing, because in a Judgment Day. So, there are lots of curious depend less and less on Sarah, and then see way, Cameron is probably more dedicated to things happening, and complicated places to what that does to their dynamic." him than any real girl friend could ever be. If go" According to Dekker, one of the reasons she had a heart and soul, she would totally Behind the scenes, the Sarah Connor the show's producers liked him for the role give them to him. But what's the point of Chronicles set is as loose as the on-screen was that, like John, Dekker and his parents that emotion? Is it responsibility and dedica- events are dire. "It's absolutely insane how moved around a great deal when he was tion? Or is it passion and affection? John has well the three of us get on," Dekker says. younger. "We moved constantly," the actor some things brewing in school that I can't "It's crazy. I've been acting for 14 years, and notes. "My parents and I were never in one give away, but I will say that his struggle I've never had anything like this [chemistry] place for very long. That's a big link to the with liking Cameron is something I find very on a set before. Lena and I pretty much hang character for me—the sense of having to interesting." out every weekend. We go out to dinner, and reinvent yourself with new friends and new After the nail-biting events of the first we drive each other back and forth to work. places in order to blend in." two episodes, the series finds opportunities Summer is often doing other unit stuff, but Perhaps that's one reason why Dekker to lighten up here and there. "Much to my when the three of us are together, we have a says this character is about the easiest one he surprise and joy, after those couple of blast. We take the show seriously, but we has played thus far in his young career. "I episodes, there's some real humor that also laugh the whole time we're on set. The don't know how that works, but normally comes in," Dekker maintains. "When we crew is excited to be here, too. I know this all when I play a part, I really have to immerse sounds phony, but it's true. From the creative myself and lose most traces of myself in it," team of writers and directors down to the he ventures. "With John, it's pretty easy to [various departments] and us actors, the vibe jump in and out of character. We both make on the set is enthusiastic, warm and very decisions too fast, we're both somewhat pleasant." stubborn and we both take things head on." In fact, the hardest thing about the role

In the end, though, John is still a fiction- has less to do with John and more to do with al role played by an actor who—in some the situation of working on a weekly TV very fortunate ways—enjoys a life much dif- show. "When you're playing the same thing ferent than his alter-ego. "I feel more for so long, 12- to 14-hour days, every day, grounded and balanced than John does," for a year, you have to make sure you don't Dekker points out. "He's more of an emo- lose sight of why the character is saying tional yo-yo. He hasn't had a chance to be as something this way or why he's feeling a close to his mother or family as I have. John particular way. It can become easy to just go is in a darker place than I am. I don't have in and become repetitive. The challenge is to Terminators trying to kill me!" keep up with yourself and make certain that you're playing everything for a reason." Uncertain Destinies One of the trickiest elements that The Past Challenges Sarah Connor Chronicles deals with is also Before tangling with Terminators, one of its most compelling: the relationship Dekker earned notice among genre fans for between John and his gorgeous robot body- his role as Zach in 1 1 episodes of Heroes. guard, Cameron. In the pilot's early "Doing that show was a strange thing for scenes John doesn't yet about me," he confesses. "I auditioned for a part in —when know Dekker (here with Fox TV Chairman Cameron's true nature—it's evident that he Peter Liguori) is a huge fan of the the pilot, and was told it was never intended has a crush on her. Then events conspire to Terminator saga, and sought to capture to go any further. I didn't really know what dissuade him of his pleasant illusions. John's essence from 72. Heroes was—I didn't read the full script. I

70 mm/April 2008 www.starlog.com was just given my sides and the breakdown. Dekker returned to Trek a year later to All that said was, 'Artsy, gawky kid with an appear as the Holonovel character Henry intense crush on Claire.' So I read for them Burleigh in a couple of Star Trek: Voyager and did that, and I was hired for the pilot. I episodes ("Learning Curve" and "Per- was never signed as a regular, but they began sistence of Vision"). to hire me per episode. I was continually sur- "Those were all fantastic experiences," prised to keep coming back. Dekker recalls. "Generations was the first

"That's how I was able to leave Heroes movie I ever did. I was just a little kid at the and do The Sarah Connor Chronicles: I was time. I remember very clearly the little girl never under contract over there. I guess it who starred in Voyager with me [Lindsey was a compliment in a way, that they kept Haun]. She and I had just played the leads in asking me back. I've gotten more fan mail a John Carpenter movie [Village of the for that role than I ever expected. Zach was Damned] that same year, so Voyager was a polar opposite to John, and the truth is, I like a big reunion for us. feel more akin to John. Zach was more of a "I've done lots of science fiction and hor- challenge, because he had a special voice, a ror in the measly time I've been in this busi- walk, a whole style I tried to invent. I'm hav- ness," Dekker adds. "I love and respect the ing a much more pleasant time on this set." genre. Honestly, if I could only do SF, horror -4 Though few fans would recognize him, and occult projects for the rest of my life, I ess* Dekker played Captain Picard's seven-year- probably would. As a child, I not only loved This hero-to-be has a great deal to learn. old son, Thomas, in Star Trek: Generations. the Terminator movies, but also the ALIEN Dekker feels his character is still unsure if he's capable of saving tomorrow.

series, which I probably watched every day. And the people I've met at conventions have been fantastic. Science fiction fans really He was able to walk away from Heroes and join Chronicles love the genre and come out to talk about it." because he was never under Dekker is looking forward to starring in contract to the NBC show. writer-director 's Brothers of the Blood—a movie that "is and isn't about vampires"—later in 2008. "They're working on funding and casting right now," he explains. "We should start filming during

hiatus on The Sarah Connor Chronicles. It's an interesting project, very original. I guess

it is about vampires, but in an operatic way.

Tim is tapping less into the violence and death aspect of the vampire mythology, and more into the sexuality and romanticism of

it."

Besides acting, Dekker's other love is music. He's a singer, songwriter and gui- tarist with soundtrack contributions to the CW's and several of the Land Before Time and An American Tail movies.

"I'm hoping I get to perform something for Sarah Connor Chronicles," he says.

"Although I do play guitar, that's probably misleading; my music is very electronic, and

would fit the tone of our series pretty well. The producers have my [two] albums right now. I'm planning to create a piece of music that takes one of the musical themes from

the first Terminator film, and then I'll add orchestra and Nine Inch Nails-style electron- ic drums for an upbeat action piece. I'm

excited about it, but I don't know if they'll

end up using it." In any case, Thomas Dekker believes The Sarah Connor Chronicles already has plenty going for it—more than enough, in fact, to keep viewers tuning in each week. "The show has an enormous heart. And the idea of this small group of people fighting to save

the entire world, and no one else knows, is scary, sad and beautiful. There's lots of action and science fiction, but in the end, people will come back every week for Sarah, John and Cameron and the strange emotion-

al bond they have. I really like these charac- ters, and I think the audience will, too." ^

SWm/April2008 71 These special FX guys have been \\v\^\^& Ml/with both doctor Who & Totc\mkA.

Although they didn't have many people, much time c mi much money, the Mill still produced; some stellar visui FX during Doctor Who's first seasoi **** m*

For the second season, FX supervisor Dave Houghton felt they had "to improve our pipeline" with such completely CG atures as the Reapers.

They've created futuristic landscapes, STARLOG: How quickly were you able to better, so they listened most of the time. armies of aliens and the end of the world, establish a production routine based on that There are still tons of laser pops and things all within a relatively modest BBC televi- budget? like that, which aren't only fiddly, but when sion budget. But with each Doctor Who sea- HOUGHTON: Certainly the first four or you have somebody being atomized in the son, the team at the Mill somehow manages five months were chaotic until we settled Doctor Who world, you have to try and do it to keep raising the digital bar on a regular into something approaching a regulated differently every time. basis. During a visit to London, STARLOG pipeline, but that pipeline is constantly One big lesson we learned on this sched- sat down with visual FX supervisor Dave changing, because we're always trying to do ule and budget is that we don' t mix 3-D and Houghton and visual FX producer Will better work. If you look at the creatures that prosthetics, so when we had to do the were- Cohen to talk about their work on the series, were completely computer-generated in the wolf episode ["Tooth and Claw"]—and hav- as well as its recent spin-off, Torchwood. first season, like the Reapers or the CG ing learned from the Slitheen—we [called Slitheen, we really wanted to make them upon our experience] of working with the STARLOG: How did the Mill get involved better, so to achieve that in Season Two, we Millennium FX guys on Hex. We created a in Doctor Who in the first place? had to improve our pipeline even more. creature for an episode of that, and we had DAVE HOUGHTON: There was a process We had a hairy beast in episode two that quite a good budget for a dozen shots, but where we went in and pitched to Russell [T. was quite a tricky thing to pull off, and we there was this big challenge of doing a pros-

Davies] and Phil [Collinson, the show's pro- could never have done it in the first season, thetic takeover. Normally, you would cut ducers]. I had read the first two scripts, and just because of the rendering time. In Season away to another shot, and then you would got some of my 3-D guys to knock out a Two, our 3-D modelers and animators were cut back to the 3-D takeover. But this was a creature and stick it into some shots that we culled from the best 2-D and 3-D teams, but hard cut—prosthetic in the close-up, CG in worked on for the series Sea of Souls, and they still had to work really fast to get some- the wide—and it was very successful. It also then we pre-visualized some of the CG thing good out. reinforced the opinion that with things like effects—like the Sun exploding and the little WILL COHEN: In the first season, we had the Slitheen—which was pretty much the creatures—for the first season's second far too few key people, far too little money first creature we made for Doctor Who— episode. I wrote a document based on those and far too little time, so when it came time although it matched the prosthetic visually, two scripts, breaking down the shots and for the second season, we fought to get more the shot wasn't what we agreed on, so it was how much it would cost, and we did a few time, more people and a bit more money. a very difficult start in many respects. nice concept designs for them and took that Fortunately, the production saw the potential When we began having discussions

into the meeting. I think some other people of what we could do, and they thought it about the werewolf episode, we wanted to

pitched as well. would be nice to try and push it to be even make the werewolf, but so did the prosthetic

72 STARL0G/4pr// 2008 www.srarlog.coi FX producer Will Cohen agrees with Houghton, and says creating the Slitheen taught them about not mixing 3-D and prosthetics.

people. In the end, we made the right deci- sion, because if your eye— doesn't have any- thing to compare it to "Oh look, there's a bit of fur being shoved in front of the cam- era"—followed by some CG... I think people expect film quality in their living room, because they have DVD players, computer games and everything else, so they aren't

going to differentiate the fact that this is a TV program produced on a limited budget and schedule. HOUGHTON: Our little team of modelers "Tooth and Claw" provided the Mill with the challenge of rendering a werewolf. Cohen and animators were confident about the and Houghton were pleased with the terrifying result. werewolf. Having worked in a film environ-

ment, they were aware of what they could really change it. In a film, lots of noodling looked rather splendid. achieve in the time allowed, so that's how goes on after the fact: Something is animat- STARLOG: Was there some good-natured we planned the episode. We were in talks ed, and then the producer comes in and competition between your company and the with Russell quite early on to determine how changes it, and then the director comes in... makeup effects guys at Millennium about much we could do, and what we achieved is You have all these people adding their input, who got to do the werewolf? very good in terms of TV—or even for film. which we just didn't have time to do. HOUGHTON: The Millennium guys were

The great thing about using CG creatures We had to take our cues as to what we desperate to do a werewolf, because it's a is that you're obviously not mucking around thought was good, and we stuck to that, classic creature, and they all got into the with somebody on set in a costume, which because we didn't have time to re-animate business because they saw An American takes ages, and it's time that you just don't anything. The hair came from a new Maya Werewolf in London. have on Doctor Who. And I believe our plug-in called Shave and a Haircut, which COHEN: I'm really proud of our werewolf. werewolf is certainly the best creature we've we used for the first time on that job, and it The team that rendered, animated and lit it done for the show. There had to be a few worked out nicely. It all comes down to the went the extra mile. We got a call from the ground rules, and once we got the script, we guy who textures it, but our werewolf was producers that Millennium probably doesn't basically animated to the script and what we very realistic. We blew wind through it, we know about to this day: "Can we have a CG thought would look good, and they couldn't threw water on it, and yet our werewolf all werewolf?" Probably because they knew

Smm/April 2008 73 —

they had two weeks to shoot the you've created the original digital episode, and wouldn't it be great if models? they could point the camera at an HOUGHTON: You would think so, empty room and move on? So we stu- wouldn't you? There were a number pidly agreed to do it, because the team of different models for the Daleks. We got excited and said they could deliv- created one for episode six in the first er it. I'm extremely proud of it. It season, which worked quite well, but would have been lovely if it was very slow to render, so we [Millennium chief] Neill Gorton had remodeled them for episodes 12 and been able to do a werewolf, and we 13 and did two or three different ver- had the time to match it, but given the sions for various distances. But it still schedule we were facing, I think the wasn't quite perfect, so we tried to do Appearing in four second season episodes, the right decision was arrived at. them again in Season Two. We real- Cybermen spawned from an actual Cyberman that was To be honest, the ized that we hadn't quite put in all of HOUGHTON: cyber-scanned into a computer. script was only partly completed, the detail that we had in Season One, because Russell wrote us and said, "What we're going to give them 60 shots in this and they didn't look as good, so we brought

should I be doing or avoiding?" and pro- episode that will look like this, and they go back some of the detail, made three different

ceeded to do everything we said. So when away and try to shoot it, but then you get types and came up with a low-res version of

we got the script, it had been written with a into the creative process in the editing suite. that one. But that still didn't render, so we CG werewolf in mind: lots of running, What we've tried to do is instill a kind of made different versions. The short answer is:

repeat animation (which you can render out machine-like discipline that we all have to It should get easier, but it doesn 't. at different angles), dark settings, and the try and stick to, otherwise the whole thing STARLOG: Did you have the same prob-

animal didn't speak but was still expressive. unravels. lem with the Cybermen? Within an hour of asking, "Can we have a STARLOG: Were all four Cybermen COHEN: They actually sent us a Cyberman CG werewolf?", Russell was bombarded episodes shot back-to-back early in the sea- that we could cyber-scan, so we spent an with 12 designs from us. So he had all afternoon with two technicians from of that stuff as he was finishing the Millennium FX dressing him and script. putting bits on, and then we cyber- STARLOG: What were some of the scanned the entire guy. other major obstacles you had to over- HOUGHTON: We wanted to do come in Season Two? more big shots of the Cybermen, par- COHEN: The episodes change a lot, ticularly in episodes five and six—big, because we'll write a list and say, expansive battle scene shots—but "That's how much we can do," and because there was so much other stuff then you have to add the director into in those shows, they ended up falling

the mix. Russell got the hang of it in by the wayside. But then we did Season One, so in our breakdown, episodes eight and nine with the caves every time he wrote "FX shot" in the and the Devil, so for the first time in script, we would give him a shot. So, the series we were able to get some Doing Daleks, surprisingly, isn't easy. The Mill had to go generally, he had a pretty good idea, very cinematic wide shots. That's the through different versions before settling on an I want to in a show, and but then the director would come acceptable model. scale see TV aboard and want four shots where when I read the second script, I sat there was only one highlighted in the script son in order to give you time to complete the there thinking, "We have to make a Devil?" for that budget. large number of effects shots? And there were these caves and vast caverns HOUGHTON: There was tons of stuff in HOUGHTON: They were done that way and landscapes of Hell... episodes eight and nine ["The Impossible because they had the suits and the actors STARLOG: What was the inspiration for Planet," "The Satan Pit"], so we had to lose ready, but originally, it was more about the Devil in the "Satan Pit" two-parter?

quite a lot to achieve it, because there was using similar locations, so it had less to do HOUGHTON: We did a few designs up the exterior planet's surface, the Moon with us. front, starting with Tim Curry from Legend, base COHEN: But since they had a few episodes and then Russell sent us a copy of 2000 AD

COHEN: I still think they look all right. without many effects shots, they filmed the [the British SF comic book], featuring a When we were coming up to Torchwood, ones with lots of visual effects first to give comic strip character that was all sinewy

and some of the new people were trying to us the greatest amount of time. muscles, so we loosely based it on that. The

learn the lessons of Doctor Who, the produc- STARLOG: Is it easier to produce vast character was actually designed by one of ers suggested, "Shall we get the writing armies of Daleks and Cybermen when our librarians, because everyone in the com- team up to visit you, or should you pany works in various departments. come down to give them a lecture for We had a little competition to come up an afternoon?" In the end, having with that character.

agreed that it sounded like a good STARLOG: What are you happiest idea, we didn't want to take responsi- with as far as the second season of bility for somebody writing an Doctor Who is concerned? J The first six episodes episode only to have us say it was not fw w HOUGHTON: doable. Then they would say, "But of Season One were my least favorite you said you could do this!" because in terms of our work, but it gradually they misconstrued what we told them. mm got better and better until episode six. We don't want to hamper the writ- In Season Two, because we knew what ers' creativity, because the stories we were doing, I'm happy with every- don't have to change, but there's a dis- thing we've done. Episode two has a cipline that must be carried all the Tim Curry's Legend character and the British SF comic great atmosphere, and it's Victoriana, way through. It's one thing to make an book 2000 AD inspired the Devil seen in the two-part which I like, and it has not only the agreement in pre-production that "Satan Pit." werewolf, but matte paintings of the — —

tect, "How much is it going to cost to build a house?" There isn't a plan to assess that, so we sat down and discussed the broad

themes. I think Torchwood was supposed to

be a much more psychological drama than it ended up being. COHEN: It's a good amount of work, but

it's maybe 20 shots instead of 100. Given the

nature of how Torchwood has evolved, it's actually a unique British . STARLOG: Have Doctor Who and Torchwood become calling cards for your company? HOUGHTON: We already have a good profile, but this gets us mentioned a little bit more in certain circles where we don't often get noticed. There was so much pressure in the first season, because not only were we trying to bring back Doctor Who, but for the Their efforts on Who (like this zeppelin shot) have been impressive, but some of their British public, it's kind of an institution. And favorite work doesn't look like FX. we were trying to do 13 45-minute episodes, Scottish highlands and the stately manor. STARLOG: How has the first season of so as soon as we finished one, we had to start Then there's the telescope room, which is Torchwood worked out? the next. part set and part matte painting, and it all HOUGHTON: There are a certain amount COHEN: We also knew that the first looks lovely. As a Doctor Who episode, it of production pains in ramping up a new episode was going to be watched by quite a works on every level—including visually series. We started late, and then we sat down large number of people, so we were playing and it has a great script. That's one of my to discuss it without seeing a script, which with the company's reputation. But as I've favorite episodes, but the first Cybermen was a problem. It's like saying to an archi- said quite a few times when I was trying to story looks great, too. The general feel of the justify purchasing software, whole thing is very epic. One of the "What better show reel can COHEN: I like the simple stuff, because as difficulties we have as a company than to a visual effects person, it doesn't happen of working have millions of people tun- very often. We're usually inventing aliens on Doctor ing in to see that first and spaceships and things that you know are Who is episode?" devising visual effects, so I've enjoyed doing things STARLOG: Does knowing so many that are invisible, where you can't see that that you're going to have that original it's an obvious effect shot. There's a shot at and volume of work allow you to the end of the Versailles episode ["The Girl oddball keep people employed for a in the Fireplace"] where the carriage is leav- monsters. longer period of time? ing with the body of Madame du HOUGHTON: If you're Pompadour, and to me, it's one of the things doing 13 45-minute episodes, that we do most effectively. There's a matte you have to crew up for that painting of Versailles, and the flowerbeds entire period, and you need to and other buildings and the plate of the gate keep everybody gainfully were filmed on an ordinary day as an ele- employed for that time ment of rain shot on glass-against-black. It's especially if you have dead- a really simple shot, but the rain helps to lines for each episode. But if heighten the narrative. That was one of the you finish a specific deadline most successful shots in the series, because for one episode, and the next it showed what we could do. one doesn't have any effects

in it, you're screwed, because then you have people doing nothing. COHEN: Russell listens. When we were initially talking about the Devil, he assumed our schedule and budget couldn't cope with

making it. His reference was Tim Curry in Legend, and he thought maybe Millennium FX could do that, but I said, "Look, we

would love to make you a Devil, and it isn't going to cost you extra, because the people

are already here. It will give us something to do!" STARLOG: You're in-between seasons right now. Is this the lull before the storm? COHEN: You would think so, but if we aren't making effects, we're looking at scripts, going to meetings or prepping and designing. The storm always comes in September or October, when we'll be work- ing on three big projects at once. Maybe this In addition to their Doctor Who duties (like this blank face gag), the Mill also contributes is the storm before the storm! to its hit spin-off, Torchwood. ^ www.starlog.com STARL0G/4p«/ 2008 75 I he .scene is surreal. A hospital chill tingles the spine. H.R. Giger Aliens! seems that there's always a four- to five-year ii.NU|jB|niiS rooftop in the dead of night. Are there more of them? Where are they gap in between the ALIEN movi es. So it was Boiling steam snakes and coils lurking? great to jump right back in with this one." in the moonlight. Ductwork On the ALIENS vs. Predator: Requiem "Yeah," agrees Gillis. "We've been used

sprawls, twisting like an alu- set, the Aliens are growing restive, awaiting to the five-year wait, so it's nice to get right minum octopus. A medical heli- the arrival of fresh human meat. It could be back into the saddle again. Especially after Hi copter stands ready on its pad. a painting come to uncanny life. If so, it's the the last movie, having done the Predator for red navigation beacons flashing. Behind it work of many artists, among them veteran the first time; we were old hands at the

stand fir trees, seemingly rising to impossi- creature FX meisters Tom Woodruff Jr. and Aliens. It's also cool to have new sensibili- ble heights. Alec Gillis of Amalgamated Dynamics Inc., ties from new directors, and to come up with No people in sight. But over on a cat- better known as ADI. a new kind of Predator character. It has been

walk, something eerie and manlike is stir- They've painted these creatures before, a fun challenge." ring. An iconic black shape. Throwing back most recently on the first AVP. They just

its gleaming cranium, it stretches its black don't get to paint them this often. "I was New Predator limbs like an unearthly tiger preparing to pleasantly surprised that it came up earlier The new Predator is called Wolf. Reports stalk its prey. Another crouches nearby. A rather than later," remarks Woodruff. "It abound of yet another new creature—the

By WILL MURRAY OF' AS THEY BATTLE IN THE RAIN, LIFE ISN'T EASY FOR ALIENS & PREDATORS. "Predalien" mongrel from the previous They're going to say, 'This is a scary, dan- admits. "Partly because we had such a long film—but the pair just won't go there. gerous guy.' The only reason the audience stretch of night shooting. Night shoots out- "There's no new creature confirmed as far as might feel a connection to him is that he's side in the rain in winter in Canada is prob- we know," Gillis inserts in a mock-serious killing Aliens. They're a huge threat in the ably as rough as it gets. I really felt it this voice despite the photographic evidence of movie. But this Predator has no qualms time. I've been doing this for so long, maybe the Predalien on these pages and in the film about wasting people who get in his way, it's finally catching up with me."

(for those who have seen it). Relenting, he either." "The rain does take its toll," Gillis points adds, "No, I think we're comfortable talking Ian Whyte is once again donning dread- out. "When you're dressing and undressing about the Predator. Wolf is kind of like the locks to play the Predator. Woodruff, too, is people with totally saturated wet suits, the Harvey Keitel character from Pulp Fiction, back in the Alien suit for this outing, playing rubber gets weaker. Plus, you gotta watch the cleanup man. He's a lone-wolf specialist. the most prominent Alien in whatever scene out for hypothermia. I was bundled up out

Competent as Predators are as hunters, when is being shot. You would think it would be an there in wet-weather gear, and I was miser- a mistake happens, this is the guy who's easy gig after all this time. able. So I can't imagine what Tom and Ian called in. He's more of a stealth Predator "This one has definitely been harder," he went through. than you saw in the last AVP. He has his own attitude and stock of weapons. Wolf isn't AVP:R directors Greg & Colin quite so encumbered by armor; he doesn't Strause asked ADI to come up need that much body armor to fight the with an older, less-armored Aliens. He's just that good." and stealthier Predator. Is this even a true Predator? "He certain- ly is," Gillis replies. "He's well within the established lore. But what we and the Strause Brothers [Requiem's directors] were seeking to do with this Predator was to cre- ate a character of our own. We looked at other archetypes, like Willem Dafoe's char- acter in Platoon. Wolf isn't a young guy. He's older. If the logic of the last AVP was that the first Predator [from Predator] was a 13-year-old, then the ones in AVP were on the cusp of manhood. They were like 18. They were full of bravado, and they had all the coolest equipment, but some of them very quickly became Alien fodder because they weren't that experienced. This guy is like a 40-year-old veteran who has seen many campaigns. And he carries the scars of those campaigns. Wolf is his own man. He isn't the kind of guy who works well with others."

"Wolf is the main character all through- out this movie," says Woodruff. "I would say he's more of an anti-hero," adds Gillis. "Nobody is going to say, 'Oooh, his dreadlocks are sexy. He's kinda buff.'

For their fifth ALIEN film, the ADI guys went back to their first, ALIENS, for inspiration for the new Alien design. —

co-directing the project. "There are times

when it's funny to be on set and in the Alien

suit," says Woodruff. "We'll be all set up and ready to shoot, and Colin will walk up to me

Some people and say, 'Tom, for this shot, I need you to

are Aliens hunch over and move quickly. I want to get enthusiasts. the feeling that the Alien is trying to accom- Others are plish his goal very quickly.' So I would do Predator exactly that. Then I would be looking out devotees. For through the eyehole slit in the neck, and Greg those who would be there, saying, 'That was very good, can't decide, we offer you a but you moved too fast. I need you to move compromise—the slower.' So there were quite a few tug-of-war Predalien. performance issues. I assume that once they returned behind the video monitors, there

"Having said that, it is absolutely gor- environment. "Basically, it's the same old was some kind of an arm-wrestling match geous," Gillis continues. "The rain adds a formula," Woodruff reveals. "It's the methyl- that decided who got to choose what was tension to the atmosphere. It visually pro- cellulose-based slime that we've used on happening in that particular shot." vides chatter between the audience and the almost all of the ALIEN movies. The differ- "Colin and Greg are really good guys," creatures, and makes things more mysteri- ence is this time, because the creatures are observes Gillis. "But one of the fun things ous. And to have all this rainwater pouring Earthbound, the directors had us add more about working with them is that you get to off their faces—it's a fantastic horror grit, dirt and browns into the slime that goes see their process of hashing out the decision- image." over the Predator. Then we worked lots of making. They're what you would expect two

black tones into the slime that goes on the brothers to be. I remember talking to them Retro Aliens Aliens in order to knock down their reflec- about the light sequence on the Predator's

The Aliens have been retro-tweaked. tivity. It gives them a nice translucency and wrist computer. They were hashing it out, Fourteen soft polyeurathane suits were fabri- the feeling that there's a shell over the crea- and then they started affectionately calling cated off Woodruff's body cast, which are ture that you're looking through." each other asses. Suddenly, they were seven

worn over a jumpsuit of fleece-lined Even though these are rubber-suit con- and nine again. It's very endearing."

Echoskin. "We stuck with the same overall coctions, the Alien body form still possesses palette that we used in AVP, which was a primal ability to evoke shivers. "That's Unearthly Environments returning to the dark, oily, metallic sheen, always the test of a great design," Woodruff "Essentially, you have two people to like the original Alien," says Woodruff. "But acknowledges. "How many times can you make happy," adds production designer

the Strauses—who are big ALIENS fans-: revisit it and still have that effectiveness? Andrew (ALIEN: Resurrection) Nesko- wanted us to go back to that look, which And certainly with the Aliens—because they romny. "And sometimes their opinions vary, meant removing that translucent insect dome exist in —there's an element of and sometimes they're very much in tune. I and revealing the head's faceted bony under- fear that's easy to capitalize on. Hat's off to would say that they agree more than they structure. H.R. Giger for coming up with such a hor- disagree. With the exception of a small "It actually makes for a much more inter- rific-looking creature." change here and there, we've been right on

esting creature, delineating it in terms of "And to Stan Winston for the Predator," track with the designs."

light and shadow, because now there are so inserts Gillis. "We always make it very clear Neskoromny designed the Predator clan many more things going on structurally with that we inherited these creatures. We consid- ship, which crash-lands in a wooded area,

the head that once it gets slimed up and is er ourselves their caretakers. While we try to carrying a dangerous cargo. Beyond the CG- lighted with a strong crosslight in the dark, put our own stamp on them, we're respectful version audiences will see in the opening

you suddenly have more interesting little of the original designs. Of course, we do outer space sequence, it's a practical set. details that expose the Alien head instead of enjoy diverging and showing the audience "The ship hurls to Earth at a fairly steep tra-

that smooth, sleek dome." new things." jectory," explains Neskoromny. "It's on its Speaking of slime, the classic mix has One of Requiem''!, challenges has been side, upside down. A good majority of the been modified for the film's urban Colorado communicating with the two-headed creature ship is still intact. The way I've designed the

The rainy sequences definitely add atmosphere, but Woodruff and Gillis had to suffer through some miserable night shoots for their art.

78 mm/April 2008 —

interior set is that it's as though its spine is already narrow. Now, it's even narrower. We outnumbers which. But casualties on both broken. The ship has a big crack down the didn't have as much luxury in terms of the sides are mounting fast. middle. It's quite dynamic in terms of the concept as they did in ALIENS. They had a If ALIENS vs. Predator: Requiem leads shape." vast space, and took advantage of broad to an AVP 3, the team of Woodruff and The wreckage was built in a clear-cut shapes. We have a tight-quarter battle inside Gillis—with Neskoromny—stand ready to area that was gouged out and sprinkled with our hive, so we've scaled some of it down." pick up the pieces of the dual franchise. "I impact-shattered trees. It took a solid month "I felt like I was back on the set outside would like to be involved," says Nesko- to create a location for what turned out to be of London, where the hive was created for romny. "But you have to see who the players only a day's shooting time. Neskoromny still ALIENS," compliments Woodruff. "It has are at that point. I'm truly an ALIEN fan. I remains guarded about his Predator ship de- that same look and feel, and it has been a loved ALIENS. The whole reveal of the sign theory. great experience to be in that environment Queen—when you first see her—is just "This one is different," he offers. "The again. There has been so much follow- remarkable." last ship was a little more streamlined than through on that whole insect motif, to keep it "We love it, too," Gillis affirms. "This is this one. We really departed from the Pre- accurate for everything about the crea- maybe the last of the monster-based science dator ships of the past. The interior details tures—their look, the way they move, their fiction franchises that has held out so long. resemble their armor. So the creatures and environment. It's all very specific." So it seems like these films are filling a void. the ship look as though they're one. There's Suddenly, automatic weapon fire rattles We wish there were more monster movies, a certain amount of scaling and overlapping in the background. The human cast—Reiko but things go in cycles. We're having a blast plating, almost like horns or protrusions. I Aylesworth, Steven Pasquale, Johnny Lewis with these characters, and we'll continue as really wanted the ship to look as though if and Ariel Gade—are under Alien attack, and long as Fox calls us back." you touched a piece of it, it could hurt you begin fighting back. "I'm hopeful that there's going to be an just like the Predators. It has a very power- Neskoromny designed the roof set, too, AVP 3," echoes Woodruff. "They have great ful, crude, rugged feel." which sits at ground level. It's based on the characters, and as long as the fans and the

Another major set is the Alien hive, typical industrial rooftop helipads of the audience is out there for them, why not sat- which resembles a weird paper-wasp nest. U.S. Southwest. "We had to overstate it a lit- isfy that urge to see yet another install- "Colin and Greg always liked the ALIENS tle in order to create the maze for the chase," ment?" [version of] the hive," says Neskoromny. "It he notes. "And just to develop a direction for "But that's up to the fans," concludes had a good spinal quality, very bonelike and which our group makes their way to the heli- Alec Gillis. "Let's see how they respond to similar to the Aliens themselves. We deviat- copter—and gets trapped." this one. The nice thing about this franchise ed from that a little bit, and added more ten- Gunfire crackles anew. Humans shriek is that it should afford us the opportunity to dons, knuckles and details. The hive takes and scream. Bullet-ridded Aliens drop like go in some different directions. We'll always over a hospital section, so one of the main bugs. But are there more Aliens, or people! have the Alien and Predator, but what portions of the set is a corridor, which was In the dark, it's hard to tell which species else...?" www.starlog.com STARLOG/V 2008 79 It would seem that Lyra (Dakota Blue Richards) and lorek are polar opposites, but the spunky heroine and armored bear quickly become friends.

By IAN SPELLING don't want to give up acting completely," Dakota Blue

Richards says, "but I want to be a supply or substitute teacher in primary school. Generally, as a rule, children don"t like their teachers, and I'm not saying that about

everybody, but generally. I want to be one of the few teach- ers that kids are actually excited about getting their lessons

from. I want to be one of the cool teachers. And the reason

1 want to be a supply teacher rather than a full-time teacher is

because as a supply teacher, you can take time off. I enjoy math; it's

Girl favorite subject. So I think math would be good." my Teaching may very well be in Richards' future, but for WITH the time being, she's making her mark as an actress. Richards, a 13-year-old Brit, was plucked from obscurity to star in The Golden Compass opposite such big names as Nicole Kidman, Daniel Craig, Eva Green and Sam Elliott. The young actress plays Lyra Belacqua, the spirited niece

of Lord Asriel (Craig). It turns out that Lyra is a very spe- cial child with a particular destiny, and she'll play a role in

opening up her world to a universe of parallel worlds. Speaking with a Silvertongue, Following her path brings Lyra into contact with the mys- Dakota Blue Richards terious Mrs. Coulter (Kidman), the helpful witch Serafina (Green), a good-guy Texan (Elliott) and a long-suffering polar bear discusses her named lorek (voiced by Sir Ian McKellen), and brings her into pos- session of an alethiometer: a truth-revealing golden compass that's spectacular journey. the last of its kind. For all sorts of reasons, the ruling power (called the Magisterium) wishes to contain Lyra and claim the alethiometer.

80 miOG/April2008 www.starlog.com Richards makes her movie debut as The Golden Compass' Lyra Belacqua.

Richards describes herself as a major fan of His Dark Materials and the Philip Pullman fantasy trilogy. The Golden

Compass is based on the first novel, a.k.a. Northern Lights, and The Subtle Knife and The Amber Spyglass close out the adven- ture. "My Mom read the books to me when I was about nine," Richards says. "I was a

big fan of them, and I really love Lyra. The way the books are written, they're so bril-

liant, and I think they're very important. Philip Pullman has these grand ideas that, of course, couldn't exist, but he has a way of

making them feel real. So it was extremely important that the film captured the realis-

tic-ness of it all." Of course, capturing that "realistic-ness" required much imagination and millions

upon millions of dollars' worth of CGI. It also demanded great patience from the film's leading lady, as she contended with the challenges of shooting in front of green- screens. "I found the greenscreen work very, very hard," Richards acknowledges. "That

was the hardest bit. And the less greenscreen

there was, the easier it became. Working with people like Daniel and Nicole was so much easier than working with Iorek, because, of course, he wasn't there. "Doing greenscreen work really makes you have to think about everything twice, you know? You first have to imagine that everything's there. So you have to think about other people before you can think about yourself. And that's really hard and confusing, and you can get very lost—espe- cially when I didn't know what the anima-

tors were going to make it look like." As for her live-action co-stars, Richards only has kind things to say about Kidman, Craig, Green and Elliott. And no, she has- tens to add, just because she and Kidman

mm/April 2008 81 V Golden Compass gave Richards the chance to work with Casino Royale's Daniel Craig and director Chris Weitz.

This is The Golden Compass' version of the Polar Express. Lyra rides lorek on their expeditii says. "It was also strange to be doing the big

emotional scenes with Iorek, whom I never

met. It's just a strange thought." Another decision, one with far greater implications, involves the film's conclusion.

As it stands now—SPOILER AHEAD if you haven't seen The Golden Compass—the movie fades to black as the main characters fly off and contemplate the tough road ahead of them. Shot, but gone missing, is footage that matches the final two chapters of Northern Lights, in which Lyra's friend Roger dies, worlds split apart and Lord

Asriel is revealed to be something more and something less of a loving uncle. Writer-director Chris Weitz dropped the scenes, in part to shorten the movie's run- ning time, but mostly so that audiences would leave the theater feeling up rather than down, and relieved rather than saddened. If New Line commissions The Subtle Knife and The Amber Spyglass, those scenes would serve as the next film's opening moments. "It wasn't so much of a disappointment as a bit of a shock," Richards says of the

excised scenes. "And they did explain it to

me, and I understand their reasons for doing

it. I'm sure the new ending works, and it's probably for the best." Richards recently wrapped production on The Secret ofMoonacre, based on the award- winning Elizabeth Goudge novel The Little

enacted tension-filled moments between Lyra and Coulter, that did not mean she felt the need to keep a distance—emotional or other- wise—from the other actress. "No, no," she says. "Personally, I don't think it's necessary to be the same with the actor as with the character, because you work with people who are lovely, but who [may be] playing people whom you hate. What's the point of estranging yourself from nice people, just for the sake of the character?" Then there was the matter of the actor she never met: Ian McKellen. During the shoot, Nonso Anozie did the talking for Iorek, so his was the voice Richards expected to hear coming out of the character's mouth in the final cut. However, at the very last minute, Lord of the Rings' McKellen was recruited. "It was a bit strange to

hear his voice, because I did all the acting against Nonso," Richards

Being in a world of talking animals, There are two more magical creatures and shape-shifting adventures awaiting daemons, Richards tried to focus on the Lyra, and Richards says "realistic-ness" of it all. she would be happy to return in The Subtle White Horse. Directed by Gabor Csupo, the Knife and The Amber adventure-fantasy film co-stars loan Spyglass. Gruffudd, Natascha McElhone and Tim Curry, and will be released later this year. In the meantime, Richards is back at school, working hard on her math and awaiting word on whether or not she'll get a chance to play Lyra again in The Subtle Knife and The Amber Spyglass. The actress likes the idea of reuniting with Weitz, Kidman and company, and she appreciates the rare opportunity to essay her part a couple of more times. "It's exciting," Dakota Blue Richards

raves. "I mean, I love the role. I really do.

And I love the people as well. So I would be

happy to do it."

www.starlog.com mm/April 2008 83

—

bBHBBB ing as Serafina 'ekkala was fun mm Eva Green, but says her "real" acting scenes BP with Sam JJiCJI! id Dakota e Richards.

not a huge fan of fantasy," admits Golden Compass star "because I was at a place in my life where I was in Tennessee [with T'mNicole Kidman. "I've always been drawn, in terms of film- husband Keith Urban], and I was just feeling a little lazy and want- making, to more psychological dramas, but what drew me to ing to hang out. And then [Golden Compass writer-director] Chris

this was it had the character intricacies that allow strong per- Weitz sent me a letter, and Philip Pullman sent me a letter, and with

..JL . formances, and that's what I found compelling about it. those two letters, I was seduced. And I'm really glad that I was, actu-

"In terms of fairy tales, I grew up with lots of literature, because ally. It wasn't so much about the villain or the warm-fuzzy; it was my mother always would read to me. Lots of Roald Dahl and, obvi- more my own laziness." ously, The Chronicles ofNarnia. When you have a film like this that Make no mistake, however—to a large degree, Mrs. Coulter is people feel so passionately about, it's wonderful. I'm glad to be in a the story's villain. She's sharp with pretty much everyone, and sim-

film where there are actually people and it isn't just animated." ply plain nasty to Lyra. Though it was purely acting, Kidman notes £ In The Golden Compass, Kidman plays Marisa Coulter, the that she went out of her way to make certain that the 12-year-old

mysterious woman who abruptly enters the life of the young newcomer understood that it was all pretend. Not that Richards nec- heroine, Lyra Belacqua (Dakota Blue Richards, page 80). essarily needed such guidance.

Stylish, aloof and with something of a mean streak, Mrs. "There were points where I had to grab her wrist and say, Are

I Coulter is a key figure in the His Dark Materials trilogy by you all right? Are you all right?' " Kidman recalls. "I felt very Philip Pullman. She's more or less introduced in the first book, strongly about that, because I've worked with children in practical-

Northern Lights (called The Golden Compass in its U.S. pub- ly every film I've done recently. You need to define what you're

lication), and then figures more prominently in the follow-ups, doing [to a child], because it can be confusing. Although it was her

The Subtle Knife and The Amber Spyglass. first film, Dakota has so much poise and intelligence. It was almost Interestingly, Kidman very nearly passed on The Golden like working with an adult.

Compass, but not, as has been claimed, because she didn't want "There are children I've worked with where I had to be so pro-

to play a villain, but rather for a far simpler reason. "I just didn't tective and careful. The other thing is that Dakota has beautiful skin. want to work when I originally was offered the part," she explains, It blushes. And as an actor, that's glorious. If you can capture that

www.starlog.com STARLOG/V/'/MW 85 The Golden Compass is

only the latest size up. After all, Lyra may be the child of in string of a the prophecy and, if she is, she'll need a movies in little help from Serafina and her witch which Kidman cronies in achieving her destiny. has worked "It's quite a simple scene," Green with kids. says. "Serafina's very regal, and I wanted her to be a bit scary at the beginning and not like, 'Oh, I'm a good witch! Hello. How you doing?' Actually, every time Lyra meets new characters, they're all a

little dangerous. You don't know who

they are. And Serafina is testing her. She wants to know if Lyra is the child of the prophecy." Not surprisingly, Green spent most of her time on wires in order

to create the effect of Serafina flying through the air. "I was really in

the air, suspended on wires and traveling very fast, and I had to land

very sharply," she remarks. "Sometimes, I felt like I was in a plane crash. That was scary. It wasn't my favorite thing. But I learned a lot,

and I survived. Flying isn't really acting, you know? My acting

scenes were with Lyra and Lee Scoresby [Sam Elliott]. Otherwise, it

was like a challenge, I would say, to fight and fly." Much like Kidman, Green enjoyed her time with rookie actress Richards. And she was equally impressed by her. "Dakota is a beau- tiful person, and a very good actress," Green raves. "It's her first movie, a big part, and she was extremely professional, very calm and really enjoyed every minute. It's such a pleasure to see somebody

who is passionate and excited. Sometimes you forget as an actor that In Philip Pullman's trilogy, everyone has a daemon. it's just playing, you know? So it was nice to see that, and she's very Mrs. Coulter's is a monkey with a wicked temperament. sweet." and they do capture that with her at times The Golden Compass underperformed on film—and if your emotions can show Ruling over Lake to a shocking degree when released in through your skin as Dakota's can, it Enara, Serafina is a December, but it's possible that the film's really helps the performance in such a witch queen who worldwide theatrical grosses (which are beautiful way." helps Lyra more impressive), combined with poten- In fact, even though Kidman and Belacqua and her tial strong DVD sales, could prompt New companions on Daniel Craig—with whom Kidman Line Cinema to move forward with The t their journey to starred in the Body Snatchers remake The Subtle Knife and The Amber Spyglass. learn more Invasion—are the major names in The Green hopes to return for the sequels, in about Dust. Golden Compass, Richards is the leading large part because a particular witch fig- lady. Kidman loved the notion that a ures rather prominently in the stories. young girl is at the center of The Golden "Serafina is more important in the sec- Compass. "It's great that the protagonist ond one," Eva Green says. "We go to her is a young girl," she says. "There aren't world, and she's still fighting for Lyra, many films where that's the case. And I and there's a lovely relationship with Lee also think the way that Lyra is depict- Scoresby. It's a deep bond, and it isn't ed—she has a wonderful sense of her ambiguous. You have to read the books, own will and she's a free spirit and she's because I don't want to reveal anything. serious—that's a lovely combination to But Serafina does fight with the specters, have on screen for young girls to see." so that would be quite interesting!"

the Bond girl Vesper PlayingLynd in Casino Royale has certainly paid off for French actress Eva Green. She landed the role of the bewitching Serafina in The Golden Compass, and recently wrapped the upcoming neo-noir film Franklyn.

"You become more famous, I would say," Green explains, trying to put the power of an 007 connection into words. "It gives you more opportunities, more scripts. But it's still, I think, quite hard to get good material, and I Green credits her Vesper Lynd role in still have a lot to prove as an actress. I don't want to be typecast as Casino Royale for an enigmatic femme fatale." giving her the chance Green makes a most memorable entrance in The Golden to make such films as Compass. Serafina pops up, announces her name with great flair and The Golden Compass. makes the acquaintance of Lyra, whom Serafina must immediately

86 STARLOG//lpri/» www.starlog.com A fan of His Dark Materials, Daniel Craig recalls Golden days, not to mention James Bond.

oiiiHi^^ an jej Craig didn't need to join the Golden Compass ORD r cast; he wanted to. In fact, J as a longtime fan of Philip 1 T~TT^> By ,an spell|nc in Pullman's His Dark Mater- C3f^ ials fantasy trilogy, the James Bond star eagerly signed on to play Lord Asriel in The Golden Compass, realizing full well that in the near future he could be called back into action for the sequels, The Subtle Knife and DERASS The Amber Spyglass.

"The honest truth is that I didn 't have to The name's Bond, James Bond. Craig could be passionate about this project, so it do this," Craig says. "I didn't have to be speaks highly of Casino Royale (which was a good one to try to get involved with." co-starred Golden Compass' Eva Green), involved with this production. I'm kind of And since Craig is being so honest, but believes the next film can be better. fixed and OK for the moment for work. It here's a question: Did he read His Dark was simply a genuine love of the books that Materials as a fan enjoying some interesting was absolutely the guiding force here. I books, or did he peruse the material thinking heard they were making this, and I'm a huge there might be a good role for him in possi- fan of the books. They're some of the best ble film adaptations? Craig smiles, and his pieces of literature to come out in the past blue eyes light up. "I did that!" he laughs.

20, 30 years, and I just thought, 'Well, if it's "But I would be lying to you if I didn't say

going to happen, I want to be a part of it.' I I read every book like that. I go back and www.starlog.com STARLOG/4pri/2000 87 —

read books I've already read, and with every one, I've always got that in mind. That's just my work. That's my job. I need to do that.

If I think something is interesting, it's always worth finding out whether the rights are available. Of course, they weren't on this, so

I missed that opportunity, but it worked out."

Lord Asriel Ponders Craig doesn't have terribly much to do in The Golden Compass; Lord Asriel appears for a grand total of about 12 minutes. He's a dis- tinguished figure, a respected explorer and a scientist with a partic- ularly controversial theory about a substance called Dust. Plus, he believes there are countless parallel universes out there—universes that he's eager to unite. Asriel is also presented as the uncle of the story's young heroine, Lyra (Dakota Blue Richards, see page 80), who has led a relatively quiet and carefree existence at the school with which Asriel is affiliated. But that's all about to change. Inquisitive and rebellious, Lyra wants to know all about Dust, and she gets more than she bargains for both when she gains possession Naysayers who expected Craig to bomb as Bond were shocked of a truth-revealing golden compass, and then when the mysterious by the English actor's bold and impressive debut as Ian Mrs. Coulter (Nicole Kidman, Craig's co-star in The Invasion, page Fleming's secret agent. 84) arrives on the scene. story—is that his passion for what he does is connected with love," he explains. "It's con-

nected with all the good things, all the right things. He isn't trying to save the world; he's trying to turn the world upside down. And that's the difference. "He sees that the world needs saving, in

his universe, and it's a mess. It's ruled by this

controlling body which is abusing its power.

And it's not only trying to wipe out free will;

it's trying to zombify the population. Asriel

doesn't see an answer to that, except to rip it to pieces, and that's his intention. And in the third book, he fights. He goes to war. He

fights the battle. But there is this great rela- tionship with Mrs. Coulter, too. They have this love-hate relationship, but their love comes through at the end of the day. "The books have such a strong message,

and I tend to agree wholeheartedly [with

them] about the way we look at life, the way

"I read the books, all of them, three times," Craig says, beginning a passionate and WARNING!—spoiler-laden conversa- tion. "I've even listened to the audiotapes,

which Philip reads, and which I highly rec-

ommend. It's an excellent way of getting into them if you don't want to start reading the books. If you're going on a long car jour- ney, you stick those on. Philip has this beau-

tiful, beautiful voice, and you just key into

them. I feel like I'm selling it. Sell! Sell!

Sell! But I have genuine passion. There's no ulterior motive to this. "The character development, though, you don't really see in this film. We shot scenes that didn't make the cut for all sorts of rea- sons, but Asriel betrays Lyra just horribly, and really shatters her world. That, of course, gives her the springboard to go on

this journey. It's sort of the spur that she has to go on because, in fact, the father she just realized she has and the mother she now realizes she has, both of them are awful. They're dreadful parents. And that gives her the spur."

However, not all is at seems with Craig's

character. "What I love about Lord Asriel is that later on—ifwe get to see the rest of the

88 STARL0G/4pr///OT www.starlog.com This isn't Craig's first movie with Nicole Kidman. The pair the 007 franchise. In fact, even as you read this issue, Craig will like- appeared in the Body Snatchers remake The Invasion. ly be on some exotic location shooting his second, as-yet-untitled Bond adventure under the watchful eye of director Marc {Finding Neverland) Forster. "I couldn't have been happier with Casino Royale" says Craig (who previously discussed being 007 in STARLOG #353). "I would be a soulless son of a bitch if I were going to complain about the way it turned out. I knew, and I'm not being arrogant, but I knew we had

a good film. When I first saw the movie, even in its roughest stages,

I realized that we told a story, that the action was going to fit in [and that everything] was going to work.

"But I could never have expected the outcome. I couldn't have

anticipated that people generally took it up. The biggest thrill for me

was that people enjoyed it. That's all I ever wanted. I didn't go out

to make an art movie. I know people thought that I was going to make an art film or do some sort of strange James Bond interpreta- tion, but I went out to make a James Bond movie. And the fact that it succeeded on that level was exhilarating for me."

And what's the goal for Bond 221 "Make it better, make it better, just in every way," replies Craig, who's due next in Flashbacks of a Fool, a drama he produced and stars in as a movie star on the wane, we look at the world, the way we treat each other, the way we form children, the way we treat children and the way children interact with the world. Pullman squeezes so much out of this need to be honest, to be truthful,

the irony being that Lyra is called Lyra

because she lies so well. But it's her journey to discover her truth. She gets ahead by

lying. She's very good at it. She even gets called 'Lyra Silvertongue' by the bear. But

it's about honesty and facing up to responsi- bilities. Those are good things—really good things." James Bond Reports Casino Royale was, of course, a really good thing as well. Bond fans had their doubts about Craig—he was too short, too blond, too this or that—but he proved every- one wrong—and his supporters right. Craig's Bond kicked butt and reinvigorated

Lyra (Dakota Blue Richards) is good at lying. Perhaps that's something she picked up from her father...

who decides to take stock of his life. Then there's Defiance, a fact- based WWII drama in which he, Liev Schreiber and Jamie Bell play Jewish brothers who try to save fellow from the Nazis. "It has to be better," he continues. "We have to build upon the first one. There were mistakes made in the last one that can't be made in this Bond. I'm sure we'll make mistakes in this one, but there's a real momentum, and if we take up that momentum and use it properly, then we might have two good movies. We might one day

have three good movies, but I'm aiming at the moment to make it

two. I think it has to do with how Bond interacts with the world and the people around him. Having people like Judi Dench and Jeffrey Wright and actors like that in a film, and making sure we employ actors who are going to bring real weight and real interest... "If we fill the screen with interesting people, then we can raise any subject we want," Daniel Craig argues. "The story in the last movie was about betrayal, and, well, we've got to stick to our guns and find some big emotions to use in this film, against the backdrop of this fabulous world." *£#

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