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17 SERCEANT-AT-ARMS Throughout time, followed the Doctor's orders

23 THOLIAN WEBS 165 Writer Judy Burns weaves a NUMBER few starry tales of "Trek" APRIL 1991 THE SCIENCE 26 IN CLOCKWORK ORANGE FICTION In Britain, Anthony Burgess' UNIVERSE nightmare haunted the stage 29 NEVERENDINC STORIES With bookmark in place, it's time for "The Next Chapter"

37 TURTLE RAP Those green dudes unshell the secret of the ooze

45 ART OF THE ILLUSION has nothing up his sleeve except "F/X 2"

51 PHILIP K. DICK SPEAKS The late author plots a novel that he would never write

59 DIRECTOR OF MEN-APES Don Taylor often advises animals who walk like men

55 DRESSING UP. SF STYLE 1 Forget costuming skills, all you really need is imagination

*i.

Reading The Neverending Story II, Bastian again explores the land of Fantasia (see page 29).

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President/Publisher NORMAN JACOBS well-rounded characters, there would be no rea- Due to the large volume of mail, per- Executive Vice President son the show could not continue. If Patrick sonal replies are impossible. Celebrity RITA EISENSTEIN Stewart did not want to return, make Riker cap- addresses will not be given out. Mail tain. Lt. Commander Shelby would make a good Associate Publisher will not be forwarded. No exceptions. MILBURN SMITH first officer. The only problem with Other fans & advertisers sometimes Shelby is that she was created to be disliked. I agree with V.P./Circulation Director contact readers whose letters are her assessment of Riker, however. By not ART SCHULKIN printed here. To avoid this, mark your allowing the characters the final evolution by Creative Director letter "Please Withhold My Address." moving on, the show is becoming unrealistic. W.R. MOHALLEY Otherwise, we retain the option to In "real" life, Starfleet would eventually stop print it. Write: offering Editor STARLOG COMMUNICATIONS commands to someone who keeps snubbing them. DAVID MCDONNELL 475 Park Avenue South, 8th Floor, People come and go in our lives so why not let that be reflected in Star Trek? Special Effects Editor New York, NY 10016. Just because DAVID HUTCHISON the "original" Enterprise crew were together for 20 plus years doesn't mean that Managing Editors STAR POWER this crew must be as well. EDDIE BERCANZA ...I agree with Michael Piiier's comments Chase Graff DANIEL DICKHOLTZ (STARLOG #159) about Patrick Stewart. He def- 131 Roosevelt Street Contributing Editors initely would win an Emmy if nominated. But if Oceanside. NY 11572 ANTHONY TIMPONE not, there is something Piller and Stewart MICHAEL CINCOLD should know. On the Moon, in the area called ...I'm not trying to be a know-it-all, but in Consultants the Sea of Crises, there's a crater about 21 miles STARLOG #155, in the interview with actor

LIA PELOSI in diameter. The name of this crater is Picard. Paul Carr, it was stated that he portrayed Lee KERRY O'OUINN Patricia Hayes Harvey Oswald in Executive Action. This is in- Sherman Oaks, CA correct. He played a member of one of the three Art Director "hit teams" that eventually assassinated the JIM MCLERNON ...I want to share my wonderful experience of president in that film.

Art Staff seeing Patrick Stewart on the PBS series Nova. Charles Bogden Jr. CALVIN LEE He made the show so much more interesting and Indianapolis, IN ANTHONY MARCHESANI gave the kids and teenagers who watch the show YVONNE JANC a lift to real science. A touch of realism never ...Thanks for Dave McDonnell's great article on hurt anyone. Seatrek '89 (issue #155). I was a passenger on Senior Correspondent Armen Janjigian STEVE SWIRES the cruise and you definitely did it justice. 614 South Willow West Coast Correspondent Sioux Falls. SD 57104 MARC SHAPIRO

British Correspondent ...I have heard that The Next Generation is in ADAM PIRANI danger of being cancelled—possibly at the end Canadian Correspondent of the fifth season or more probably the sixth PETER BLOCH-HANSEN season. The reason for this is the ever-in- creasing cost of production, especially the ac- Typesetters tors' salaries. MR. IN PERSON PAUL HALLASY According to at a convention, SALLY ECKHOFF the actors are starting to "outprice themselves."

Financial Director: Joan Baetz Barrett went on to say that she found it amazing Marketing Director: Frank M. Rosner that a program that is number three in the rat- MAY4&5IN Assistants: Maria Damiani, Peter Hernandez, kim ings would be cancelled for such a reason. The Watson, Debbie Irwin, JoAnne Sanabria. Correspondents: (LA) Mike Clark. Kyle Counts, audience was amazed and so was 1. 1 would like to Jean-Marc & Randy Lofficier, Bill Warren; (NY) Jami TEXJ& see this show continue for many years. Bernard, Robert Creenberger, Edward Cross, Ian Paramount, however, cannot continue to pay Spelling, Tom Weaver, Dan Yakir; () jean CREATION SALUTES Airey, kim Howard Johnson; (Boston) Will Murray; outrageous salaries. What is more, these same (SF) Eric Niderost; (WV) John Sayers; (OH) Laurie actors go to conventions and make quite a bit Haldeman; (CAN) Mark Phillips; (Interplanetary) from their appearances. There aren't that many- Michael J. Wolff; (Creature) Mike Fisher. shows that give you this extra Contributors: Alan Amman, Nina Baron, karen bonus. Funk Blocher, Michael Brunas, Cordon Carleton, Of course, Paramount' s idea is that they will TA Chafin, Edward Doell. Mary Donovan, Phyllis simply "bump" these characters into the Eisenstein, Terry Erdmann, Christina Ferguson, movies. So. instead of weekly episodes, we will Richard Franklin, Barbara Coetz, Jonathan Harris, get one movie every years. if Doug Hart, Traci L. Johns, , Cwen two Then, a movie Lee, , John Levene, Teresa Murray, is poor (like Star Trek V), we'll have to wait to Steve Newman, Lorraine Osmundsen, Tom see ;/ they're going to make another. Phillips, William E. Prado, Carla Princi; Leah Personally, these characters Rosenthal, Doris Sauter, Bob Schreck, Richard do not seem suited Starr, Don Taylor, Jeff Walker, kathE Walker, Steve for the large screen. The original cast worked so Walker, kathleen Woods, Lane Woods. well because it had been so long since we had Cover Photos: FX/2: Rob McEwan/Copyright 1990 TO ORDER TICKETS (EITHER PREFERRED RE- seen them. They also hold a special place in our Orion Pictures; Neverending Story II: Copyright SERVED SEATS OR SINGLE hearts. It wasn't a "forced" for DAY GENERAL AD- 1991 Warner Bros.; Turtles II: John demand movies as MISSION) Bramley/Copyright 1990 Northshore Investments much as a want to simply bring them back. If USING MASTERCARD OR VISA CALL Ltd./Turtles Characters: Trademark & Copyright Paramount cancels The Next Generation, they TOLL FREE (800) T.V. ALIVE DURING BUSINESS 1991 Mirage Studios. will be "forcing" a demand for more. HOURS EST. ALSO CALL FOR Writ* your cabto For Advertising information: A solution to the problem is to replace the HOTEL RESERVATIONS. FOR operator now tor (212) 689-2830. FAX (212) 889-7933 characters. Now, I don't want to hear that you COMPLETE DETAILS SEND A Advertising Director: Rita Eisenstein cannot have The Next Generation without SELF ADDRESSED STAMPED Classified Ads Manager: Connie Bartlett Picard, Riker and Data. That's what people For West said ENVELOPE TO CREATION Coast Advertising Sales: Jim Reynolds, , Reynolds & Associates (213) 649-6287 about Kirk, Spock and McCoy. If you create 145 JERICHO TURNPIKE, Our Sponsor! MINEOLA, NEW YORK 11501 THIS IS M4 BRcrrHS-tf. S/BOK ... AWO MY OTH*R BRoT>1S>ft SySoK .) examples: "Transfigurations" has some ideas from two Space: 1999 episodes, i.e. "End of Eternity" and "Force of Life": "Allegiance" uses the 1999 episode "Seed of Destruction": "The Most Toys" and the 1999 story "The Taybor" (the Trek story was laughable): "Tin Man" and the 1999 episode "The Infernal Machine." As I say, the season of rip-offs. Kerry Keane 416 NE 18 Ave. Pompano Beach. FL 33060-6543

...I would like to comment on your marvelous "SF Writers Special" issue, namely #159. The articles on Michael Piller, writer and co-execu- tive producer for Star Trek: The Next Generation, and the creative team behind Alien Nation especially caught my attention. I feel that both of these shows are among the best on television, and their writers, especially Alien Nation's, are, in my opinion, the best on televi- sion currently.

At 15. I am an aspiring writer myself and am fascinated by the ability of these writers to turn out quality drama and characterizations on TV on such a tight deadline. One day, I hope to use my own characters to touch emotions in my audi- ence as Piller and the Alien Nation team have

done. I may not get the chance to reach such a ...Take a look at the spacecraft in the back- broad spectrum of people, but I can try to touch I was amazed at the graciousness of the stars. ground on the cover shot of the Star Trek: The however many people who take in my presenta- I have been to many conventions, both as a fan Generation novel Ghost Ship, shown in tion. With any luck, I might even be compared and a dealer, and have had many encounters with Next #159. page 85. It appears to be the with the writers of Alien Nation and Next stars. None of my experiences were as wonderful STARLOG floating upside down. Flip Generation. Meanwhile, back in reality, I wish as the cruise. all the the book over and you will see that it is the un- Michael Piller and the Alien Nation staff I must say "bravo" to Joe Motes for taking a '89 derside of the Galactica. best and hope to see more of their work soon. dream and making it a reality. Seatrek was David S. Warrick Robert Chaloupka the gold star in my SF book. I hope to be a re- Margareta 14020 Summit Avenue turn passenger on many more cruises. 36250 Livonia, 48152 Maple Heights. OH 44137 C. Eileen Lillibridge MI Address Withheld ...I want to thank you for the article, "Beyond ...Where can viewers write to let the people in the Final Frontier" in issue #159. It just goes to charge of ST:TNG know our opinions? I really Emissary" DICKENS VIDEOS BY MAIL show that, in whatever universe Star Trek is in, liked the character of K'Ehleyr ("The we can always continue to go boldly where no & "Reunion") who was the Klingon love "THE BEST SCIENCE-FICTION THRILLER SINCE 'ALIEN'!" man, or shall I say woman, has gone before. interest for Worf. She rates tops among my Diane Carey's books sound good, and I'll be favorite guest characters (such as Q and Troi's her off! sure to give one of them, either Dreadnought! or mother). I was appalled that they killed wit. sizzling Ghost Ship, a try. I would like to add. too. that She had such a sarcastic such the Star Trek books are getting me through the potential! K'Ehleyr really deserved more than Gulf Crisis on the news. two episodes. writer Betsye Thomas I would love to see the producers and 2721 69th Street find some way to bring her back. Some miracle Des Moines, IA 50322 cure, clone, flashbacks, alternate universe dou- ble, holodeck simulation—anything! She was ...The direction that the recent issues of just a really fabulous character, played by a very STARLOG has taken has been a positive one. In good actress. If nothing else, I'd like to see the recent past, I have been a vocal critic of the r 1 magazine. SUBSCRIBER SERVICES However, the last couple of issues have been Missing copies? Moving? Renewals? Re- enjoyable reading. Issue #159 provided some- I ceiving duplicates? Subscription questions? thing that this magazine has lacked for quite I Write directly to: some time, variety. It was interesting to read opinions of people who have con- SUBSCRIBERS HARDWARE about the I STARLOG NEW tributed to past and current TV series (some were ONLY: | Subscriber IN 21ST CENTURY THERE WILL BE THE even provocative for a change). Even the inter- Services. Do not send money view with Michael Piller was good reading, P.O. Box 132 order to above address. A NEW ENDANGERED SPECIES... l although I think that the interviews in this issue Ml. Morris, IL See subscription ad this MAN. were a bit too long. 61054-0132 issue. The first paragraph in the Piller interview gave me a chuckle. Edward Gross says that ST: Attach Mailing Label Here TNG has improved with age and that the third season presented some powerful storylines and Inquiries addressed to editorial offices only good characterizations. I have dubbed this past delay your request. R msrnicTio season as "the season of rip-offs." FILMS vcxo Here are some examples. The story that NAME & Millimeter Him Wea« <- 1«0 ill BiqWi Served I of. "The Enemy" is nothing Reg. 92.99 Spec. 82.99 Piller is so proud more than the film Enemy Mine. I wonder why ADDRESS To Order call 1-800-228-4246 or send check or money order Including interviewer didn't point this out to Piller. $3.00 per tape shipping/handling to: the DICKENS VIDEOS BY MAIL And this season ripped off a TV series that CITY STATE ZIP 5323-A ELKHORN BLVD. SACRAMENTO, CA 95842 Trekkers just love to hate. Space: 1999. Some Questions call 1-916-331-8370 VHS only. PAL transfers available Catalogs $4.95 or Iree wKh order. CA residents add 6.75% sales tax more Suzie Plakson in other roles—but CONTINUITY IN FLUX K'Ehleyr will always be my favorite. X quess -this means I'm sure there are many people out there who ...This is in response to the argument posed by 'Secret handstaKes'are would like K'Ehleyr back, and 1 heartily recom- Paramount Pictures Research Consultant Richard

mend they let it be known. One more thing be- Arnold in issue #161, which confirms the fore I go—really enjoyed your article on Suzie "authorized" fate of the various forms of warp Plakson in.STARLOG #161. drive. Although the new STNG Officer's Man- Alice Lin ual goes to great lengths to realign the im- 5202 E. Harry balances existing within the Star Trek uni- Wichita, KS 67218 verse, it is becoming increasingly clear that only a Guardian will be able to prevent writers ...Why did they do it? "Reunion" killed and authors from jumping ahead to the 23rd and

Ambassador K'Ehleyr too easily, didn't they? I 24th centuries to create further chaos. expected K'Ehleyr to kill Duras, not the other Obviously. wishes to fulfill way around. It seems like ST:TNC, though a this protective role for himself—and why not? great series, kills off all people destined to be It's still his universe.

well-rounded characters. Or is it? It seems she was killed prematurely. She In the 24 years since the Enterprise first set could easily have been saved. Worf could have sail for strange new worlds, fans have published had O'Brien beam her directly to Sick Bay. I more pages of Trek fiction than Memory know his feelings interfered with his judgment, Alphas could keep track of. Some of these have but... been authorized, printed under publishers like Fellow fans should demand K'Ehleyr's Bantam, Ballantine and Pocket Books; others return, or at least the return of Dr. Selar. have been privately produced and circulated ^EDW+ fcD*> Greg Tyler through fandom at conventions: the rest have 6819 Park Vista Road been presented in 7>e£-devoted fanzines and for the bright, daring future proposed by Gene Englewood. OH 45322 pamphlets. Two decades have seen the de- Roddenberry. velopment of a storyline unlike any tale ever But somewhere in all this literature, prob- told—almost a religion to the masses who yearn lems came to lieht for those who demanded order ...The article on Suzie Plakson was wonderful! Robert Greenberger did a splendid job profiling an actress who did two roles in Star Trek: The Next Generation.

I didn't notice Plakson before, as the

Dr. Selar in "The Schizoid Man", but I noticed her in the other episode, as the half-human, BLOB! half-Klingon K'Ehleyr in "The Emissary." That

episode is totally unique and I have to admit that Origin: This shapeless creature arrived on -:- I was close, and I mean close , to falling in love Earth as a passenger within a meteorite. The a with K'Ehleyr. But I know it is just a character 1 meteorite i , , and I couldn't help feeling the extraordinary Diet: It prefers live human flesh. The small-screen presence and strength of K'Ehleyr. creature seems to possess a strong Cut-away view Plakson deserves praise. corrosive acid that absorbs flesh on Her performance is one of the first in a long contact. The more victims the creature Rock, f^mt Approximate time, the first time since Cathie Shirriff's per- shell / absorbs, the larger and redder it gets. jp > diameter: formance as the beautiful Klingon spy, Valkris. Dozens of people were absorbed soon 12 inches in Star Trek III: The Search Spock and I be- for after its initial arrival on Earth. / Creature ^«wix lieve that female Klingons are as aggressively beautiful as their human female counterparts. Weakness: Prolonged exposure to low temperatures renders the creature As for Michael Dorn's performance as Worf. inert. The creature's first rampage ended when it was frozen and airlifted to who shared some the of intimate scenes with a polar region. K'Ehleyr, I have found his performance to be as powerful and dramatic and almost reminiscent of Rudolph Valentino and his memorable silent films. It just goes to prove that love has no The Blob attacks one victim boundaries in any culture and civilization as it digests another. whether it be in the world of reality or the world of Star Trek. Robert E. Polanco 1454 Grand Concourse

Apt. 1A. 171st St. Bronx, NY 10457

...In STARLOG #159, in the article on the death of actress Jill Ireland, there is a mistake which I found most distressing. You stated that Ireland played Leia Kalomi, who fell in love with Mr. Spock and whom, thanks to the spores, he could love in return. In actual fact, the name of the character was Leila Kalomi. I know this most assuredly because my name is Leila and my absolute favorite character was Mr. Spock.

I am a typesetter by profession and I know that this material had to go through several proofreadings before going to print. Shame on you all for missing this. Leila McMichael-York \^S 312 Summit Place From The Blob Lenoir. NC 28645

STARLOG/ApnY 1991 . .

The fans don't want the spotlight, to join with the Creator. They want to join with the Creation. Brice R. Parker 4765 Garden Ranch Dr. H-102 Colorado Springs, CO 80918

...There is an ominous tone to Arnold's words when he talks of "clearing up misunderstandings that have arisen due to excessive invention on the part of Star Trek authors and merchandis- ers." The current policy inflicted on Pocket Books by Paramount is that the authors are not allowed to create new characters, or even use characters they have created in past Star Trek movies. This also means that we will no longer read of Diane Duane's , or John M. Ford's Klingons. This is especially sad, consid- ering how bland Roddenberry 's Klingons and Romulans are.

As for transwarp: 1) I really doubt that Starfleet would go so far as to install a warp drive that wouldn't work on one of their starships. Heard of testing? 2) Until I hear in a and concepts (even movie or episode that transwarp doesn't work. I and continuity: dates collided; technologies fully-explored philosophies were presented. But have no reason to believe otherwise. And the were replaced, abandoned or reshaped; names from the films themselves) point said, "Enough." bottom line: 3) Transwarp. ultrawarp, were confused (e.g. McCoy's middle initial); someone at this has often been criticized for his megawarp—it's all doubletalk anyway! histories were rewritten. And that was just in the Roddenberry "what is" and "what isn't" Paramount seems to feel that nothing is decade following the series. The advent of the strict guidelines on has invested a "true" Star Trek unless Roddenberry personally motion pictures saw the unleashing of an possible in the Trek universe. He fact in the story; in a very real touches and blesses it. It is an undeniable entirely new setting for the crew and their voy- great deal of himself completely responsible for even to- that we would not have Star Trek if not for Gene ages, one with faster starships, further civiliza- sense, he is of the saga. One might ar- Roddenberry. But consider, if you were to add up tions to seek out, and growing characterizations day's various forms writers, earned the right to call the shots, the contributions of Gene L. Coon, the on which to build. Film by film, the structure gue that he has production staff, and anyone who still his child. the actors, the grew, and fans quickly rushed to fill in the un- that it's that by had a hand in creating Star Trek, and weigh knowns. Characters from the animation series The other argument, too. is valid: opening up such a huge and limit- them against Roddenberry's direct contribu- were attempted to be made part of the new deliberately I not count there is room for fresh tions, which would be the greater? do missions; old acquaintances from earlier less universe to explore, original thinking. The in this equation the animated episodes, the voyages tried to return; new insight on not- ideas, new viewpoints, even fannish mythology writers of both the original series and the Next comics, the novels, bad, elaborated and Generation are as aware of this as are the authors that have, for good and over these- decades. NOSTALGIC SCI-FI & of the published Star Trek material—but only sustained Star Trek as Tim Blaes HORROR ON VIDEO! the video scripts are officially recognized authentic Star Trek material. The novels, while Route 6 Box 294 28792 insightful and dedicated, are not treated as part Hendersonville, NC Terror is of the Roddenberry vision. So, here we come to example of this "excessive inven- the gist of the matter—since he has opened up ...A prime tion," is FASA corporation, and its Star Trek: a his universe for our enjoyment and participa- Man Playing Game supplementary publica- tion, why won't the Great Bird of the Galaxy ac- The Role and its Star Trek: A UNIQUE knowledge our contributions? Is his view the tion," is FASA Corporation, supplementary EXPERIENCE o«/v correct one? Will thousands of pages of "role playing." much of FASA's IN MOTION carefully thought-out. emotionally-invested material emphasizes hardware and battle strat- PICTURE plays the material be completely ignored because he egy. I have yet to meet someone who TERROR! it simply for its space didn't think of them? game who does not favor of this letter is to battles. This is not the focus of Gene LEDERER • THYSSEN • DERR The primary consideration nor is it ever likely to the continuity of the Trek universe. If Gene Roddenberry's Star Trek, including careers in Roddenberry is indeed going to accept only the be. His many experiences, Sinister Cinema W^ narcotics officer, have led scripts as "gospel," then he is severely limiting the military and as a of war and violence. himself in terms of broadening the base of to an intense distaste 1000 shock filled titles available. With over already out there, written, While action has always been, and hopefully for Trekdom; the material Sinister Cinema is truly the leading source read by millions can't be ig- will continue to be. a part of Star Trek (witness: your favorite sci fi and horror oldies on video. published and Enterprise"), Just send $2.00 for our eye popping catalogue, nored. Indeed, as a certain first officer might "." "Yesterday's it free when you order any of the sake are superfluous, or receive point out. the only logical thing to do with it space battles for their own at the low price of . . following films , have never been the focus of good Trek would be to incorporate it. It doesn't limit the and universe by introducing new concepts or ad- drama. The point is. that it has been impossible for $1.16.95 miE dressing familiar characters/settings— it adds to the story, forming even Roddenberry to effectively govern the mass 1 Night Of The Living Dead 1968 (mint, best video available) the progression of and "creativity" that has sprung 2. Jack The Ripper 1959 stronger bonds, creating sustenance. merchandising over the past 20 years. 3. Night Tide 1961 So. develop a Universal Star Trek from his creation laboring to ad- 4. Giant of Marathon 1960 Compendium, that takes the best of everything Clearly, he and his staff are now 6. The Devil's Messenger 1961 this issue. as fans must be willing to and officializes it. Draw upon its histories and dress We 6. Tormented 1 960 for philosophies for interaction in the Next acknowledge this and be patient, 7. Terror Is A Man 1 959 himself over Generation. (Decide on the warp drive systems!) Roddenberry has given so much of Please add $2.05 per title for packaging, handling, less on our part and postage. Specify VHS or Beta. Sorry, not Broaden the base of the future-legend, to the past 25 years, that anything or orders available in PAL. Make checks money unfair. strengthen it. to bolster its existence. Let it be would be payable to: Robert Falconer Sinister Cinema updated annually or bi-annually. with petitions 4369 dept S P.O. Box by fans for including new stories and ideas. 400 Hollydene Place Medford, OR 97501 Victoria. B.C. Questions ??? Call us at 503-773-6860 Don't let red tape and publishing rights stand in Mastercard Accepted Visa & the way of true harmony. Canada V8H3Z7 ...There is no continuity in Star Trek. Never has these publications. been. The original series didn't have perfect If, indeed, the new Enterprise has just plain continuity. The movies don't fit flawlessly with warp speed, then Star Trek fans are expected to the original series. And the Next Generation believe that in 75 years, the only technological doesn't fit with either of them. I mean, look at advancement is in structural integrity so that the Klingons in ST.TNG. They have nothing to velocities of warp 9 can be maintained longer? do with the Klingons in the original series. In Granted, this is an advancement in itself, but I "Home Soil," the Enterprise crew act as if they think that more would have been achieved on had never encountered silicone-based life be- the warp theory side also. I would have to dis- fore. So, what are Hortas—chopped liver? miss "plain" warp speed for this very reason.

I don't suggest that there be no control, but Where is it shown in Star Trek III that trans- creative despotism doesn't help either. Lighten warp doesn't work? It didn't work when up! pulled out the control chips, but that doesn't R.A. Carson mean that transwarp didn't work. It probably 24 N. Greenwood Avenue would have if the chips had been in. You mean Ware Shoals. SC 29692 that Starfleet threw out the whole idea just be- cause some engineer didn't design better secu-

...I have uncovered an error in an episode of Star rity around the access panel? Trek: The Next Generation. The episode was In the Star Trek universe, if we don't see it.

"Suddenly Human." In this show, the Enterprise it doesn't exist. I can accept this. In the book encounters an alien race called the Talarians. Mr. Scott's Guide to the Enterprise are dia- The error here is that in the first season grams of the bridge panels. Would Arnold agree episode "Haven," they also encountered an alien that these diagrams were taken from the actual

race called the Talarians. However, the two official designs? I hope so, since credit is given Talarian races were completely different. In to Michael Okuda. the designer of the bridge "Haven," the Talarians were the last survivors of graphics. Whether or not the book was ap- AND YOU THINK YOU HATE SPEED &U/APS a dead race. In "Suddenly Human." the Talarians proved doesn't matter. The photos of the set are

were a warrior race with a very different appear- there to provide the proof. On page 1 15, we see ance and certainly not the last of a dead race. some of them. The one in question is the top reason to suspect the engineering panels are in- Robert Longo small panel on the left hand side. On page 122 correct while the others are correct.

1241 1 Hickory Tree Way at the top is the drawing of that display. What What about the confusion regarding the "Chi

Germantown, MD 20874 does it say? "Transwarp subsys 525." Looks Factor"? In one of my Star Trek books that like transwarp figures into the mix of things, contains copies of actual memos circulated

...While I respect the fact that Richard Arnold doesn't it? The actual photos, drawings and during the initial series, the mathematical

should be the expert in these matters. I don't credits in this book back up the claim that NCC- equation is simply stated: Warp factor to the think warp drive technology can be that simple. 1701 -A has transwarp. If we compare the com- third power times the value of C (light speed) =

If the books in question were not approved. I munications displays with the drawings, we see ship velocity. No Chi factor involved. can accept that there are errors, but the trans- that they are identical right down to the numbers Bartley Busse warp and ultrawarp confusion exists beyond (at least those visible in the photo). There is no Canada

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(Commissioner Gordon), Billy Dee Williams (D.A. Harvey Dent)—are con- momiOG tractually obligated to two sequels and will presumably appear in Batman II. BAT'S BACK! Negotiations are ongoing with Michael Keaton to repeat his Bat role. And the vil- bizarre rumor and Batman is back. And Tim Burton, lains? After months of riding high on the creative kudos idle speculation, the baddies haven't yet which greeted Edward Scissorhands, has been officially announced, but their identi- got him. Or rather Batman has Burton ties have been confirmed. because it's finally official. The director briefly part of the first film, replaced by has agreed to helm Batman II. Kim Basinger—will play the Catwoman. Burton had been hesitant about taking And the Penguin will be—yes!!! really!!! on that task (although he had been in- we're not kidding!!! —Danny DeVito. volved in this sequel in a production ca- Updates: Julia Roberts is playing pacity), going so far as to not "commit" Tinkerbell (not Wendy) in Steven himself in recent interviews (including Spielberg's Hook. one last issue) and to disown an earlier —recently on vacation statement (made to STARLOG in 1988) from ILM, as he discussed in STARLOG that he "could go the rest of life just mak- #163— is back making magic. He's ing sequels to Batman and Beetlejuice." serving as FX supervisor for ILM's work His later rejoinder to that statement was an on Terminator 2: Judgment Day. The exhausted "Yeah, I'll want to do that film's visual effects duties have been split Inc. right after I do my time in the Army." among ILM, Fantasy II Film Effects, Denise DiNovi, Burton's producing and 4-Ward Productions. As they did on the partner on Edward Scissorhands, will original, Inc. is providing produce this sequel. Although Sam Hamm, the special makeup FX. co-writer of the first film, had worked on a George R. R. Martin's Invisible Man script, the screenplay is now by Dan project isn't all it's seen—or seems—to Waters (who wrote Heathers and co- be. "It was originally called The Invisible scripted The Adventures of Ford Fairiane). Man" Martin told STARLOG's Craig Production will begin this year for a Chrissinger, "but it was not based on H.G. MEET THE "PRINCE OF summer '92 bow. Wells' The Invisible Man. It's now called THIEVES" Casting is underway. Three actors Fade Out. It's a near-future action-adven- He's the hero of Sherwood Forest Michael Gough (Alfred), Pat Hingle ture story set in LA 20 years from now. It Robin Hood: Prince of Thieves (Kevin does involve an invisible man. I've com- Costner)—and he's once again battling pleted a first draft of that and I'll be doing the Sheriff of Nottingham (Die Hard's Alan Rickman) in this summer's adven- DICKENS VIDEOS BY MAIL^ a couple more drafts. ture fantasy directed by Kevin Reynolds. "A long time has passed since the last 1 Robin's Merry Men include Christian invisible man movie and there are many Slater, Morgan Freeman, Nick Brimble that they couldn't do in H things you can do and Mary Elizabeth Mastrantonio (as the '30s. Certainly, my script will take Maid Marian). advantage of those opportunities." Re-Animator's Brian Yuzna will direct FILM FANTASY Fade-Out for Wild Street Productions. She-Wolf of London—previewed in CALENDAR are extremely subject to STARLOG #162—now has a new title. All dates change. Movies deemed especially 1h Tentatively, it's Love & Curses (though asterisks. that may change). The series, created by tentative are denoted by Mick Garris & Tom McLoughlin, has had a Changes are reported in "Updates." change of locales, moving the "Night March: FIX 2, Teenage Mutant Ninja Stalker meets Remington Steele" action Turtles II. L from London (where the show had been April: Suburban Commando*. Street 6: filming) to LA. Only leads Neil Dickson May: Nightmare on Elm and Kate Hodge (see the interview in Freddy's Dead*. Dark SLiiJJ!TTu; FANGORIA #102, on sale April 11) Spring: Switch, The Half*, Highlander II*, The Pit and the Reg. $92.99 Spec. $82.99 remain with the series. Supervising producers Lee Goldberg & William Rabkin Pendulum, Adventures of the Great Mouse TAPE DISC (both former STARLOG correspondents) Detective. wrrcHES 89.95 the World, LABYRINTH 14.95 34.95 promise several episodes of special Summer: Mom & Dad Save HIGHLANDER 19.95 39.95 readers involving RoboCop 3, Bill & Ted II, Radio Flyer. DARK CRYSTAL 19.95 49.95 LB interest to STARLOG WIZARDS 79.98 34.98 Los Angeles trolls, a Century City law The Fisher King. Rock-a-Doodle, Child's BARON MUNCHAUSAN 19.95 39.95 a visit to an Play 3. WLLOW 19.95 34.95 firm staffed by vampires and RREANDICE 79.95 19.95 SF convention where someone is slowly June: The Rocketeer, Robin Hood: SWORD OF THE VALIENT 69.98 Prince Thieves. PRINCESS BREE 19.95 79.95 CR killing off the veteran cast members of a of CLASH OF THE TITANS 6995 34.98 Star Trek-like show. July: Terminator 2: Judgment Day. EXCALBUR 19.95 19.95 Beastmaster II: Through the LADYHAWKE 19.98 29.98 Genre TV: John Sayles' 1984 SF film, August: 7FACESOFDR. LAD 59.95 The Brother from Another Planet, is being Portal of Time. KRULL 14.95 ... as a series by Gordy-dePasse Fall: ALIEN III, Star Trek VI, Army of To Oro»f Cad 1 -803-228-42 4S of nod ctwek or monty oroV inducing *3.00 par developed TV lapa or K.OO Par •at.hinpir.oAwrilingtc: DICKENS VIDEOS BY WAIL Productions. Darkness, The Addams Family. 532 3-A ELKHORN BLVD. SACRAMENTO, CA 05842 Fantasv Films: Robin Cook's November: Beauty & the Beast Ouwtom can 1-91 6-331 -4370 VHS snry. PAL (anafara avakabla. Caulogs $4.85 or raa till aim. CA raaldantt ido 6.75% •*« tax. (animated), Fern Gully. Christmas '91: Hook. Mutation, one of his numerous SF medical thrillers, is on its way to the screen. Jim UNMASKING and Ken Wheat—who made Ewoks: The "THE HALF" Battle for Endor—are scripting. DARK Timothy Hutton is the serious novelist Disney, continuing to look to the trying to "kill off" his less serious, genre, obtained rights to two Robert pseudonymous alter-ego, The Dark Half Heinlein classics: Farmer in the Sky (for that won't stay dead. It's another trip to and movie). TV) Puppet Masters (as a country for George Romero Meanwhile, Vecchio Productions is in the (who's directing from his own script process of obtaining film rights to based on King's bestselling thriller). Heinlein's Stranger in a Strange Land. Buck Henry is currently adapting Kurt Vonnegut's non-SF novel Jailbird. Henry's previous genre writing credits in- clude Heaven Can Wait and The Day of the Dolphin. Total Recall's Paul Verhoeven isn't fin- ished with special effects. Although his next film is Basic Instinct (a kinky sexual thriller starring Michael Douglas), Verhoeven's future slate also includes the Wizard, introduces Robo's computer ge- most recently directed Flight of the special FX-heavy Warrior. nius kid sidekick. Intruder) adapts Clear and Present Sequels: ALIEN III is now lensing in Beetlejuice' % Alec Baldwin will return Danger. England. Production of Star Trek VI is not once, but probably twice as the CIA's Peter Hewitt directs Bill & Ted's scheduled to start shortly. Jack Ryan, the hero he played in the film Excellent Adventure II. This is the one Meanwhile, RoboCop 3 is shooting adaptation of Tom Clancy's The Hunt for where Bill & Ted (Keanu Reeves & Alex (literally, of course) in Atlanta under direc- Red October. He has been signed to star in Winter) go to Hell. But that's not all! They tor Fred (The Squad) Dekker. This the movie versions of Clancy's Patriot also banter with Death. They travel to time, actor Robert Burke is RoboCop. And Games and Clear and Present Danger. Heaven, all the better to find great scien- horrors! RoboCop has left the Detroit Screenplays for both are now being writ- tific help to deliver them from evil— Police Department to aid citizens being ten. Donald Stewart (who scripted Red agents from the future. And they get killed forced out of their slum neighborhood by October) is tackling Patriot Games while by their own (and most SF fans') worst an evil developer (OCP, naturally). This writer/director John (Conan) Milius (who nightmare. Yes, it's true, in this movie, sequel, a bit reminiscent perhaps of Death did some uncredited writing on pal Sean Bill & Ted meet their evil twins. Wish 3, Batteries Not Included and The Connery's scenes in Red October and who —David McDonnell

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STAR TREK is a registered trademark of Paramount Pictures. All Rights Reserved. THE HOLLYWOOD PINS is a trademark of The Hollywood Pins Company. Galaxy Communicator Class >• StarshipSS Mugato $6 Crew 1990 91 $6 w Beam Me Up S8 [j Exile Art: Stephen Fabian/Arkham House

- . -:,. Born to Exile won author Phyllis Eisenstein the Balrog Award for Best Fantasy Novel of 1979. orn co exice

Sorcerer's Son "took a long time to write," says Eisenstein. "I had never written any dyed-in-the-wool fantasy

Chicago claims Phyllis Eisenstein as its own. At 44, the author—a tall, PHYLLIS E1SEMSTEIEV5 striking woman with a self-admitted wry sense of humor—is 20 years into her writing career. Her books include were en- Sorcerer's Son, The Crystal Palace, In the This simple philosophy is clearly a Two years after meeting, they Alex joined Red Lord's Reach, Shadow of Earth and In sound one, for Eisenstein"s work has re- gaged, and shortly thereafter. Force. After basic training, Alex the Hands of Glory. ceived praise from writers of both science the Air while Phyllis re- Born to Exile, the story of a young fiction and fantasy, including Jerry was sent to Germany corresponded minstrel born with preternatural powers in Pournelle. . Andre mained in Chicago. They and made plans to be a land where such abilities brand him a Norton and C.J. Cherryh. during this period, possible. It was not un- witch, won the Balrog Award for Best married as soon as attend the Fantasy Novel of 1979. In additwn, her working Magic til Alex returned to the U.S. to Fiction Convention numerous short stories, including the Her success derives in part, no doubt, 1966 World Science were married. novella "In the Western Tradition," have from her 24-year relationship with her col- in Cleveland that they Eisenstein found been nominated for both Hugo and Nebula laborator and husband, Alex Eisenstein. Within a month. Phyllis a depar- Awards on several occasions. When they first met in Chicago in 1963, herself whisked away to Germany, What makes her work so appealing? the attraction was instantaneous. "We met ture from her relatively ordered life in interlude which she recalls "I follow only one rule in my writing." at a reception for , who Chicago and an "Because I had been a Eisenstein announces, "and that is to be was on a cross-country trip and had with mixed feelings. all life." she remem- interesting. If the story is interesting to stopped in Chicago to attend this party Chicago person my bers, "the experience of living in a tiny. you. the writer, then it will probably be thrown for him by the local fan organiza- very different. Also, it interesting to somebody else." tion, of which Alex and I were both mem- tiny village was bers," she recalls. "My boy friend at the was in a very rural, very poor part of Germany, which I didn't like at all." RICHARD STARR is an Iowa-based time was the party's host, but the same However, it was this isolated environ- writer. This is his first article for night I met Alex, he ceased to be my boy on writing. STARLOG. friend." ment which helped her to focus

12 STARLOG/A/jn7 1991 Fantasy's Technique

For author Phyllis Elsenstein, there are rules to be followed, regardless of the genre. By RICHARD STARR Photo: Mark Aronson Fantasy and , that she dis- covered the worlds of Anthony Boucher, Leigh Brackett and Fredric Brown. "Stories like Fredric Brown's 'Arena' and 'The Quest for St. Aquin' by Anthony Boucher are classics," she notes. "I read

them when I was a teenager, along with

stories like 's 'Mars is Heaven' and A.E. Van Vogt's 'The " Enchanted Village.' These tales influenced her to the degree that today she uses them as models in her writing course at Columbia College. "They do everything stories are supposed to do," Eisenstein observes. "They make the reader sympathetic to the main character, the story moves along briskly, and at the end, there's a satisfying closure of events. Of course, that's vague and nebulous, but

fiction is, after all, a vague and nebulous thing."

Eisenstein is a writer with an eye for detail and a meticulous researching tech- nique. Her stories tend to emphasize characterization over plot, but this im- pression is tempered to a degree by her exotic settings, which range from the glacial landscape of The Crystal Palace to "I have a very sardonic view of life," admits Eisenstein. "I believe Theodore " Bikel said it best when he said, 'Life is nothing but a pool of mud.' the exotic demon worlds of the Sorcerer's Son. with writ- and the help of a correspondence tions. After all these years of marriage, I Her second novel, Shadow of Earth, ing course, she produced and sold two trust this guy. He knows how I think, and I published by Dell in 1979. is the story of

short stories, one solo and the other in know how he thinks, which I believe a young woman transported into an Earth collaboration with Alex. "Eventually, he makes for the best kind of relationship, that has not evolved beyond the 17th got out of the Air Force." she says, "and both personal and professional." century. "The book begins when the we settled back in Chicago." where she heroine. Celia Ward, is transported would later finish her degree and assume a Magical works through a machine into a parallel world

teaching position at Columbia College. Such a relationship might seem surpris- where she's captured and is almost imme- "Ever since then. I've been writing, both ing to those who read Eisenstein's novels. diately sold into slavery," Eisenstein

by myself and with Alex." Her characters, who are all fairly young in says. "Because she is blonde, which is Since 1966. she and her husband have age, are frequently lonely and withdrawn, comparatively rare and a sign of royalty in

sold four more stories together. Aside from seeking solace from the world in much the this world, she is purchased by a marquis their collaborations, the most visible sign same way Eisenstein did as a youngster. "I who marries her in the hopes of producing of their mutual respect is the recent pur- was a loner as a child," she notes, "very blonde children. The conflict lies in the

chase for Alex of a virtual duplicate of the bright and very easily bored. I wasn't part fact that although she is married into no-

antiquated IBM computer on which she of the popular set, nor did I have many bility, she is still little more than a slave works. friends. So, in order to compensate for my and continues to try and find a way back to

"I got that for him because he hates relatively solitary existence. I read enor- Earth." how slow my machine is." Phyllis mous numbers of books and stories." Later that year, Eisenstein encored with Eisenstein explains. "And it will keep us Although outwardly she grew up like the acclaimed Sorcerer's Son. Like her first from having to share time on just my the other girls in the neighborhood, even two books, the abolishment of loneliness computer, which can be a problem when at the age of 10. she had the love of writ- through acceptance was a central theme, we both want to write at the same time." ing and the soul of a perfectionist. She one that would carry into further novels. They work together a great deal, with read almost anything, beginning with the "The story took a long time to write," she the normal ups and downs of such a rela- fairy tales of Andrew Lang and the recalls. "I spent a year on the outline

tionship. "The down side is that I some- Brothers Grimm. alone, and another year writing the book.

times feel as if he's breathing down my It was between the pages of magazines The idea came to me at a science fiction neck." she says, "but the plus side is that like Astounding, Planer Stories and her convention. Lin Carter was giving a talk he's always there to make useful sugges- personal favorite. The Magazine of (continued on page 35)

STARLOG/April 1991 13 1 6

FUN NEWOQK

IT'S "TURTLES II" TIME

Cowabunga! The heroes in a half-shell return shortly when Teenage Mutant Ninja Turtles IT. The Secret of the Ooze premieres everywhere later this month. Directed by Michael Pressman and scripted by Todd W. Langen, Turtles II once again brings to live-action life the characters created by and (and popularized in comics, toys and animation). While you're waiting for the Turtles to into theaters, you can win some nifty assault leap Leonardo, Donatello, Michaelangelo and Raphael prepare for their second Mutant Ninja Turtles Souvenirs. Teenage on the silver screen with valuable prizes. Here's all you have to do: Send a responsibility is assumed for lost, postcard only (absolutely no envelopes Cinema, Archie Comics, Murakami-Wolf- Studios misdirected or late entries and lost, please) with your carefully printed name and Swensen, Playmates Toys, Mirage licensees not listed misdirected or damaged-in-mail prizes. address (street/city/state/zip code) to Turtles, (and any of its other Group and their And the prizes? Through the courtesy of c/o STARLOG, 475 Park Avenue South, 8th here) and the Starlog suppliers and New Line Cinema & Mirage Studios, they Fir, NY, NY 10016. Only one entry per affiliates, subsidiaries, are: person, please. Multiple entries will be advertising agencies. No purchase necessary. law. First Prize: (25) An official Teenage disqualified. Neatness counts, too; illegible Void where prohibited by in the Mutant Ninja Turtles II T-shirt. addresses must be disqualified. All decisions All entries must be received than April 25. Second Prize: (25) An official Teenage of the judges are final. STARLOG offices no later drawing will be Mutant Ninja Turtles II movie novelization. This contest is open to all except 1991. A random postcard Third Prize: (25) An official Teenage employees (and freelancers) of Golden conducted the following day. with prizes sent Mutant Ninja Turtles II movie poster. Harvest Communications, New Line out shortly thereafter. Please note: No

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14 STARLOGfApril 1991 ; j "

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c/o LeeAnn McCann 170 Webster Street Tiffin, OH 44883 f!7P>W' Yearly Dues: $8. Make checks payable to LeeAnn McCann. Membership includes: Bi-monthly newsletter and membership card. WALTER KOENIG INTERNATIONAL For fans of the actor. Sanctioning: Walter Koenig Address: Walter Koenig International P.O. Box 15546 North Hollywood, CA 91615-5546 Yearly dues: $12 (US). $17 (overseas—US funds) Membership includes: A letter from Walter Koenig, photo, bio, membership card signed by Koenig, fanzine, convention listings, bi- monthly newsletter and mail order catalog.

STARFLEET CAPTAIN'S HONOR International Star Trek Fan Association. Since last During LagrangeCon hosted by the Starfleet Chapter U.S.S. Lagrange Starfleet's inception in 1974, it has grown to October in Cleveland, Patrick Stewart was presented with a plaque by Lagrange 94 chapters with over 4,700 members on four Allen. It president Tim Gillespie and Starfleet's Chief of Communications David continents. Members support charities, are ac- for the Performing announced the beginning of The Patrick Stewart Scholarship tive in community projects, attend conventions Arts, which will be awarded annually to a student studying in this field. and meet monthly. Starfleet is also active in international charities and offers college freshmen. leges. Always write first to any organization, scholarships to entering SF Directory including a self-addressed, stamped envelope Sanctioning: None Address: Starfleet Assembled by LIA PELOSl (SASE) to confirm membership/sub rates and 430 the club or publication's continued existence. P.O. Box 28714 here? It is not our over- Burnsville. NC Please note: Inclusion here does not indicate en- Attention: Not listed Note: Yearly dues: $10 (US); $15 (overseas, Canada dorsement of any club or publication by sight. You haven't sent information to us. one-time-only (per year) listing. & Mexico—US funds only) STARLOG. And STARLOG is not responsible This is now a card, Directory, STARLOG. 475 Membership includes: Membership for information or spelling errors in these list- Please write to SF chapters, 10016. Provide all memo pad, list of international ings or changes in membership fees and privi- Park Avenue South. NY. NY subscription to the pertinent info on club/publication type, membership handbook and a Communique. sanctioning, mailing address, yearly dues or bi-monthly magazine, Starfleet subscription rates and membership kit. To XII facilitate inclusion, please provide info in the STARFLEET ACADEMY/STARBASE None SIBRTRiK style that follows, typed double-space. These Sanctioning: Starfleet Academy will be listed free at STARLOGs discretion. Address: HARP P.O. Box 2312 VULCAN STAR TREK CLUBS Evansville, IN 47728 Yearly dues: $12.50. FANS OF PATRICK STEWART Membership includes: Custom designed lami- gold Sanctioning: Patrick Stewart nated certificate, embroidered blue and card Address: Craig B. Lawler Starbase XII patch, custom identification Attm FOPS (laminated), informational training book, P.O. Box 7032 quarterly newsletter, scheduled tests and graduation, San Jose. CA 95150 evaluation, advancement in rank to catalog of Yearly dues: SI 5. Trek promotional information and Membership includes: Monthly newsletter, merchandise sold through the Academy. photo, pen pals. Send an SASE for info. TEEN TREK FRIENDS, FANS AND FOLLOWERS Star Trek club for fans ages 10-16 in Western OF JONATHAN FRAKES Long Island. Conducts monthly meetings to 7>e-/:-related activities. A club for those who appreciate the many tal- discuss Trek and arrange of Jonathan Frakes and are interested in Sanctioning: None Riker on Star Trek: The Next Generation. Address: Teen Trek Sanctioning: None 1280 Mara Court 11509 Now you can own a Vulcan Harp just like Mr. Spock's! Address: fffJF Atlantic Beach, NY new gen- A musical instrument exquisitely handcrafted from Suite 214 Yearly dues: None. rosewood imported all the way from uine mahogany, and ash 145A Danbury Road Membership includes: Quarterly newsletter Earth. Display it proudly and appreciate it's stunning visual New Milford. CT 06776 Teen Trek Times. beauty; it's graceful design and warm, rich wood tones. Anyone

can play it. even if you've never played another musical instru- Yearly dues: $16 (US funds only). ment before. Membership includes: Quarterly newsletter U.S.S. HATHAWAY NCC-2593 Each instrument is personally signed by Dominick Giovan- looking for fans inter- featuring articles, letters, convention reports, New Star Trek fan club niello. who built Mr. Spock's harp seen in "STAR TREK V; Star Trek. calendar, art and commentary. Member directory ested in any aspect of THE FINAL FRONTIER." Sure to be a treasured possession, for more info. Sanctioning: None destined to become a priceless collectible. and updates. Send a SASE U.S.S. Hathaway To order yours, send check or money order for $350.00 + Address: $15.00 shipping and handling. (CA residents add TA% sales G.A.T.E.S. P.O. Box 65112 tax). Lavawav financing available. GATES ATTRACTS EVERY Lubbock. TX 79464-5112 CREATIVE GUITAR STUDIO Yearly dues: $10 (US). $14 (overseas). 4757 ALLIED RD. SEASON McFadden. Membership includes: So far, the monthly SAN DIEGO. CA 92120 619-287-2083 For fans of ST:TNG's Gates newsletter. For more info, beam a SASE to the More information? Please call or write. Worldwide membership. \TM& : ParamoumPictures.Mrighlsresened.SlarTrekisaregisteredlradernark Address: G.A.T.E.S. above address. of Paramount Pictures. Authorized user-Creative Guitar Studio. Sergeant At Arms

By TERESA MURRAY & KAREN FUNK BLOCHER

e was born in England as John After these two appearances, he was U.N.I.T. family. "I think what happened is Anthony "Woods, but to Doctor cast as Corporal Benton in "The it clicked. The Brigadier [Brigadier H Who fans, he's John Levene, the Invasion." "Patrick Troughton and Frazer Lethbridge-Stewart, played by Nicholas man who played the trusty Sergeant Hines had always liked me as a person and Courtney] and I got on very well. Then, of Benton for seven years opposite three I had always liked them. I was given a course, it's easy once the part's made. different Doctors. Now a California seven-second close-up looking through a "My children were very proud. My resident known as John Anthony Blake. pair of binoculars in 'Invasion.' I also had daughter used to say to me, 'Dad, you're " Levene settles in to explore his past with to do a voice-over on the two-way talk not a star, but you're with stars.' and his uncertain future. system to the Doctor." Levene's favorite episode is "The Levene made his Doctor Who debut as His character was reintroduced as Daemons." He explains, " 'The Daemons' an extra, portraying a with a speaking in "The Ambassadors of was great because I enjoyed the plain part in "The Web of Fear" with Patrick Death," appearing with the recently regen- clothes, being a bit forceful and the Troughton and Frazer Hines (Jamie). "They erated (). Benton wanted somebody 6' 1", so five 6' l%ex- soon became an integral part of the tras were sent along and got the parts." Levene also played a in "The Wheel in Space."

The made-for-video production War Time explores Benton's background. " 2S< shooting thing. 'The Three Doctors' is my second favorite. That was my biggest part.

At the time. I didn't think I was going to

be able to do it, but Pat Troughton was so helpful. He said, 'John, you're a fine actor.

Just do it as it comes.' And I did." Benton was never developed as a ro- mantic lead on the series. "The funny

thing is, I always dreaded getting any scenes like that. Benton was never going to get the woman. He wasn't that kind of character. In fact, it wasn't a show where anybody got the woman. We were too busy

fighting Daleks. I got a Dalek once." By the end of his tenure with U.N.I.T.. Benton had been promoted to RSM Benton. "Regimental Sergeant-Major, Levene explains. "It was a way of making a non-commissioned officer up to someone the rest of the troops would ad-

mire. I was the sort of guy they would lis-

ten to. because I was tall and a bit brave." Names have been a tricky question for both the character and the actor. Benton was referred to as Corporal or Sergeant Benton, and in later episodes as simply Mr. Benton. But, as Levene reveals, Benton does have a first name. "In the middle of my tenure. I found out that my name was John Benton. That was because my real name was John. It was in a story

where I was supposed to be going dancing with my girl friend. That's when the name John came out. It suited him very well." About Face If Benton seems to have had a shortage of names, the actor playing him has had the opposite problem. "OK. John Anthony Woods was my born name. Jonathan Blake was my radio name. And John Levene was my acting name. "I then went on the ships as an enter- tainer and bingo caller, where I became known as Johnny Bingo and Johnny Redboots. I'm now John Anthony Blake. That's the name I have now in Hollywood.

I don't know whether it's going to be good

for me. I have a feeling it will. John Anthony Blake has a nice ring to it. It's my mother's maiden name and my first two. I'm very happy with it." The name Levene was chosen in a hurry on the day the actor, then John Woods, applied for his Actor's Equity card in England. "Equity, like SAG. the Screen Actors Guild over here, is a closed shop. You're not going to get in unless some producer or West End theater house gives you a contract. "In my particular case, I had half an hour to woo a secretary in Equity. She said, 'The boss is coming back in an hour. It's a closed shop, and I don't think I can get you in. But look, get your form filled out, and I'll put you on the immediate standby

list of actors. What's your name?' "I said, 'John Woods.' "She looked through the files, and she said, 'No, there's already a John Wood, a "It is the fans who make me proud to be famous Shakespearean actor [seen in myself," admits the actor. However, his very You can't profession has prompted his adoption of WarGames and Ladyhawke}. other names like the current John have Woods. Anthony Blake. ' '

"And so I said, 'John— Anthony.' "So, I wasn't in '.' there's already a John Peter Moffatt, the director, phoned me up. " —'Anthony John.' 'No, there's al- I thought he was going to lambast me for ready not being in it. He said, 'John, I just called

"I had about five minutes left. I looked to tell you, I bow to your integrity. out the window in desperation. Across the Wonderful. If you feel that it's not right,

road, it said, 'Harry Levene, Boxing don't do it.' That's what made me admire Promoter.' And I said, 'John Levene.' And Peter Moffatt."

so, I ended up, by pure accident, and Years later, Levene had another chance against my will, with the name of John to portray Benton in the made-for-video Levene. Now, there's nothing wrong with production War Time. He accepted. "War Due to his Dr. Who identity, Levene re- ceived a personal invitation from Patrick John Levene, but I didn't like it. It didn't Time was conceived by Keith Bonfather, Stewart to visit the set of Star Trek: The fit nicely on my shoulders." the producer and owner of Reel Time Next Generation. Levene' s acting career came about al- most as much by chance as his name. "I was working in a men's wear shop at age 22 in Regent Street in London, having left Jersey and the Channel Islands and my

hometown. I served Telly Savalas and sold him a Burbury raincoat for 110 pounds. I

said, 'I would like to be an actor.' I only

said it because he was an actor. If he had

been a brain surgeon, I would have most likely said, T want to be a brain surgeon.' He was making The Dirty Dozen at the time, and he offered me a part. I couldn't get the part, because I didn't have an

Equity ticket. I couldn't get an Equity

ticket, because I didn't have a contract. "Later, a comedian, Joe Baker, sug-

gested which walk-on agency I should be- long to to get lots of work as a walk-on,

which is where I got the Yeti and the Cyberman in Doctor Who. That's what started my whole career off.

"I did very well as Benton. I got a lot of fan mail—not as much as the Doctors and the Brig, but I never expected that. I an-

swer everyone personally. It would be a

disgrace if I didn't write back. Pertwee's the same. Pertwee insists that they get their letters back. I would love a Sergeant Benton fan club. It is the fans who make me proud to be myself." RSM Benton made his final appearance in "The Android Invasion." Levene stopped acting shortly thereafter. "I left

acting because I thought it was a waste of my time sitting in studios for hours and hours and hours for just two minutes on

screen. So, I formed my own audio-visual and video company. It didn't do too well, but I had a wonderful time. We did laser shows all over Europe and America." For the 20th anniversary episode of Doctor Who, "The Five Doctors," Levene was asked to reprise his role as Benton. He declined. "I turned down 'The Five

Doctors' because it made Benton look a Pictures. That's the banner under which

fool. I had a scene in there where I was out Myth Makers [a series of Doctor Who-re- of sight, talking to Pat Troughton, not lated interview videos] comes out.

letting him in and not recognizing him. I Somebody had written a reasonable script said, 'You want me to come along and do for War Time, and Keith asked me if I

two lines behind a closed door saying, would come out of retirement and do it. I "You can't go in there"? You really believe didn't want to act any more, but I decided I'm going to come in and do that?' to do it because it was about U.N.I.T. It "Jon Pertwee and Nick Courtney gives the fans something. Now, I've seen

phoned me up and said, 'Do it, because it, and there's enough good stuff in it to

we're all doing it.' But my daughter said to make it worth the bother. It's a fascinating

me, 'Don't you dare do it. Daddy!' piece of work." Anyway, they revised the script a second Levene went on to direct his own Myth

time and it was just as bad. So, I sent it Makers video, an interview with himself back. I'm worth a bit more than that. about his Whovian experiences. shortly]. And Forward March learn came from Patrick Stewart. proached to do one [due out I a good one, so I can Shortly after making the two Myth "So, I drove down Melrose Avenue and he said, 'Show me they showed him Makers videos, Levene left England. drew up to the famous arch of Paramount gauge it.' And of course, Benton's Myth Makers. That's "Two-and-a-half years ago, when I had lost Studios. And I remembered things like Sergeant my own company, Genesis Communi- Marilyn Monroe and her innocence and her how he got to know me. Patrick enjoyed it Bette Davis. very much. And so, that was my connec- cations, I joined the ships and became an beauty, all the stars like star. I Trek. That looks like all my entertainer on the cruise liners. I visited There was I going up, albeit a minor tion with Star it was wonderful 38 countries, and escaped and lived was taken to the special FX department, connection will be. But a through two hurricanes." and then to the Star Trek studios. I saw ev- visit, an extraordinary opportunity." appeared on PBS Levene moved to the Los Angeles area ery set, went through every door, sat in the The actor has also put Levene. "I did a live show in early 1990. "I was doing a show in captain's chair, looked at the monitor, pledge drives as Sacramento and Richard Chaves, who has my hands on the 'Beam me up, Scotty' ap- on KCET, raising a fortune, thanks to the the only artist who become a very close friend of mine, and paratus, and I couldn't believe it. Whovians of LA. I. was auto-cue. Kim Bailey, who did special FX for Star "I went down and walked on the set went on without an in front of the Trek, both saw me perform on stage. They where the story [of "Family"] is set, the "I did 24 appearances it. Lynn Redgrave was both came up and said, 'You should come villa where Jean-Luc Picard goes back to camera, and I loved and Selleck. This is to Hollywood.' Two weeks later, I met his past in France. And there were Jeremy on the next day, Tom names I've come up Jenny, a lady whom I'm living with now, Kemp and Samantha Eggar, two very chi- just to show you the make no difference, of and we moved to Hollywood. I got an chi English actors, and Patrick Stewart. He against. They his day-to-day living, because I apartment in Burbank and within three was in the chateau having dinner with course, in my so therefore I weeks, I'm working with Robert Wagner older brother, played by Kemp. I was haven't got my green card, any part. I lost the for a tennis tournament with Jimmy talking to the sound man. Suddenly, a cannot be offered week, which Connors and Chris Evert." voice said. 'Hello. John. It's nice to meet biggest part of my life last divulge, because I didn't The actor hosted the tennis tournament you.' And it was Patrick Stewart. I'm not allowed to " as John Anthony Blake, but because of 'Patrick,' I said. 'Well, it's very nice have a green card." actor to Doctor Who, he hasn't entirely abandoned to see you.' And I felt very equal. We're Levene isn't the first Whovian modest this problem. "Nick Courtney tried the Levene name. It was as John Levene, within one year of age, and he's as have I Levene says, "and he for example, that he was invited to visit as can be. He was shaking my hand, and two years ago," 'Well, it." Levene is in a the set of Star Trek: The Next Generation felt very proud and pleased. I said, couldn't make Now envy situation. "I was asked to leave the late last summer, an invitation he was to Patrick, you've got a part that's the similar in of many actors, and you handle it beauti- country. But I found out that I could put and reconsider, plus an- TERESA MURRAY & KAREN FUNK fully. How is it that I became a guest of a plea for reopen " I'm just standing BLOCHER, Arizona-based writers, profiled yours?' other heap of money. now, although I have Uohn Nathan-Turner in STARLOG As Levene discovered, "He had to see a here on tenterhooks SPECTACULAR #1. Mvth Makers, because he had been ap- (continued on page 35) The Greatest Trek Event Ever Held!

SPONSORED in association with BY STARLOG ®

Write Your Cable Operator for THE SCI-FI CHANNEL r

smwmmmmimm R£K The Celebration JUNE 7-9. 1991 Convention

AND ON SUNDAY SHRINE AUDITORIUM THE SITE OF THE ! ill FOR THE LIVE REUNION OF THE ENTIRE

logo used with permission CAST TOGETHER ON STAGE!

Let the joyous news be spread: The Celebration of the incredible 25th Anniversary of STARTREK sizzles with extra excitement as the entire original classic cast will appear together on stage with creator Gene Roddenberry on Sunday, June 9th. This unprecedented once in a lifetime attraction could never be housed in a mere hotel ballroom! So on Sunday only we're going where we've never gone before and moving the entire convention: all the dealers, all the events, and all the exhibits to the world famous SHRINE AUDITORIUM (649 West Jefferson in Los Angeles), site of the Oscars and tttltDLS American Music Awards! Friday June 7 and Saturday June 8 remain at our traditional site.THE LOS ANGELES AIRPORT HILTON. Friday and Saturday's schedule will be bursting with single guest appearances, Next Generation presentations and news scoops, preview peeks at STAR TREK 6, auctions, contests, special videos, 25th Anniversary events and some shockingly surprising guest drop-ins! Sunday's schedule will feature single appearances stage, plus by Bill, Leonard and Gene, and the amazing "live reunion" on surprises we can't mention! TICKETS: At the present time the only way to attend all three days is to buy a preferred seat package which will give you a reserved seat at both The Airport Hilton and The Shrine and covers the entire weekend convention. Preferred seat packages are $1 45. Over a thousand of these packages have already been sold. Only 400 remain: so please act soon! Sunday only tickets (general admission including seating in the non reserved section at the Shrine) are available in advance for $30. To order tickets send fees to CREATION, 145 Jericho Turnpike, Mineola, New York 11501. Make checks (Mastercard payable to CREATION. You may order by using a CREDIT CARD to or Visa) and calling toll free (800) TV ALIVE between 10:30am 5pm orders. You weekdays. There is a $2 service charge per ticket for telephone may also reserve hotel rooms at the Airport Hilton ($89 a night) at this number. Dealer tables are available: please call us for details! ••"Note: The Shrine Auditorium is a magnificentfacility and is approximately GentUlH 20 minutes from The Airport Hilton and offers parking at a nominal rate. 9 ——

Dori & Lori I ever reported in This is the most unusual personal experience that have THE TREK SUPERSTARS! STARLOG. Some might feel that this story is beyond the proper limits of this magazine, but I challenge that. If it enriches us, no experience should be out of bounds for minds interested in science fiction. I assume that all of you who regularly read this column share my open-minded attitude toward meeting every kind of human.

After all, exploring untraveled paths is what science fiction is all about. Dori and Lori are definitely off the beaten path. They were born 29 years ago with their heads fused together, facing opposite directions, so that they share one common eye. Their brains are separate. They are what are commonly called Siamese twins although the sisters are quick to explain that the correct term is conjoined. I met them through my friend Pat Hammond, who called from San Antonio, telling CALENDAR OF CONVENTIONS: me that she was coming to Manhattan to see Dori and Lori appear on The Joan Rivers Show. The sisters had never been to. New York. Since my apartment has spectacular the skyline, and my roommate, Chris, is a professional chef, we decided to SAN FRANCISCO views of invite them up for dinner the night before the TV show. We also wanted to ask a few MARCH 1 6-17 AT THE HOLIDAY INN GOLDEN GATEWAY carefully selected friends, to turn the evening into a party. apartment in Pennsylvania to tell them the plan. "They WITH MICHAEL (WORF) DORN Pat called the girls at their are so excited," she told me. "They are beside themselves'." Pat was not trying to be I'.'iVi'i'i'Wi'i'i'iViV.va I didn't know whether to laugh prrrsBURGH funny; it was simply an accidental choice of words, but seen conjoined twins (there are fewer than MARCH 16-17 AT SHERATON SQUARE or not. Frankly, I was nervous. I had never uneasy. WITH MARINA (TROI)SIRTIS half-a-dozen known pairs in the U.S.), and their description made me wmim*M»m*iXM& Lori is full-sized, but Dori is small—about the size of an eight-year-old—with PROVIDENCE RHODE ISLAND tiny, inoperative legs. Dori designed a tall stool on wheels which lets her sit while MARCH 23-24 AT THE OMNI BILTMORE Lori moves them around the room, in and out of elevators, through revolving doors WITH MICHAEL (WORF) DORN and down sidewalks. When they come to stairs (or bathroom necessities), Lori scoops

• rp?xv,'www. v.v.v,!.>x>j,>jw>i Dori up and carries her. RENO NEVADA Although their heads blend into one skull, they style their hair differently. They APRIL 6 AND 7 AT HOUDAY INN AIRPORT also dress differently—Lori preferring simple, tailored clothes, while Dori prefers WfTH MAJEL BARRETT RODDENBERRY lace, ribbons and ruffles. Lori is more extroverted, while Dori is shy. Dori loves to read and write, but Lori loves to shop. In virtually every way, the two sisters are VANCOUVER CANADA individual. I was even startled to learn that Dori is a vegetarian, but Lori is not. APRIL 27-28 AT THE PACIFIC If current medical equipment had existed when they were born, it might have been NATL EXHIBITION WITH PATRICK possible to separate them. At this stage, however, their bones and blood system are STEWART (CAPT. PICARD) >>Amm^MfMmmr one, so separation today would almost surely result in brain damage—or death. The girls have chosen not to risk that danger. NEW HAVEN CONNECTICUT "Besides," Dori smiles, "I like the way I am." Surprising as her attitude may seem, 1 8-19 AT THE PARK PLAZA MAY shred of it real. During the entire evening I spent with them, I never detected a WITH is mwmmtwm cynicism, tragedy or burden. "They are so happy," Chris marveled, later that night, as we sat and talked about CINCINATTI AREA MAY 18-1 remarkable experience. "They are as happy as you or me—maybe happier. AT THE DRAWBRIDGE INN our biggest problems in life are not WITH GUEST TO BE ANNOUNCED "Do you realize," Chris continued, "that their cruel people, doors slammed on them or physical difficulties—it's money. It's the same damn problems everyone faces." CHICAGO MAY 25-26 . have had a very AT THE CONGRESS HOTEL On the TV show, Joan Rivers said, sympathetically, "You must It was WfTH GUEST TO BE ANNOUNCED difficult childhood." Without hesitation, both girls said, "No—not really. pretty good, in fact." When they were born, doctors didn't expect them to live. Dori INDIANAPOLIS JUNE 1-2 and Lori were quickly placed in a home for severely mentally retarded children where AT THE AIRPORT HILTON they were raised for the first 20 years. Their minds, however, are bright and active GUEST TO BE ANNOUNCED certainly normal, probably above average. Dori has written her autobiography and hopes to find an interested book pub- LOS ANGELES JUNE 7-9 lisher. Lori has just started a new job (after five years of discouraging search) as a

AIRPORT HILTON HOTEL . hospital orderly. "I sure hope you enjoy being around bedpans," I smiled at Dori, "but WITH THE ENTIRE ORIGINAL CAST what will you do while Lori is working?" "Oh, I'll probably read most of the time," AND GENE RODDENBERRY! she said casually, "or if I get bored, take a nap." Everyone took photos of our unusual guests that night, but Dori and Lori took BUFFALO NEW YORK photos of the skyscrapers of Manhattan. When the evening ended, I knew that I had JUNE 8-9 AT THE RAMADA RENAISSANCE been enriched. GUEST TO BE ANNOUNCED If I ever begin to feel sorry for myself, no matter how justified, I will bring to mind a picture of little Dori, like a doll dressed in crimson velvet and white lace, sit- FOR MORE INFORMATION CALL Writ* your cabl* ting on her stool as Lori turns one way, then another, constantly moving in order to operator now (or (51 6) 746-9626 OR SEND ASELF sis- let her and her sister see everything, while they lean into each other, as if sharing ADDRESSED STAMPED ENVE terly secrets. I will hear the excited chatter and carefree laughter of two girls who do LOPE (1 PER CONVENTION INFO not see themselves in freakish or tragic terms—and I will quickly discard any attitude REQUEST) TO: CREATION, of self-pity. 145 JERICHO TURNPIKE, Our Sponsor! The beauty of life is in the mind of the beholder. MINEOLA.NEWYORK11501. —Kerry O'Quinn

22 STARLOGMpnV 1991 —

"I stopped by the Star Trek than a big museum, set aside by a dying offices on a rainy day in March, alien race. These creatures—or characters and told the guard I would like to see were a kind of android set into motion if

the woman I had spoken to on the phone. It somebody stumbled into a particular fogged- happened that the show was then on hiatus, in area, playing out the whole scenario. We and she let me in, gave me three scripts and stumbled into the scenario and woke one up,

said, 'Good luck.' I went off, listened to an not knowing what it was, and took a key upon a time," muses writer Once Judy awful lot of Star Trek dialogue on my car figure out. What happened is that as McCoy Burns, "there was a show called Star stereo— I would tape it every week—and gets to know this figure, it starts to come to

Trek , which captured my proceeded to sit down and write a script, got life and this becomes a love story. As we imagination. At the same time it was an agent, submitted it and never heard solve this problem, we realize what's capturing my imagination. 1 was a student anything in response." causing the emanations from the planet and trying" to go to Africa, which I needed money That script, "A Time to Be Alive," are therefore able to save the Enterprise to do. Being naive at I the time, I thought. focused on a planet the Enterprise needed to before it enters the atmosphere. It's kind of a 'Maybe I can write a Star Trek and make pass by in a particular area of space. bittersweet love story." " enough money to go study in Africa.' "It was giving off electrical impulses Burns' script vanished into the black hole While this sounds like the dream of an that had trapped the Enterprise ," recalls of the "slush pile," but Burns refused to give idealist, it amazingly came true for Judy Burns. "We beamed down to find out what up hope. She continued studying and even Burns, launching her on a writing career that was going on and ended up in the middle of took a scriptwriting class, which eventually has spanned some 20 years. Upon deciding a witch hunt. Where we landed seemed to be led to her writing "The Tholian Web." In u that Star Trek could be the ticket to Africa, enveloped in patches of fog, and as we that third-season episode. Kirk disappears she contacted the production office and was escaped from this witch hunt, with this into another dimension, but continues to told that a script for the series would pay absolutely beautiful maiden. Kirk and Spock appear to various crew members of the about S2,500. plus S600 for the story. got involved with the villagers, who seemed "My reaction was, "OK. 1 need a little to be 500 or 600 years behind our particular EDWARD GROSS, veteran STARLOG cor- over " 51,000, so that will do just fine,' culture. McCoy fell in love with the lady. respondent, is the, author of Above & smiles the writer, whose subsequent credits Kirk and Spock ended up in this series of Below: A Guide to Beauty & the Beast include Mission: Impossible, The Six Million battles that they couldn't understand. It (Image, $12.95). He profiled George R.R. Dollar Man and Stingray. turned out that this planet was nothing more Martin in issue #161. TH a STARLOG/April 1 99 1 23 Tholian Web, In the original drajt of "In Essence Nothing," which became The Defiant. jt was Spock who stayed aboard the vanishing

visualization of "For the time, the special FX were incredible," notes Burns. The the Tholians and other miniatures won this episode an Emmy.

batteries ran out which was the greatest Enterprise in a ghost-like state. Spock comes "It was a classic memo," Burns laughs. "I — think threat to Kirk then they die. They didn't up with a plan to retrieve him. think Bob summed it up by saying. T — there. have an infinite amount of time within the "I met a student who was a physicist, and we can use it. but it should be Kirk out heroic to stay force field. Therefore, Kirk would have told him that I wanted to write a Star Trek He would be schmuckishly that, wandered around the ship looking like he script which would be a based on behind on this other ship.' Besides looks, except for a little force field belt. I fact." she says. "He said. 'Why don't you there was another episode called "Spock's ghost it for a think it would have made a better use the theory of infinite dimensions?' What Brain' in which Spock was out of have story. He looks silly constantly appearing in came out was 'In Essence Nothing.' which period of time, and they didn't want to qualms I got a that space suit. I really had a lot of became 'The Tholian Web.' At the time, if I him incapacitated for two scripts. So. that. Not from poor designing or remember correctly, the very first draft of phone call that said, 'We have some interest about anything, but from a story point-of-view, it the story had Spock as the one who in the piece, could you come up and talk have been better. They felt strongly disappeared. The agent submitted this one about it'?' They provided a lot of would and said, 'Go that if they started something like a force and. once again, it disappeared." commentary and suggestions it have ramifications down off and do this.' I think it turned out very field belt, might I was a novice in Freiberger's webs nicely, and Fred and Bob had much to do the line on other stories. made those days, but today, I probably would have Offering some assistance this time was with it. Many of the suggestions Bob that what it countered that it was a prototype model her scriptwriting instructor. Land of the in his memo caused it to become had been given to us this one time. In 25 Giants writer Robert Duncan, a friend of became. again." I was a little years, we would get it back Star Trek executive producer Fred "Some of the things technical Burns wrote another script for the series Freiberger. Duncan called Freiberger to learn disappointed in were caused by "Originally, there were that she was promised would be purchased if if he had seen the script. "In Essence problems," she adds. Star Trek went to a fourth year, which, of Nothing" was discovered on the "reject" no space suits when Kirk and the others other ship. There were course, it did not. pile, retrieved and handed to producer beamed over to the kept them "That script," she reflects, "deals with a Robert Justman, who proceeded to read it. force field belts which field, sun that's going to go nova. We go to move in an eight-page memo that encapsulated in a kind of mini-force This resulted moved It kept them a group of colonists who've been stated there were some problems with the which included an oxygen bank. reasons. as as the batteries held, but if the several times before for various piece, but that it could probably be used. secure long 24 STARLOGMpnV 1991 T \ \ They're like the children of Israel in that they've never been welcome anywhere. They go to one planet and are forced to * X move on. they go to another planet and are forced off again. They feel like they're the unchosen and decide to take a stand on this planet and not let the Federation move them.

Only problem is that the sun is about to nova. Kirk ends up having to go through a set of rites of passage to become, in essence, the leader of this colony so that they'll follow him off. "Meanwhile, up above, we have the threat that the Enterprise goes through which is this kind of giant bubble of ultra-violet rays, resulting in everyone on the whole ship going temporarily blind. The only one who functions at all is Spock. and he ends up having to lead McCoy through surgery to get two or three crew members back in the condition where they can get this ship away from there on time if Kirk gets the people to move." Bennett's webs Burns nearly re-entered the 23rd century during production of Star Trek II: The Wrath of Khan, as a rewriter of the Jack Sowards screenplay. "Harve Bennett, who had hired me several times to do The Six Million Dollar

Man, called me in and asked if I wanted to rewrite the script." she explains. "I read it, gave him all of my suggestions and said, 'You're really into this and love it so much, why don't you rewrite it yourself?' He said, 'Maybe I will.' and that's what he did.

I'll probably kick myself now that I didn't With little time to save their captain, the rewrite it. because almost everything I Enterprise becomes caught in "The suggested to Harve was used in the rewrite. Tholian Web." "Since Leonard Nimoy wanted Spock to die, I said to Harve, "You mustn't kill Spock and it's probably the best science fiction in such a fashion that he can't be brought show to ever hit the air in a popular sense. " back,' Burns elaborates. "It was such a There are others, like The Outer Limits, final idea originally that it was impossible to which have some classic shows you can play bring him back. He also died in such a way time and time again, but Star Trek that there was no emotional impact on the consistently took the viewer on an viewer, and I said what they were missing in entertainment ride which really had a that script was the relationship between message.

Spock and Kirk, which was so critical and "It was truly what the show's bible said it which ultimately ended up in the scene was 'Wagon Train to the Stars.' I hope between the two of them as Spock is dying. that Gene Roddenberry had the right idea Originally, that scene didn't exist. Those when he said. 'We will tell tales that we were specifically my notes, all five pages of could tell in Westerns.' because Westerns which had to do with character, because are basically timeless. The reason that

Harve had never done Star Trek before. Westerns have gone out of style is that Thank God he found , a very people are tired of looking at the Old West. good character person. Basically. I went whereas science fiction, which comes in and £ through the script and said. 'This won't fly out of style, as a medium is hard to date, because Kirk wouldn't do that," or 'Spock because you haven't seen the item that they •= wouldn't do that in this particular come up with. If you look at many of the old o i circumstance." The greatest crux, as I said, episodes, some of the paraphernalia is dated 2 dealt with how Spock was killed and because of what we have today. In 20 years. ^ whether or not he could be brought back." the computers don't necessarily look like the 3 Although that was the closest Judy Burns computers on the Enterprise, but for the i has come to Star Trek since "The Tholian time, the special FX were incredible. They •= Web," she remains enthusiastic about the still hold up. More importantly, the stories o original series and the ideals it represents. hold up. It doesn't matter which generation ^ "The show is timeless." she notes. "I watches Star Trek. The stories are there." 1* 1 0. believe if you tell a good story in a timeless fashion, it's impossible for it to go out of Burns turned down a chance to rewrite I fashion. Star Trek basically told morality Star Trek II, but says she was an tales. It's nothins more than a biblical tale accessory to Spock's death.

STARLOC/April 1991 25 —

Great Britain, the country where it Inwas made, the film A Clockwork Orange hasn't been officially shown since 1972. For nearly 20 years, the SF classic of youth rebellion and teenage gangs has been withdrawn from British cinemas and denied a video release there by its director . Reportedly, Kubrick ordered the movie's withdrawal following the outcry that accompanied its 1971 British release. At that time, responsibility for numerous incidents of violence and gang activity was attributed to the film's influence. Kubrick said that he and his family had been threatened as a consequence. So, in the country that inspired the book, the home country of its author Anthony Burgess, the country in which the movie was made, A Clockwork Orange has been withdrawn since 1972.

It was into this very same country that a new version of A Clockwork Orange was unleashed in February 1990: a stage play with music based on the 1962 novel. Performed by the Royal Shakespeare Company (RSC), one of Britain's leading theatrical groups, the play's initial 35 performances were a sell-out success and the production was transferred to the Royalty Theatre in London's West End. The project's initiator (who also adapted the novel for the stage and directed the play) was Ron Daniels. Brazilian-born Daniels, an associate director of the RSC, is a former actor and has been a director of plays since 1969. His recent productions include Hamlet, Much Ado About Nothing (in Britain) and Camille with Kathleen Turner at the Long Wharf Theatre in Connecticut. "I had heard that there was an adapta- tion of Burgess' novel in the theatre, so I

searched it out, and I was rather surprised,

because it wasn't particularly interesting." Daniels says. The draft that Daniels read

had been written by Burgess around 1 984. "It had a very bare narrative and no sense of character, no sense of wit, of lan- guage," Daniels adds. "So, I then read the

novel, and I was stunned by the wit, by the language, by the characters, by the sweep

and its contemporary nature, and a curious sense of prophecy which was still very

much alive. I set about asking Burgess if I could flesh out his original adaptation with material from the novel, which is what I've done." Negotiations with Burgess were brief. "He just said, "Go ahead and do it,' Daniels recalls. "He said, "You have carte

blanche to do it.' He was particularly in- terested that the last movement of the play—which is left out of both the American publication and the film should be in the text: Alex growing up."

Anthony Burgess' nightmarish tomorrow is as near as the theatre today. By ADAM PIRANI

26 STARLOG/ApnV 1991 The play includes points out that "there was no collabora- the 21st chapter, tion as such. All I've done," Daniels says, considered a "is enhance massively his original ver- cop-out by an sion by going back to the novel, and us- American ing my skills as a theatre practitioner to publisher, but shape and mold and get the novel in a fit which Ron Daniels state for the play. But it is obviously feels is a "tragic movement." Anthony Burgess' work. I have merely ap- plied my tasks as an expert to something." To identify that this process has taken

place and that the stage script is somewhat different from the novel and from Burgess' own original stage version, the title for the collaborative stage play was amended to A-Clockwork Orange 2004. A major feature of the stage production Daniels loved the is the music for it written specially "heightened quality" by the that set designer Edge and Bono of the rock band U2. Richard Hudson's However, Daniels doesn't see Orange as a "urban hell" musical. "I don't consider this a musical gave to the play, under any circumstances at all," he says.

Age of Orange "It's very much a play which has music, at

The final chapter of the book— in certain key moments to it—underscoring, which Alex goes beyond the violent en- like a film—but slightly more importantly ergy of his youth and harbors thoughts of than that at times, and other times just settling down and a future family—was serving to enhance a moment. So. it's omitted by the original American pub- very much a play with music."

lisher and only recently restored. "Partly, I The involvement with U2 came about understand the American publisher feeling through Daniels' timely initiative. "I just that, that last movement is a cop-out," picked up the phone and phoned their

Daniels says, "but on the other hand, I manager," the director notes, "not for one personally feel that that's the play's most moment believing that they would be in

tragic movement, when Alex does see any way interested in it. And lo and be- himself caught in an ongoing cycle and hold, they weren't doing any albums at that his son is going to imitate what he that particular moment, and having just did, even though he is more tired, and come back from LA, one of them, Larry, older, and he realizes that they were mis- was particularly interested in going around takes. He sees his sons and his sons' sons with police cars at night, witnessing at repeating the same cycle, and I think that first hand the violence of the city. They is quite tragic. So, I fully sympathize with were interested, and so, we started these Burgess' desire to keep that in. long conversations over the phone, and "He was also, obviously, particularly finally, a tape arrived. concerned that I didn't become inventive "They had spent two weeks in the stu- and start inventing situations or language

"Since A Clockwork Orange the movie, but that it be very, very faithful to the ADAM PIRANT, STARLOG's British our perception of violence has changed,' script, to the original." Correspondent, is' the author of The Gerry says Daniels, Ron "we've just become Although the play's script is credited as Anderson Episode Guide (Titan Books). He more inured to it." much "by Anthony Burgess in collaboration profiled makeup master Nick Dudman in with Ron Daniels," the adapter/director issue #146.

STAKLOG/April 1 991 27 Once again, Alex (Phil Daniels) is pun- ished for his violent behavior—this time on stage.

Adds Daniels, "The play is a flashback,

it's a dream play where memories and events flow, and therefore, I think the sud- den appearance of these gigantic objects, these nightmare objects is very thrilling. I'm delighted with the set, it's very expressionist in one sense, it's construe -

tivist under control and I love it. "At one stage, I had envisioned a production that was rougher, less stylish, literally more to do with backstreet urban

realism: and indeed it would have been per- fectly possible to go along that line. But I think this heightened quality of the set creates in many ways the possibilities of using for each scene—and the scenes are all fairly short—creating for each scene one very strong visual impact moment, so

that it operates in many ways like a live comic strip, a very complex comic strip that could be straight out of the existen- tialist magazine Raw. Very, very strong images and then you're away and there's another very, very strong image. So, I do

see it almost in comic strip terms. Every moment of the play is visually very rich." Although withdrawn in Britain, the im- agery of the movie of A Clockwork Orange

is as familiar there as anywhere. But Daniels hasn't referred to the movie greatly. "I saw the film once," he notes, "fast-forwarding it—partly because I didn't want to be particularly influenced by it. But there are certain tributes like the bowler hats, but that's about it. "Obviously, the baggage of the film is very difficult, because the film is a great cultural landmark of the early '70s. I think the world has changed since then. A Clockwork Orange took the world by

storm partly because it came in the wake of Sam Peckinpah's Straw Dogs, and suddenly, that amount of particularly gratuitous violence on the screen was extremely shocking. I think our perception of violence has changed enormously in the years, from the early '70s onwards: dio after our conversations just playing on, he was full of very interesting produc- last 20 started getting television images of with ideas, toying with ideas, developing tion ideas and ideas to do with violence We War; and television seemed to some of them, and then sent me the tape: and to do with collaborating on a project. the Vietnam out into the street much more, not only and some of them had been so developed It has been a great collaboration for me." go in of real pictures of war and crime, that they're present even now without hav- terms also just in terms of television from LA ing been touched. Then, they came to see a Art of Orange but to Vice and all the fairly rehearsal in Stratford [-upon-Avon], and The designer of the play—most of Law Miami images that have invaded our liked what we were doing, and so' we went which takes place in a vast metal cylinder realistic sitting rooms. on to the further stage. like an oil-drum, drenched in scarlet—is quite possible that if A Clockwork "I approached U2 because they have Richard Hudson. "What I wanted was "It's Orange the movie were produced now, we this very contemporary sound, but they essentially an urban hell," says director being as creative as wouldn't bat an eyelid. Nevertheless, at have also, I think, spiritual values and Daniels, "and Richard, particular moment in history, it was even musical textures, which are very, he is, instead of giving me a sort of scaf- that and he extremely shocking. very sophisticated and I didn't want to go folding, he was very. very particular "I think we have also become much to a hard rock heavy metal group or punk imagined this world like the inside of a It's But he more aware that violence does exist out on group. I wanted their intelligence, their huge gas cylinder. wonderful. the streets," Ron Daniels says. "And we've taste, their sense of being contemporary. also allows it its mythic dimensions with just become much more inured to it. And they've given me exactly what I these gigantic figures." At one point, a use of crimi- wanted. massive bust of Beethoven pokes through Poverty is much greater, the nal mugging for drugs. ..so, since A "It has been a great collaboration, and one section of the drum; at another, in the Orange the movie, our percep- Bono particularly was more in tune with Korova Milkbar, a giant milk bottle is Clockwork of violence has changed." •& the production as a whole from very early suspended over the set. tion

28 STARLOG/Apn'/ 1991 3S33®!8£I Fantasy films directed primarily at children have, over the years, developed a bit of a reputation. And that reputation, with the exception of Disney

films, is that they usually don't work and/or they usually don't make any money. The Neverending Story, a 1984 adaptation of Michael Ende's bestselling fantasy novel, proved the rare exception to that rule. Critics

loved it. Kids loved it, and consequently, its worldwide box office take was right up there in blockbuster country.

Nearly seven years after its release, peo-

ple are still trying to figure out what hap- pened. One of those scratching his head the hardest is the film's producer Dieter Geissler. "I can only guess," concedes Geissler, sipping a cup of coffee in his Los Angeles

hotel room. "What I can tell you was that I

was totally surprised that the first film turned out to be so successful." Emphasis on "the first film" for, as Geissler wraps up American business and prepares to fly home to his native Germany. The Neverending Story IT. The Next Chapter.

the long-planned sequel, is already playing to packed houses in Europe. The further adventures of Bastian in Fantasia have just begun unspooling here. Geissler, who is candid in saying that "kids today are usually too sophisticated for this type of film." feels that The Neverending Story films "are a special case. "Kids seem to be sensitive to the mes- sages and the philosophies that are expressed in these movies. The bad guys, as repre- sented by the Nothing and the Emptiness, are ideas and emotions that kids think about and

can relate to. We've never felt that we had to beat the children over the head to make them get these films' messages." The Next Chapters The Neverending Story IT. The Next Chapter—which Geissler describes as "being based on a few chapters of Ende's book"—begins in the real world where young Bastian Bux (Jonathan Brandis) is facing problems at school and with his wid- owed father (John Wesley Shipp). In desper- ation, Bastian once again finds himself in the

mysterious bookstore that houses the en- chanted book The Neverending Story. The boy is drawn back into the book's where he is reunited with the boy warrior Atreyu (Kenny Morrison) and such familiar creatures as Falkor the flying luck- and the Rock Biter, and introduced to new creations Mudwart, Lavaman and Junior Rock Biter. Bastian also finds himself pitted against a black-hearted sorceress Xayide (Clarissa Burt), who has destructive plans for the future of Fantasia. Directed by George Miller from a Karin Howard script, The Neverending Story IT. The Next Chapter features an army of pro- duction designers and FX people that in-

MARC SHAPIRO. STARLOG's West Coast Correspondent, profiled Dan Aykroyd in issue #164.

STARLOG/ApnV 1991 29 "George greatly admired the first film so we felt he would be the ideal choice to di- rect," recalls the producer. "The reason he was the last person to come on the picture

was that I knew that big FX pictures can burn a director out real fast when they're in on a picture from the earliest pre-production

stages. What I wanted was for the director to come in fresh and not already worn out and to be able to put his ideas on an already solid structure." The New Characters Casting Neverending Stoiy ITs child ac- tors entailed looking at 600 people before the principals were chosen. The price one pays, chuckles Geissler, when the age of your characters is on the edge of puberty. "We knew we would have to recast the kid roles from top to bottom because the children from the first film are obviously too old now. We even had some difficulties

when it came to dubbing in new dialogue during post-production on the sequel. The children's voices were already starting to change. So, when we start Neverending Story III, these actors will already be too old." Four months prior to production begin- ning (in locations at Bavaria Studios near Munich), Geissler and Miller met with the FX team to finalize their concepts for Silver City, Xayide's Horok Castle and a shimmer- ing, futuristic Venice. "The first Neverending Story was basi- Opposing the young heroes is the evil sorceress Xayide (Clarissa Burt). cally done with a blue screen and scale model creatures. This film contains eludes Robert Laing, Gotz Weidner, Derek Geissler then hired screenwriter Karin more model work and many matte paintings. Meddings, Albert Whitlock, Colin Arthur Howard for the first of what would ulti- The giant juggernauts are men inside suits. and Guiseppe Tortora. mately be 14 drafts of the script. It was only "Falkor was a much more complicated Geissler, who reports that a third when all the pre-planning was completed five is usually effect," Geissler continues. "We used Neverending Story is already in pre-produc- that Geissler hired the person who different-sized creatures. The largest tion, says that a sequel was never far from the first on board any film, director George weighed two tons, was 39 feet long and was his mind. "We've always planned (The Man from Snowy River) Miller (not to controlled by a dozen different puppeteers. Neverending Story as a trilogy. The book is be confused with the Mad Max director of On the surface, Falkor looks the same, but just too rich to leave at one film." the same name). But Geissler's good intentions ran afoul of a complicated legal battle that saw the producer wrangling over who owned the movie rights and a suddenly wavering Ende who insisted that he have a say in any future film treatments of his work. Years later, Geissler had ironed out the legal questions, but a very basic one remained. "How would an audience years after the

first film react to a sequel?" he reflects. "The

first film has continued to have a long life in video stores and on television, so we knew people were still interested in the story and the characters. But until we did" a second film, we would never really know for sure." He began producing The Next Chapter a full year before lensing began, working with conceptual artist Ludwig Angerer on the se- quel's basic visual designs. "The Neverending Story was the first special FX picture I ever worked on, and

consequently, I had to listen to specialists who probably sold us on more than was necessary," he says. "Knowing the budget for the sequel would be less and that we would have to deliver more, I decided that it was important to know how, technically and encounters Nimbly (Umbach) visually, we were going to do this film." In his travels to save Fantasia, Bastian (Brandis)

30 STARLOGM/wvV 1991 we've definitely made great strides. This time everything works, The ears, lips, eyes—everything has its own distinct movement. The creature even maintains a constant breathing rhythm. I think audiences will notice that we've put the effort into making this a bigger, better picture." Filming began on Neverending Stoiy II in early 1990 and almost immediately ran into a major logistical problem. "We had been promised that a third big stage would be built," relates Geissler. "Our plan was to have first and second shoot- ing simultaneously on the first two stages and have optical and other FX work being done on the third. But for some strange rea-

son that I have yet to figure out. the studio decided at the last minute not to build the

third stage. It forced us to shoot first and second unit on the same stage at the same time. "That, in turn, made things doubly diffi- cult because we also had limitations on how long our child actors could work. We solved that problem by having the child actors only

do one rehearsal before we began filming. It also helped that George was familiar with working with children, and so, maximized the time we had the children on set by shooting with as many as three cameras on every scene."

This is The Next Chapter, not the last, so expect to see Atreyu ride again in a second sequel. Geissler laughingly remembers, however, that Miller's enthusiasm for the project caused a strange problem during the 16- week shoot. "We had worked the whole shooting schedule out on computer, down to the day and the number of shots we needed to get. Unfortunately, what we hadn't counted on was George being so afraid of falling behind schedule that he ended up putting us ahead of schedule. Which, in most cases, would be great except that, in our situation, FX that were projected to be ready on a certain day were not yet ready. We had one situation where George's enthusiasm had put us two days ahead of schedule and we had to sit around with nothing to shoot. So, I told

George to take it easy and take his time be- cause he was messing up our schedule." The Final Books The Neverending Story was published on Christmas 1979. Its combination of unique characters, a colorful fantasy world and a real and highly palatable message struck a chord with both children and adult readers. The depth of Ende's novel was not lost on Geissler.

"There is so much happening in this book. It's an amazing story that works on so many different levels. It's a fantasy adven-

ture for children. For adults, it is full of ideas from major religions and philosophies. It's a sprawling fairy tale that's a delight for all ages."

And it is a fairy tale from whose pro- jected third installment Geissler obligingly drops a few story hints. "Bastian will return to Fantasia and will meet with a huge desert lion made of fire. The lion gives him a magic sword which will play a prominent role as Bastian goes closer than ever before to the ivory tower. Beyond

that—well, I guess everybody will just have to wait and see." Geissler says that each film has, thus far, only touched on a few chapters in Ende's The wicked witch (Burt) prepares her parlor for Bastian's reception. book. "We've definitely got enough of Ende's book left to do a third film and

there's still enough left over to do a fourth, but I'm not thinking beyond getting the second film into the theaters and beginning pre-production on the third. "I don't see Ende writing another Neverending Story book because the films have been so successful. He's an artist who doesn't think in such business-like terms. But who knows? He might eventually write another book which would also lend itself to film. We'll just have to wait and see." Geissler turns reflective as he contem- plates The Neverending Story films. "These films are a wonderful opportunity to make people dream and hopefully read. We've done a faithful translation of Ende's book, but there's so much more for people to discover if they'll just pick up his book or any other books that will inspire a sense of fantasy," Dieter Geissler says. "Story is about the ability to create something in one's self. We've got to return to reading if we want to protect our own —and to the dreams in ourselves." The boys unleash the power of the Wambos against Xayide's forces. protect &

32 STARLOGMpnV 1991 Fantasy Father John Wesley Shipp has a theory about auditioning. When a decision is a long time in coming, the chances are it isn't coming. That was pretty much the situation in summer 1989 when the actor, currently starring in The Flash, auditioned for a role and lost it because he was too old.

"But what I discovered was that the casting people thought I would be right for another film being cast and sent my audition tape to Germany."

Where it fell into the hands of the pro- ducer of The Neverending Story II: The Next Chapter. Producer Dieter Geissler liked what he saw and cast Shipp in the pivotal role of Bastian's widowed father, succeeding Gerald (Major Dad) McRaney. "It's my first dad role," quips Shipp, "and I'm pretty much in the thick of what's going on because this time the story is centered around a father-son relationship. Bastian goes into the book and becomes involved in The Neverending Story, but my character the picture wiXYi Jorm ; Wesley Shipp ^fttefs The Next Chapter as -the widowed '':>'" discovers the book, reads it and, in the end, father of Bastian (JoriathanBraridis). ; "» has a major impact on the final personal decision that Bastian has to make."

John Wesley Shipp was born in Norfolk. operas Guiding Light, As the World Turns says John Wesley Shipp. "But I feel the Virginia and, at an early age, studied piano and Santa Barbara. His theater credits, prior father-son relationship is equally strong. and voice. Shipp studied acting and music at to The Flash, include Safe Sex, Tamara Bastian and his father start off with a major Indiana University for two years before Cat on a Hot Tin Roof and Sit Down and Eat problem between them. But by the time the heading to New York to pursue an acting ca- Before Our Love Gets Cold. film ends, they're able to say they love each reer. He spent most of the 1980s as a fixture "The major story in The Neverending other." on daytime television, starring in the soap Story is Bastian's adventures in the book." —Marc Shapiro

When not busy in Fantasia, Shipp makes his home in Central City as Barry Alien and his super-fast alter-ego The Flash on the CBS TV series. xrm mmmtmm J

world's largest science-fiction audience. For as little as $45, you can reach over one million SF fans, the in by 3, 1991. DEADLINE For STARLOG #169: in our office by April 1, 1991. For #170: May Punctuation symbols spaces BASIC RATE: $15 per line (limit: 48 characters per line) Minimum— three lines. & count as characters. Small display ads: $120 per column inch (Camera-ready only!) will be printed in BOLD CAPS. HEADLINE: First line only: Word(s) of your choice (underline them) CATEGORY: Please indicate category under which your ad should be listed. Communications Int.) PAYMENT: Cash, check or money order must accompany ad. (Checks payable to Starlog Avenue South, 8th Fir, NY, NY 10016 broader selection of Sci-Fi MAIL TO: STARLOG Classified, 475 Park MODELS: GTC sells a this section. STARLOG is not responsible for any product or service printed in Scale Models than any other distributor in North READERS: Beware! America! Send $3 for GTC's New 28 page il- TOYS: STAR WARS, G.I. JOE, TREK, GALACTICA, lustrated catalog with over 1,000 Different Models Next: Generation, Lost in GAMES. 60's,70's, + 80's large cat. Toys + Cards. Star Trek, Thunderbirds, Star Wars, Star Trek from Robotech, 4721 N.W. Fisk, K.C. MO the Beast , Trek Send $2 Rob-Lee . Macross, and more. Galactic Trade Commission, Space, Beauty and 64151. 10185 Switzer, Overland Park, KS 66212. classic and movies, Dr Who, Star Wars, Ali- ens, Blakes 7, War of the Worlds, ThePrisoner, The Avengers, The Man From Uncle, Airwolf, MacGyver, Battlestar Galactica, Space 1999, IDACAZinE) UFO (and other Anderson shows). Outer Lim- The TV Guide' ol Fan-wriuen publications CATALOG ++ oi ++GIANT includes Listings. Reviews. Letters Comment. its, Twilight Zone, Voyage/Sea, Time Tunnel, NOW AVAILABLE' Scripts horn your favorite Sci-Fi & Wan! Ads and more. Sub|ects include: Horror Movies From Frenhemtein to Ghostbuttortt Over of the Giants, Starman, and many others k Land Beauty & The Beast. Star Trek. Star Wars, etc - INC amazing titles" Send SOt (refundable) for a huge Fiction Catalog: toys, 1. 1 Science for catalog Receive rill offer " Send to SCRIPT CITY. are in our 6-issue subscriptions are lust $12.00. S3 8022J k 1770 N Highland. *608SL. Hollywood. CA 90028 books, models, tapes, posters, scripts, props, nd to: Data?ine. P.O. Bo> 24590-S. Denver. CO records, miniatures, photos, buttons, blue- prints, patches, jewelery, much more, only JAMES BOND, TV AVENGERS, SELLING $1.00 ($2.00 Canada, S3.00 overseas, US funds only!). U.N.C.L.E., Charlie's Angels, Dark Shadows, Star VIDEOMOVIES/SOUNDTRACKS! LPS! Trek, Batman and Prisoner, Playboys, Charlie's SStmr TtBtsk 1,000,000 Video Catalog: $1. Sound- Angels, Combat, Sci-Fi, Horror, Movie and TV PO Box 456SL, Dunlap, TN 37327 SF&HORROR/CULT. $1. Posters: $1. RTS/V165, Box 750579, Photos, 8. Paperbacks, etc. Catalog $2.50. TV Guide tracks: 94975. Catalog 1950-1990 $2.00. Howard Rogofsky, Box STAR TREK, Star Wars, B.S. Galactica, "V," Petaluma, California 11004 full of live SL107, Glen Oaks, NY Blakes-7, S. Trek Next Gen., I carry a line ATLAS! THESCI-FI SOUND OFTHE90's. Seen Robotech! PROPS: LIS/STNG/TV SERIES phasers/ science fiction items! Sale on Dr. Who, at several Los Angeles Creation Cons. Cassette of 1991 catalog! (Canada now available. Send comms/uniforms quality for less. Mail $1 to The Send $3.50 for 75 page original Sci-Fi inspired music $4.50/overseas $6.00) Refunded with 1st order. Anthems, 260 S. Glendora, #102, Prop Dept, 5600 Spruce Ave, WPB FL 33407, (407) $8.95 to Galactic Sci-Fi Shop, P.O. Box 56116 Dept. 6, Har- write for details. 845-5410. Tom's W. Covina, CA 91790 or woodHts, IL 60656-01 16. MACROSS SAGA PLASTIC MODEL KITS: From & of science fiction, TREKEE OUTFITTING new. for space, tv, movies, figure, etc. Old & $1 $79.95 (6 volume set) Inc. 1821 W. Jacaranda, Fuller- FINALLY DONE RIGHT! catalog. J.F. Green SELLS VIDEOS FOR LESS! ton, CA 92633. NOBODY MERCHANT •I ULL COLO'K CAT.ILOCj THE VIDEO o-j

Levene to Mrs. Pat Walmisley, c/o Congressman Eisenstein Carlos J. Moorehead Office, 301 Colorado (continued from page 20) (continued from page 13) Boulevard, Room 681, Pasadena. CA

91101. on talismanic rings. I had never written two alternatives: Marriage—or to leave. "And all a letter needs to say is, T am a any dyed-in-the-wool fantasy, and I was "Let me just get this on record now. For fan of an English show called Doctor Who. fascinated by what rings could do. After me to get my green card. I must be accused One of the characters I'm a fan of is reading Lord of the Rings, I knew about of and possess 'distinguished merit and Sergeant Benton, played by John Levene, rings of power, and I thought, 'What if the ability." I have to be in the minds and also known as (this is important) John ring itself were the thing that commanded hearts of the minimum of a million peo- Anthony Blake. John is a resident of some greater power, and that power was a " ple. What the INS doesn't know at the Burbank. California, and has been for one creature?" moment, is that I, along with the other year as a resident, three years as a visiting Once the basic concept was estab- characters on Doctor Who, am in the hearts alien.' And I don't want any ha-ha-ha's lished. Eisenstein took it one step further. and minds of more than 4.5 million peo- after the word 'alien.' "The premise was that these rings com- ple. And that's growing by about 10,000 a "In terms of Hollywood. Benton mand, demons, and the demons do the work year, by the power of our innocent, won- doesn't even rate one decibel. Your writing for humans. And that's the magic; demons derful, well-written, intelligent, science means that they'll then see and hear that I are magical creatures who live in another fiction show Doctor Who. I am in awe of am a man, and I didn't make the words my- dimension. From that point, everything the fact that I am a part of it." self, 'of distinguished merit and ability.' just began to grow." So far, the Immigration and In other words, readers, viewers, fans, I What sets the universe of Sorcerer's Son

Naturalization Service has been less than just need to prove I don't take any work apart from other fantasy series is the welcoming. This is where fans can help away from an American. So, please write. I unique set of rules that Eisenstein Levene. "To get the green card, we need to thank you." developed for her special brand of magic. get the weight of letters, but intelligent, "I wanted the magic to be a kind of nice letters. Don't make me sound like At Ease technological magic," she explains, anything more than I am, really just a Recently, Levene has shared conven- "magic you could learn, that was not in- personality that can do Hollywood no tions with Jon Pertwee. born. You could use the scientific method harm and can only enhance it in terms of and Colin Baker. "Nick has mellowed, and to investigate it. you could experiment one's connection with Doctor Who. Write has come out of his shell a lot from his with it. it was always the same as the last usual semi-Brigadier kind of reserve," time you did it. You used technological Levene says. "I remember many years ago things such as metallurgy and casting. As

when he used to say to me, 'How is it that a student, you kept notebooks and records. WANTED Wholesale items/props forTrek&others. you're so talkative in front of an audience? It wasn't just mystical passes in the air; it Cal I or wri te: (407) 845-541 0, Prop Dept, 5600 Spruce Ave, WPB, FL 33407. How did you get like that?' was a science of its own kind."

MOVIE STAR ADDRESSES. Send $5.00 plus star "I said. 'Well, Nick, it's called being a Despite the relatively long time it took name to George Hope, Jr., 116 East Pauline Street, writer's Conroe, TX 77301. big mouth, and deciding not to be reticent, her to complete Sorcerer's Son, SPECIAL EFFECTS WORKSHOPS: 35mm Camera because the fans want to hear about you. block doesn't seem to be a problem; since Equipment Front & Rear-Screen Projection, Stop- Why be shy and inward, when these people 1979, she has produced six books. She is j Motion, Time-Lapse. For Info. Call SPFX (718) want to know who you are?' He said, 'Oh, in the midst of researching a science 956-8452. now but it's hardly British.' I said. 'Stop it, fiction novel, Fountains the Deep, set GOVERNMENTSEIZED Vehicles from$100. Fords. of ' Mercedes. Corvettes. Chevys. Surplus. Buyers Brigadier. in the Sahara Desert during World War II. Guide (1) 805-687-6000 Ext. S-30028. "And Colin Baker has such a brain. Like her four previous novels, the protag- HUNT! Learn how to find, capture, BUTTERFLY He's so erudite, so witty and clever, that onists are a young man and a woman. prepare, preserve and display butterflies & moths. man. Colin loves my humor. He had a "This book will have similarities to Send $3 plus $2 for shipping to J. Allen; PO box 25; — Braxton, MS 39044. badge made 'This is a joke-free zone' Shadow of Earth," says Eisenstein, "but

STAR TREK FANS: For previews of upcoming it I and awarded me that. At one panel, I cov- will be much wider in scope. In essence, episodes and movies, episode listings and conven- ered up my badge, and I said. 'Colin, I feel will be a return to what I was doing before I tions TOS and TNG call 1-900-872-2600 ext 421. I per $2.00 minute. . a joke coming on.' Colin laughed uncon- became associated with fantasy."

GET INTO MOVIES/TV AS CAST, CREW OR FX. trollably, and I told the gag, and it was an This will be her first SF novel since | Over 20 pgs of info & tips from industry pro. Send $7 uproar. Colin and Nick and I jelled beauti- 1981, when she published the Robert to: Gabriel Ent„ PO Box 5495, NYC 10185. fully. They came out of their shells more, Heinlein-influenced In the Hands of

I and appreciated my little bit of exhibition- Glory, and only her second since Shadow

off it nicely." it's attempt to break ] ism. They played of Earth. But not an POSTERS, ALL CURRENT RELEASES. MOVIE Until the issue of his legal status is set- away from the label of a fantasy writer. Thousands 1950s-1980s. FASTEST SERVICE. Visa/MC orders (904) 373-7202. Catalog $2.00. tled, Levene has been told by the govern- "My association with fantasy wasn't RICK's, Box 23709-SL, Gainesville, FL 32602-3709. ment to seek work in other areas. "I'm planned," she remarks. "It just worked out ORIGINAL MOVIE POSTERS. Star photos! Two working in a men's wear shop, which I'm that way, so this is less of an attempt to catalogs, 3000 illustrations $3.00 Poster Gallery, I've Box 2745-D3, Ann Arbor, Ml 48106, 313-665-3151. hating. But just done a convention in 'break away' than it is a rejoining." Minneapolis, which went down well, and With work on her new novel well un- got on two chat shows, which went down derway, Phyllis Eisenstein looks into the HKABILI NSVIE POSTEIS AND HE well. Really, I'm just waiting to see what future with humor and confidence. WE'VE GOT YOUR POSTERS!! CURRENT RELEASES! happens." "I have a very sardonic view of life," THOUSANDS OF TITLES! CALL. 1 -800-845-3983 OR Despite the uncertainties of his future, she admits. "I believe Theodore Bikel said SEND S2.00 FOR CATALOG TO: the former Sergeant Benton is philosophi- it best when he said, 'Life is nothing but a

cal about his Hollywood experience. "I'm pool of mud.' After I heard that, I thought P.O. BOX 1873 LEE'S SUMMIT, MO 64063 on a new life," says John Levene. "I'm to myself, 'He's right! Life is nothing but VISA/MASTERCARD ACCEPTED now coming up on 49. Whatever comes a pool of mud.' It is full of disasters and

along now, I shall do with equanimity. If unpleasantness and from all of this, we can

it's entertaining people. I think that's the sometimes wring a wry kind of humor,

area I should focus on. So, what I'm going especially dark humor. And since that is STARFLEET ACADEMY-STARBASE XII Enlist to do is whatever God sends me next. I'm the way I am, it comes out in my fiction. I now! The Official International School for Treckers. $12.50/year. P.O. Box 2312, Evansville, IN ready for a new life." & usually find it irresistible!" & 47728. STARLOG/April 1991 35 NEW WORLDS OF WONDER!

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The Teenage Mutant Ninja Turtles shell out in a sequel.

Last summer, the Teenage Mutant Langen's own life has changed in the Langen was approached about writing Ninja Turtles, those four green, past year. Soon after Turtles' release, the sequel just before the first film's open- wise-cracking, pizza-eating heroes Langen left his job as story editor of The ing. The test audiences' reactions were so created by Kevin Eastman and Peter Laird, Wonder Years to devote time to his oWn positive that Tom Gray, head of Golden became bigger than ever thanks to their original screenplays. Although none are Harvest, the movie's production company, first movie. Kids everywhere were in the works yet, he says the first Turtles and David Chan, also of Golden Harvest, standing in line for hours to see movie did help him establish his name in met with Langen to discuss a potential Donatello, Michaelangelo, Leonardo and Hollywood. 1 second Turtles film. "They wanted to see

Raphael beat up on the bad guys while I m just sending my works around ; how it would take off," he offers. And as

hanging around with their master Splinter, now. but I was put in a fortunate position soon as Langen saw how far Gray and Chan their friend April O'Neil and buddy Casey because of the first movie. By working on were willing to go, he accepted their offer. Jones. the Turtles movie, a special opportunity This month, they're back, ready to presented itself." Slimey Story jump onto movie screens in everyone's Curiously, writing the comedy-drama As he began working on what Langen neighborhood in Teenage Mutant Ninja for The Wonder Years didn't prepare says he wanted to call a "shellquel," he met Turtles IT. The Secret of the Ooze. And to Langen to write for the Turtles. "It didn't with Eastman and Laird and reread all of the guide them through their new adventures, help because they were totally different," comics that the creators provided for Todd Langen has also returned. Langen, Langen admits. "Wonder Years was a dif- "homework." But Langen's first draft credited as screenwriter on the first project ferent type of exposition, a different type script was bogged down with excessive (writer/comedian Bobby Herbeck got story of comedy. The movie was a nice change plotlines and characters until director credit), has jumped up to "writer" this time of pace. It wasn't as emotional, and I was Michael (Dr. Detroit) Pressman stepped in. around, penning the script alone (see able to just let go and be very broadly COMICS SCENE #13 for further details on comedic. It was like opening a safety T.L. JOHNS, New Hampshire writer, pro- writing the first film). valve. The movie was very easy for me." filed in STARLOG #159.

STARLOG/ApnV 1991 37 —

"Kevin and Peter were involved from square one and they helped with the broad, initial story," Langen says. "And they had final story approval. But my first draft had problems because I put in what everyone wanted to see in the film. The first draft was very crowded, much too confusing. Later in the summer, Michael Pressman came on and he made a tremendous differ- ence, I'm happy to say. Michael helped Conflicting Characters additions to the cast is pare away the fat and he became very in- Among the new British strumental in the script's shaping." Professor Jordon Perry, played by Warner The script that emerged from all of the actor David (Time After Time) According to Langen, meetings is Secret of the Ooze, an adven- (STARLOG #148). good or bad, he's ture that began as an environmental tale, "we don't know if he's also the key to but, as Langen explains, Turtle antics just mysterious." Perry is soon took center stage. the truth about the ooze. problems. In the Langen says, "The environment started Perry presented a few mysterious professor worked out as the focus, but it ended up just being comics, the but the existence of a real a device. It was starting to sound a little for TCRI Labs, caused And he isn't really. Actor Francois preachy and we didn't want that. It has lab of the same name in California profes- Chau has taken over the role from James ended up being an area to help move the an alteration to TGRI. Then, the several times be- Saito, who played it in the first film. story forward, no point is trying to be sor's name was changed Another new character is Keno (Ernie made. That original idea was keeping us cause "we kept finding people in the New with the same Reyes, Jr.). Reyes starred in Red Sonja and away from the focus." York City phone book situation, Langen the TV show Sidekicks with Gil Gerard, and The budget will be about what it was name." To remedy the monicker taken from appeared in the first film as Donatello's last time, around $15-$20 million. "We gave the character a stunt-double Turtle. Like Danny in the knew we couldn't blow up planets," adds two Wonder Years co-workers: "Jordon previous movie, Keno is a young boy, Langen. But what fans will see in the sec- Perry" comes from Mark Perry, now the story editor, and Jill "someone for the kids to relate to," says ond film is more comedy. show's executive co-executive Langen. "A lot of comedy, even more" than in the Gordon ("J" and "ordon"), martial artist, but he thought it was funny, they "He's an excellent first film. For me, that's the best thing producer. "They problem. He likes to fight, it," laughs the screenwriter. has an attitude about it. It's much lighter, both in dia- liked maybe a little too much. Raphael and logue and physically. The movie came un- Langen can't say much else about the are tied Splinter think he's ready for an attitude ad- der some criticism for being shot so much new characters. "Really, my hands can't say," he la- justment. In the new film, the Turtles in the dark. But everyone was afraid of how as to what I can and the movie aren't in the sewers anymore, they're liv- the costumes would look, if they would ments. "But if you look at shadowy figures in ing with April and driving her crazy. Keno look all right in the light or not. But it poster, you'll see the a familiar starts as April's neighbor and ends up turned out OK, so we were able to lighten the back. Plus there might be to do some damage." joining with her and the Turtles." this one up." face coming back Changes include a new April O'Neil Any Turtles fan knows that the "ooze" Like Shredder? can't say," Langen says, ob- actress Paige Turco succeeds Judith Hoag is what helped create their mystique. As "I really could. "But I will say (STARLOG #154)—and the loss of Casey small pets, abandoned by their owner, the viously wishing he the same Jones (Elias Koteas) who Langen said last four Turtles were mutated by the radioac- that if he comes back, it won't be year would steal the first movie. tive green ooze, giving them the ability to Shredder."

38 STARLOGMpnV 1991 Has success spoiled the Turtles? No, but they are bowing to pressure to be less violent in this sequel.

>^m^

\ )

Like the last film, there is a young char- acter, Keno (Ernie Reyes Jr.), for kids to relate to in between Foot problems.

/

) it really didn't "It was a struggle throughout both proj- "I really enjoyed Casey," Langen re- the Turtles." But, he adds, of ects, especially picking the middle ground marks, "but as we sat down to discussions make a difference to him as he "think[s] original first, then the actor." between the darkness of the with Kevin and Peter, it became apparent the character also get to see the comics and the cartoon's silliness. I mean, as we tried to target the same length of the Audiences will on again, as the finale occurs I had never watched the cartoons— first film. 90 minutes, it was too much to Turtles dancing artist Vanilla Ice purpose during the first film. I've seen a jam him in. We would have had to address in a nightclub, with rap — half-shell bit of them now, but I've never sat through the romance between Casey and April and cameoing and the heroes in a whole one. It was also hard in the first write things for him to do with the singing the "Ninja Rap." a would not one as the actors playing the Turtles Turtles— it was just impossible. He's insert gags that I hadn't written, like the even alluded to in this film." Awed Audiences producers are Three Stooges stuff. Some of the As for April, Langen says he wa Once again, the film's explains mannerisms, the sounds, those were never privy as to why there was a casting shooting for a PG-13 rating. That in the amount of violence on written into the script. They were added change, whether it was to "go for a differ- the decrease production during shooting for technical reasons. ent look or a different relationship with screen. Langen admits that the team was concerned about criticism from Again, everyone was conscious of people parent groups who viewed the violent watching the Turtles' lip movements, so Turtles as bad role models (or terrible ter- many gestures were thrown in. rapins?) for children. The screenwriter also "But as for the violence, we've toned it that I totally agree with found it difficult to keep the first film down a bit. Not broad enough for both young adults and that. But the Turtles will use their weapons action is more fun. There's kids to enjoy it. less and the less thunking people over the head. But there's more action and more fights. It's just that the kinds of fights are different. For one sequence, they play something on the order of 'Hot Potato' and 'Keep Away.' There was a general outpouring and back- lash from the public, but I felt that the vio- lence in the first one was very much car- toon violence and I think the kids knew

that. I mean, I grew up on Warner Bros, cartoon violence, but I never wanted to drop an anvil on someone's head. It's the same with the Turtles: No one ever dies or gets stuck with a weapon. "Kids were the focus of the first film,

and it will be even more in the second. Based on the audience reactions over the Splinter notes the first movie, this one is much more geared emergence of toward kids. I think it's still for adults, even more too, and the humor is broader, but the which Turtlemania balance was tipped for the kids as they occurs after were the first one's main audience. It's the heroes' batt hard to make a movie appealing to both takes them to a adults. The humor is the hardest. club where rapper kids and Vanilla Ice is But yet, the kids were held by it." performing. VANILLA ICE Langen enjoyed the outcome of the .first film "quite a bit" and says he felt the laughter worked on both the kids and (continued on page 70)

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whose credits include Psycho II. Cloak and Dagger, Link and the pilot for television's

Beauty & the Beast, "is that FIX 2 is broadly what one would call action/ adventure as opposed to what's generally referred to as a thriller— i.e., a horror film—in the U.S. The fact that it's a sequel doesn't really bother me. The reality of this business is that franchises are much safer than a one-shot. "I want to do something better than the A first movie and, like George Miller and the second Mad Max picture, I think we had the opportunity to do the movie again, bigger and better. That's with all due defer- ence to [first film director] Robert Mandel. The fact that it's a sequel just means that it's pre-sold and a title that people remem- ber. The appealing thing was the idea of an FX man who's dragged into the real world and doesn't like it very much. Then, he uses his abilities to get on top. I felt that

For director Richard Franklin, the most difficult effect was the sequel itself.

Rollie Tyler (Bryan Brown) returns to his s. film tricks to catch a killer, but soon entangled in becomes something more | devious. °- In a script that went through 27 revisions,

it fell upon Brian Dennehy to "embroider" his own dialogue.

apart from a supermarket set piece. "So. we inherited a first act that had nothing to do with anything and then had to invent a story from that point on. We really had to do something that I thought was impossible, which was to insert a new backbone into the narrative. We added more levels of subterfuge on the side of evil, which Rollie and Leo have to un-

cover. It allows Leo to be more of a detec- tive and Rollie to do more FX to overcome the forces of evil."

Effective Situations As originally conceived, the McGuffin—that Hitchcockian plot device that sets the whole story in motion—of FIX 2 was a group of stolen Vatican coins. For Franklin, this wasn't quite dramatic or logical enough. "Let me tell you what happened," he says excitedly, "which I took as a stroke Photo: Kerry Hayes of fate. We discovered that Vatican coins unusual, as the Vatican has been could be done again without losing any- other hand, you try to give the audience aren't that currency for years. I the view in Psycho 11 issuing its own one. Indeed, I think the premise would what it wants. took and Obviously, there are vintage coins, but make a good TV series." that we should go back to the house so obvi- generally they're worth what Italian coins At this point, as FIX 2 hits theaters, the motel, even though that was worth. Even if they were rare coins, we Franklin prefers to talk primarily about ous. It's just a matter of getting back there are viewer's would have needed a truckload of these the complex odyssey of its scripting. in a way that doesn't insult the things, and it was a bit hard for us to work "The script went through 27 complete intelligence. That first act of the FIX 2 liked, was out how our boys were going to get away sets of revisions while we were shooting," screenplay, which Orion really kept. with this truckload of coins. So, he emphasizes. "It's a hideous way to the only part of the script that we work. It ends up with the same result, but one isn't plotting the usual way, which is that early on you lay out all the pieces of the puzzle and then start to layer character and so forth over them. In this case, we would be plotting as in. 'Well, next week.

I have to shoot the supermarket scene. How do we get to it?' In other words. I was having to jump all over the plot and then have the writers focus on individual scenes and hope that we didn't paint ourselves into any corners.

"It's a situation that I never quite wanted to be involved in." he adds. "It's unlike Psycho //, in which I was employed to basically come up with a story because they didn't like the novel [Psycho If]. In this case, they had a script that they thought was OK, and it really wasn't. Thar script would have fallen apart after the first act." Of the first draft Bill Condon screenplay, Franklin notes, "The basic set

up is Rollie, whose girl friend was killed in the first film, is now living with a school teacher and her son from a former marriage. The boy's father, her former

husband, is a cop and he's asked to get in- volved in a piece of police entrapment. As

it turns out. things are not exactly what they seem. The cop asks Rollie to help him. Rollie, for reasons which are a little cloudy—like his relationship to this man's son—reluctantly agrees to get in- volved once again in the very thing that got him in trouble previously. Now. this could be said to be predictable, but on the

TARLOC/April 1991 —

somebody came up with the idea that the "To that degree, we only elaborated on

coins may have been the work of a famous the McGuffin. It went beyond that, because

artist. I suggested Michelangelo, because it was at that point that I brought in Bruce

of his obvious connection with the Sistine Haskett, a screenwriter who. I discovered, Chapel. They were going back and forth was a private detective, ex-military intel- on whether we should go with ligence, police and so on. He was a guy

Michelangelo or Leonardo da Vinci. with real expertise. I called him in. ini- "Incredibly," Franklin continues, "my tially as a technical consultant. prop man walked in my office one day Unwittingly, our efforts paralleled The we're still writing the script and he's al- Godfather III. Somehow or another, be- ready buying the props—and he said to cause we had these medallions, he sug- me, 'Are these the Michelangelo gested, without knowing anything about Medallions you had in mind?' And he Godfather III. that the logical people for spread out on my desk a series of pictures the Vatican to get to try and recover them of circular medallions. There were 10 of was the Mafia. Ours doesn't work exactly

these and I said, T didn't know there was like Godfather, and there are a series of

such a thing." Indeed. I've spoken to a twists in it. Basically, the mob does get coin expert who said that Michelangelo involved in our story, as they did to some

didn't do any. But it turned out that there degree in the earlier drafts. In Bill's early was a section in a book called 'The version, there was a peculiar relationship Michelangelo Medallions.' They were between the mobster, the girl and the painted on the Sistine Chapel ceiling. peeping torn or some such thing that never

Despite having been there twice, I had made any sense to me. never noticed before that the Sistine "The only person credited with the

Chapel ceiling has. I think. 10 plus two script is Bill Condon, who wrote the first incomplete, large, gold-colored circles draft and then a second draft in Toronto which depict scenes from the Old [Condon discusses the film's writing in Testament, and the part of the painting we FANGORIA #101. now on sale]. The 27 "You try to give the audience what it all know well, which is the color part, is sets of revisions were done by Bruce wants," warns director Richard Franklin, interwoven among these Old Testament Haskett and by an Englishman named Bob even if it means a certain amount of scenes. So, we conjectured that perhaps Kellatt, who I gather was involved in the predictability. Michelangelo, as a gesture to Julius II who first picture. The producer brought him in had commissioned the Sistine Chapel, because we were juggling so many ele- movie. So, 27 sets of revisions were done made up a set of these as real three-inch ments of the script and he functioned as by Bruce and Bob, with about three of diameter medallions. It was a one-of-a- sort of a script editor, which is a function them being written by Bill, who came kind set that had been lost for many years. one expects on a TV show but not on a back at one point at the request of Bryan

Brown to rewrite some of his material. I should also say that Brian Dennehy did a lot of his own dialogue. The only diffi- culty was that they were long. He could

embroider a scene and make it infinitely fascinating. Brian has a wonderful turn of phrase which looks OK on paper, but the minute he starts doing his own dialogue,

he sounds wonderful. The only problem is that the script kept getting longer."

Reveals the filmmaker, "This is the area I'm most interested in talking about because for all the viewer would know, the

director walks in and the script is ready, which was not the case. My major task on this picture was pulling together a script

that I had inherited, while under the strains of making the movie at the same time.

Understand that it was a collaborative ef-

fort between Bill Condon and I, and we got along very well. It's just that in certain

areas, I thought Bruce was better equipped, particularly with the crime/procedural ma- terial. Bill tended to write good fantasy material which bore little relationship

with reality. I tried the first act on the NYPD, and they fell about laughing, say- ing, 'Boy, if we had time to do that, we

wouldn't be dealing with anybody.' I said, 'All right, so you have a man who has done time for murder and who has threat- ened a girl's life and has said to her. "I will kill you tonight." What do you do?' They said, 'In the best of all possible worlds, we would give her protection. But as things are in New York now, we would wait until she was dead and then investigate!' So,

STARLOG/'April 1991 47 u Q. C o o

at

...

je D) >. Q. O U I o O o

'>•>

9:

FX "When you're making a picture like F/X, it's pretty silly not to listen to the special department," notes Franklin (far right).

sausages The scripting process of FIX 2 was The dogs pursue this string of made even more complex by one of onto the tennis court and find themselves Franklin's own decisions. caged in, like in a dog pound. gun. "To make matters even worse," laughs "Remember. Rollie doesn't carry a had to come up Franklin, "I did something on a couple of He's a . So, one' Bond has clever the set pieces which was a technique Walt with clever devices. James that Rollie Disney used back in the early days of the devices, but the difference is mind. He Disney Studios. He used to invite the ani- Tyler improvises these out of his department of the mators to come up with gags, basically doesn't have an entire for him. They sight gags, for Mickey Mouse, Pluto, Secret Service building them version of Donald Duck and so on. For a sequence in a have to be a funny, diminutive might do." supermarket as well as the finale, I actually what James Bond held a meeting with all the department heads and put up a clipboard in the produc- Effective Solutions tion office, inviting them to come up with quite some time. Franklin has ideas. Now, that may sound a little bit like For wanted to "change his image," having be- I was lacking in ideas myself, but when well known for Hitchcockian you're making a picture like FIX, it's come (he discussed his past work in pretty silly not to listen to the special FX thrillers #126). From his point-of-view, department in terms of ideas they have, or STARLOG departure, though there's one se- practical jokes they once pulled. To stick FIX 2 is a in particular that he decided to ap- to only what the writers had come up with quence trademark style. In that would have limited us. So, all of these proach in his with the police to cre- elements were coming in from all sorts of scene, Rollie works illusion of a woman taking a areas. The finale in the first draft, as I re- ate the lure a killer into her member, took place in a tin shed on a shower in order to apartment so he can be caught. wharf at night. For the finale now, it takes that this scene should be like place in a mob safehouse on Long Island "I decided a film," Franklin details, Sound during the day. It's a wonderful a film within "because, as you'll see, that's how Rollie scene I think I can afford to be that im- a good — "I think the premise would make achieves the effect. I'm sure when the audi- modest and is largely the work of my Franklin as to the further — TV series," says they'll be convinced that we production designer. John J. Moore. He ence sees it, adventures of Rollie (Brown) and Leo cheated on that image. I swear to you that McCarthy (Dennehy). came up with most of the devices you'll didn't. The image of the girl showering see in the finale. we sets up, which is a there are guard dogs at is exactly what Rollie there you are. As I say. Bill would write "For example, Sherlock the dogs device from The Return of and I don't the mob house and in order to put material that was fantastic— came idea of hav- Holmes. When Sherlock Holmes mean that in the negative—and then I away. John came up with the of the Empty tennis ball machine back [in "The Adventure needed Bruce to pull it back into the real ing Rollie load the (continued on page 70) world."' with sausages and fire them at the house.

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By GWEN LEE & DORIS E. SAUTER Just a few short weeks before his to Dick's short story "We Can Remember death in early 1982. Philip K. Dick recognition—from his novel The It For You Wholesale" (which, in 1990. engaged in a series of intriguing Transmigration of Timothy Archer and would emerge as Total Recall). conversations about his life and work. from the then-upcoming film based on Do And Dick had begun to consider, to One of the genre' s greatest talents. Dick Androids Dream of Electric Sheep?, Blade think about, to plot a novel he would never was on the verge of increased mainstream Runner. Film rights had alreadv been sold write...

STARLOG: It sounds as though your books write themselves for you.

PHILIP K. DICK: Yes, once I get started. There are those two years before they start writing themselves where I've got to figure out what STARLOG: Did you ever experience writer's block?

DICK: Yes, but for me, it's a blessing.

Because I'm an obsessive writer, and if I didn't get writer's block, I'd overload, short

circuit, and blow my brain out right away. I once did 16 novels in five years, sold every one of them. Plus a lot of stories, too. And

they were all publishable. And if I didn't get

writer's block, I would die. I mean, it's the greatest relief to me. Now, when most writers get writer's block, they get frantic.

I know that on an unconscious level, my

The late Philip K. Dick hears the music for a novel he would never write.

mind is sorting through all different

possibilities and a day will come when I wi

know how to begin. And the second the first sentence is down on paper, the book is

begun. If you looked up "writer's block," it means that the writer has something that he knows about but he can't figure out how to

write. Although, I suppose, it's possible that writer's block could consist of not having anything to say, and could occur at any point, but for me, it's just a question of how

to say it, how to go about it. I'm under con- tract to write a book at this point. I've been

paid for it. If they don't get it. they're going

to come kill me. So, I've been warned I have

a deadline, but I have blocked out when the

deadline is, because I don't want to think

about it. STARLOG: That would be a stress factor on your writing ability.

DICK: Well, since I almost died writing that Angel Archer book, The Transmigration of

Timothy Archer, I mean, I value my hide

more than I value my career. And I will

write this book, but they may get it late. But —

I've cut out—it's almost as if that joke about Somewhere in if God can do anything, can he make a ditch Philip K. Dick's so wide He can't jump over it? Or can He mind lurked The Penultimate create an object so heavy He can't lift it? Truth. Thinking After I finished the Archer novel, I was about such things I could convinced I could write anything. If sometimes standpoint of a character write from the "shorted out" his smarter than me, more rational than me. brain. more educated than me. funnier than me, I said, "OK, I can do anything. So now, what comes next? What's the next hardest thing?" Now, every writer who's any good is tempted at some time in his career to do a version of the Faust story. It's almost the paradigm of the writer. Faust and the writer are almost the same person. A good writer is Faustian. And this is what led James Joyce to write Finnegan's Wake, which no one can understand. He said, "I can write anything

I wonder if I can write the most difficult book ever written?" STARLOG: I don't know. He had some tough competition. DICK: A number of writers have done it be- fore. So, what I'll do is create a character based on Ludwig Van Beethoven and Faust

together. I was looking at my Encyclopedia

Brittanica and it said that Beethoven is the As Dick's hero Deckard. greatest genius the world has ever seen. And Rick Harrison Ford then, it goes on to explain why. battled rampaging Now, that would make an interesting replicants in character. The greatest genius the world has Blade Runner, a seen. So, I started to study Beethoven's ever film the author life, trying to figure out in what way he was never saw a genius. And I thought I would create the completed. synthetic character based on Beethoven and Faust both, where the character strives for

the absolute ultimate: so then I had to define what the absolute ultimate was. If you took the greatest genius the world has ever seen, what, for him, would be the absolute ulti- mate? It's not as easy as it sounds. First, you've got to get into the mind of the great- est creative genius in the world. And then, you've got to think what for him would be the ultimate task. Well, somewhere along the

line in doing this, I overreached myself. My notes became too complex for me to under-

stand. I started taking notes that when. I looked them over, the concepts were too complicated for me. It wasn't the words, it was the ideas. The concepts were too diffi- cult for me to understand although I had conceived of them in the first place. STARLOG: An example? DICK: OK. One of the greatest insights in ancient philosophy was by Pythagoras. He was walking by a blacksmith's shop. And he noticed that the anvils, when hit by a ham- mer, the smaller the anvil, the higher-pitched the sound. Wait a minute, he says. These are matics. And he went on then to say that the musical intervals. The sound the anvil emits pressed by number. philosophy had been basis of the universe was mathematics and when struck is a musical sound. There is no Now, all of Greek together, because music and mathe- difference between an anvil being hit with a an attempt to figure out what the basic sub- music two versions of the same thing. hammer and a musical instrument. stance of the universe was. Was it made of matics are Here's what I did: I said. "OK. Music and Pythagoras was standing there in the black- fire, air, water, kitty litter? There was some mathematics. If you wanted to create a triad, smith's shop, you can just see him there, a basic substance. would be the third constituent of a rolled-up copy of the LA Free Press under And Pythagoras said. "I know what it is. what right. structural basis of the universe?" It's 2,300 his arm. and he's saying, "There's something It's mathematical ratio." So, he was all years since Pythagoras. In the sequence: significant here." And suddenly, he under- All modern science is quantitative. It music, mathematics.. .what follows logically? stood the relationship between music and takes for granted that there is no qualitative is the quantitative basis. Well, I came up with what I believe mathematics—that all the intervals in a mu- basis, there is a mathe- next sequence. sical scale are mathematical, and can be ex- Pythagoras then equated music and

52 STARLOG/April 1991 Philip K, Pic ...reality and madness, time and death, sin and salvation. (Philip K. Dick) is our own homegrown Borges...." -Ursula K. LeGuin

we ca x:remem„ FOR YOU WHOtrESAffi: TOTAL RECALL

"I'm drawing on a vast reservoir of memory," Dick said.

"It isn't that I know a lot, it's that I remember so much.'

After viewing things through an Eye in color. What you would have is a transmitter, was I've had trouble, I did real bad in the Sky, one man is now horrified by the — which would encode the information at exact school in geometry, measures way he begins to see the world. which your visual frequencies, like frequencies of light. ability to reason deductively. You start with

STARLOG: You are going to tell us, aren't At the other end, it would simply extract the a theorem, and you need a premise and you you? same way, it would be a duplicate, just like work deductively to whatever conclusion.

DICK: Well, yes and no, because unfortu- the telephone works. The idea that I had was Anyhow, I start thinking, if there's oxy- nately, I burned out as a result of envisioning that conceptual information could be trans- moronic assertions, statements which, by it because I envisioned it in my mind, like I mitted simultaneously as color, music and their own intrinsic nature, contradict them- see my characters when I'm writing. I saw mathematics. And this would permit abstrac- selves and prove themselves false, there this in my mind's eye, you know how you tions impossible to us now. So, I envisioned must be, then, it logically follows, self-au- do, and it consisted of a musical score in an actual sequence of color, musical staves thenticating statements. I mean, what would which the notes were arranged entirely and annotation. And then, I tried to extract a self-authenticating statement be? A totality mathematically. Which is OK so far, I mean the concept back out of it. And of course, it when the predicate is presumed in the sub- there's nothing that hasn't been already was impossible, because by my very ject. The old use of the word "totality." It done, but the third factor was color. Now, all definition, this is not thinkable to us. And I asserts nothing. It's like a sentence, "All color is of a particular frequency. They're just couldn't go on any more. I had literally horses are horses," is what it boils down to, measured in what is called millimicrons. The thought of a concept which I could not think you see, the predicate is the same as the Fraunhofer lines, from B to F. So, every of. subject. OK, now, that's different from a given color can be calibrated right down to STARLOG: This is the book you wrote? synthetic statement, like, "All horses are the millimicrons. This is as an exact DICK: This is the book I'm allegedly brown," 'cause brown is not implied in the mathematical ratio as there is in sound. writing, The Owl in Daylight. It's a folk word "horse." Instantly, I thought of a self- Music is a vibration at a particular expression from the South—an owl being authenticating statement. And a self-authen- frequency. Color is a vibration of a blind in the daylight. It simply means a ticating statement is not predicated on any- particular visual frequency. person whose judgment is clouded over. The thing and it's not a totality.

STARLOG: But color—as the third factor? book is about the inability to understand. I One night, I went to bed, thinking all

DICK: Color is my choice, you see. So. I can't even put it into words. these things. What I thought was a cadence conceived of an object existing along three STARLOG: It has to be logical since you're sequence where a cypher would have like in axes—color, mathematics and music simul- dealing with mathematics, music and color. scansion, in —poetry where you have iambic taneously. Because color has a frequency, DICK: I conceptualized myself out of busi- pentameter "the rolling rocks, the you could transmit information in terms of ness, that's what I did. My ability to reason shivering socks." I was thinking about what I STARLOG/ApnV 1991 53 would call cypher verification systems. I go Dick noted, "Now, to bed that night and I've had about 16 every writer's who's is tempted cypher verification systems in my mind. I any good at some time in his woke up the next morning and I couldn't career to do a even fix coffee. I had shorted out somewhere version of Faust." during the night. Somewhere during the night, my brain decided that it had had enough of all of this so as a result, the book has not yet been written. STARLOG: Why don't you keep a tape by your bed at night?

DICK: Well. I would have to listen to all this claptrap to write it down. I write it all down and I just stick it away, you know, and Quaid (Arnold never read it again. Schwarzenegger) you have a new outline STARLOG: And had less trouble for this novel? regaining Total DICK: Within a short period of time, it has Recall of his jelled quite a bit. I talked to my agent. He previous identity said, "Are you sure you can do it?" Because than the filmmakers the novel would be from the viewpoint of an did in remembering to spell Dick's entity that was not human but from presum- how first name right in ably another star system. Its view of us and the credits. They our culture. It would begin on another star made it "Phillip." system on a planet with a civilization quite different from ours—a civilization where there's no atmosphere such as we have and as a result, speech is never developed: they're mute and deaf. And because of the failure to utilize sound, they have no art predicated on sound. Now. our art predicated

on sound is, of course, music, and we take "There's a poem that music for granted. But for them, since they begins with, 'They do not employ sound, there is no analog that have all gone into in world for music. And will correlate their the world of light. I to is, you know, the way we what want do And I sit lingering have in our world mystical of here," Dick said. heaven, like at the end of Dante's Divine Comedy, and these visions are generally that heaven is light—the concept of light is al- most always associated with the next world to us. Now. this planet, not having sound, utilizes color for language. Just as we use different audio frequencies, they use dif- ferent color frequencies. Their world is one that employs vision and visual things en- tirely and no sound whatsoever. Their nor- mal world would be the way we envision the

next world to be. So, I thought, "Now, what

if I set the book on their planet and have a mystic of their species, that is. someone who

is having supernatural visions of this other world of music, of sound. But they would have no word for anything. And what he would be experiencing would be our world where sound is ubiquitous and music is the great art form developing out of sound. And

I got to thinking, what if their world is our heaven and our world is theirs? It finally culminates in one of them coming here and discovering a planet then which is the quintessential summation of everything that group of people on this planet. all the religion teaches exists in the after- stimulate their eyes. I got to thinking that to DICK: Right. But he thinks he's seeing the world. It actually exists in this universe and these creatures would have the technology next world. Like our mystics think they're is available through space travel, but these build some kind of transduction equipment

• world. They have the tech- creatures are mute and deaf, and the problem which would make sounds audible to them. seeing the next to a spaceship here. And he ac- arises that the human civilization uses sound Even if these sounds were audible to them. nology send encounters what for them is the next and has developed music, but they can't hear n usic would be incomprehensible because tually really world. But, instead of a world of light as our it because they're deaf. That's not all that music, being absolutely abstract, there's a very beautiful 17th great a problem. They can build transduction requires a kind of species bias toward the next world, begins with, "they have equipment like the ones scientists were utilization of sound century poem that into the world of light." meaning all working out in which blind people can liter- STARLOG: This mystic you're speaking of all gone friends died. "And I sit lingering here." ally see objects by technological devices that is supposed to be a guru who's leading a his

54 STARLOG/Apri/ 1991 — — —

All Total Recall Photos: Copyright 1990 Tri-Star Pictures

STARLOG: You seem to accumulate an in- credible amount of information and you re-

call it very well. DICK: Well, I've developed a hell of a

memory from doing all the research that I've done. I'm drawing on a vast reservoir of

memory. I mean, it isn't that I know a lot,

it's that I remember so much. STARLOG: How do you devote so many hours a day to research and reading? DICK: My reading consists almost entirely

of reference books, non-fiction; I read very

little fiction. In fact, I think you can say at

this point, I read no fiction. I just read refer- ences, articles, magazines, books.

What I'm interested in is information theory. This is why a friend gave me the article on biochips, because he knows I'm

interested. The biochip is the greatest break- through in information storage that has ever happened in the history of this planet. And maybe the biochip is alive. When it's im-

planted in the brain, it will grow into the brain's nervous system, the neural tissue. Now, the biochip processes information at Their language is color—and patterns of STARLOG: How does the mystic manage the speed of light. Our neurons go very color, which they transmit telepathically to to find someplace that does have sound? slowly, in comparison, I forget how each other, which is color utilized in patterns DICK: Oh, that's just a plot problem. slowly—like 240 miles an hour. and in mathematical harmonies. With all STARLOG: You're not that far along yet. STARLOG: You're right about the an- these different colors, and very fine grada- DICK: No, no, no, no. What you do is you tions of color, their vision is incredible com- start out with the exploratory ship. The ship pared to ours. Without having any ability to is already on its way. And they're saying, hear, their visual powers are incredible. They "We're headed for a nine-planet system."

can see variations in colors that we can't see, Pretty soon we realize that it's ours. He's thousands of colors. It's what eskimos, for having mystical visions of the world that the

instance, have, 15 or 20 words for snow, ship is on its way to. each one defining slightly different con- STARLOG: Some precognition, maybe?

ditions of snow. DICK: Well, I used that in a book already. STARLOG: They're just a different species I'll work it over so I can get a different—I'll

of human type that has evolved differently. gussy it all up so nobody will notice that I've

DICK: Yeah, they're somewhat humanoid. used it before. So, what I'm trying to get to

They have one head, two arms and two legs; in this finally is that they are incredibly

they're not a gelatinous blob. spiritual people. To them, our planet is like STARLOG: Seems as though you know some holy shrine. Because their mysticism,

these people real well. their theology and their religion is connected

DICK: Well, this is what my agent said. He with music. Although they don't even know said, "How are you going to write about a the word. creature on another planet with an entirely This would be—this would be like different sensory apparatus?" The point I'm finding God. The only problem is. they can't

trying to get at is—music is a conceptual experience it. Except one way. There is only thing. Music is not just organized sound. one way it can be done. Biochips. That's

And I came across this when I was working how it could be experienced. They would

on this proposed novel where I wanted to have to, enter a symbiotic relationship with a base my character on Beethoven. Beethoven human being, there's no way an electronic went deaf during the time he was writing the technological interface would work because "Pastoral Symphony." So really, everything music is conceptual. And the electric inter- The other shoe never dropped. Dick died write the beyond that, he never heard. His finest music face would only give them the bare bones. before he could book he out- lined in this interview. was written when he was deaf. As a result of STARLOG: These biochips, are they an this, his music became very abstract. Now. Earth technological development or

imagine, for instance, you're a creature on DICK: Oh, everybody will have them, I droids, they're going to be better than us all this planet which uses color for language mean, we've got them now, here in the the way around. does not use words, has no sound, has never United States, so any civilization that can DICK: Well, the biochip thinks. What the

heard sound, knows nothing of its exis- build a rocket ship that'll fly to Earth, article said was that all the information of all tence—hearing music. What is he going to they've got biochips. the computers in the world could be stored in tell the people around him? He can't even STARLOG: How do you explain that? a biochip one centimeter by one centimeter say he's "heard" it because there is no DICK: That's another technological device. square. We have a one-molecule-deep layer equivalent word in their vocabulary. He has You casually have one character say to the of protein on this biochip—as thin as you experienced something for which there is other, "Where did you put the biochips?" "I can spread it. And it's alive. Its speed will simply no way he can communicate. Well, put them back in the cupboard where they increase human intelligence to 10 to the 20th the thing is, they find their way to our belong." That's how it's done. See, it's power. planet—a whole planet of people living in amazing how easy it is to write if you know STARLOG: It's like a combination of a what for them is a kind of mystical paradise. how. biological life form plus electronic

STARLOG/April 1991 55 —

comes to an hour later and doesn't know DICK: Yes. The thing about this is, it's musical information. to insert some what happened, just thinks he got rolled by a alive and it can reproduce. And we were And I'm almost tempted Allen couple of street people and goes on home. telling "Goodbye, Mr. Biochips" jokes and humor in this book. He's like a Woody make sure they take his wallet. serving biochips and dip. This thing can re- character, kind of a loser composer. Now, They Surgically, they insert this biochip through produce; it can divide and it can produce a he's real avant-garde, but he's not making their extremely sophisticated technology. replication of itself. It can also grow into the any money, or he's very commonplace. this guy has a passive biochip in human nervous system. They'll probably at- What shall we do? Let's do it right now Now. out. We'll have him be a his brain, which is simply there for the alien tach it to some poor animal first. The animal let's work the book enjoy the music. He doesn't know how would then think to the 20th power. And the loser composer, a very routine composer, but to are they they did microsurgery on him: use laser first thing it'll do is say, "God, everything financially successful, because how are surgery to open up his skull, stick in the looks quite different to me than it did a little going to find him otherwise? How biochip, close it up, pat the hair back in while ago. Could you guys fix me some they going to find some avant-garde sell? place, use a little Krazy Glue, and send him coffee? Can I watch the TV? [Laughs.] Is composer whose music doesn't They on his way with this biochip inside him. It's there anything around to read?" [Laughs.] would probably pick somebody like the Burt not there for a harmful purpose. It's there so The lovely thing is when the host dies, to equivalent of Henry Mancini or it can enjoy music. You've got to realize this pull the biochip out, and it now has the Bacharach. transcendental religious experience host's memories—which you could then in- STARLOG: And he's the human host. is a that's only known to mystics on the alien sert in another host. But for the purposes of DICK: OK, here's a guy. His name is Ed planet. They're now in position to act as a my book, the alien decides to biochip him- Firmley. Ed Firmley writes screenplays for symbiote with the human brain. So now, self and insert himself as a symbiote into the cheapo, no, he writes the music for cheapo Firmley goes back to writing this dipshit human host brain, in the right hemisphere, science fiction movies, these clones of Star cornball science fiction which produces music. Wars. And he makes a lot of money. But he music for these films. Now, here's what happens. The This whole thing of conception is terribly has no original ideas. None whatsoever. And lives there passively for a while, but important. We do not directly deal with the they have this really rotten science fiction biochip does nothing but listen to the dullest sense data. I've said this for years. To film about this detective who's tracking this guy Pretty soon, This guy is writing this music available on the planet. me, this is where I live—I am the shout for it down these androids. with this movie. Now, the biochip wearies of this, 'cause the when it comes to epistemology. We never schmaltzy score to go he's biochip wants to hear everything that's going get sense data directly. It goes through some it's easy to track him down because from the wildest experimental music of kind of enormous methodological organiza- well known. They stick the biochip of the on like Brian Eno shit, I could set this tional system in our minds and brains that alien life form into Firmley's brain. The bio- people — of in the present, I don't have to set it in the we have no understanding—there's no real form is alive and it is essentially the mind explanation of how this occurs. The first one the alien. future. It's true. to study this was Descartes, the one who STARLOG: He's not alive? STARLOG: is the biochip going to do: studied probably the most profoundly was DICK: Yes. But he's there in a passive way. DICK: So, what neural issue, right? So, Emmanuel Kant, who posited some kind of The composer is on his way home from a bar It has grown into his it's hearing everything he hears, but it takes transcendent self in each of us that we aren't where he spends half his time. They just bop only about a week to figure out that it'll be aware of, who organizes all our sense data in him on the head, and insert the biochip. He causation. The alien development to realize each of terms of time, space and It took a variety of scripts and several years in creature would not have this structuring the Dick adaptations undertaken by directors Ridley Scott and Paul Verhoeven. mechanism. He would hear just the raw sense data. The alien" would never be able to orga- nize a Beethoven symphony, no matter how long he tried. Simply because these people have never had that science. Although they

would hear it, they would not understand it, so he's going to use a human brain as his interface. And then the symphony will be organized for him by the human brain. Now,

the problem here is, does a human being want an alien in his brain as a symbiote?

And I intend to make that a major question. Now, we switch viewpoints in this novel,

See? I mean, you're catching me when I'm actually organizing a novel. What I'm doing

right now is the most essential part of writing a book. We switch viewpoints to the human being who is a composer. Now, tha't host for a symbiote would be a person involved with

music all the time and who has enormously sophisticated mental faculties for processing

GWEN LEE & DORIS E. SAUTER, West Coast-based writers, conducted lengthy in- terviews with Philip K. Dick on January 10 and 25. 1982. Dick died on March 2.1982. An excerpt from their talk (focusing on Blade Runner,) was published in STARLOG #150. This final excerpt, extensively abridged by STARLOG' s editors, repre- sents approximately an additional 45 pages of the 185-page total transcript.

56 STARLOGMpnV 1991 —

Play elected the Solar Lottery and get to DICK: They know it, yeah, and, of course, high office or killed. — being telepathic, they're transmitting all that

stuff back to the mother ship which is in or-

listening to this for the rest of its life. bit, they are getting it all down forever.

STARLOG: And it's aware of other forms Now, here is where the plot really gets

of music. It knows there's something else. heavy, 'cause the original idea I had was for DICK: Yeah, because it also has access to a Beethoven/Faust character. Now, this his memories and his knowledge. But it only biochip has the guy writing night and day on intended to occupy a passive role, using him these really difficult compositions. He can't as an interface. Pretty soon, it becomes just bat out the same thing over and over

aware that the guy is never going to twist again. It is evolving through hierarchical [the radio] dial. OK, it's very easy for the layers, evolutionary layers of music with biochip to pick up a couple of seconds of greater complexity, greater originality, some other music. The guy gets into his car greater artistic merit. It's evolving like and he's tuning the car radio, and for a Beethoven's music did. moment, he picks up a Mozart opera. And OK, now the problem arises, now we get

the biochip hears this. This is a serious into what for me in a way is the most, the matter. Remember that for the biochip, this profound part of this projected novel: The is a mystical experience. He gets an audio fact that the pressure being exerted on the

glimpse of God for a second. The biochip is host brain by the biochip is beginning to kill just furious at this, because it's being the brain.

cheated out of what it wants. Well, it has a STARLOG: The human brain doesn't have remedy. the capacity to STARLOG: Take control. DICK: Right, because you figure this thing DICK: Becomes active, and starts control- is operating 10 to the 20th power. Now.one

ling his actions. It has him playing every of the great plot developments is of course is kind of music in the world. But it's not con- when he discovers he has a biochip in him. There's an alien life form on the biochip. Simply, he would go to a doctor when he begins to get sick. And the doctor discovers

the biochip. Because the biochip is an object and would show up on a CAT scan or a brain

scan. Well, let's just say it would show up.

Maybe I would have to set the book in the

future. OK, let's set it in the future. And then he learns the situation.

Well, you know, this is almost like [Daniel Keyes'] Flowers For Algernon. And

that's OK because I regard that as one of the greatest stories—I saw the movie and I read the story. It's one of the most tragic and

touching things I have ever read or seen.

This is that story again, but it's a little differ-

ent. Because here's what I plan to do. At this

point, the biochip knows that its host is aware of the situation and now communi- cates with him. The moment when Ed Firmley discovers the biochip, the biochip speaks to him and says, "You are right. You do have a biochip in you. Have them remove me surgically. And you will live on." Ed

Firmley says, "Yeah, but I won't be writing tent to do that because the guy's still writing any more great music." The biochip says, the same schmaltzy stuff. So, it begins to "Yeah, that's right, you'll be back to writing feed him complex mathematical concepts those schmaltzy cornball nothings." Now, which he then converts into music which see what we have here, we don't have an then passes back to the biochip. So, it is now antagonist or an adversary situation. This taking an active role in the creating of musi- guy benefitted from this music. He loved cal compositions. And we have all the plot writing this music. things where this wrecks the guy's career. STARLOG: And he was receiving some But on the other hand, he is now one of the critical acclaim? most—if not the most—original composers DICK: Yeah, In other words, the act of cre- on Earth. He is now writing music based on ating the music was terribly rewarding to

the mind of a creature from another civiliza- him. But it's killing him. There is an easy tion, on another planet, on another star sys- answer. The biochip simply says, "Have me tem. He's beginning to create great music removed. And arrange to have me trans- and it's extremely unusual music. Now, he ported back up to the mother ship." The doesn't know why. He has no idea where aliens can do it. The guy says, "No. I would these ideas are coming from. He has no idea rather go on writing this great stuff 'til I he has a biochip inside of him. die." And the biochip says, "Your doctor is STARLOG: The only ones who know are right. You have about a month more and the aliens. (continued on page 72)

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Throughout his career, Don Taylor played to both sides of the camera.

By TOM WEAVER

They're a dime a dozen today, but up until the 1950s, with the obvious exception of major names like Charles Chaplin, Laurence Olivier and Orson Welles, the actor/director was a genuine rarity in Hollywood. In the 1950s, however, the floodgates opened, and in the forefront was a light leading man who remembers only too well the stumbling blocks once placed in the path of would-be directors. "It took me quite a while, because in those days, nobody would let anybody new direct," Don Taylor recalls. "Today all you have to do is say, T wanna direct,' and the next thing you know, you got a movie.

Back in the '50s, it was a hell of a lot

tougher. Dick Powell, then one of the reg- In 1971, Don Taylor directed Kim Hunter, Ricardo Montalban and Roddy McDowall ulars on a TV anthology series called Four in the popular Escape from Planet of the Apes. Star Playhouse, gave me the chance to

start directing. I was a trailblazer. Paul at Warner Bros., but was rejected because The role for which he's best-remem- Henreid, Ida Lupino, Dick Powell—we of his draft status. MGM, not quite as bered remains the MGM comedy Father of were the forerunners of actors becoming fussy, signed him to a contract and imme- the Bride (1950), as fiance to Elizabeth directors. But it was very difficult, very. diately cast him as a soldier in The Human Taylor ("That's still going strong—and We really had to prove ourselves." Comedy (1943). so's Liz!"). He reprised the character in

Of course, the days when Don Taylor More minor roles followed before 195 1 's Father's Little Dividend as well as had to prove himself as a director are long Taylor enlisted in the Army, but even playing other leading parts in '50s films gone, with his list of features up in the while serving there, he continued acting. at RKO (Flying Leathernecks, The Blue double-digits and the roster of TV directing Playwright/screenwriter Moss Hart chose Veil), Fox (Japanese War Bride, jobs in the hundreds. Few directors that him to play one of the leading roles in the Destination Gobi) and Paramount (Stalag prolific have avoided dabbling in the Army Air Force production of his play 17, as the missing prisoner around whom science fiction and fantasy genres, and Winged Victory, which opened in the plot pivots). Taylor has helmed such well-remembered November 1943. Taylor repeated his stage Most actors have at least one skeleton SF titles as Escape from the Planet of the role in 20th Century Fox's film version of in their closet of film credits, and Taylor Apes, The Island of Dr. Moreau and The the play in 1944. has a dilly. "I was getting a divorce at the

Final Countdown, not to mention the time, so I called my agent and I said,

supernatural shocker Damien—Omen 11 Love Slave 'Listen. I've had it. I want to get out of the and numerous episodes of TV's Alfred Returning to civilian life, Taylor re- country. Do you have anything?' He —said, Hitchcock Presents. sumed his work in pictures with a top role "Yeah, we've got a picture in Brazil ' I Born in Freeport. Pennsylvania, Taylor in the trendsetting crime drama The Naked said, 'That's for me.' Turned out to be

studied law, then speech and drama at Penn City (1948), which still stacks up as his Women of Green Hell. I didn't even read it;

State University, where as a freshman, he favorite among his own films. "Naked City when I got to Brazil, they gave me the began taking part in college stage produc- was a classic, one of the first of its kind. tions ("There was never any question about Now it's very ordinary to go and shoot TOM WEAVER, veteran STARLOG corre-

it once I put my foot on a stage. I knew I anywhere [on actual locations], but on spondent, is the co-author of Universal

was going to be an actor"). Hitchhiking to Naked City, we did it long before anybody Horrors (McFarland, $45). Weaver profiled Hollywood in 1942. Taylor screen-tested else." John Agar in STARLOG #164.

STARLOG/'April 1991 59 —

f?3fi -j=*5x^.

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The U.S.S. Nimitz is thrown into a time vortex to possibly prevent the attack on Pearl Harbor in The Final Countdown. It was a good premise that director Taylor admits "had no ending."

" to Slaves the Amazons is on!' script. And when I read it," he grins, "I was in waters that I don't think I would want what! Love of experience had a ready to cut my throat!" go in anymore. I remember a guy saying, The Love Slaves asked by Shot under the title Women of Green 'Watch out for the piranhas,' just as I was when Taylor was South Hell, but released by Universal as Love diving in." the Johnson Office to travel through tour upon the Slaves of the Amazons, the notorious fan- In the film's one good scene, the America on a good will tasy-adventure (written, produced and di- heroes' boat, mired in mud, is boarded by a film's completion. "I flew to almost every waiting for rected by Curt Siodmak, STARLOG #150) gang of cutthroats and a lively brawl en- country, and there was a mob I felt like I was back top-billed Taylor as an adventurer captured sues. "That scene. I think, was almost an me every time. really

I a time." by a tribe of green-skinned warrior women ad lib," Taylor recalls. "We had been out to being a star. had good in the unexplored jungles of South all day and we were coming home, and the America. "Curt Siodmak—the brother of unit manager (an American out of True Loves Robert Siodmak—had written a famous Universal, there to protect the money) His acting career in a slump via pictures novel called Donovan's Brain, and he said, 'Shoot something.' Siodmak said, like Love Slaves and Hammer's The Men of Forest, Taylor's desire to switch wrote a bunch of films. But this one—oh, 'What do I shoot?' and the unit manager Sherwood continued to grow. God! Terrible'. He was a good writer, but he said [sharply], 'Put the camera there and career gears and direct director's medium," he asserts. "I didn't know how to direct. But there was a turn it on!' Then, he yelled at some guys, "It's a dear old actor down there, Eduardo 'Hey. you guys start chasing these guys." had been in 20, 25 films and starred or co- in of them. But the creative Ciannelli, and he and I just had a great time That's why that was probably the best starred most I feeling as an actor were together. We said. 'What the hell, let's do scene: Siodmak didn't direct it! forces that wasn't all in the director's path. That's really why it," we kidded each other and we got "I believe Universal did Love Slaves be- I did it. I had spent a lot of time watching through it. I got along with Siodmak cause they had 'frozen funds' in Brazil, just I more about almost—but Ciannelli was very rude to sitting there, and so when somebody said, directors, and knew much directing than I thought I did." With Dick him. And yet, I was having a ball because I i can make a film in Brazil,' they said directorial was 'out of commission." Really, that's all right away, 'Sure! Go ahead!" I told myself Powell's help, Taylor made his like debut with a Four Star Playhouse episode I was doing, hiding out." that nobody would ever see it, a movie branched off into other shows He ended up hiding out longer than ex- that would never make it. Then, television and soon and pected. "That damn movie never ended! bought it, and that son-of-a-gun's on all such as Telephone Time Alfred Shooting went on and on and on. For a the time! God, I have people call me at Hitchcock Presents. "I had known Mr. Hitchcock because I cheap movie, it was amazing; I was down 4:00 a.m., laughing so hard they can been for a couple of his films. Rope there in Sao Paolo for a long time. I swam barely get the words out. They say. 'Guess had up

60 STARLOG/ApnV 199 J —

[1948] was one of them; I had just finished

Naked City and I went to see Hitchcock about Rope. We just talked. He had just seen Naked City and he wanted to know how they made this shot, that shot and the other shot. He marveled at the fact that we shot on Fifth Avenue in New York.

"Anyway. I didn't get Rope, but I had

been interviewed by him. And once I got

to do that first Hitchcock episode, then 1 used to sit and watch him direct. He was taking all the good scripts. My first year. he, Arthur Hiller and myself were among

those directing. Arthur and I were way down at the bottom. If Hitch didn't want to

do it or couldn't do it. then Robert Stevens

got it. and if he had already had one, then it came down to Arthur or me. Once in a while, we'd get a good one; many times, we were struggling. But basically, those

were good scripts. When I think of the stuff that goes by me today, those were excellent scripts. The only thing that was wrong with them was what was wrong wi most of the shows at that time: There absolutely no production. They would put up two walls and put a picture on the wall. a chair and a table and say. "Shoot." No books, no magazines, no papers, no frills. You couldn't get any production worth a damn." "I liked my script for Escape as much as liked the first Apes script; in fact, The CBS show yielded another dividend notes Taylor, "mine was more humane." for Taylor, one far more important than the directing jobs and the experience for of a series of adventures with a talking were good in it, but they were clowning working with. Hitchcock: Directing the duck. film The could hardly have been and I had a terrible time. I couldn't stop 1958 episode "The Crocodile Case" minor, more but Taylor was still happy to 'em from clowning, and yet I didn't have brought him in contact with actress Hazel get the assignment. ""It was a big step at the time for it. Mickey was the producer Court, reigning scream queen of British that point. I was directing a TV series it was his company making the film—so horror films. Romance eventually called Hong Kong with Rod Taylor when what could I do? And the duck didn't work. blossomed; Taylor and Court tied the knot Mickey Rooney called me and said. 'Would They finally tied his beak with a rubber in 1964 and the marriage endures to this you please direct this?* I had directed him band and made him eat cigarettes, that's day. four or five times in television at that the only way we could get him to open and several After years of directing in TV point. I was hesitant, but Hazel said, "Oh, close his mouth as though he was speak- (such series as Have Gun Will Travel), go ahead and do it." so I did. I got Arthur ing. Talk about cruelty to animals!" Taylor his behind-the-scenes feature made Hiller to direct the Hong Kongs. so I could More to Taylor's liking were his two bow with the fantasy-comedy Everything's get released. episodes of Rod Serling's Night Gallery, Ducky (1961), starring Mickey Rooney "Everything's Ducky was too tough. We "They're Tearing Down Tim Riley's Bar" and Buddy Hackett as sailors who team up had to do it in 11 days. Mickey and Buddy with William Windom (Taylor was Emmy- nominated for his direction) and "The Messiah of Mott Street" with screen great Edward G. Robinson. " "Messiah of Mott

Street' was tough. I couldn't get Eddie Robinson to be Jewish. And he was Jewish! As a matter of fact, he was my technical advisor, because he was a Levitical student at one point: he helped me a tremendous amount. But he had spent years being an Italian gangster, and now he wouldn't give me the Yiddish flavor. He was very sweet, but he wouldn't bend." Animal Lover Taylor's other '60s films as director were Ride the Wild Surf (1964), a Beach Parry-inspired surfing romp with Fabian and Tab Hunter and the U.S./German Jack of Diamonds (1967) with George Hamilton. He directed one of his best (and

During his acting career, Taylor traveled to Brazil. He was captured by green- skinned warrior women and became one of the Love Slaves of the Amazons.

START nn/Anril IQQI M When Taylor inherited The Island of Dr. Moreau, the creatures surrounding Barbara Carrera resembled something out of a Disney film.

.

^^w* ''£ ^v-

"*\

"There was too much gore," notes

Taylor of his Omen II. "Every time you changed a reel, there was another char- acter that you knew was gonna get it."

62 STARLOGMpnV 1991 most popular) films in 19.71 when he signed on to direct the second sequel to Fox's profitable Planer of the Apes. "Escape from the Planet of the Apes was just glass all the way, smooth as silk," Taylor reminisces. "Good script (no, a beautiful script), the actors were di-

vine, everything went right. It was one of

those instances where I just couldn't wait to get to the studio every day. There should be more pictures like that, but you don't

get 'em anymore. In those days, all the people hadn't gotten in the act. Today, you do a picture like that and you have 20 people wanting to get their hands in, Taylor believes his strength in directing wanting to be creative, wanting to have r a comes from giving his actors security as say. In the old days, it was easy: There he did for Michael York and Burt would be a producer and maybe one other Lancaster on The Island of Dr. Moreau. person. You can handle two or three or four 20." people, but you can't handle 15, Escape had its share of lighter mo- Taylor hadn't seen either of the first ments—more so than any other movie in two Apes films when he was approached to the five-film series—but it also posed direct Escape. "When they suggested I do some interesting philosophical questions. Escape, [producer] Arthur Jacobs, who I "That's right, the profundity suddenly

knew for years, ran Planet of the Apes for came through at one point. It was a plot me at his house. I thought it was where Somebody Had To Be Dumb, and in

ii marvelous. Eventually, I saw the second this case, it was the human beings. In this

one,. Beneath the Planet of the Apes: Ted film, it worked. But that gets boring after a Post directed that. It was a real bastardized' while; in almost every TV show today. version of the first one and it didn't really Somebody Has To Be Dumb, say some- work, didn't have a story. But Escape was thing or do something that's so stupid, one of the best scripts: Paul Dehn was a because that's the only way the show can good writer. I liked my script for Escape as progress. It's true of many movies, mo." much as I liked the first Apes script: in Extensive makeup played an even fact, mine was more humane." larger role in Taylor's next SF film. "I had Aside from the strong story, Taylor's just done Great Scout and Cathouse job was facilitated by cooperative stars Thursday [1976] for American Inter- who knew their characters inside and out. national, and they wanted me to do The "They were so professional. Kim Hunter Island of Dr. Moreau for them. But I

[STARLOG #160] and Roddy McDowall. inherited something that I couldn't do any- and they knew their characters. I never told thing about, and that was the appliances them what I to do, always asked. that had been made—chin, nose and fore- Sometimes Roddy would say, 'No, I don't head for all these man-animals. The idea think our characters would do' whatever it was that these animal men should have was, and how could I disagree? This was been grotesque—half human and half their second, third time out! Makeup-wise, beast. But they weren't. They were all E O though, they had a terrible time." Disney, cuddly. You wanted to kiss 'em!"

CT1 a nT /-\/- he laughs. "I couldn't make any grotes- query out of 'em at all. We had about eight makeup men. with John Chambers and Dan Striepeke in charge: they created all the stuff for the Planet of the Apes films. And again, you couldn't reuse the appliances: by the time they came off. that was it, you just threw 'em away." AIP's Dr. Moreau got an added box of- fice boost from the casting of Burt Lancaster as Moreau. even though Lancaster wasn't the first choice for the role. "We were going for an English actor.

The fact that it was based on an H. G. Wells story, we thought an Englishman should play the part. [Richard] Burton and [Peter] O'Toole and people like that were considered: we never got turn-downs from any of them, they just weren't available. Burt was available. Back in the days when

I made Naked City and he made The Killers

[1946] for Mark Hellinger. Burt and I were very close, but even so. when he was On a location that cost a quarter million dollars, Martin Sheen, James Farentino brought up in connection with Dr. and Kirk Douglas go over their options for The Final Countdown.

Moreau. I said, 'Jeez. I don't think this is a part for Burt.-' Somebody turned to me also did a good job in the film. but. "he was too much gore. Every time you character and said. 'You wanna make the picture?" was out there on a wing and a prayer. And changed a reel, there was another knew was gonna get it. I inherited and I said. 'Yeah.' He said. 'Well, don't when it came time for him to start wearing that you turn down everybody." the [man-animal] makeup, was he scared! all that. I would have eliminated at least "What are you doing to me? Christ. I'm a two of those killings. All the stuff that I

leading man! I don't wanna be a bear.' We did (the man being killed by the train, the had to hold his hand!" And Barbara Carrera doctor cut in half in the elevator, and so "was about 14 feet off the ground in those on) was good. I just thought it was too

days. She was swingin' somewhere that I much. Then, it got really gruesome at the wasn't. But she's so gorgeous: she was end. Suddenly. Bill is stabbed to death, and perfect casting for it." Lee Grant gets burned up—Jesus! More is Shot in the Virgin Islands and costing not better." far more than the average AIP exploitation Replacing British director Michael item. Island of Dr. Moreau "was a big pic- Hodges, who had worked on the film for ture for Sam Arkoff, and it didn't do that about 10 days ("He and the producer just well. AIP movies generally ran in drive-in weren't seeing eye to eye as to what was

theaters, and I remember when the rushes being done, and he was fired"), Taylor shot on Dr. Moreau got to Sam, he started send- the film in Chicago and on locations in ing cables saying, 'More light! More Wisconsin, with many interiors also shot light! It's too dark!" He was afraid they on the Fox lot. "I had to redo quite a bit. I did, I couldn't run it at the drive-ins!" would say out of the work Hodges "They were so professional, Kim Hunter augmented or reshot about a week." and Roddy McDowall, and they knew Taylor is nothing if not consistent on had been offered the lead in the their characters," says Taylor of his the subject of Dr. Moreau: He doesn't Holden Escape stars. think the Wells story was much good first Omen, but turned it down because he all ("Wells wrote it. I think, on a weekend"), wouldn't do a horror film. This offer "Right around that point. Burt showed nor the 1933 Paramount version Island of changed, of course, two years and an for up in Cannes, and he tore the place apart Lost Souls ("It's terrible! But critic after of $750,000 later. "Getting Bill Omen II was a plus value: we had made two just walking down the street—the people critic saw ours and said it wasn't as good"), were old friends." went ape, because he's an old star, and I nor his own AIP effort. "But I've seen it movies together and we II out was guess they don't get many old stars there now a couple times on TV. and it looks All Holden did after Omen came it ("sick-sick ex- anymore. That convinced us that we should better now than it did when I made it. I complain about use Burt. But even he had some hesitation, don't know how to explain that one. but cesses. ..unhealthy ambience"), leaving a bit mystified. "He thought it was so I went and I talked to him. He s,aid, 'You it's true! For what it was, it worked. But Taylor

did it. I ran it for him got a problem with the script.' I said, there wasn't enough horror in it." pretty good when we 'Yeah, but what picture have you done about three times, so I don't know why he lately that didn't?' We did have*a problem Lost Loves complained." with the script, and we did a serious rewrite There was no shortage of horror in Taylor's next film, a Twilight Zone-ish — II. type of science fiction story. The Final on it that... didn't work, unfortunately. But Damien Omen 20th Century Fox's Burt was very good, because he was secure sensationalistic follow-up to their 1976 Countdown, was set aboard an ultra-mod- aircraft carrier which passes through a with me; I took care of him, watched him. box office winner The Omen. Damien, no ern That's my whole theory of directing: secu- worse for wear after the bloodbath of time warp, winding up in the Pacific on the 7. 1941. Pearl Harbor rity. Give the actor security and. to a great Omen, was back, this time in the charge of eve of the December Kirk Douglas degree, let him go. Sometimes you're able William Holden and Lee Grant, and all hell sneak attack. Should Captain the U.S.S. Nimitz prevent to do that completely, like I did with Burt, was breaking loose again in a picture that and the men of and sometimes you're not—that's when seemed determined to out-gruesome its the Day of Infamy and change history? script and I you get into trouble. Burt worked very predecessor. "That's one thing that I think •"When my agent sent me the hard." was wrong with the script, the idea that read it. my first thought was that it was go- Hero Michael York. Taylor opines. More is Better." Taylor remarks. "There (continued on page 72)

64 STARLOG/April 1991 Conceptual Costuming

Want to enter a convention masquerade? All It really takes Is imagination.

more than With 1,200 people dedicate such resources to this endeavor. The easiest approach to conceptual watching the convention costume Many fans, after deciding to enter a cos- costuming is to think of something so contest, I stood on stage as a gal- tume call, discover they don't have the talent unusual, so different, so. ..silly that no one lon of Hershey's Chocolate Syrup was to sew well, the patience required to apply can even guess what you're going to do. poured all over my head. My Starfleet uni- thousands of sequins, or the knowledge to Then, break it down into the lowest possible form was ruined, but I received a trophy for craft leather, plastic or metal. However, by cost in terms of money and effort. my originality and applause for my efforts. taking a different tack, it's possible to enter Frequently, it's easier to come up with the That not like may seem much of a costume. and compete with talented costumers by concept first and then ask yourself, "What is It wasn't. It was a "concept" combined with employing a great deal of imagination. the simplest costume I can do to get this idea a humorous presentation. across?" rather than trying to devise a After all, I was playing Riker—as seen in Humorous Concepts concept after the costume's completion. Next Generation's "Skin of Evil." Generally, costumes are judged on three Presenting a frequently seen costume in Anyone who has attended a costume different aspects: the idea on which the cos- an entirely new way is just as good. competition remembers the long gowns of tume is based, how well the costume is done, One of the simplest approaches to con- with gold blue trim and intricate bead work, and how good the presentation is. If a ceptual costuming is to take a common idea the impressive leather warriors, the precise costume is strong in concept and good in and completely reverse it. One costumer got hand-sewn wings of the fairy queens and the execution, it needn't be terribly elaborate to fed up with all the kings, queens, princess custom-built plastic and fiberglass space be considered good. Often, a simple and sundry royalty. The solution: Yarmen suits. These beautiful costumes all show a costume, presented cleverly, is more fun the Peasant. This costume was a peasant high degree of talent, care and accuracy. than an elaborate get-up, presented poorly. frock made of burlap, and to provide a filthy,

Unfortunately, it costumes of this class also And doesn't take nearly as much time or "lived-in" look, it was soaked in a quart of have two other things in common: a high money. This is "conceptual costuming," used motor oil. Yarmen also boasted several price tag and many hours of work involved where the concept and presentation are the simple makeup facial blemishes to represent in their creation. Most fans can't afford to most important aspects. the diseases and physical defects prevalent in

STARLOGMonV 1991 65 Tip 1 : Make the judges think it's just another Riker in an endless sea of Rikers.

of Hershey's medieval times. Yarmen's god spoke to him catch phrases were used in a totally new marked one-gallon can — over head. Cost: $35. and agreed to cure him ;/he could get a kiss fashion "Nort-N, you are a Ment-El case." Chocolate Syrup my from one of the judges, convention guest The costumes were made from low cost Dry cleaning extra. Marina Sirtis. Before the kiss, Yarmen's god materials. Lara even wore a frilly apron. changed his mind and insisted Yarmen get Cost: $35. Outrageous Concepts conceptual costume can come bussed instead by a different judge, Bob A concept can be a presentation of an Ideas for a anywhere. Lance Woods Greenberger (a DC Comics editor and event familiar to everyone in the audience, from almost spotted a lunchbox in a store shaped like STARLOG contributor). That's why, to the but with a slight twist to it. As mentioned be- Mouse's head. This inspired a truly audience's delight, Yarmen decided to fore, I went on stage dressed in a poorly- Mickey idea. Dressed in fake fur remain crippled. Cost: $40. made rendition of a Star Trek: The Next innovative costume skins, Robert Ahrens and Dan Coggins came Another approach is to combine two Generation Starfleet uniform. The entry was "Hanna-Barbarians." After completely different "universes" into a sin- called "Riker" and I struck the "at full atten- on stage as the the lunchbox, they declared that gle costume. David and Mary Keefer re-en- tion" pose that Jonathan Frakes used so holding up do as they said, "the acted the scene from the Superman legend much as Riker during the series' first season. if the audience didn't gets it next." Just then, Lance and Paul where Jor-El tells his wife Lara that he's A person I had planted then yelled from the duck dressed in plain grey suits sending their son to Earth to escape back of the room: "I thought you were going Baize showed up, " and announced Krypton's destruction. However, Jor-El and to do Riker from 'Skin of Evil.' I replied, and wearing dark sunglasses, Cops." They Lara were played as Ralph and Alice "I couldn't find any Metamucil or black that they were the "Disney They reclaimed Kramden with Paul Baize as "Nort-N," Jor- printer's ink," the yucky combination captured the Barbarians. cooler and El's pal and neighbor, from TV's actually used in the episode. My friend Mickey's head, placed it into a Honeymooners. Even some Honeymooners yelled back, "That's OK, I've made proclaimed, "We'll put him in with Walt. arrangements. Crew!" Four men brought out He'll be fine." Cost: $30. course, sometimes all a costume TA CHAFIN, a Virginia-based writer, a large plastic tarp, placed it on the stage, put And, of utterly outrageous. Four men visited Space Camp in STARLOG #108. me in the center, and poured a clearly needs is to be

66 STARLOG/ApnV 1991 Tip 4: Ideas can come from anywhere and nothing is too stupid. Dan Coggins (left) and Robert Ahrens (with Mickey Mouse head in hand) are out for blood as "The Hanna-Barbarians."

Lance Woods and Paul Baize get the drop on the cartoon Cimmerians as the dangerous "Disney Cops."

The Disney Cops will store the beheaded Mickey with Walt. Total cost of this scenario: $30.

decided to merge Star Trek and The A-Team. was an old Banana Republic vest, with hours. Now, it did fall apart 20 minutes after The results were The K-Team: J. "Hannibal" sequins on its back applied in the shape of I left the stage, but it held together long Kirk (The Man, The Womanizer, The the Klingon warrior symbol. Several plastic enough for a Caesar's Palace-type show. Legend), Mister S ("Get outta my face old blocks had the name "K'ELVIS" spelled on As for the presentation, I wrote several man, before I mindmeld you into a brick!"), them in blue sequins (one letter per block) "filksongs" based on popular Elvis tunes and "Face" McCoy (Physician to the Stars!), and and these were attached to another strip of had a friend who can play the guitar record "Howling Pain" Chekhov (Staff Member vinyl worn as a bandolier. K'Elvis' makeup the tracks. The best received one was a love and Comedy Relief). Cost: $60. True, this consisted of fake sideburns, a fake beard and song written from a truly Klingon perspec- was more expensive than the other costumes hair styled to match Elvis Presley's — (circa tive "Are You Loathsome Tonight?" I took mentioned here, but four people split Vegas, 1973). a live microphone on stage and sang it to one expenses. If this costume sounds simple, you're still of the costume contest's judges: Suzie The costume which best represents con- overestimating it. The sequins and the red Plakson, who played the Klingon K'Ehleyr ceptual costuming is K'Elvis, The Kling. inserts were glued into place. The plastic on The Next Generation. Cost: $45. That's right, I was a combination of Elvis blocks were held with on double-sided tape. Not one of these costumes cost a great Presley and a Klingon, hence the name. Not The belt and bandoleer were stapled on. deal of time or money, but all of them were one piece of clothing was purchased for this K'Elvis' entire outfit was held together by well received because they were big on one costume! Most of the items came from my glue, staples and adhesive tape. Not one other thing—imagination! And isn't that old clothes box. It had white pants with a stitch was sewn to make this costume! The what costuming is all about? triangle of red cloth inserted into the split white pants had a big rip in them with a strip outer seams of each pants leg. The belt was a of duct tape used to keep it closed while they Basic Concepts wide strip of vinyl with a piece of shiny red were being worn. Curiously, the most There are some very basic principles adhesive material shaped like the pronged expensive part of the costume was the hair- which help keep conceptual costuming fun Starfleet logo as the belt buckle. The shirt cut*. This costume was made as cheaply as and easy. Here are a few of them: was a plain white turtleneck. Worn over it possible and was completed in about six With a limited budget, it's easier to be

qtadt r\niA~~:i mm Tip 5: Use ideas the audience is familiar with. The Kling lives with T A Chafin as K'Elvis. Don't dare step on his blue- suede shoes! Art: Paul Baize

anything else, you're you. do it. humorous than serious. Remember, more than If you complete a fun. One word of caution: It's almost impossible to be too funny. If there to have ahead of judges involved in the cos- costume several weeks or months you're going to be funny, do it up big. But Try getting them, just as long when you plan to wear it, it may not seem as whatever you do, don't bore your audience! tume. Talk to them, sing to Audience good or funny as the convention nears. Many costume entries have been harmed by as they don't directly contribute. appropri- If this happens to you, ask a friend for their not knowing when to stop. Brevity, remem- interaction can also be fun. If it's your gut to get the audience involved. opinion. And trust the Force, i.e., ber, is the soul of wit. Judges get tired fast. ate, find a way technical crews. feelings. If it was funny when you thought of Pick an angle no one will expect. Imagine Make use of the just too people planted in it, it's probably still funny. You're Pee Wee Herman as the Incredible Hulk. Or Lighting, sound and even enhance a presenta- close to it. Edward Scissorhands and his sister, Deborah the audience can greatly talented at additional cost. Sound men Even if you're not especially Scotchtapelegs. Or 2001 's tap-dancing tion without any in itself. gives them a it, costuming can be very rewarding Monolith. are often happy to help as it But if you're into winning trophies, concep- Use ideas with which the audience is fa- break from playing audiocassettes. importantly, give credit tual costumes have tallied up their share: miliar. If you do Tombar the Avenger as a Lastly, and most contributed, no matter how Yarmen, K'Elvis, The K-Team and The Fanverhoven Physicist, no one will get it. to everyone who and everyone Hanna-Barbarians all won Most Humorous Ask others for help. Often, my friends small. It doesn't cost a cent Krypton took their read, even if they're honors. The Honeymooners on have suggested things I hadn't thought of. likes to hear name for them as Best Presentation. And Riker from "Skin of But ask for permission before using their not up on stage. The applause is here and help may be Evil" nabbed the Most Original award. ideas. well as you. Skimp for fun. Just for entering, to find next time. Costuming is As long as it doesn't endanger anyone, harder conceptual you'll receive praise for your work. That's don't be afraid of breaking a competition If you choose to practice up with far more important than winning awards. But or two. For example, if you need to go a costuming, you'll eventually come rule you can rules. those will be just as with conceptual costuming, little over the time limit, go ahead. But be your own And suggestions. If it works for sometimes win. ..by having fun. W prepared to get disqualified or penalized. valid as these

68 STARLOG/April 1991 .

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. 36 STARFLEET ENGINEERING $6 INDIVIDUAL PINS 45 STARFLEET SCIENCE $6 CITY: 1022 COMMUNICATOR (full size) $15 1080 UNITED FEDERATION OF 1150 ROMULAN BIRD-0F-PREY $12 PLANETS LOGO $6 STATE: .ZIP: . ment was the different takes on the mate- Turtles Franklin rial by Franklin and star Bryan Brown. "Bryan was making a film that began (continued from page 40) (continued from page 48) with the death of Rollie's girl friend in the first picture," Franklin explains. "He be- adults. He even did a bit of personal audi- House"], he put a bust of himself behind was what we were making a se- ence research. the shade and Moriarty's henchman shot at lieved that quel to, for a very simple reason. That was "I've had a little bit of contact with the that. Then, Sherlock Holmes could double is where his dramatic motivation in the first Turtles' public and it has been fun. I saw around and catch him. The difference picture began. Up until then, he was an the first film 10 times just to sit in with that we updated it with a bit of 20th cen- girl friend got it have been easy-going guy, then his the audience. I wanted to hear them talk- tury technology. While would shot and he found himself on the run. He ing, I would even stand by the exits so I rather old fashioned to have done it as film playing the sequel as if she had just could listen to them when they were leav- rear projection, we actually did TV projec- was been shot. I, on the other hand, was mak- ing. Usually, it's hard to get kids to pay tion using a triple beam video projector ing a sequel to the end of FIX, where attention to anything with any length to and filmed that. ripped off the I stylistically story- Dennehy and Brown, having it, but I saw and heard the kids concentrat- "'So, what did was mob, thumb their noses at everybody and ing on the film. Once I even heard the board that whole scene with crane shots walk off across the waterfront in Geneva, mother of a three- or four-year-old tell the and all the things that one would expect like the end of Casablanca. They were child that the movie had to come to an end from pastiche Hitchcock. I feel like I've points of departure. So, I sometime. That was the best indirect com- done enough Hitchcock pastiche or very different constantly tell Bryan to lighten up pliment I've ever got," he says, laughing. homage, whatever you want to call it, but would he would constantly tell me I wasn't "But I've gotten letters from friends and basically, we had a situation of a girl tak- and taking the material seriously enough. relatives and some of the kids have sent ing a shower, a man in drag and someone "Don't get me wrong. Despite any me pages out of their Turtles coloring watching them through a rear window. You derivative of problems, FIX 2 was fulfilling, but, as op- books. And it's great to hear the adults us- can't get anything more posed to Psycho II where I had'a great deal ing some of the movie's language, like Hitchcock than that," he adds with a laugh. this was very different. On 'cowabunga' or "bodacious' or 'It's a of autonomy, Psycho II. Hitchcock was dead, so there Kodak moment." I get a kick out of that.'' Effective Decisions minutes, no one telling me how it should have Is this the beginning of a string of His first cut of FIX 2 ran 140 was The only two who could have Turtles adventures? Langen says he's not the director explains, but it would eventu- been done. that, Tony Perkins and Hilton Green certain, but he's considering ending his re- ally be trimmed down to 105 minutes. Due done [producer, had worked on Psycho], lationship with the Turtles. to the way the script was being written who never did. They were both terribly respect- "I'm not really sure about a third one," while they were filming, shooting exten- of fix on the material. On this se- Langen notes. "I think I'm going to be sive material was the only method to in- ful my elements quel, there were several people on the set moving on. As for sequels, it all depends sure that all necessary dramatic all times who had been involved with on the you're-only-as-good-as-your-last- would be present for the final cut. at dili- the first picture, and they seldom agreed. I film syndrome. The Turtles will keep go- "I normally consider myself fairly revisions had to try and find some kind of common ing until one doesn't do well. People in gent in terms of printing mild ex- or something so brilliant that it the business today are looking for sure just to make sure that the final script ground them all over. The producers things, guaranteed money-makers." actly reflects the picture," he says. "Well, would bowl plot were respectful to me as the director, but But isn't the Turtles craze getting a lit- in this case, there were complete set pages and the they kept saying, 'What I think made the tle out of hand? changes between one of the first picture work was this...', and I would "I hope not. There was some concern at other. As a consequence of the way second worried about film was shot, the only approach one keep saying, 'But we're making the Christmas, people were " cut it one and it's different.' overkill. But the market is still absorbing could take was to have a lot of fat and While Richard Franklin prepares to Turtles objects like a sponge. And Peter off in the cutting room, which means that to a made-for-cable movie tenta- and Kevin amaze me in that none of this you have to shoot it that way. segue film tively entitled Faithless, his hopes are has really affected them. They're the same "Presumably, George Stevens shot hundred to high that the audience will enjoy FIX 2. guys, which is great. Is the craze almost that way more than anyone, a shot to actually used "Your dream for a sequel is that you'll over? I don't think anyone can answer that one [ratio of work your come up with something people perceive yet. It seems, at least at this point, that footage]. You start wide and you the as being as good as the original," he ex- they'll be a stayer, although not at this way in, shoot everything and decide in "although you have to really wrack level." cutting room what you want. Without plains, the your brains to top the first one. Pretty What makes fans buy all the Turtles putting that approach down, it's not often, films are meant to be self-sufficient toys, see the Turtles movies and listen to way I've done things in the past. I've tried They're not meant to be the first of Turtles music? Langen thinks it's the to minimize the coverage, not because I'm works. happens, as in Remo "make-'em-laugh" aspect. trying to be clever but because I find it a series. When that Adventure Begins, it doesn't "Their popularity goes back to the agony to roll film, and consequently the Williams: The continue. You've got to mine the material Turtles' humor. Unlike, for instance. less often I have to do it. the happier I am. would pretty thoroughly to make a good movie. Masters of the Universe, which is very But in this case, I had no choice. We unlike a pilot, where you throw humorless, these four function as one but have dialogue scenes and we wouldn't This is TV hundreds of open-ended possibilities. I they do many fun things because of their know whether this or that piece of exposi- up think people would be satisfied go- personalities. Young teenagers can relate tion would be necessary. And there would don't to ing to a theater and seeing unresolved pos- to them because teens have this offbeat be a head shot in the scene designed be try to mine the material sense of humor, and the Turtles are basi- lifted out if we should decide to drop this sibilities. You thoroughly, and very occasionally, cally good characters. But there's also this particular version of the ending rather than pretty sequel comes along like Godfather II. angst the teens relate to about being out- that version, in which case this other set a which is as good as the first. It has already casts arid the way the Turtles are sentenced of dialogue could be inserted. FIX 2 has directions. been mined, but you're sifting through to living underground and not mixing with plot coming from six different they've left behind in the rubble hop- the general public. It's a combination of It's like a crossword puzzle. Answer one what you. ing to find gold nuggets. FIX 2 may be the all of those things. It also has something clue wrong and it starts to build up on same movie again, but one hopes to sur- to do with the title. The dichotomy of rep- You get away with a couple of other wrong giving them what they tiles wielding weapons and cracking things, but then, things just won't fit." prise people while behind-the-scenes distracting ele- want." w jokes. I think it can make anyone laugh. "^ One 70 STARLOGMpnV 1991 _.

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he died as an organic brain and lived on only Taylor Dick in the biochip form. He gave his life for his own experience of human music. He did (continued from page 64) (continued from page 57) transmit it back, but he's the one who

experienced it. So, that alien was the first ing to be difficult. And it was tough— it then you will die." It's a very serious prob- Faustian one. Ed Firmley is now transformed was a big picture. It was a good picture, lem. And I can see a very great and tragic into a Faustian figure. And now, we have a except we had no ending— it just went theme, in this book at this point for this man. gives up his life. nowhere, the air came out of the balloon. Which is different from Flowers For second alien who really true Christ figure. Everything was interesting getting into it; Algernon. Because there, no choices are in- He's the I.Q.. Who is he, have you decided I thought it was just dreary getting out of volved. After he became the high STARLOG: to it. It just had nowhere to go. About Charly didn't have a choice about whether yet? halfway through, you knew that Pearl go back to being an imbecile. DICK: I'm gonna leave that open 'cause I before I get right Harbor was such a historical entity, that it This man has a choice. However, it don't want to write the end open. had to happen." Escape from the Planet of means death. Now, there are more ways to to it. I'll leave those options your ex- the Apes posed the same type of hypothet- skin a cat than most readers realize. Because STARLOG: Let's hear more about ical SF question, but Taylor is quick to if the alien can be turned into a biochip, the periences writing. point out that "the thing about Escape is human mind can be turned into a biochip, DICK: The whole Faustian thing is about in the that both Roddy McDowall and Kim Hunter too. And the solution that we have is as fol- the consequences that are ignored are killed. At least, there's an ending. The lows: Ed Firmley will be made into a biochip pursuit of what for a creative person is some I think ending in Final Countdown had nothing to inserted into the brain of one of the aliens. kind of artistic vision. Although my do with the whole picture, of being in a And what you will get back in exchange for writing is getting better all the time, my is nothing like it used to be. time warp. Suddenly, they're just back in what is essentially the death of the body is physical stamina their own time, sailing blithely along!" he'll be able to do something denied any I'm doing so much research that the wear on Shot aboard the world's largest nuclear- human before. He will be able to experience me in doing a book is just—well, you hear powered aircraft carrier, the U.S.S. their world of vision and color. people say they can no longer drink as much writing books Nimitz—a privilege the filmmakers paid a STARLOG: A happy ending! as they used to drink. Me, it's quarter of a million dollars for Final DICK: More than happy. As a biochip, he and I can still write well but the cost— I can Countdown bears a producer credit for Peter will then experience their world just as the just see this graph in my mind where this finally meet the yield Vincent Douglas, "but it turned out to be alien in his brain was able to experience his cost line is going to then you [his father] Kirk. Kirk was great for about world of music. line, and it's inevitable. And two-thirds of it, and then, Peter was STARLOG: It's a heavenly exchange. have feel it's imminent? getting in trouble, and so, Kirk exercised DICK: Yes, it is. It's on a transcendental STARLOG: Do you I don't. I think his muscles. Of which he has quite a few. level in both cases. For him, this would be DICK: No. I don't. really any He made noises. Kirk was very difficult. As heaven. The world of light and color and ev- that that's one reason I haven't done I mean, I wrote the an actor, he's superb: as a producer, he's a erything is to the humans what the world of writing for some time. Archer pain in the ass. (That's meant nicely.) sound is to the aliens. So. he says, "OK. Archer novel last May [1981]. The effect of death on He's a good actor, easy to direct, no Transfer me to a biochip and if you will then novel is about the crushing problems." agree to insert me into one of your species, a very intelligent, sensitive young woman friends very deeply. In 1987, Taylor directed the made-in- I'll agree to go on another month." By this who really loved her

it, I really exploring the Toronto TV movie Ghost of a Chance with point, it's true symbiosis. True symbiosis is And, in writing was Redd Foxx and Dick Van Dyke, a Here not the same as parasitism. A symbiote is subject of the effect of the death of someone Comes Mr. Jordan-type fantasy that was half of a partnership. Two symbiotes form that one loves very much. The loss of a it you and you're meant to spark a series. Taylor admits that symbiosis. So. they're both writing this loved one. And changes it. Suffering does not en- it was a film that probably shouldn't even music. The alien is giving the mathematical dehumanized by really bought the idea that have been made, at least not under the cir- basis and he's converting it into music. noble. I've never cumstances. "We didn't have a [workable] They're joint composers. we're somehow better off for suffering. I all this happened, and it did dam- script, and it was the start of a writers' STARLOG: Now. does his biochip being show that benefit it, they did strike. We should never have started. We inserted into the alien pose this problem? age her. She did not from it, the real question were rewriting the whole time." DICK: Yes. It will kill the alien. not benefit from so anything Taylor isn't as busy with directing as STARLOG: Oh, sad ending. toward the book's end is then, "Did he once was, often turning down TV direct- DICK: That's the ending. You guessed it! happen that adds up to anything?" ing offers and devoting more time to writ- One of the aliens will have to sacrifice him- STARLOG: Do you feel you would want to ing. Right now, his wish is to return to his self and die. One of the aliens on this ship to do a literary novel again? have to admit that first love, the stage. "I know I'll direct a whom we've been introduced to is a charac- DICK: I really would—I another literary couple more pictures—as a matter of fact, ter all ready to agree to give up his life so I don't think that I would do I'm contemplating doing one right now that this human being can live on and that's novel. I wanted to explore that topic 'cause I finally of friends that I was very close but I feel like acting again and I would like how the book ends. And so we wind had a number it wasn't so much that I to do a play. But I haven't found a play up with, we now see from Ed Firmley 's to who died. And wante'd to write a literary novel, it was I that I particularly want to do." For a viewpoint what their world of color looks writer/director like Taylor, the solution is like. We've already seen our world of sound wanted to write that particular novel about one. simple: "I think I'm gonna write myself a from the alien's standpoint. At the very end, the effect of death of a loved part!" we see their world through a human mind. STARLOG: What are your feelings about And he's equally happy with his acting This is the paradigm of Faust. Faust that book? and directing careers. "I love seeing some reaches into a Godlike realm, grasps this DICK: This was not fun to write. I worked I job. I think the of those movies that I was in, but I would thing and brings it back. But dies at the very very hard and did a good I must say that it was the have died not directing. I broke into it moment his hand closes in on it. He both si- book is OK. But for most arduous thing I have ever done. I have when it wasn't easy. When I decided I multaneously gets what he's looking and never worked so hard and produced so little wanted to direct. I couldn't even get to first dies. Death and victory become one event in life. base; to get a half-hour show, I practically for the Faustian man. This is the Faustian my What you mean? had to kiss Dick Powell in the middle of victory. If either occurs without the other, it STARLOG: do I don't have much to show for it. I Santa Monica Boulevard! But at least I wouldn't be Faustian, but something else. DICK: I have written helped to break that barrier down, in a STARLOG: And the first alien? mean, [in that time], could five science fiction novels. Tw way. It is a director's medium." ix DICK: When the alien biochipped himself,

72 STARLOGMpnV 1991 —s

VIDEOLOC, IN QUEST OF ADVENTURE Ouite literally, no stone was left unturned by Hollywood's best- known bug and insect expert, Steven Kutcher, to supply director Frank Marshall with the perfect Arachnophobia, due out from Touchstone Home Video this month. An Amazonian bird-eating tarantula whose diet consists of insects and mice was the obvious choice to play the film's "star," a deadly Venezuelan spider who hitches a ride to a small California town. The film's human stars include Jeff Daniels, Harley Jane Kozak, John Goodman and Julian Sands. Screenwriter Don Jakoby, having previously been teamed with Dan O'Bannon on ALIEN, Looking for a videocassette, Bullwinkle pulls a Rocky out of his hat Lifeforce and Blue Thunder, shares credit with Wesley Strick for the creepy crawly From Landmark Laservision comes a Rocky & Bullwinkle to the rescue when goings-on in Arachnophobia. The score collection of animated classics from the Boris and Natasha render the greatest is by Trevor Jones. creative talents of Max and Dave minds in America brainless with a "Goof Arachnophobia is a VHS and Beta Fleischer on four new laserdiscs. Betty Gas Attack." In addition to Mr. Know-It- HiFi release priced for the rental market Boop Special Collector' s Edition, Volume All and a biting tale in Aesop and Son, at S92.95; a laserdisc release should fol- II (84 minutes), Cartoonies: Featuring there's the Fractured Fairy Tale version low in a month or two and will be much Gabby (50 minutes), Max Fleischer' of "Rapunzel." Meanwhile, Dudley Do- more accessibly priced at $39.99. Popeye the Sailor Cartoons (a collection Right digs for gold to win Nell's heart, At University Hospital School of of full color featurettes) and Max Fleisch- while Bullwinkle pulls a rabbit out of a Medicine, five ambitious medical stu- er' s Koko the Clown Cartoons (70 hat. dents are involved in secret experiments minutes) are all $29.98 each. Volume IV, Blue Moose: Bullwinkle to see what lies beyond life. The conse- Fans of Moose and Squirrel rejoice! learns he's heir to an outrageous fortune quences of their adventurous attempts to Buena Vista Home Video has acquired the due to a "Rue Brittania" birthmark. Only tamper with immortality are a series of ultra-legendary series from Jay Ward: The two things stand in his way—Boris and chilling manifestations of their past Adventures of Rocky & Bullwinkle. Six Natasha. After the wisdom of Mr. Know- sins. Flatliners stars Kiefer Sutherland, 40-minute volumes have been priced at It-All and Bullwinkle's Corner, Peabody Julia Roberts, Kevin Bacon, William $12.99 each. The laserdisc release will and Sherman visit "Cleopatra," Snidely Baldwin and Oliver Piatt in a VHS/Beta include two volumes per disc at $39.95 Whiplash starts a crime wave and Edward HiFi and laserdisc surround sound release per set. A Disney spokesman explained Everett Horton tells his version of "The from RCA/Columbia Pictures Home that both the audio and video portions of Ugly Duckling" in Fractured Fairy Tales. Video. the entire 156 hours of programming ac- Volume V, La Grande Moose: The original 26-episode Jonny Quest quired by Buena Vista were meticulously Bullwinkle owns the world's largest col- TV series created by Doug Wildey restored. Individual frames and scenes lection of box tops—a very valuable (COMICS SCENE #1) chronicled the were restored using a computer paint box commodity. At least, that's what Boris travels 11 of -year-old Jonny Quest: his program. and Natasha think when they pull off the father, world-renowned scientist Dr. Volume I, Mona Moose: Rocky & great "Box Top Robbery." This entry Benton Quest; their bodyguard, Race Bullwinkle foil the plans of Boris and also features Dudley and Nell's wedding, Bannon; Jonny's adopted brother. Hadji Natasha who will stop at nothing to re- Bullwinkle's Corner, a frog becomes a and bulldog. Bandit. Actor Tim (Animal trieve the "Treasure of Monte Zoom" prince of a fellow in Fractured Fairy House) Matheson taped the voice of lost somewhere under Frostbite Falls. Tales, and Aesop and Son. Jonny Quest more than 20 years ago. This volume also features the Fractured Volume VI, Canadian Gothic: This Three 30-minute volumes have been Fairy Tale "Little Red Riding Hood," volume is devoted to the blundering drawn from the series by Hanna-Barbera Bullwinkle's Corner, "Robinson Crusoe" escapades of the most incompetent Home Video at $9.95 each. Look for in Peabody's Improbable History, a fur- Mountie, Dudley Do-Right. Also featured 'Q' "Turu the Terrible." "The Missile smuggling Snidely Whiplash vs. Dudley are Bullwinkle's Corner, spell-casting Mystery" and " in the Do-Right, and Mr. Know-It-All. witches in Fractured Fairy Tales, a cold Monastery." Volume II, Birth of Bullwinkle: trip to Toronto in Peabody's Improbable "Though Lovers Be Lost," the 90- Bullwinkle is up to his antlers in hot wa- History and Mr. Know-It-All. minute story that marked a turning point ter after accidentally discovering "The Bill Scott, the show's co-producer, in TV's Beauty & the Beast, is available Ruby Yacht of Omar Khayyam" during head writer and voice of Bullwinkle, on laserdisc ($29.98) from Republic Frostbite Falls' annual boat parade. Also Dudley and others, might have appreci- Pictures Home Video. In this story, writ- included are: Bullwinkle's Corner, ated the plaudits this brainy classic has ten by Ron Koslow, Alex Gansa and "Sleeping Beauty" in Fractured Fairy earned. . creator of The Howard Gordon, Catherine and Vincent Tales, Mr. Know-It-All, "Robin Hood" in Simpsons, paid homage: "I always loved consummate their love. When Catherine Peabody's Improbable History, and a Bullwinkle. That's where the J. comes becomes pregnant with Vincent's child, boulder-dropping Snidely Whiplash from in Homer J. Simpson. It's from she is abducted, and Vincent must then dropping in on Dudley Do-Right. Bullwinkle J. Moose." attempt a final rescue. Volume III, Vincent Van Moose: It's —David Hutchison

STARLOGMpnV 1991 73 stand looking out there, across the Mississippi, « They brought to this moment. See pondering what has them | them there: Tom Sawyer and Huck Finn, friends forever, J no longer the boys they once secret pals, boon companions— | were, but men, all grown up, with tragic secrets and desperate J yearnings and deep regrets. So many regrets. J It's a riveting moment—and it is part of the science fiction ] universe. For the men standing there, careening across the weeping, acting are two people TT M ' stage, dancing, threatening, well known to STARLOG readers: Walter Koenig, Star Trek's -n V " u courageous Russian Commander Chekov, and Mark Lenard, the beloved Sarek of Vulcan. Together, these two longtime friends are now Tom Sawyer and Huck Finn, Mark Twain's immortal characters reunited after years apart in Bernard Sabath's T

poignant play The Boys in Autumn. And they are superb. w- 1 This acclaimed production, directed by Alan Hunt (a former actor who served on Voyage to the Bottom of the Sea), premiered in Los Angeles, but it isn't limited to theaters. Like Actors, a play in which Lenard and Koenig previously teamed, I The Boys in Autumn is also occasionally being performed at SF

conventions. I saw it last fall, alongside my brother Russ, Managing Editor Eddie Berganza and 800 other fans, at one of They're The Boys in Autumn: Huckleberry (Walter Koenig). the country's premier SF conventions, Denver's Star Con. Finn (Mark Lenard) & Tom Sawyer Well, I've never been one for idle praise even when those all the productions New involved are my friends, so when I say that Mark Lenard and playwright, Bernard Sabath, has seen — saw three performances of Walter Koenig were terrific, / mean it. Koenig is a revelation as York, Russia, Germany—and he the strutting entertainer Thomas Gray, that Tom Sawyer of long ours. He felt ours was the best. we're ago grown up now, delivering a bit of show biz patter along "Plays vary depending on who plays them. I don't say I think we've brought with his vaudevillian dance steps. And Lenard—an actor of better than the others. But for this play, it are better than the other productions: a enormous strength—is extremely affecting as the curmud- elements out of that geonly Henry Finnegan, better known in another lifetime as great deal of humor and feeling and a sense of humanity." performance Huck Finn, now bitter and old and wanting to be left alone. Future plans are not completely final. There's a Having seen Koenig and Lenard as Tom Sawyer and Huck tentatively set for the pre-cruise Sea Trek Gala in Miami in May theater contracted for later Finn, it's hard to conceive of anyone else in the roles, and a brief run in a Palm Springs, CA although John Cullum (as Tom) and George C. Scott (as Huck) this year. College tours, a stint in Connecticut, other Trek con played them on Broadway and Kirk Douglas owns the movie bookings and even an off-Broadway run are all possibilities. point. rights (and hopes to star in a film with Scott or Burt Lancaster). "I don't feel uptight about the lack of dates at this it's only three or four To the actors in this production, there was no doubt about We'll continue to do the play whether challenge casting. "I couldn't see me playing Tom, and Walter, times a year or more," Koenig says. He addresses the fantasies fulfilled Huckleberry," Mark Lenard says. "It wouldn't work. I figured if of The Boys in Autumn. "There were many it done and persever- George C. Scott could play Huckleberry.. ..I never thought I was with this. The initial one was just getting difficult as asking people for particularly right for it, but I'm right in spirit. I can play that ing. I've never done anything so those people, sort of role." money to back this play. Having the support of dream. "As soon as I read the script," adds Walter Koenig, "I knew I those friends, validated my with something from a stand- wanted to play Tom. I really fell in love with the play and the "Knowing that we could start it great. part characters. The curious thing is I originally envisioned playing ing start at the beginning and accomplish was The I to feel that I was still growing as an ac- it in a considerably different way. My initial concept of how to was wonderful. needed of Star play the part was filled with schmaltz and angst. Ultimately, I tor, that I wasn't going to be mired in the ghost images still doing con- discovered in rehearsal, along with the director, that it was be- Trek—that 15 years from now, I would only be "about coming very tiresome to play so much pain. It's far more inter- ventions," Koenig assumes a creaky, elderly voice, my the prevailing esting to play the guy as 'up,' and full of stories, full of life." experiences on Star Trek. I don't want that to be Lenard had seen the Broadway version and suggested the occupation of my life. For me, doing The Boys in Autumn was play to Koenig, who optioned theatrical rights. Almost two truly a fantasy come true." fans have the years later, financed by Koenig, Lenard and several TV industry I hope many more STARLOG readers and SF Koenig and friends, their Boys in Autumn opened in a small LA theater. chance to see at a convention or in a theater, Walter Sabath's Boys in Autumn. These "The audience loved it. We got quite a good review from Mark Lenard in Bernard The Daily Variety and an unqualified rave from the paper that really are great performances in a great play by great actors. We SF counts in LA, the Los Angeles Times," Lenard says. "It's a fans can be proud of them. lovely play. It's meaningful to many people who've never Mark Twain would have been. (January 1991) been to the theater. It touched certain chords in them. The —David McDonnell/Editor

enters the ring The future in STARLOG: Hurd Hatfield poses. He's the very Picture of Dorian Gray. ..Hulk Hogan the World, from another planet. He's 's pal, the Suburban Commando... and Mom & Dad Save #166, but why? The answers begin as soon as we add four more colorful pages to the magazine beginning in STARLOG on sale Tuesday, April 2, 1991.

74 STARLOG/April 1991 MAGNETIC STORM Roger Dean and Martyn Dean Illustrations from the Deans' many commercial successes, as well as photographs of their architectural marvels, including stages built for such rock groups as YES and Pink Floyd. 156 pp, 12" x 12", 298 color and 89 b w Let your illustrations. imagination soar... DIARY OF A Visit places you never SPACEPERSON LAST SHIP HOME Chris Foss dreamed possible... Rodney Matthews The erotic adventures of a Included in this collection spacewoman are illustrations from encountering an Each volume only $19.95 Tolkien's Lord of the Rings assortment of the most trilogy and Frank Herbert's alien beings. Includes images plus postage. Dune. Also featured is a of far-off worlds section on technique, with and lumbering spaceships insights into Matthews' in full color plus a working materials, collection of more delicate methods and creative line drawings. Softcover, A CLOSER LOOK process. 136 pp, 12" x 120 pages, 9 1/2" x 12", 71 Patrick Woodroffe 12", 145 color and 80 b/w color + 47 b/w illustrations.' An absorbing insight by the illustrations. artist himself into all his techniques, including oils, M\ I AXTAS'l ARTISTS.VFWO water-color, pen and ink, etching, and his innovative semi-photographic ©REAM DREAM MAKERS process, tomography SOLAR WIND Martyn Dean and Chris fAMIRS Evans techniques that have Peter Jones provided an imaginative A collection of illustrations A collection of the works of six leading and phenomenal use of representing Jones's fantasy artists, color in his many fantasy interest in science fiction incorporating highly and children's books, and fantasy. Prehistoric revealing interviews. album covers and posters. leviathans, futuristic Environments range from Middle Earth 128 pp, 9" x 12" 317 color swords and sorcery, to illustrations. space battles and gorilla- deep space worlds. 160 9:" 12", like aliens. 92 pp, 8 1/2" x pp, x 103 color and 45 b/w illustrations. 11 " 98 color illustrations. MARK HARRISON'S DREAMLANDS AIRSHOW Mark Harrison and Lisa Philip Castle Tuttle CIRUELO The second collection of Ciruelo Cabral and Nigel Includes the memorable Castle's highly distinctive Suckling book jackets for Sherri artwork. The lifelike Features both Tepper's The Gate to quality of the airbrushing his commissioned illustrations Woman's Country and emphasizes his passion for and paintings based solely Barry Hughart's The Story the cars, aircraft and films on his original of the Stone. An intelligent of the pre-WWI years. ideas, exercises commentary reveals some Castle's work includes in imagination of and technique. Includes the artist's personal numerous covers for Time perceptive commentary dreams hiding behind the Magazine and film art for by Nigel public visions. Softcover, Stanley Kubrick. 144 Suckling (Heroic pp, Dreams). 128 pages, 8 1/2" x 12", 94 9" x 12" 100 color Softcover, 128 pages, 1/2" 12", color illustrations. illustrations. 8 x 120 color illustrations.

THE PORTFOLIO COLLECTION A brand new series of large format artbooks. With a brief introductory text each book features reproductions of 28 spectacular fantasy images, spanninq STARLOG PRESS the career SEND CASH, CHECK OR of each artist up to the present day. Printed on the finest quality 475 PARK AVENUE SOUTH MONEY ORDER PAYABLE paper, each piece is suitable for framing. NEW YORK, NY 10016 TO: STARLOG PRESS THE RODNEY FANTASY ART BOOKS MATTHEWS $19.95 each—plus postage PORTFOLIO Please indicate the quantity of each Rodney Matthews book being ordered. Crystalline gravity-defying _JIM BURNS _AIRSHOW landscapes. Softcover 64 pages, 11 PORTFOLIO x 17", 28 color plates. _BRUCE PENNINGTON _LAST SHIP HOME THE CHRIS FOSS PORTFOLIO PORTFOLIO _MAGNETIC STORM __CHRIS FOSS PORTFOLIO Chris Foss _MARK HARRISON'S _CIRUELO Intergaiactic arks and ion-driving DREAMLANDS civilizations. Softcover 64 pages, '"", _A CLOSER LOOK 28 color plates. _RODNEY MATTHEWS PORTFOLIO _DIARYOFA SPACEPERSON _SOLAR WIND _DREAM MAKERS

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