Chevy A Supercharged Year 1 SUMMER 1985 VOL. HI, NO. 3 Presenting High B i^D 'ana the Ultimate Tape Guarantee. A, We’ve engineered every facet of our transport mectianisra.:; ■( h to protect fhe tape. Our waved-wafer improves tape-windv . {Silicone-treated-rollers insuie precise alignment and , ( ' /smooth, safe tape movement. To protect the tape and u |;* ,•] mpehanism, we’ve surrounded them with a remarkably/,/ ( j cassette housing made rigid and strong by a mold desi&njmiqueto Memorex. ) \ •• m guarantee them forever. / ; / *$ ,/ If y*ouever become dissatisfied with \ ,i ■; Memorex High/Bias II, for any reason, : -y' v simply mail the tape back and we’ll y eMOVIE M A G A Z N E ■ COVER In the beginning, TV created Saturday Night Live. First to jump into movies, most durable of the SNL galaxy, Chevy Chase now has a trio of new films, leading with a comic thriller called Fletch. Page 6. ■ PROFILE The kid who smashed his model trains for 8-millimetre thrills, Steven Spielberg, may be the biggest achiever in Hollywood history. Page 4. ■ FACES Kelly LeBrock heralds a new age in computer-assisted design, Tom Cruise is green with pride and Michael J. Fox leads a double life. Page 8. ■ DIRECTORS R obert (Romancing the Stone) Zemeckis, 11 years after a Best Student Film Academy Award, is a leading comedy/action director. Ridley Scott, of Blade Runner and Alien fame, built his visual talent with far-out TV commercials. Page 12. ■ COMING SOON Highlights of our next issue: The very hot Tom Hanks goes for a financial splash; Robert Red ford and Meryl Streep give their all in Africa; Michael Keaton, Kurt Russell and Robin Williams take up the sporting life. Plus a Illrd twist of Psycho. Page 14. Cover: The twinkle in Chevy Chase’s eye was captured by photographer Bonnie Schiffman. Publisher JOANNE SANFILIPPO Editor BYRON LAURSEN Creative Director CHIP JONES Art Director MOLLY RUTTAN Design HORTENSIA CHU Produc­ tion Assistants JACK CLAEYS, JOCEY KHAYAT, PAUL SNYDER Circulation Supervisor ROXANNE PADILLA Assistant to the Publisher NANCY JONES Advertising Offices: N ew York 134 Lexington Ave., 3rd Fir., N.Y.C., NY 10016, (212) 696-0994 Vice-President National Sales and Marketing LARRY SMUCK- LER Account Executives NICHOLAS IOVANNA, DONNA CALDERARA, CINDY VINCENT Los Angeles 303 N. Glenoaks Blvd., Suite 600, Burbank, CA 91502 (818) 848-4666 Director of National Sales HARRY SHERMAN Account Executives DAVE ERB, NORMA CORTES C h icago 152 W. Huron St., C hicago, IL 60610 (312) 751-1768 Midwest Sales Manager JACKIE PETCHENIK Detroit Publisher's Representative MARTIN TOOHEY (313) 643-7797. Alan Weston Publishing, a division of Alan Weston Communications, Inc., corporate offices — 303 N. Glenoaks Blvd., Suite 600, Burbank, CA 91502. Richard J. Kreuz, President and Chief Executive Officer; Jeff Dickey, President of Sales and Marketing; Randy Achde, President of Business Development. All rights reserved. Some material herein used with permission of their copyright owner, Universal City Studios, Inc. Letters become the property of the publisher and may be edited. Publisher assum es no responsibility for unsolicited manuscripts. Published three times during the year. Annual subscription rate is $3.00. To order subscription or notify change of address, write THE MOVIE MAGAZINE, 303 N, Glenoaks Blvd.. Suite 600, Burbank, CA 91502. R O F L E t was the summer of 1966. Steven STEVEN Spielberg, just turned 21, brashly re­ Spielberg, 16 and moviestruck, took plied, “I think so, too,” and was launched a Hollywood studio tour and broke into the world of TV with a Night Gallery the rules. Peeling off from the pack, the episode starring the formidable Joan Phoenix, Arizona high-schooler stayed Crawford. Remembering his student three extra hours, peering into every filmmaking roots, Spielberg has named fascinating corner of the lot. The next his own production company Amblin’ day, and for the remainder of that sum­ SPIELBERG Entertainment. It’s logo is from E.T. — a mer, Spielberg dressed in a suit, carried boy on a bike riding over the moon. a briefcase and walked in past the guards Movie Magic Amblin’ Entertainment now helps spon­ with blithe confidence, a pretender ab­ sor the annual Nissan FOCUS (Films of sorbing a big league education. College Students) Awards. He’s also In the summer of 1985, Steven Spiel­ quick to help promising people who by Byron Laursen berg’s greatest movie creation, E.T. The might otherwise have a tough time Extraterrestrial, will return to screens after breaking into the film business. Law­ a two-year absence. Coincidentally, it rence Kasdan (Body Heat, The Big Chill) happens to be the biggest- became a writer and, ulti­ grossing feature in film his­ mately, a director in demand tory. With six of his films after Spielberg bought his (Jaws, Raiders o f the Lost Ark, early script entitled Continental Gremlins, Indiana Jones and the Divide, then introduced him to Temple of Doom, Close Encounters director George Lucas, who of the Third Kind a n d E .T . ) subsequently tapped Kasdan among the top 20 of all time, to co-write the screenplay for Spielberg — as writer, director The Empire Strikes Back. Chris and producer — doesn’t have Columbus, a film student at to pretend any more. The NYU, submitted a script with a studio he used to sneak into great idea in it. It became has custom built an office for Gremlins, and Columbus, who Spielberg’s company, Amblin’ honed his skills through sev­ Entertainment, complete with eral rewrites, has become a a 45-seat screening room and prosperous screenwriter. candy counter. The TV work lead to Duel, a “Walt Disney,” Spielberg movie of the week project, in once told Time, “was my p ar­ which a maleficent, unmanned ental conscience.” Indeed, a semi truck chases an innocent “when-you-wish-upon-a-star” driver through a western can­ thread runs through Spiel­ yon. Duel won the Grand Prix berg’s life as much as it spools at the Festival du Cinema Fan- through his film tales. tastique in France, among Born in Cincinnati and other awards. Most impor­ raised in Phoenix with three tantly, it secured Spielberg's younger sisters, whom he first feature film deal, The loved to terrify with ghastly, Sugarland Express, about which imaginative stories, Spielberg The New Yorker enthused “. hatched the notion one day to one of the most phenomenal commandeer his father’s home debut films in the history of movie camera. He staged A collegiate effort called A m blin’ earned the first big break, buta the movies.” The Sugarland Ex­ smash-ups of his own, beloved friendly spaceman became the major milestone. press is a Texas chase story, model trains. The camera was featuring Goldie Hawn in angled low and, to Spielberg’s youthful another choice, beyond being either “a what many critics call her best film role. delight, the models looked like real be­ jock or a wimp.” At the age of 26, Spielberg was in posi­ hemoths in a mega-disaster. After the heady summer of sneaking tion for a big-budget production. He en­ More Spielberg productions soon fol­ into the studio lot, Spielberg conceived tered the major leagues with a toothy lowed. He plotted each on a storyboard an honest way to come through the splash: Jaws played on primordial fears before filming. One, Battle Squad, ended gates. Amblin’, one of a series of films he and established new box office records. the 8-millimetre mogul’s problems with made while studying English Literature The litany that followed helped set the high school bully. Spielberg simply at Cal State Long Beach, was a 24-minute higher standards for film popularity, but cast his former antagonist in the lead story of two lovestruck hitchhikers. In E.T. has stood as Spielberg’s favorite. The role. Instant respect. It then occurred to addition to festival prizes, it won Spiel­ warmth of the film’s central fantasy — a the teenage Spielberg that movies were berg an audience with a far-sighted studio boy makes friends with a super-smart indeed a wonderful path to people’s exec who remarked, “I think you should spaceman who was abandoned on Earth imaginations. He realized that he had be a director.” (continued on page 14) 4 THE MOVIE MAGAZINE If this is what a beginner can do with the Nikon FG, imagine what you could do with a little practice. Recently, we recruited a group of Because we designed the FG to be What’s more, with the FGs extraor­ people who were novices at 35mm so simple that a beginner could take dinary through-the-lens flash meter­ SLR photography handed them Nikon great pictures with it from day one. ing system and the optional SB-15 FGs, and set them loose in California. Yet we engineered so many sophis­ Speedlight, even the most complex Their results didn’t surprise us in ticated systems into the FG that ife flash pictures become simplicity the least. perfect for a serious photographer, itself. The Programmed FG too. So try out an FG at your Nikon You see, the FG is a camera that dealer. Nikon gives you as much or as little automa­ Because no matter how terrific tion as you want. you think these pictures are, there’s In the programmed mode, just nowhere to go from here but up. * J focus and shoot. In automatic, you can control depth of field by choos- $ ing an aperture while the camera ' o selects the appropriate shutter Nikon. speed. And in manual, you can set We take the worlds both for complete creative control.