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Sex & the single : SPECIES II speaks!

SPECIAL EDITION ..99/$6.50 CANADA U.K. £2.95 June 1998 #251 TARGET 1 i • Startling Will you- und "Trie everyone else- Facts" expised!

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V THE " AUTOGRAPH CHALLENGE S" GAME FOR A CHANCE TO tfIN ONE OF 5D COMPLETE SETS OF SEASON H AUTOGRAPHED CARDS. COiyyMG STARDAft 5;9S ONE AUTOGRAPHED CARD GUARANTEED tl\l EVERY BCSX'l • NO PURCHASE NECESSARY. OPEN TO LEGALjAL RESIDENTSRES) OF THE AND CANADA (EXC. QUEBEC PROVINCE). VOID WHERE PROHIBITED. GAME ENDS OCTOBER 31- 1998. FOR LAUREL. HJ 08054. ONE Sl-. * THREE FREE GAME CARDS AND OFFICIAL RULES,RULES. iSEND A SELF-ADDRESSED. STAMPED ENVELOPE TO: STAR TREK AUTOGRAPH CHALLENGE 2. P.O. BOX 651. MT. 5kyBox iSfc REQUEST PER ENVELOPE. MAILED SEPARATELY.:LY. WA,WA. VT & CDN RESIDENTS MAY OMIT RETURN POSTAGE. ODDS OF WINNING. BASED ON OBTAINING RARE GAME CARDS: ARE 1:14.400 PA" TM 1 .=>TOU) PUUMfUIMTPir!tIIRF5: Alt Rll US'" . ALL RIGHTS RESERVED. STAR TREK AND RELATED MARKS ARE TRADEMARKS OF . FLEER SKYBQX AUTHORIZED This is the way the world ends when a comet makes Deep Impact. See page 46.

IL 61054-0430. Printed in u.S.£. ; ^^^^^Dept.. P.O. Box 430, Mt. Morris. «• • / ; LOG subscription 353- 1^ s4EhMBL/ im?mS * i , —"r **-n v SIGNED, SEALED & DELIVERED.

Ralph McQuarrie's full-color lithograph featuring and a cast of out-of-this-galaxy characters is here. Each piece is numbered to an edition size of 2,500 and personally autographed by Mark

Hamill and the artist. Plus comes complete with a cell from the film and a certificate of authenticity.

Tune in or call 1-800-345-1515, it may be the easiest way to buy Star Wars collectibles in this lifetime.

STAR WARS Collectibles, Tuesday, May 26, 9pm-llpm ET QVC and "Chain of Com- scenes and deletes more scenes, ZTlZ Lr A UA ! _T mand, Part I," which most notably dropping Dreyfuss' stars Ronny (Robo- Mothership visit, which Spiel- President/Publisher guest NORMAN JACOBS Cop) Cox. berg was apparently not happy President FLIGHTS OF And after you finish viewing with. No pricing at presstime, Executive Vice RITA EISENSTEIN those, you can turn to some new though the studio promises both pan/scan edi- In the early decades of this cen- second season episodes of Star widescreen and Associate Publisher have been MILBURN SMITH Itury. spiritualists and their Trek: Deep Space . tions in VHS. There suggestions for an Ultimate Edi- seances were still seriously feels the sting of a competitor, V.P./Circulation Director 148 regarded by legions of people. Martus (Chris Sarandon) in tion, which would run about ART SCHULKIN of the ardent "Rivals." 's origins are called minutes if all of the footage were Ironically, one most Executive Art Director Spielberg hasn't spiritualists was Sir Arthur into question in "The Alternate." put back in, but W.R. MOHALLEY Doyle, creator of the There's also "The expressed any interest in this Editor "Whispers" in which idea. world's most famous paragon of Game" and DAVID MCDONNELL half-hour episodes of observation and deductive think- O'Brien's popularity seems to All 39 Editor Sherlock Holmes. In the take a sudden nose dive. All the Gordon TV series star- Managing ing. KEITH OLEXA Holland (see page other camp, the person most ring Steve were filmed in known for his single-minded 64), which Assistant Editor haven't been JEANNE PROVOST crusade against phony medi- Germany and seen since 1954, have been ums and their tricks was that Special Effects Editor video dis- master of magic and illusion acquired for DAVID HUTCHISON The two were tribution by Englewood Hairy Houdini. Contributing Editors of Indepen- and received reams of Entertainment ANTHONY TIMPONE dence, MO. Check their MICHAEL CINCOLD press coverage for their cru- TOM WEAVER for the latest info: sades. Perhaps one of the site IAN SPELLING most famous of these www.englewd.com. After realizing a mod- Consultant involved two young girls KERRY O'QUINN success with its live- who claimed to have seen icum of and photographed living action remake of the cartoon Senior Art Director Dalmatians, JIM MCLERNON fairies in their backyard. feature 101 turned to another stu- Fairytale—A True Story is Disney west Coast correspondents animated shorts MARC SHAPIRO based on this incident and dio's (UPA) BILL WARREN live-action feature features Peter O'Toole as for the Doyle and as Mr. Magoo (for rental only Financial Director: Joan Baetz Marketing Director: Frank M. Ros- investigators in VHS and Beta) starring Houdini—both ner Leslie Nielsen as bumbling of the girls' claims. Circulation Manager: Maria Damiani Designers: Yvonne Jang, John Dins- Though the special FX Quincy Magoo. Teng, Dmitriy ostrovskiy, Laser: Ripley dale, Rick scenes with the fairies are Marco Turelli. years, but Debbie Irwin, Dee beautifully handled and dead for 200 now Executive staff: for stylish animated Assalti. Look the Erwine, Jose Soto, Sarah director Charles (Gulliver's researchers think they have adventure in & Mr. correspondents: (West coast) Kyle technology to breed and tame a jean-Marc & Travels) Sturridge succeeds in Freeze: SubZero. counts, Pat Jankiewicz, Randy Lofficier; (NYC) David Hirsch, his story new brood of aliens. ALIEN Res- authentically wrapping Mike McAvennie, Maureen McTigue, is a widescreen transfer in the period, the film strays from episodes feature stereo surround urrection Joe Nazzaro, Steve Swires, Dan Yakir; in Dolby Digital () Will Murray; () Kim the facts of the case and puts sound, $14.95 each in VHS. from CBS/ Howard Johnson; (west) Bill Flo- Surround Sound ($39.95) or words in Houdini's mouth that Now in stores is Batman & rence, Jo Beth Taylor; (South) Lynne (Canada) would have him turning over in Mr. Freeze: SubZero, a direct-to- DTS ($49.95). Stephens, Michael Wolff; Peter Bloch-Hansen, Mark Phillips; — animated adventure in Image Entertainment has an his grave. Fairytale A True video () Stan Nicholls; (Booklog) interesting trio of new SF releas- Kevin Story is priced for rental in VHS which Batman (voice of Kevin Scott schumack; (Cartoons) director Brockschmidt, Alain Chaperon, Mike Beta, but the laserdisc ver- Conroy), (Loren Lester) es beginning with and Fisher, Tom Holtkamp, Bob Muleady. Tarkovsky's metaphysi- sion is only S34.95 in CLV. Inci- and (Mary Kay Bergman) Andrei Thanks: , Rob Bow- newly re- man, Chris Brancato, Chris Carter, dentally, the famous photos tackle the chilling Mr. Freeze cal SF journey Solaris, Dalisa Cooper Cohen, , in a cheaper edition, survive to this day, and you can (Michael Ansara). Filled with a issued Fredrik Du Chau, David Duchovny, Russian with English Heather Graham, see one of them for yourself at stunning mix of computer-gener- $34.95 in Terry Erdmann, Mary Alice Green, Natasha Hen- ated and standard animation, as subtitles. Robocop 2 continues the web site: www.parascope. stridge, Steve Holland, Jennifer com/articles/0397/ghost08.htm directed by Boyd Kirkland, Sub- the story of the cyborg cop with Howd, Christopher Judge, Penny Allen, Kenny, Leah Krantzler, MattLeBlanc, of Star Trek: Zero is a special treat from Warn- Peter Weller and Nancy Ten episodes Mimi Leder, Hudson Lelck, Carol widescreen. The The Next Generation drop out of er Home Video (VHS. $19.96), $29.95 in CLV Marks-Ceorge, Tom Phillips, Steve Stargate Pilcher, John smith, , warp this month. Look for Due out mid-month is yet for Showtime's Jeff walker, Alex Worman. Steven Spiel- series, ($39.95) stars "Time's , Part II," "Realm another version of SG-1 Cover Art: Xena: Copyright 1998 Uni- Anderson and Movie: Copyright 1998 of Fear," in which Lt. Barclay berg's Close Encounters of the Richard Dean versal; -Files universal TV; species II: copyright Kind. The story is this: Christopher Judge (see page 50). overcomes his intense fear of the Third 1998 MGM; : Copyright 1998 Transporter, "Man of the Peo- Spielberg claims the original LIVE Home Video has a new Sony Entertainment; Deep impact: Copyright 1998 Paramount Pictures. which features a release version (1977, 135 min- widescreen, THX approved, ple," "Relics," For Advertising information: Digital Surround Sound visit by Classic Trek engineer utes) was hurried and unfinished, Dolby (212) 689-2830. FAX (212) 889-79SS Director: Rita Eisen Montgomery Scott (James then came the Special Edition edition of director James Advertising stein delet- Cameron's Terminator 2. Also Doohan). "Schisms," "True Q," (1980, 132 minutes) which Classified Ads Manager: Tim Clark Faust "Rascals," where a molecular ed some scenes and added others, receiving the DDSS treatment is For Ad sales: Dick Faust, The Co., 24050 Madison St. Ste. 101, Tor- including the shots of Richard the widescreen transfer of mishap transforms Picard and rance, CA 90505 (310) 373-9604 or 8760 directed Tim Bur- three other crew members into Dreyfuss inside the Mothership, Beetlejuice by international Licensing Rep: Robert inc., 720 films are priced at J. Abramson & Associates, a trip to the Old West and now finally we get a third ton. Both children, Post Road, scarsdale, NY 10583 CLV. via in "A Fistful of version, a Collector's Edition $29.95 each in — Hutchison Datas," "The Quality of Life" (1998, 137 minutes) which adds David

— — _ M ii wrjnrm .... .1 1 nun i n ..y .

Elizabeth Ward Gracen, Johnson for DreamWorks). Rock from the Sun early this ex-Miss America and High- A&E Cable will air a two- month. lander vet, will star in the hour TV movie adaptation of has made it offi- * new syndicated spin-off Edgar Allan Poe's oft-filmed cial. 20th Century Fox will dis- LOTS MORE SF-TV Highlander: The . Murders in the Rue Morgue. It's tribute the first three Star Wars 's Hallmark films, beginning with the untitled Showtime has agreed to do two Filmmaker Manny (Dr. Gig- from I in May 1999. further seasons of Stargate gles) Coto, Universal and NBC Entertainment. Episode and Neil The film version of Michael SG-1 (the series' second cable are developing a new TV series Craig Zadan Eaters the Dead season begins next month with version of Rod Serling's Night Meron—who produced Cin- Crichton's of will mount Daniel has a new title (The Thirteenth the syndication debut this fall). Galleiy. derella— Warrior) and a new release date This brings the SG-1 adventure Novelist Michael Marshall Keyes' Flowersfor Algernon as a movie. Its 1968 film (July). total to 88 episodes. Smith is adapting Clive Barker's CBS TV Genre Films: Chris Lambert Likewise, Showtime has Photo: Copyright 1998 Universal City Studios 'in the futuristic SF authorized two more seasons of plays Beowulf version of the classic tale. Gra- The Outer Limits, although the ham () Baker is projected sixth year is currently the movie. Gotz Otto only a 12-episode order. This directing Stamper in Tomorrow Never Outer Limits, already in syndica- also in the cast. Dimen- tion, will thus rack up at least Dies—is will distribute the 122 episodes. sion Films movie. But that's not all! The Sci-Fi of The Tenth Vic- Channel has aquired rerun rights The remake tim has gained a stylish direc- to both series Outer Limits tor David Nutter. Matt (Mimic) begins there in 1999, SG-1 in — is scripting. Both this 2002. Showtime, however, isn't Greenberg original movie are based renewing Poltergeist: The Lega- and the on Robert Sheckley novel. cy for another season. Instead, a for The 13th Floor, now Poltergeist will, like Sliders, As shooting under writer/director move to the Sci-Fi Channel. The it stars Craig all-new 22-episode fourth season Josef Rusnak, Bierko. Armin Mueller-Stahl and debuts on SFC in January. Vincent D'Onofrio. TV: has made it Genre TNT Look out for unusual sights when you visit the Lizard Lounge in Producers Lawrence Gordon official and will offer two new 's Fear & Loathing in , based on the and Lloyd Levin have acquired genre series next year: Crusade. Hunter S.Thompson novel. It opens later this month. rights to the Tomb Raider video the follow-up from J. Mentor heroic Lara Michael Straczynski (STAR- Art: By & Copyright 1998 Huebner games (with Brent (Dark Skies) LOG #249), and the comics- Croft). Para- based Witchblade ( Friedman may script the #244) from producer Oliver mount film. David Campbell Wilson Stone. The third B5 TV movie, scripted Supernova, the SF meanwhile, has a title: Baby- from lon 5: The River of Souls. thriller Athough Gene Roddenber- which focuses on a hospital spaceship. Walter (ALIEN) ry's Earth: Final Conflict will directs. The film stars be back for another season, Hill Spader, Robin Tunny. Kevin Kilner won't be. The James Wilson Cruz and Peter series lead is being recast. Facinelli. Movie rights to Masque has been renewed for a third optioned by Poly- season. Green (Oz) have been Pictures and . becomes a regular. gram novel by F. Paul Wil- NightMan, greenlit for a The SF Costello. second season, may move Legendary production illustrator Mentor Huebner helped envision son and Matthew J. published by Warner lensing from to , Forbidden Planet, ,Soylent Green, Dune, just Machine, , the unmade Spider- Aspect, follows a futuristic Canada. Expect cast changes. Westworld, The Time Man (pictured) and 220 other movies. Now, you can see his amazing hero on his last Blade Runner- Going in the other direc- work on display at dual solo exhibits this month only in ' mission. He's a genetical- tion, The X-Files will move like Cultural Center Eagle Rock suburb: at the Eagle Rock Community engineered mime, a member lensing from Canada to . ly (daily, noon to 5 p.m.) and at the Eagle Rock City Hall (weekdays, 8 of a slave race designed to for Prey. It isn't, as of Pray a.m. to 5 p.m.). The exhibits commemorate their survival of a 1 997 mimic anyone else. yet, cancelled, but its low rat- canyon fire which partially destroyed the Huebner home and salute Small Soldiers will march ings on ABC make it an the LA firefighters who helped to save the work of an artistic lifetime. beat of a Burger King unlikely candidate for sur- to the an promotion, a Coca-Cola tie-in vival. Weaveworld for a BBC TV pro- incarnation. Charly. won and toys from Hasbro. Both The Adventures of Sin- duction. Two Smith novels are Oscar for Cliff Robertson. Filmmaker will bad and Stories have been headed for filming: One of Us Fox airs a giant monster-on- with his Fifth Element cancelled. (an SF thriller about memory a-rampage TV movie on May 19. reteam real-life love interest) Bryce {Dark Skies) Zabel has collecting, to be produced by No, it's not Godzilla (which star (and another been named executive producer Denise Di Novi for Warner opens the next day), but Gargan- Milla Jovovich in of Joan Arc. He'll of the syndicated The Crow: Bros.; Bantam publishes it in tua. Coincidence or something retelling of she'll have visions, lead Stairway to Heaven series. Mark hardcover this August) and more? You decide. direct; Cleese will armies and burn to death. (Island of Dr. Moreau) Dacascos Spares (scripted by Don Updates: John star in two episodes of 3rd —David McDonnell will star. McPherson. produced by Mark guest The

COLLECTO

S.D. Studios brings you the finest, fully-licensed reproductions of the weapons and spy equipment from the most successful film series of all time... James Bond.

Each replica is recreated from a direct study of the original filming prop, including the use of original studio blueprints. The studios prop makers and art directors were also consulted to insure absolute accuracy.

The finest materials available are used in die production of our replicas. The Golden Gun and the Breathing device from Thunderball are heavily plated in 24 karat gold.

Other licensed James Bond replicas being produced by S.D. Studios include: the From Russia

ith Love Attache' Case, die GoldenEye Control Panel, Belt Dart Gun and Piton Laser Pistol. Also

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ing her experiences making Black Sunday. Also new from Citadel is Leg- endary Hollywood: Miklos Rdzsa (STC 77111). a compilation of I CARTOON TUNES previously released materia which includes the overture to I Edel America Records has the 1959 post-nuclear holocaust I released a delightful gift for drama The World, the Flesh . kids of all ages, The Harvey the Devil. Lee (Beauty & the I Comics Collectible Box Set Beast) Holdridge's score to the I (0037142EDL). Besides the 27 real-life horror Into Thin Air: I audio tracks, the two enhanced Death on Everest (STC 77 1 12) is I CDs are packed with 19 Quick- also available. time musical moments from the Compilations: The Essential original animated cartoons that James Bond (Silva America SSD can be run on both Mac and Win- 1034), a collection of 19 theme! dows. Tucked into the package are | has been reissued with different an informative 26-page book on ii cover art, in Dolby Surround and the history of Harvey cartoons and | including a new recording of the full-color reproductions of three g < GoldenEye theme. The Virgi- classic comic books Casper #14 new orchestral Megastores are importing Thun- (October 1959), Richie Rich #7 Becket (42349). However, ardent commissioning accompany them. Who derbirds Are Go: TV Themes fa (November 1961) and Baby Huey fans can find copies at collector music to (415- better than James Bernard, the Grown-Up Kids (Pulse PLS CD #9 (January 1958), all complete stores like Intrada Records melody maker of Ham- 195), a rehash of the Barry with original ads. 776-1333). master score the 1922 Gray/ themes and New Scores: Trevor Jones Classic Horror: One of Star mer Studios, to of Nosferatu (Silva various cover versions of The enhances the nightmarish quality Trek composer Jay Chattaway's version SSD 1084)? The 64- Avengers, of the Sain: of Dark City (TVT Soundtrax earliest works was the music for America symphonic suite was and , all of which I TVT 8160-2). The album features the cult classic Maniac. Accom- minute in Dolby Surround, and appeared on the first two volumes three songs from the film, includ- panying the film's reissue on recorded booklet features detailed liner of The AtoZ ofBritish TV Themes ing "Sway" and "The Night Has a video are three imported versions the (Play It Again 004 and 006). Thousand Eyes" by Anita Kelsey. of the soundtrack. The first is an notes. scores for direc- Songs: Babylon 5's Julie Also new by the same composer enhanced CD (SouthEast Two original which tor Mario Bava have been reis- Caitlin Brown is also an accom- is the score for Desperate Mea- Records SER289B05), once again on CD. Black plished singer/songwriter—as sures (Velvel Reelsounds 79715- contains a massive dual-platform sued loaded with Sunday and Baron Blood demonstrated on a new CD of he- 2), which stars as CD- section (Citadel STC 77110) were both own songs. Shedding My Skin. a crazed killer. Quicktime movies and stills, by Les Baxter for the It's available for $15 plus S3. 50 Jerry Goldsmith offers a including a photo gallery of pin- composed American releases of these Ital- postage & handling per CD. thrilling mix of horror and action up queen Caroline Munro. ian films, notable for the direc- S4.95 if international (or in the monster fest Deep Rising There's also a music-only CD cut techniques. /Alaska), from Illumina (Hollywood Records HR-62120- in the shape of Joe Spinell's head tor's unique visual limited-edition red Previously released on the Productions. P.O. Box 1988. 2). If you must have "The Girl (BOSS) and a defunct Bay Cities label, this new Beach, CA 90267- from Ipanema," it can be found on vinyl LP (B05V). 20-bit digital transfer sounds 1988. (California residents add the soundtrack to Four Days in For the last several years, notes 8.25% sales tax.) For a limited September (Milan 35836-2) with Britain's has been superb and includes liner Barbara Steele detail- time, each CD will include an music by Stewart Copeland, who restoring classic silent films and by actress autographed Na'toth card. scored the original Babylon 5 pilot. Promotionals: Craig (The James Newton Howard deliv- Last Starfighter) Safan was ers over 50 minutes of music for apparently ahead of his time The Postman (Warner Sunset when he wrote the score to the 46842-2), which also contains 1981 urban horror fim Wolfen Kevin Costner's singing duet (Miles End MED 3004). Full of with Amy Grant, and seven other dissonant tones and wild orches- songs by Jono Manson and John flourishes, it bore no resem- Coinman. tral blance to any of his other work, Reissues: Thanks to PEG or to the more contemporary Recordings, the sought-after Horner score that replaced it. It soundtracks to 's does remind one of the wort Cocoon (PEG013CD). Danny 3 Elliot Goldenthal did on ALIEN Elfman's Big Top Pee-wee (PEG over a decade later. 016) and Laurence Rosenthal's The latest privately produced Clash of the Titans (PEG014) are offering from the composer of available once again. Unfortu- II and /// is Arabian nately, two other Rosenthal genre _ Adventure: The Film Music of scores are only in print as hard- Ken Thorne Volume 3. The CD to-find promotionals. Both Mete- | features selections from his score or (42348) and the 1977 version ^ to the British-made fantasy star- of The Island of Dr. Moreau | c ring . (42347) were produced by the < Got Any Questions? Write composer's own Windemere dhirsch9 1 8 @ earthlink.net Music Publishers, who also KEEP GOING! We haven't yet qualified —David Hirsch released his classic score for for federal disaster relief! TO ORDER HIGHLAND MINT PRODUCTS

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Evil 2 exceed those expecta- tions. It's the to beat in 1998, which may be upsetting for many competi-

tors, since it came out at the beginning. MANY EVIL ) year's RETURNS Spellbound Sagas: If monsters aren't your bag. then how about magic? Bet- Wcdead, but boy, were we ter yet. how about Micro- wrong. You can't just kill Prose's Magic: The what's become an immense- Gathering—"Duels of the ly popular video game that's Planeswalkers," an expansion spinning off into toys, shirts, J 1 of sorts of the original Magic books and even a movie. You j PC game which covers every- just have to evil again I thing you need to know about on the SonyPlayStation, this I this strategy card game. time for Resident Evil 2. More than 400 cards from Talk about an ambitious I the Fourth Edition set are sequel—this game's twice as 5 offered in "Duels of the hard and twice as chilling as Planeswalkers." including a its predecessor, and takes set of 80 cards which come two discs for the whole story Art: Mike Fisher from Magic's Legends and to unfold. Darth Tater The Dark sets, all of which In the first Resident Evil, are supported and handled by we had a haunted full the game's Deck Builder feature. of zombies and mutated mon- wall-clinging beasts with razor- themselves. There's so much to Resident From there, you can have a sters. This time it's an entire city sharp tongues called Lickers, that trying to chronicle greater hand than ever in creating torn asunder, with a good deal of giant tarantulas, killer bees and a Evil 2 level would take several your own magician, courtesy of a the problem leading back to the one-eyed beast that sends little each game is downright Face Builder feature which Raccoon City Police Department sluglike companions to suck the columns. This (and not recommended allows you to add personality to headquarters. life out of you—just to name a creepy all). playing it your champion as you see fit. Take your pick of the two few. And if creatures like that for children at Try night with the lights off Gamers everywhere have main characters to play from aren't enough, your mission's late at to find (even better, during a thunder- been looking to buy, sell and Leon S. Kennedy or Claire Red- twice as hard as you try storm) there are so many dan- trade Magic cards over the Inter- field. Leon's a rookie cop who missing keys and solve puzzles — popping out of nowhere that net in their quest to become the celebrates his first day by fight- to advance. Those of you who gers you'll be spooked right out of most powerful magician of all. ing for his life in the police sta- can master the game quickly and wits. In addition to eye-pop- Thanks to a ManaLink feature in tion that has been overtaken by efficiently will be happy to know your graphics, the computer-gen- "Duels of the Planeswalkers," the evil. Claire has come to Rac- that there's another character you ping cinematic sequences are players can now surf the elec- coon City in search of her miss- can use in an advanced game. Of erated (especially the opening, tronic highway to do battle in ing brother, Chris, who was one course, you may want to think stunning players it, which introduces Claire to Leon Shandalar. Connected of the main characters in the first twice before using him, her or stick tofu and then forces them to split up wage war with each other and Resident Evil. Of course, it does since it's actually a of their own adventures). become registered opponents, not matter which character you armed only with a knife. Seems and have Rarely does a successful video from which they choose the use—thanks to the game's there are some poor deluded appropriate dueling deck, and extended gameplay system. souls out there who want to make game sequel live up to expecta- but Capcom and Resident match parameters and do battle. Whether you finish Disc One as the same more challenging for tions, When the fight's done, Man- Leon or Disc Two as Claire, aLink keeps track of your the system alters the bear- Duelists' Convention Inter- ings and outcomes when you national (DCI) record and continue your adventure on ranking, helping your oppo- the other disc. In other nents determine who they words, if you take a machine can challenge to a Duel or gun as Leon, don't expect it even a Gauntlet session. to be there for Claire. Other features in "Duels We meet other charac- of the Planeswalkers"' ters, including Ada Wong include superior AI (artificial and Sherry Birkin. Ada's a intelligence) logic, a multi- condescending mystery media tutorial and new user woman and good shot, and interface screens for greater can be used for certain sce- ease of use. In addition. narios with Leon. Sherry is a MicroProse has also come small 1 2-year-old who fits in out with Spells of the vent holes and other areas Ancients, a PC expansion Claire would have problems which adds 143 more cards getting through. Both char- to your arsenal. Whether or acters are integral to the not you can use all this to story, and they can die just become the greatest like the main characters. of Shandalar is, well, Then, there are the mon- the cards. sters. The zombies are hard- —Michael McAvennie er to kill. There are also Art: Mike Fisher Two new comics collections of CODZILLR tales. Each 272 black St white pages!

le: Please send me Godzilla: Past, Present & Future(s) @ S17.95 ea nglish Please send me Godzilla: Age of Monsters(s) @ S17.95 ea AMOUNT ENCLOSED •anslation of the Please send me Godzilla (manga)ls) @ S17.95 ea. manga classic! plus S4 shipping & handling first book, add S2 each additional book. S IB BScW pages! Canadian orders add SI to total shipping charge. New York State residents please add 8.25%

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that grants two decades of gimmick rather than a "sorcery" turally, the novel is reminiscent youth and health, followed one, but this makes little differ- of Vance's earlier Big Planet and by agonizing death. Frenna's ence. The novel is at its best Showboat World. Buyers beware, Secret Realms by Tom Cool hopes ride on a perilous treat- when it deals with the hero's however: the narrative ends Myron does not return (Tor, hardcover, 304 pp, ment that might cure the disease. training in aikido, an art for abruptly. $22.95) But when she's forced to join a which Steven Gould obviously home, get the girl or achieve In a future China at war with troop of gladiators, she encoun- has a special affinity. Helm is a revenge by the novel's close. Japan, a group of children are ters an exile from the clan of her competent and entertaining Ports of Call appears to be the raised from infancy in virtual former masters—a ruthless, pos- adventure. first in a new series, and it ought reality, where they're trained to sibly mad, prophet who sees —Jean-Marc Lofficier to be sold as such. become warriors. Secret Realms Frenna as either a tool to be used —Jean-Marc lofficier unfolds the story of the chil- or a rival to be killed. The Timeless Tales of Reginald dren's discovery that their world Hand of Prophecy draws a Bretnor edited by Fred Flax- The Moon Maid and Other Fan- R. Garcia is artificial, and of their move to grimly ambiguous picture of man (Story Books, trade tastic Adventures by escape. freedom and slavery. Severna paperback, 223 pp, $12.95) y Robertson (Golden Gryphon, Tom Cool presents us with an Park depicts, with sensual, sick- The late Reginald Bretnor hardcover, 275 pp, $22.95) interesting variation on the ening intensity, the slaves' plight. was a master of the short story, This fine collection is both cyberpunk mythos: this time. VR Her sweating, unwashed charac- and this collection shows him at entertaining and enlightening. R.

is the heroes' natural environ- ters seem to wade constantly in his keen, whimsical best. Garcia y Robertson's command

ment, and "reality" is the context filthy water or blood. For them, Bretnor is usually remem- of historical detail redeems the they must adapt to. The story's freedom is a mixed blessing; the bered as a humorist, and the cliches of amazon/barbarian fan- breakneck pace helps sweep hope Frenna offers the gladiators delightful fantasy "Fungo the tasy in "The Moon Maid" and away any lingering doubts that ignites a massacre and further Unrighteous" and the makes the retold Scandinavian Cool's pat explanations might twists the perverse love-hate SF piece "Dr. Birdmouse" are myth of "The Wagon God's engender in readers, and the pro- bond between master and slave. still hilarious. Comedy doesn't Wife" a bawdy romp. tagonists' charm does the rest. Readers with strong stomachs age well, though, and pieces like Also striking are the Still, Cool leaves too much of and open minds should find the "Cat," "Maybe Just a Little One," that show American history from this world, and this story, unex- depiction of Frenna's struggle or "Without (General) Issue" that odd angles, like "Four Kings and plored. grueling, yet fascinating. rely on academic, international an Ace," in which a virtuous Chi- —Jean-Marc Lofficier —Scott W. Schumack or sexual politics seem dated. nese girl escapes prostitution in Still, there are timeless stories rowdy old , and Godheads by Emily Devenport Helm by Steven Gould (Tor, here, like "Aunt's Flight" and "The Other Magpie," which Little Big Horn from (Roc, paperback, 334 pp, hardcover, 384 pp, $24.95) "All the Tea in China," that approaches $5.99) An Earth space colony adopts resemble folk tales and share that a native American and sexually Emily Devenport uses a typi- a medieval feudal system in medium's wit and voice. alternative viewpoint. cal espionage storyline to order to survive and maintain sta- Most impressive, though, are Robertson's heroes are often explore themes of identity and the serious stories. "Man on

autonomy. The plot is somewhat Top," justly Bretnor's best unwieldy, but fortunately, well- known story, is still powerful, rounded characters compensate and "The Murderer's Circle" is for this shortcoming. clever and biting. "Beasts That Agents Edna and Aten pair up Perish," an eerie ecological fable, is perhaps even more disturbing to infdtrate a collective of tele- Maid pathically linked minds (the now than it was 20 years ago, and Godheads' Net), find its secrets "Mating Season" offers a cruel and Other and deliver them to the powerful snapshot of American Gothic. Fantastic OMSK agency. Edna and Aten Above all there's "Unknown Adventures enjoy a dubious alliance with Things," a flawless story of evil male contacts from a matriarchal and obsession that stands com- society, but these men have their parison with Nathaniel own agenda—one that doesn't Hawthorne and Edgar Allan Poe. R. GARCIA Y ROBERTSON coincide with OMSK'S. And —Scoff W. Schumack Edna and Aten are not what they i Vance seem to be. ! Ports of Call by Jack outsiders Godheads is possibly Deven- (Tor, hardcover, 384 pp, clever and determined port's best book. Though she bility. Several centuries later, the $24.95) who beat seemingly superior—if needlessly convolutes the plot, her youngest son of a local nobleman Returning to the colorful evil—forces, like the time travel- characters are intriguingly com- subjects himself to mental worlds of the Gaean Reach, Jack er who dupes the Nazis in plex, and she handles them adroit- imprinting by the '"helm," a Vance introduces us to Myron "Gypsy Trade," or the abused a cruel alien in ly. Edna and Aten are probably device which holds the knowl- Tany who, after being unjustly humans who con Devenport's best heroines yet. edge and personality of one of kicked out of his shrewish aunt's the exotic "Cast on a Distant —Penny Kenny the colony's original Moon- spaceship light years from home, Shore." based architects. is forced to work his way through Even the weaker yarns like Hand of Prophecy by Severna The young hero Leland de the cluster. "Werewolves of Luna" are still Park (Avon/Eos, trade paper- Laal must live with this ancient Ports of Call is not unlike a fun, and Robertson's concern for underdog, his willingness to back, 320 pp, $14) voice in his head, and, at the cosmic version of , the aspects of Frenna is a slave. The out- same time, defeat an invasion by featuring Vance's traditional dio- depict sometimes ugly break of war allows her to flee an evil neighboring baron. As in rama of alien societies, intricate history and his exuberant crafts- her brutal owner, but mere run- Christopher Stasheff's Warlord customs and lonely protagonists manship make The Moon Maid ning can't free her; all slaves series, the "sword" element is capable of facing the odds with delightful and illuminating. carry a bioengineered disease teamed with a pseudo-scientific aplomb and equanimity. Struc- —Scott W. Schumack

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Voices of Chaos: A Novel of magic and knowing things force and a rushed ending. Starbridge by A. C. Crispin he shouldn't about the late Still, the cat and Hell have and Ru Emerson (Ace, king. some great—lines. paperback, 316 pp, $5.99) In many ways, Barren- Penny L. Kenny The feline Arrekhi are lands is a by-the-numbers tired of being junior partners book. Doranna Durgin pro- Between the Rivers by "X Files" LITHOGRAPH OFFER U in the Cooperative League vides no real surprises Harry Turtledove (Tor, of Systems. They want full (despite overplotting on the hardcover, 384 pp, $24.95) partnership. ..now. But the villain's part), but she does Between the Rivers pre- CLS suspect the Arrekhi of offer some good characters. sents a quite convincing keeping secrets, and this is The conflicted, dedicated re-creation of ancient where the empath, Madame Ehren is a hero to root for, Mesopotamia, where civi- Perez, comes in. As part of a and a female character's lization and human con- CLS survey team, she can crush on him comes across sciousness are new psychically ferret out the plausibly. Durgin also treats developments, and gods, Arrekhi's clandestine the various confrontation ghosts and demons remain LBV /Superb quality doings. It also doesn't hurt scenes with style, and leav- accepted components of inch Limited ^P^^/24xi6 that she has shared a few ens the mix with humor. daily life. Edition print slow dances with an Arrekhi —Penny L. Kenny Sharur, a young mer- FREE CATALOGS !! prince. chant of the city of Gibil, But the team's arrival Summon the Keeper by finds his hopes for wealth Phone or Mail lights a fuse that could lead Tanya Huff (DAW, paper- and marriage ruined when of the land your name to planetary civil war. And back, 333 pp, $5.99) the other cities Magdalena Tanya Huff is such an refuse to trade with him. and Address can clairvoyant trust her powers when her entertaining writer that read- The lazy god of the Gibil to receive feelings are involved? ers may well finish Summon has granted his folk free Free The Arrekhi setting is the Keeper before they real- will, and the gods of the ize nothing has happened. other cities see this as a dan- Monthly developed better than those of many series novels. Char- But Huff writes engagingly gerous blasphemy that they Catalogs acters are multi-faceted, and enough about nothing that must eradicate. To save or send us the tips of the hat to classic her audience may not mind. Gibil, and his own happi- $5.00 for films provide an added treat. Keeper Claire Hansen ness, Sharur must perilously subservience and our Giant A.C. Crispin and Ru Emer- must prevent evil from run- juggle neatly balance palace rebellion, provoke a war, 160 page Brochure with son intrigue, personal relation- plot a theft and learn over 40,000 llustrations. ships and tense action in this whether the human spirit 8x10 inch STAR PHOTOS thoroughly enjoyable story. can defy the gods them- —Penny L. Kenny selves. Harry Turtledove's Barrenlands by Doranna intriguing story about the Durgin (Baen, hardcover, nexus between gods and 343 pp, $5.99) mortals reads more like a After a year seeking the fable than conventional fan- murderer of his king and tasy adventure. Readers friend, Ehren is abruptly who can accept the mock-

pulled off the trail. The royal archaic style (everyone

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ORDER FORM NAME ning amok. Ordinarily, she's ADDRESS a quick, no-nonsense fixer CITY I type. Now, she has been STATE ZIP "i handed the keys to a board- X-FILES LITHO $40 * ing house with a furnace RICHARD DEAN ANDERSON $5 11 | area linked directly to Hell GILLIAN ANDERSON $5 S and an evil Keeper asleep in DAVID DUCHOVNY $5 < room six. If she wakes the TERI HATCHER $5 5 ~° JENNIFER LOVE HEWITT $5 sleeper. Hell breaks loose. If $5 c she closes the gateway to GIANT 1998 CATALOG $5 £ Hell, the sleeper awakes. SHIPPING (PER ORDER) $3 c 10 This might take longer than TOTAL ORDER VALUE: ESI wizard Varien sends him to a Claire anticipated. seems to say everything C.A RESIDENTS ADD 7.75% SALES TAX CREDIT CARD No troubled border area where Huff has woven various twice) should find Sharur's men and magic run amok, incidents around a set of struggle to outwit his pow- petty and fallible, date ^HHHH^B VIS4 I Mc I and if Ehren survives it will quirky characters. This erful, if be because of a young man accrual of anecdotes results foes enthralling. Tel: (714) 488 8444 Fax:(714) 488 8445 with a talent for seein in a story with no driving —Scott W. Schumack The Movie Market, PO Box 3900 Dana Point, CA 92629-8900 USA .

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IF WILL WRITTEN Card Expiration Date: / (Mo./Yr.) YOU DO NOT WANT TO CUT OUT COUPON. WE ACCEPT HOnCDO Dlnnnn ollnm A +n R c fnr rloliwesrw good, but the show never again reached Aires after a colony of humans had built a and the its initial high level. I hated the way more city on one of their planets, had than half of the crew was killed off during temerity to kill (quite painfully and gorily) the second and third seasons, leaving human soldiers who came to defend Earth by- only three of the original cast (Raimi. attacking and wiping out the alien races. cannot be Personal replies are unlikely. Mail Jonathan Brandis. Don Franklin) and totally These are, after all, aliens that can kill forwarded. Other fans and advertisers some- changing the show's message by focusing on humans by stabbing them in the tops of their printed times contact readers whose letters are brains. military aspects only. It was wrong to think heads and sucking out their here. To avoid this, mark your letter "Please giving seaQuest a younger, sexier crew Still, I couldn't shake the feeling that if Withhold My Address." Otherwise, we retain changed would solve all problems and bring the need- you took away the SF trappings and the option to print it. impor- the alien "Bugs" to humans, all I was watch- Write: STARLOG COMMUNICATIONS ed ratings. When looks become more could have been made by 475 Park Avenue South, 8th Floor tant than the storyline, it always results in a ing was a film that or New York, NY 10016 drop in standards. Characters like Chief Josef Goebbels or Joseph Stalin 40 50 or e-mail STARLOG: Crocker and Ben Krieg gave the show that years ago. The human "Master Race" exer- communications starloggroup.com what- @ certain something. When I want to see bodies cises its "right" to go wherever and do of other in action, I turn on . ever it wants with no consideration SEEKING SPACESHIP Voelligbaf alien races. Government officials and the media tout service to the state as the highest ...Trendmasters, Inc. the great folks who [email protected] calling to aspire to in life. Weak, sniveling recently marketed an excellent toy/model of parents oppose their son joining the Army, the original Robot that even IMAGES OF CONFLICT appre- after which he will become a "Citizen." speaks his classic lines while his "mouth" ...Just picked up STARLOG #248 and piece on Von These same parents are later killed by the lights up, is strongly considering producing a ciated Peter Bloch-Hansen's alien asteroid (and, by the way, eliminated similar toy/model based on the classic space- Flores of Earth Final Conflict. I initially- retread, but this from society) which inspires their son to craft the Jupiter II. The original Lost in Space feared another Star Trek I reconsider his "mistake" of resigning from robot toy/model was an absolute sell-out in show is written just as well as The X-Files. this show! the army. Smiling, young, sexually robust toy stores, and they will only consider pro- hope you keep up the coverage on the humans charge off to war to kill and be ducing a model of the Jupiter II if the One thing I haven't seen yet is a story on shuttle is one of killed. Director Paul Verhoeven doesn't even demand is there. They need to hear from all show's visuals. The Taleon of the finest make a very good effort to disguise the fas- Space fans as well toy collectors. The e-mail the highlights of the series—one somebody's cist trappings. The Army "scientists" are address for Trendmasters is customerser- spaceships I've seen come out of dressed in long, black trenchcoats and black [email protected]. I really do believe imagination. caps, very reminiscent of the Nazi Gestapo. that fans and collectors alike deserve a decent Matt McPhee The head "scientist" is even blond-haired, for model of the Jupiter II. 5918 W 35th Street #G Christopher Krieg Minneapolis, MN 55416 God's sake. I suppose all of this wouldn't bother me 653 Orpington Road much, except that these people are the , MD 21228 STORMSHIP TROOPERS so ...Something stinks in the arena of interstellar

war. Starship Troopers is the most disturbing piece of xenophobic tripe I have ever seen. Humanity has evolved into a fascist society where only those people who are or who have been in government service are allowed fcSUEEPl to vote. An Army "scientist" blasts a limb off of a caged alien soldier causing obvious extreme pain, turns to the camera, coldly pro- nounces the alien still 86 percent combat effective, and then turns back around and

kills it with another blast. This same "scien-

tist" walks up to a captured alien creature

which is securely wrapped in a large net, using telepathy to read its mind, turns around and smugly announces to the surrounding horde of assembled, blood-lusting soldiers. "It's afraid." No kidding! This same captured

alien is tortured (large probes stabbed into its \OE TrtC lAooM. side and mouth—not carefully inserted but thrust in like a spear puncturing the skin and body of the alien with a satisfying pop and ^ACTORV WftcTS IN -WE -v-\ooo QUESTWATCH resulting of pain) while it's restrained Mopeu stak-v -to swow/ to "study" it. ...As a huge seaQuest fan, I often ask myself and unable to move, in order the what the show's actors have been doing since The characterization of the aliens by supposed to is as unintelligent, movie's heroes—the ones we are it was cancelled, because unfortunately it human government ground under identify with. At least when Verhoeven and isn't easy to get the latest news here in Ger- brutish creatures only fit to be There's an especially writer Ed Neumeier did a similar thing in many. For that reason. I was very happy to the heels of mankind. RohoCop, it was the hero who opposed the read Joe Nazzaro's article in STARLOG disturbing scene (which I suppose was meant on fascist institutions of the government. In #247 about Ted Raimi and his role in Xena. to be funny) of children stamping insects Starship Troopers, the fascist government is There Raimi says that seaQuest "found its a sidewalk while their parents cheer them on, encourages everyone the hero of the movie. No amount of spectac- stride in its third season." I think that the con- and the TV announcer the enemy. All ular FX. blood-lusting gore and pulse-pound- cept of the first season was just the right way to "do their part" in defeating the stink that this is to make the audience ing action can cover up to do it. The show had excellent characters of supposed race emanates from the core of Starship Troopers. and marvelous stories with lots of wit and cheer in triumph, since it was this alien into Buenos EdwinGene @ aol.com charm. The second season still was very that sent an asteroid crashing :

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Against Heavy Odds Shane says. "We're after anything and who are working Like many creative ideas, it didn't begin everything the creators interested in with a big bang. It was born with the for us want to do. We're help of a few beers, on a hot summer night, quirky, offbeat, short tales by known stories per issue." as a few friends sat around laughing and authors—probably three award-win- complaining. The boys have approached They were mostly fans who had met in ning illustrator Bob Eggleton to write and author Scott Cepheid Variable, the SF/fantasy/horror/ draw a story of his choice, and sto- gaming and comics committee at Cupp will either adapt one of his short They're just get- A&M University. They were laughing ries or write an original. writers about strange subjects they all enjoyed, but ting started. The idea is to allow can they were complaining about the stale and artists a showcase in which they nature of the comics industry. They were explore graphic storytelling in ways that

' creatively. They want star T hungry for fresh air, but they were merely allow them to stretch S » ** ri sss* artists to write. Expect SA writers to draw and students, struggling to pass and graduate, so of course all they could really do was surprises in each issue. complain. "The wonderful thing about comics," shared of Two of the students, Shane Heckethorn Shane says, "is that it's a medium and Adam Richards, had formed a lasting art and storytelling—and it can grab read- mature mate- friendship, and their complaints that night ers at an early age with rather will start at 15. later developed into discussions. A few rial. We hope our audience weeks later, Shane was able to attend the or maybe even younger." challenges. annual Comics Con in . He met Their project faces tough is work- Meloney Crawford Chadwick of Dark Shane is still in school, and Adam Horse Comics and DCs Mike Carlin. He ing at a rent-paying job. They don't have busi- talked about comics publishing with many big money, and they're learning the the professionals and returned to Texas with an ness from scratch. They're located in or obsession. boonies of East Texas, not New York Shane called Adam, and they started Los Angeles, and neither one of them is a making plans. Soon, they took the biggest high-powered wheeler-dealer. Shane and Adam have leap of their lives—this year, they will For years, both launch Katt Butt Comix. been STARLOG readers, and they've other SF The new company will premiere with a grown up on the success stories of an fans who turned. their passions into profes- BlUY three-volume series called Litterbox— sions. They're filled with the desire to Space anthology of stories by several creative Tr true, and Katt names familiar to fans. . make their own dreams come known for his Batman cover art, will create Butt Comix is their dream. endeavor, they will at their first cover. Joe R. Lansdale's short If they fail in this just sit around AND THEY SING TOO! story, "Bob the Dinosaur Goes to Disney- least know that they didn't being ordered. they will Please indicate quantity land," will be adapted. A story by former complaining. They tried. And Of Yellow Eyes Is Back S19.95 STARLOG contributor Tom Knowles, in learn from the experience. Some of the BILLY MUMY Dying To Be Heard S19.95 Norman the is the hero, will also greatest learning experiences BILLY MUMY - Autographed Album Dying To Be which Jack Ripper early days of our Heard S29.95 be included. Jacobs and I had in the POSTAGE & HANDLING: publishing company USA Add S3 per album. New York State residents add 8 1/4% sales tax. add 10% FOREIGN (Incl. CANADA) Add S6 per album. Canadian residents not from what day- came sales tax. OVERSEAS (PLEASE NOTE: Customs requires purchaser's time phone numbers on all Overseas orders.) worked, but from METHOD OF PAYMENT: bright ideas that Cash Check Money Order Discover work. MasterCard Visa failed to Credit card orders may be Credit cards may be used on orders over S1 0. If these two faxed to 212-889-7933. young men can learn have enough [Account No. enough, jCard Expiration Date: / (Mo./Yr.) luck and get enough

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' West Coast. People are being res- candid, taking her character's huge populari- play a psycho character and they're saying,

' cued by helicopter from their . ty in stride. She admits that Callisto's rise to 'Can I hug you?' " Leick laughs. "Sometimes

Hudson Leick has this to say fame is something she finds more than slight- you have to wonder about them." against the forces of nature: ly confusing, but she knows who put her *'We think we're so power- where she is today. Villainous Virtues ful—we're nothing." Leick knows a thing or No, not Xena, Ares, Hercules or even her Callisto is quite a tough customer. Her two about power; she plays Callisto, the very agent, but the fans. own family was killed by Xena and her mer- powerful, vengeance-driven foe of Xena: If it wasn't for the fans of both shows, cenary horde long before Xena's reforma-

Warrior Princess. "first of all, there would be no me. I know tion. Maddened, Callisto has sought bloody "Do you really think she's powerful?" the they would have killed my character a long vengeance by bringing pain and death to both actress asks. Lightning and fire shoot from the time ago—it's the fans who keep the charac- Xena and Gabrielle. But that doesn't really fingertips of the now immortal Callisto, and ter alive. Essentially, the fans are the ones make her a bad girl—or so Leick believes. "I Leick notes,"Pretty fancy, huh? But bad hair. who feed me—it's . But overall, Cal- don 't see her as a villain," the actress When you're a god, you can have bad hair." listo is a fluke. I had no idea that people announces. "You can't play a bad guy and

STARLOG//H/ie 1998 27 Her family destroyed by Xena's army, the blonde berserker played by Hudson Leick seeks revenge in "The Return of Callisto."

dies—well, it is my choice essentially, if I In "Ten Little Warlords," Leick faced a were to say, T don't want to do this any- great challenge: portraying Xena as played more,' which I haven't done. I know that they by Lucy Lawless in Callisto's body. It's a have talked about killing her off, and I don't chore Leick doesn't want to repeat any time have any problems with that. I just think that soon. "It was terrible," she confesses, "really

it's very hard for them to continue to think of hard to do. It wasn't just hard to do itself, but things to do with her. How interesting is it I was going through a lot of personal, emo- that: 'There's the blonde girl and she's after tional stuff at the same time, and it was hard the brunette girl, and she's going to kill just going to work. I remember returning to

Xena; she's going to kill Xena; she's going to New Zealand for one of the shows where kill Xena?' That's dull! And now she's a god? Callisto was going to be killed and that

"At first, playing Callisto was open. There would be it. I had bought books for Lucy and In two-parter, the "Armageddon Now" was much I could do with her, but now I'm Renee O'Connor just to say goodbye and Callisto's efforts prompt lolaus (Michael finding it a bit limiting. They need to get thank them for everything, and then I was Hurst) to explore a Hercules-free other bad guys, keep it interesting and have alternate universe. other plots. I completely understand that. I've see them as completely bad. If you play Cal- enjoyed playing the part, though I think it listo completely bad, she becomes one- definitely needs an ending." dimensional. Though she is a god, she needs to be somewhat human, which is why I think Dangerous Deceptions she has a good reception from people; there's Callisto has been killed off before. In the something human in her. And the fact that second season's "Return of Callisto," she she's a woman is interesting—women are drowned, by Xena's inaction, in quicksand. brilliant creatures, and if you have a bad But a little thing like death can't stop such a woman, it's more exciting." popular character. Take Spock, Superman or Questioning her alter-ego's sanity is a fas- Sherlock Holmes. In these fantasy worlds, cinating topic for Leick. The actress defends resurrection is always just around the corner. the character's motivations, but not her actions. Leick insists that Callisto isn't insane, but "she's also not well. She has a few

emotional problems, but I wouldn't want to

say insane. Insane is too black and white, and that leaves no room for change." And change is something Leick is count- "Callisto ing on. "I hope that's how they would end doesn't give her—finally forgiving Xena and getting on with her life—but that would leave no open- a crap about ing to bring her back as the bad guy. And the producers wouldn't want to close her off being pretty." completely. "I enjoy playing Callisto, but, personally,"

she admits, "I think it's time for Callisto to

die. It's not my choice whether she lives or

28 STARLOG//wie 1998 —

asked to come back and fill in for Lucy [who had been injured during a talk show stunt]. I remember feeling," Leick takes a deep breath and draws out the word, " 'No.' But of course

I would go back. "I didn"t believe anyone would buy me being Lucy Lawless. I mean. I"m nothing like her, and to fill those shoes was so overwhelm- ing. I remember feeling that they would all be saying. "What are you doing? Are you insane? Where's Lucy? Why are you show- " ing this blonde woman? She's not Xena!' Leick laughs now, but, "I just felt really pres- sured to be Lucy, and to play that role was so difficult because it's just so far from me. Our mannerisms are so different, the way we speak, the way we walk. It's not playing a role. It's literally having to imitate somebody, which doesn't leave room for creativity. It's all boxed in with how it's supposed to be, and Lucy wasn't around to tell me what to do."' Lawless, though, "was very generous and very kind about my performance, but I don't remember a word she said," laughs Leick. "I'm very bad with compliments, with what other people say. I believe what I believe and " I'm just like 'yeah, yeah, yeah, whatever.' "When you're a god, you can have bad hair," notes Leick of her alter-ego as seen here Despite the character's allure, Leick has in "A Necessary Evil." not been stopped by fans on American streets as of yet; in New Zealand, it's a different been only for the money. I was young and ing blades. "It's very nice working with story. "The accent gives me away though, could have used the work." Lucy. I don't work as much with Renee. My too." Occasionally, Leick hears "You know, acting chemistry with Lucy is great. We just you look a lot like that girl on Xena." But she Wondrous warriors have so much to bounce off of each other. We notes. "It's said in the way that they really Leick has brought Callisto's wild warfare really work well together. don't think I look like her." to Xena ("Callisto," "Return of Callisto," "I just finished a whole lot of fight scenes Obviously, Leick has played other roles. "Intimate Stranger," "Ten Little Warlords." with [Ares] for Hercules, and She appeared twice on Touched by an , "A Necessary Evil," "Maternal Instincts," the I've done them with Kevin Sorbo as well though she probably won't be returning to musical "The Bitter Suite") as well as Her- but Lucy is the best person to do fight scenes that show. Had the Knight Rider 2000 TV cules: The Legendary Journeys ("Surprise," with. I can make body contact with the men, movie spin-off gone to series (as the later "Armageddon Now" and "Yes, Virginia. but it ends up hurting me. I'm in this frenzy Team Knight Rider did). Leick, who was in There is a Hercules" in which she played the and start to believe I'm really powerful, so I the pilot, would have gone along for the ride. series' tough producer Liz Friedman). She throw myself into them—and you've seen However, doins such a series "would have recently filmed new episodes of both series. them! They're like brick walls," she laughs Her battles as Callisto began very simply. "I auditioned," the actress says matter-of- "It's the fans who keep alive. factly. "I was standing in a room filled with the character Leick announces scantily clad women, wearing just pieces of even while wonder cloth." Leick, however, wasn't. "I went in ing about the with dignity. I didn't go in wearing a bikini. I outpouring covered toe was completely from head to of affection with regular clothes, no leather bikini at that for a point. I knew the show was like that, and I "psycho." didn't want to get cast for that reason. I stood

there and I just played it as a psycho. The producers said, 'Well, we're all scared of her, she should get the part.' "I was psychotic, totally psychotic,"

Leick laughs. "Recently, I was at dinner with Liz Friedman, one of the show's producers,

and we were talking about what it was like

that day. I walked in and there were seven people in the room—to me there were 20, I remember the room being filled—and they

asked if I had any questions. By that time,

they were bored, it had been 'get them in, get them out' [with auditioning actresses] all day. M But I said, 'Yes. What are your names?' and I went through every one of their names and m made direct eye contact with each one of " them. They were like, 'She's spooky!' Leick enjoys acting opposite Lawless, whether they're exchanging words or swing-

STAKLOG/Jime 1998 29 —

Despite Callisto's nasty actions, Leick doesn't see her as a villain or clinically finale for Callisto: "I hope that's they would end her insane. "She has a few emotional Leick looks forward to a how problems," the actress admits. finally forgiving Xena and getting on with her life." heartily. "If you watch me fight with either mold as to what you imagine her to be like. And that's what gives me so much pleasure one of the Kevins, I'm thrown around like a And people like that, and that she has power. playing her, because it's really hard, in soci- rag doll because I move with it. The men It's the power all people do have, but hers has ety, to be what the idea of pretty is and what don't move with it as well; they're stationary. gone askew. But this is what I think: She you're supposed to do with it. I find it really They just stand there. For Lucy and me, it's denies, she says no to being what society confusing. And you can't keep beauty. It's dancing; the fighting is simply dancing. And wants her to be. I mean, she really says no. I not yours—it fades away. we really dance well together." think that's why I love her so much." "Callisto really doesn't have a clue about Picking a favorite episode, however, is an all this, and I love that about her—the 'pret- after-the-fact experience for Leick. "How I ty' shit and the boobs and the face, that's not do it is, I watch the end result and I like how her thing. When I'm on the show, I have to it turned out. I really like the one where I beg for dirt and blood: 'Come on! Make me turned into a god ["Intimate Strangers"]. I dirty!' But no, they have to keep me pretty," watch it, and I can see how happy I am. I was Leick groans. "Callisto doesn't give a crap really in a good mood that day." about being pretty, not one iota of crap. And Leick still sees the young warrior with I think the same goes for Lucy. My favorite f/ questionable motives as someone special, [non-Callisto] episode is the two-parter, 1 think it's time someone she enjoys being part of the time. when Xena first starts to learn her power with But honestly, "I have no idea why people are for Callisto the Asian man. It's in her past, her hair is real- ly long [and Lawless is covered in muck and drawn to Callisto. \ to die." / "It's so interesting to me that people are," dirt most of the time]. I thought it was a bril- Leick says philosophically. "I can only guess liant job and what I love about Lucy's acting. why I would be drawn to her character, if it "There is a difference between Hercules wasn't me in the role. I think because of her and Xena in the way women are portrayed amount of rage, and how she expresses her [damsels in distress and very pretty war- anger and doesn't want to take responsibility Appearances are deceiving when it comes riors]. And Lucy doesn't buy into the crap for her actions. I just think there's something to Callisto. "She's dressed as a bimbo-there's either. We're both very base, full of grit. very human about Callisto, not in a healthy no doubt that she's a superhero, comic-book We're still dressed up so that the viewer can sense, but very human. She throws fits and is outfitted creature. And yeah, my body looks have the fantasy. It makes it exciting. I still powerful. good on screen and there's my blonde hair like to watch it. It's pretty and it's sexy," says "It's like this," Leick explains. "My char- and all that crap, but Callisto just doesn't buy Hudson Leick, "but it's the mixture of grit acter, when you look at her, she's this pretty into that," Leick says. "She screams and and everything else which makes it kind of skinny little blonde thing, but she breaks the spits, and that's what makes her so amazing. forbidden, which makes it great."

30 STARLOGX/wie 1998 « THE SOUND OF got SCI-FI™

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As Don West, Matt LeBlanc gets wise choice, though he the Jupiter 2 really Lost in Space. spin on it. LeBlanc considers that a admits a fondness for the original show. "I think I've proba- of Lost in Space. It was in reruns a fan of good movies, well-told stories, and some of bly seen every episode I was growing up, and I would watch it after I got I'mthem happen to be in the SF genre," notes Matt when school," remembers the actor, who was born LeBlanc. "I saw Star Wars 10 or 15 times." home from in Newton, Massachusetts and made his film Now, of TV's hit Friends is hoping JM and raised in the comedy Ed. "The first few episodes were that people all over the country and the world (lock to debut serious, then it got kind of campy. By the end, you Lost in Space, his first tour of duty in the science fic- very tell they chopped all kinds of money out of the bud- tion universe. If the fates smile kindly on Lost in could as a kid. You never knew Space, LeBlanc could gain entry to the rarefied get. It was a great escape for me that next big styrofoam rock." realm of genre megamovie stardom. "From your what was behind mouth to God's ears," LeBlanc announces. "Real- Winning West ly, though, I don't think like that. I don't think LeBlanc arrived at the Studios in England, about box office. I'm aware of it. I know that good all Lost in Space lensed, shortly after production numbers afford you more opportunities. I did my where of began in order to take over the West role from Sean Patrick homework on Stephen Hopkins and I really liked his 'Vj lanery, the Young Chronicles star who exited work as a director. Our writer [] has a R It be easy to s project after a few days of rehearsals. would good track record. So, I thought, 'Hey, I'm happy to be " uncomfortable with the situation, but aboard.' me that LeBlanc felt assumption would be wrong. "Our paths never crossed, And aboard the Jupiter 2, LeBlanc plays Major Don West, the an look in the eye," LeBlanc explains. "That heroic pilot who guides the Robinson family—William Hurt and so I never had to him either. Sean is a good actor. I don't Mimi Rogers as husband and wife John and Maureen Robinson; woiddn't have been so bad, anyone in the movie. I think Heather Graham, Lacey Chabert and Jack Johnson as siblings have anything against him, nor did that I'm just physically bigger than he is. Judy, Penny and Will Robinson—through wild adventures after the main thing was is inches tall. They needed someone who Dr. Smith () sabotages the family's mission. William Hurt 6 feet 2 physically could play the role, of course. Throughout the film, of course, West and Smith—as well as West was big enough and who I go head to head. It has to and John Robinson—frequently butt heads, though West and There are a few scenes where Hurt and has to be able to instill Robinson must eventually make peace in order to overcome look as if my character could win. West a matter of size." Smith's threatening presence. that physical fear in him, and that's just heard of Lost in Space's casting choices, many The film essentially retains the overall story of the campy Lost When SF fans their heads in confusion. Super-serious Hurt as family in Space series, but puts a more modern and decidedly dramatic scratched man Robinson? Sitcom funnyman LeBlanc as action hero West? heartbreaker Chabert as Penny? Scenery-chomping Oldman as scenery-chomping Smith? OK, one example of perfect casting. "It is a very.. .interesting.. .cast," LeBlanc acknowledges. "I was just so amped to work with Gary and William. They're great actors. Heather was fantastic to work with. I didn't have much to do with Mimi, but she was very supportive. Jack and Lacey were great, too." On the set, LeBlanc felt like a kid in a candy shop amidst all the massive sets and funky weapons. The special FX, though, were mother matter entirely, as LeBlanc had never before stood in front of a blue screen. "When we got started and they fitted my space

suit and gun bell for the first time, it was very, very cool. My pilot's chair on the Jupiter 2 was custom fit to my whole body. When you're a kid, you play Cowboys and Indians, or Spacemen. I got to do that all over again. It was really pretty fun. "The special FX scenes were tough. I did a lot of blue screen, green screen, any color screen you want to pick. There was so much of that. Acting is sort of an emotional recall deal. There are

all different methods, but it's a very organic process. To react to in action, to words, is one thing. To react to a non-action, where you're imagining the action, is another. It just takes a great deal of focus. A three-story high green-screen wall K that was a couple of hundred feet wide was supposed to { be the asteroid field we were flying through. That's tricky

to play. I had to ask Stephen many questions. We all did. "When they fitted my space suit and gun belt for the first H I would say, 'OK, what's right there?' Then, it was, time, it was very, very cool," Matt LeBlanc raves about We costume designer Vin Burnham's form-fitting creations. 'How big is it?' or 'How close are we to it?' He even had Bt everything storyboarded, so he could show us as best he m. could what things would look like, what he was after I and how we would fit into the frame." west world Hopkins, LeBlanc adds, went to great lengths not only to answer all of the actors' questions to their sat- \ toiled not to let the FX I isfaction, but also overtime their acting. "Stephen was [ overshadow the actors or

I up-front about that in the beginning. He said he was not going to let that happen," LeBlanc notes. "Stephen's idea of a good effect is one that's, in a sense, thrown away. Where it's not in the center of the screen, but in the corner. He couldn't do that all the time. The FX have to take precedence in some scenes, but Stephen always wanted the human aspects to be the most important parts of the movie. (Mimi Rogers), West (LeBlanc) and Maureen Robinson Stephen was great. He brought such a clear, sharp Judy Robinson (Heather Graham) explore the alien planet. that it was really inspiring to be around. Whenever he Production designer Norman Garwood's sets depart vastly would speak of a scene or the whole movie, he had the from the TV series"'campy" look. entire thing in his head." Acting is sort of an emotional recall deal. ..It's a very organic process," LeBlanc muses about this punctuated with brooding drama.

realized that there was a real fire. We turned around and went, 'What? What! Let's get out

! of here ' So I pulled Gary up, for real, and we

both took off. It's on the blooper reel." Among the production's high points was the opportunity for LeBlanc to share a scene with Mark Goddard, who portrayed Major West on TV's Lost in Space (STARLOG #190). In the film, Goddard puts in a as the general who assigns West to the Jupiter 2 mission with the Robinsons. "I have a couple of moments with him, and that was a lot of fun. He's a very interesting There was one on-set incident, however, body started freaking out. We were on a plan- person," LeBlanc enthuses. "Talk about a that Hopkins simply couldn't have predicted. et set, with FX everywhere. A squib set rock-solid, down-to-Earth guy. He was a lit- It involved LeBlanc and Oldman, and something on fire. Gary and I were shooting tle nervous, not having been in front of a

LeBlanc describes it as his single strangest a scene where I have him by the arms, and camera for a long, long time. He works with experience while shooting Lost in Space. he's teetering perilously over a cliff that's delinquent children outside of Boston now. "We had a fire," he says, laughing. "Every- collapsing like a giant sinkhole. We suddenly He gave me the coolest 8 by 10 photo of him-

"Heather was fantastic to work with," LeBlanc praises his bombshell co-star of Boogie Nights fame.

34 STARLOG/Jwrce 1998 "You never knew what was

According to LeBlanc, Sean Patrick Flanery left the film partly because of his unthreatening stature. The more physically commanding LeBlanc replaced him.

moment, self from when he was younger. It was a shot hurt Harrison Ford's career. For the from the series, with him in that great tinfoil, though, he's still struggling to get used to the market- shiny suit he wore. He wrote, 'From the old tremendous scope of Lost in Space's every- Don West to the new Don West.' It's framed ing campaign, which encompasses and hanging on my wall at home." thing from convention appearances and and a It's very possible that LeBlanc and God- action figures to Robot key chains dard could be paired again if Lost in Space transforming Jupiter 2. "I just got a whole performs in cosmic fashion and merits a big box full of toys from the movie. My West's brawn, contrasted with the sequel. LeBlanc reveals that he has already action figure doesn't look at all like me," Robinsons' brilliance, is technologically two more Lost in Space adven- Matt LeBlanc mock-complains. "I'm a bit enhanced with 21st century armor and signed up for overwhelmed by it all. It's a little surreal."-^- these special lenses. tures, and jokes that sequels never seemed to

STAKLOG/June 1998 35 Though Heather C

By KIM t/ARD JOHNSON

in Space has gone from a '60s campy, fam- ily romp to a '90s dark, deadly serious adven- ture. The cast has also undergone a metamor- phosis, but that's something all but lost on Judy Robinson alter-ego Heather Graham.

"I never saw it," the actress admits of the Lost in Space TV series. "I can't

remember it being on TV. Actually, I

never even heard of it. I was unlucky,

because I guess it was a great thing. I've

watched it a few times since then, but not very many. I've tried to get hold of a

few episodes, but I get the feeling that it was more funny and campy, more of a family series." Graham's lack of familiarity didn't stop her from trying out for the movie role, which she discovered was an exhausting rush right from the start. "I read the script and met with the director [Stephen Hopkins], and we talked. Then,

I came back in and read again with dif- ferent actors," she explains. "I was in New York working on something else when they called and said, 'You got the part, but you have to fly out to LA this weekend and do a body mold.' I was already working six days a week, but that Saturday night I flew to LA. They had to take an impression for the space suit, so they covered me with plaster,

and I flew back to New York later that

night. It was exciting, but crazy!" Unlike Graham, most people know the original Lost in Space story—the Robinson family, setting out to colonize

a new planet, is diverted by the devilish machinations of Dr. Smith. Lost, they encounter endless adventures and count- less offbeat aliens in their attempts to get back to Earth. Not much has changed in Even 6 foot 2 John Robinson (William Hurt), is dwarfed by the huge Defense Robot, the movie the stakes have been which, according to Graham, broke down frequently during filming. —only

36 STARLOG/7«ne 1998 Judy Robinson

(Heather Graham) I „ acts as ship's | | 1 physician in this I C "Intellectual family. l \ |

'» I _ . !

It

5l iam may be Lost /n Space, she never fears a challenging role.

potential Earth savior Dr. John raised. Now, humanity is doomed to extinc- ate," she says. "How they can destroy their scientist and (William Hurt) whose single- tion if the Robinsons don"t succeed. Dr. own world, and at the same time create Robinson dedication to his job alienates him Smith, once the cowardly, alliterative misfit these amazingly brilliant things." minded son, Will (Jack Johnson). But that played by Jonathan Harris, is now given a from his conflict. Penny Robinson malevolent twist, compliments of Gary Stellar Families isn't the only Oldman. While TVs Judy () Though a far-flung futuristic adventure, (Lacey Chabert) also has problems with her particularly regarding the mission. was originally little more than a cute Lost in Space has a very down-to-Earth parents, issues, that Graham damsel, suffering capture at the hands of theme, that of responsibility to the family Judy has her own ones grown up in space baddies or helping with dinner, Gra- and the bonds between parents and chil- happily explains. "Judy has some ways lacking the affection that she ham is now a smart, independent, gun-tot- and so she put all of her energies ing equal. It's an evolution the actress wanted, I think Judy looks up to [her appreciates. into her work. emulates him in a way," she "They definitely updated the women's father] and a bit cold and removed from the roles, which was cool." says Graham. "I says. "He's family, and my character is a bit like that, thought that would be fun. and it seemed and unemotional. Judy is trying like a very imaginative story. I also liked too—cold imitate him by being brilliant at work, that my character gave the romantic lead a to m but not having an [emotional] life. In the hard time. Since I had never done anything course of the movie, I try to have Judy like this before, I wanted to see what it more alive by having other things would be like." become in her life besides work. Becom- Judy Robinson is the ship's physician, going on is Judy to show leaving Graham with her share of technob- ing a physician a way for to her father as a brilliant man abble to spew. Though this is only her sec- she looks up whom she wants to work with. Of course, ond foray into science fiction—the actress M pretty brilliant, too the whole also starred in the Outer Limits episode Judy is — is made up of geniuses!" "Resurrection" (1995)—she manages her family m cool intellectualism gets in the way subtext like a professional. "There are all This instruments in the of her budding romance with the Jupiter 2's A these strange medical pilot, the not-quite-as-brainy Don West movie, and I just make up uses for them," leading to a great deal of m she laughs. "They got me some books and (Matt LeBlanc). Gra- hooked me up with a cryobiologist to talk friction before the ice finally melts. m likes both the strength of her charac- to, but when you're dealing with stuff in the ham ter's resolve and the growth she future well, it's hard to study something — mirrors her father's Judy's icy demeanor thanks to West's brashness. that hasn't been invented yet. You just have experiences emotionally closed professionalism. certainly antagonis- imagination. They had a lot of "Their relationship is to use your "Becoming a physician is a way for Judy tic, something like Moonlighting," she says. great futuristic drawings and drawings of to show she looks up to her father." thinks he's a stupid, macho jerk. He's the spaceship. I hung them up all over the "Judy out with this dysfunctional trying to seduce her, but he thinks she's a house I was renting and tried to think about dren. "It starts m they're the only eligible people the amazing things these guys had created family," Graham says, "and in the end, it bitch. But values. mak- around, so they have no choice. I think West for the future." goes beyond family It's about m Judy, though. brings her out The futuristic elements, fancy as they ing your kids feel loved and how important is good for He fun in life it is to bring up your kids knowing that of her shell because he has more m may be, underscore the story's dark thread: character does. In the beginning, The Robinsons are headed into space to you're there for them. It's about the power than my idiot, then she starts M save Earth from environmental collapse of parenting. In the end. the movie shows Judy thinks he's an and brought on by humanity's excesses. This that parents can make such a huge impres- to see his good points. It's a long flight!" M kids when they're growing up." Graham was born in Milwaukee, WI, irony is not lost on Graham. "It shows the sion on hi aspects of what man can ere- The focus of this dysfunction is brilliant but grew up in Virginia, where she first rec- good and bad &&&&&&&&&&&&& W0 0 g STARLOG/June 1998 37 HHm " Graham consulted a "Judy thinks [Don cryobiologist to help west] is a stupid, subtext Judy's many futuristic props, but macho jerk. He's she often had to "just make up uses for trying to seduce her, them." but he thinks she's a bitch."

"Every day we would ask, 'is the Robot working?'

£5

ognized her interest in acting. "I wanted

to do it as a kid," she recalls. "It was just a way of getting attention, and some-

thing I had fun with, just make-believe

games. Then, when I was in high

school, I was shy, and acting was a way to not be shy." Student Exchange (1987) was her

first role, and it wasn't long before she was landing work in such films as Drugstore Cowboy, O Pioneer! and Twin Peaks: Fire Walk With Me (repeat- ing her TV series role as Annie Black- burn). The bulk of Graham's work has been in small, independent films, which

is fine by the actress, who is very seri- ous about her artistic choices. "I go by my gut reaction to the whole script."

says Graham. "As a female, I look for a

little more depth than there often is in

female characters. I try to get a little something more to do than the usual." This might also explain why she isn't concerned about cornering the market on leading roles, either, though that's not to say she eschews such parts. "It depends on how well-written the char- acter is," she says. "If it was a really well-written supporting role, that's

cool, but it's also fun to play leads." The eclectic Graham worries more about her performance in a role than about the tally of a given character's lines. "I fear not doing good work and

not living up to whatever potential I have," she says. And though this is her first foray into genre films, her career

mantra still applies. "I like a good story." she explains. "A good story is a good

story, whether it's SF or whatever." This wasn't problem with Lost in Space. Not only did Graham take a shine to the script, she also took a liking to the director. Stephen (The Ghost and the Darkness) Hopkins won Graham over professionally with his enthusiasm about the project—as well as personal- ly. "I think he's a great director, really amazing—of course, he's my boy- friend." she laushs. "When I met and —

one of the many things that make talked to him at the very beginning, I was that great, I would have done that scene points to experiences enjoyable. thought this movie would be more than just totally differently!' This animated creature, these directors," she laughs, claiming a commercial movie, because he had really a lizard/monkey that I work with, is like a "I like Nights director Paul Thomas interesting ideas. He's a really cool, fun puppet [the Blawp], It didn't look real then, that Boogie was "a lot of fun. He made us feel person with great energy." but now that I see it in the movie, it's great! Anderson were part of a family when we were Graham and Hopkins became an item It's hard to know how something is really like we his movie. Everyone got along while shooting Lost in Space, and Graham going to look." working on well, because he created this great admits the job can get harder when you're Graham's role also called for stunt really where we all respected and dating the effective boss. "It's probably - work, something the actress clearly environment each other." ter not to be involved with the director, but enjoyed, having had few opportunities to liked also enjoyed "meeting with sometimes you meet someone and you get physical previously. "It is fun, though I Graham Craven and him being so sweet and can't really help it," she says. "Then, you didn't have many stunts. Matt had tons of Wes nothing like what you would expect have a personal relationship that isn't just stunts, but I only had a few. They take a lot quiet— a horror director to be." As for Twin Peaks work. It can be great in some ways, but of time, but when you look at them on the Lynch, he's "really a cool, inter- there are other things that go along with screen, they go by so fast," she laughs. "You guru David person." your relationship besides just focusing on say, 'I spent weeks on that!' and it goes by esting for her are Bofinger's Big the work. We were pretty discreet about in two seconds!" Next up co-starring even going out, and hopefully we got It's only in the past few years that Gra- Thing, a comedy to hit the and , and Committed, a through it OK." ham's rocket to fame has begun stratosphere. Such films as Two Girls and a drama in which she will portray a wife Cosmic Effects Guy, Swingers (as Girl Next Door) and searching for her errant husband. Graham's outing comes as an extraterres- While the script and the director both next genre Love Triangle trilogy. Her made an impact. Graham was clearly awed trial in the Alien helmed by Danny (Trainspot- by the special effects, most notably the intri- segment is Boyle. "My part of the trilogy also cate Lost in Space sets. 'It was really excit- ting) features Kenneth Branagh and Courteney ing when we saw all the sets for everything it's a very funny story. Actually, we were going to do," she says. "We went on Cox— plays an alien, too, but she's in the stages to see the planets and the space- Courteney body of a human. ship—that was really cool." the have a spacesuit, but it's pretty sim- Sets, CGI and good old-fashioned tech- "I like a Lost in Space type of incred- nical wizardry combine to make Lost in ple, not complicated suit," she explains. "I wear Space a futuristic marvel, though some of ibly and a lot of makeup." the effects were less cooperative than oth- a bald cap Lost in Space may garner her even more ers. "Lots of days the Robot would break 4A get more down," Graham notes of her massive yet success, and it will certainly her every actor has a ludy Robin- temperamental co-star, "and we wouldn't attention. Not doll fashioned after her, looking ready to work for the whole day. It was a nightmare son the toy store shelves. "It's a very for Stephen and the technical people. Every jump from strange thing!" laughs Graham. "All of my day we would ask, 'Is the Robot working?' promise to get them one." wondering. 'Will the Robot start working or friends made me Plans for a Lost in Space sequel are a def- not?' But it was a beautiful piece of work Graham's next genre venture will be a inite possibility, and it's a given that Heather it looks great!" segment, directed by Danny Boyle, in of Judy Robin- Like many genre veterans, Graham Graham will reprise her role Triangle trilogy. She the Alien Love son. The actress is eager to face space danger would be the first to concur that it's hard to extraterrestrial. plays an has no illusions about the work with special effects, especially CGI, again, but she involved. "It's hard work, pretending even when they do work. "It's more diffi- Boogie Nights (as Roller Girl) put her face effort It several to see these things that you don 't see ! was cult than I had thought," she confesses. on the map—and on the covers of exhausting," she blurts out, laughing. "Many times the FX [in the finished film] magazines—while roles in and kind of the longest shoot I've ever worked are so much more cool than I could ever Lost in Space have introduced her to the "It was on, six months, but it was still fun." imagine. I'll say, 'If only I had known it world of bis budget moviemaking. Graham ^

G/June 1998 39 ) V J

By BILL WARREN

Art: Tom Hoitkamp

When he's asked for ventional Hollywood wisdom, the plotline to the X- it's The X-Files. Files movie, direc- The hit series itself has been tor Rob Bowman is only too shot in Vancouver, British willing to reply. "OK, here's Columbia, but the movie what happens—but first, get filmed in California—partly at out your wallet..." That's his the Fox lot, partly on various way of acknowledging that locations, including Bakers- the storyline of the first movie field, a resolutely, even proud-

based on the hit TV series is ly, ordinary town. shrouded in as much secrecy Today, however, centers as the Manhattan Project. around the apartment set of Internet X-Files sites (and FBI agent , played others) buzz with rumors: by Gillian Anderson. It's a sim- lizard-like aliens who spray ple scene that gives nothing animated black goo? Mysteri- away: Scully comes to the door ous "Elders" from space? in a bathrobe and lets in her Mulder's sister? Scully's sis- partner, agent ter? When asked if he has (David Duchovny), and they been spreading deliberately talk in hushed tones. Between phony plotlines, Chris Carter, takes, Duchovny consults the big kahuna of The X-Files, intently with Bowman, another cheerfully admits that "there X-Files series alumnus, as they

is propaganda out there." But examine the video playback of that doesn't stop the studio the scene. from allowing a few glimpses Nothing whatsoever can be behind the scenes. gleaned about the movie's plot Back in 1968, the entire from watching the scene, or entry street at the 20th Centu- even from examining the other ry Fox lot near Beverly Hills sets on the soundstage. In one was re-dressed as an 1890s location is what might be a New York avenue for the movie Hello, ting then, that to reach the soundstage cave with a circular chamber, or maybe Dolly. Big facades went up in front of the where the X-Files movie (code-named some monoliths like those of Stonehenge. drab studio buildings, and, in vivid contrast "Blackwood") is shooting, you have to step Some monitors show what the special FX to usual Hollywood practice, those facades sideways through one of these facades; if unit on another soundstage is filming. A

stayed up. They're still there. It's only fit- ever a TV series took a left turn from con- broad field of fluffy pink material, like cot-

40 STARLOGX/une 1998 Creator Chris Carter trusts no one when it comes to discussing Files intrigue. The movie does ton wool, stretches out from the the X-Files movie, but "mythol- camera's point-of-view: in the fans want to believe deal with the X-Files will be worth cover- background, several large, the film ogy:" the government the suspense. affected square green screens are sus- up, and how this family. Also, pended from the ceiling, while Mulder and his the movie features series regu- a scissors-lift raises people up lars and recurring characters, in front of them. Doubles for including FBI Assistant Direc- the leads? Set workers? Is the tor Walter Skinner (Mitch pink stuff supposed to be Well-Manicured clouds? What will go onto the Pileggi), the Man (John Neville) and con- green screens? No one is sav ing spiracy investigators the Lone anything. Gunmen (Dean Haglund, Tom X-Films Braidwood and Bruce Har- wood). Non-regulars who Carter, creator of the show include Oscar-winner and writer for the series and appear Dan- movie, admits, '1 don't want Martin Landau, Blythe ner, Jeffrey DeMunn, Lucas my primary goal to become Black, Glenne Headly and making sure no one know s Terry O'Quinn who is not what the story is, to the detri- — he does ment of everything else." But playing the character on Carter's other TV series, secrecy still prevails, even to Millennium. comic lengths. When director Carter, who looks as much Bowman is asked about "Ciga- rette-Smoking Man" (William like the surfer he used to be as well-respected cre- B. Davis), he quickly responds, he does the ator of the hottest genre TV "I didn't say CSM was in the series, says that he really had movie." Though it's pointed out only one plot in mind for the that Davis is mentioned in the X-Files movie. "I knew things official press notes, Bowman is I had to do, so really the fea- still reluctant to discuss any- the mythology that thing about the character, other than that he final episode of the fifth TV sea- ture owes everything to at that time five arrives in a helicopter with a large son (at this point, yet to be filmed), and that will have been set up by— — of mythology episodes, and the con- entourage. it begins with "the mysterious bombing of a years have been The only aspects of the script that any- office building," which prompts spiracy that Mulder and Scully to penetrate. It was just figuring out one will admit to is that it resolves the Mulder and Scully to discover the usual X- trying

STARLOGX/ime 1998 41

—

around

al This film will attempt to keep the TV series' flavor, with some cinematic additions, like Oscar-winner Martin Landau. While I'm dealing with the epic size of the tale, I'm also always thinking about the relationship between Mulder and Scully," director RobBowman explains. viewers. Related to that was hanging it off

five years of the TV show, while having it all

still make sense as a self-contained story. That was the balancing act that was in our minds while coming up with the story. How do you reward five years of having followed the continuing storyline faithfully, with big revelations, and at the same time make it all understandable for people who have never seen The X-Files before?" Writing the story wasn't as hard as Spot- nitz expected, partly because of Carter's con- viction as to where the story had to go. "This

movie, in a sense, is an ending, but it's also a new beginning for the characters. It's really a kind of pilot again—it relaunches everything.

I think it took us about two days of just talk- ing [continuously] about where we had been and what we were going to say, and how we

ments I had already Anderson, very tired in her bathrobe, were going to get to the place Chris had

In a believable, scary points out, "There's a little bit more action in always imagined we were going. Then, it was ahnut fivp rtjiv*: nf Hnina the*, wnrlc fioilrinp ' ' ' " • ' •- , — y into ine movie. Lilt lllUVlt, 1111*11. O lllVyi^ .HUH. L/LIL lt uuvsui J -o After some prodding, everyone admits like a big version of an episode, which I think out the seven acts of the story." and Carter resisted pressure (or some more reluctantly than others—that is necessary at this point, because we're Spotnitz into a despite being in widescreen, the X-Files drawing in not only people who are devoted temptation) to turn the X-Files movie summer action picture. "Suddenly, movie is basically a giant version of the TV to the show, but people who've never seen it standard a action movie," Spot- show. "The scope and scale are bigger," before. If it were tremendously different you're doing summer truth is, action Carter says, "and we're getting to go places from the series, if they were to tune in the nitz says, "and the most are roller- we wouldn't get to go in the series. Mulder series after seeing the movie, they might be movies released in the summer cartoonish unbeliev- and Scully are Mulder and Scully, and people disappointed or have some kind of adverse coaster rides, very and of pressure to who play a big part in the TV series show up, reaction." able. There's a certain amount resisted, I think too; nothing there has changed." bend to that; we really and But everyone also acknowledges that the X-Fights the people who know The X-Files are going movie audience will include lots of people Frank Spotnitz is co-producer of the X- to feel it's true to the show's spirit." movie does have some action scenes, who know little or nothing about the series. Files movie and, more grandly, the co-execu- The they're in character for the series. "I get "I want to make a movie for everyone," tive producer of the TV series (STARLOG but "I do Carter says, "even people who may not have #244). He has become known as the keeper banged around," Duchovny admits. scenes. fact, I like the fighting. I seen The X-Files. The trap we fall into there of the mythology, as he writes or co-writes have fight In don't know if you've noticed in the show, but is that I might forsake the hardcore viewing many of the episodes involving the extensive, audience, even the casual viewing audience, complicated, and always growing backstory. I drop my gun a lot. That's because I can't I do, then I by having to go over some material that He co-wrote the film's story with Carter, who actually kill anything, because if I have to drop the would insult their intelligence or not be true wrote the final script alone. have evidence. actually is too I have a fight scene to the series. I've tried, and I believe I've "We usually write in a four-act structure," gun, which bad. do of the.. .Well, been successful, in doing three things at says Spotnitz, "and this was really a seven- in this, where I'm climbing out those scenes where you lie once, which are to re-establish their charac- act structure. The biggest difference, I think, it's more of one of story your back and kick." ters, make it interesting so it will appeal to was two-fold. One was explaining the on either of everyone, and get on with telling a good X- to new audiences who had never seen the TV Anderson concurs. "I don't think our for the entire film; it's Files story." show, and also making it work for longtime us draws guns

STARLOGX/une 1998 43 — —

mostly just running and climbing." Howev- when Mulder's sister is abducted; this started with the show early on. I was there er, she also reveals that there's more changed Mulder's life—he is in pursuit of when the show wasn't as big, and we devel- romance in the movie than in the series. finding out how he can undo what has been oped a relationship then, and it's just about "We find ourselves in a situation that draws done." going back to that core relationship. There's us closer together." As part of his quest, Mulder has joined a lot more distraction now, but there has

"There is some action in here," Carter the FBI, but "this is a person who is ostra- always been a kind of shorthand between

says, "but I wanted to be true to The X-Files. cized by his peers," Bowman continues. David and me."

so the elements in it are elements that I "His partner is Scully, and although her Duchovny adds, "We got through our would use in any X-Files story—they aren't mission initially was to spy on him, at the bumps in the beginning, testing [the water] bigger just to be bigger, they aren't and stuff like that. Rob has a good ego more elaborate just to be more in that he has a strong point-of-view, elaborate. The amazing thing is "The T>eoi>le vho kriov but he's not married to it. He doesn't that we're still scrambling to finish The X-Files are goine to X cci have a lot of false pride about his our work. It's not like making a ideas or his perceptions. In terms of movie is glamorous, with everyone it's true to the show's the creative process of [Mulder], he's taking siestas at lunch and every- spirit." mine, he's not Rob's, he's not anybody thing. You are really hustling to else's. So when we work, I'm allowing make your days; we could have him to come into my creative used 20 more days of shooting processes. He takes care of the on this picture, and maybe then camera, Chris takes care of the we could have more of what I script with the writers, but once I'm consider to be a movie experi- on set and I have the script and ence. I don't want to fall into the everything, I have the ball now and trap of saying it's just a big TV you really have to fight to get it show, because it's not, but we are away from me." certainly working as hard as we For Carter, the challenge on work on the TV show." both the movie and the TV series is

keeping it fresh. "To be honest, X-Flights that's the reason to keep doing it The challenge for Bowman is that's the problem to solve every simple: "How can we do some- day. And as you start to say, 'I'm thing worthy of the big screen tired of trying to solve that prob- that's going to exceed what peo- lem,' that's the time to get out. ple expect on Sunday nights? What's interesting, and this plays

And I tell you, I didn't know if into the whole fifth season and the

we could do it, ;/ Chris was movie, is the recent denial by gov- going to come up with some- ernment agencies of Roswell, with thing—but he did. It's a matter the CIA telling us, 'Yes, we did lie of trying to execute on the same to you, but this is the truth now.' In level every moment of every day other words, 'We're liars, but we're what we do on the TV show, but not the liars you think we are.' I with a little more time. We do a love that these elements have just few more takes, a few more shots surfaced in a timely and interesting

to fill the sequences out more way."

than I have time [to do] on the Spotnitz says that—besides sci- TV show." And he should know: ence fiction—the X-Files movie In the series' first four seasons. most closely resembles a political Bowman directed 23 episodes thriller. "We looked at some movies more than anyone else. from the '70s, of a kind they don't "Potential stumbling blocks," make any more, like The Parallax Bowman says, "are abandoning View and All the President's Men. some of the things we use to tell It's more akin to that kind of thing, Typical X-Files brooding and drama drive the film, but you're unraveling this con- [the story on] the TV show audiences can also expect startling extra action. where some out of limitation, some out spiracy and you don't know who to of the way we tell the stories, which is in a core of it is the relationship between these trust, and there are forces that are unseen minimalist fashion—and not to get sucked two people, the fuel for the whole story. So, and keep the tension going. into the big-budget Hollywood version of while I'm dealing with the epic size of the "The truth is, we've always tried to do how to make a movie and just throw every- tale in the movie, I'm also always thinking the TV show like a movie; we've tried to thing at the screen. The die-hard X-Files fan about the relationship between Mulder and make mini-movies every week. To have the has become accustomed to filling in the Scully, and what it is that Mulder needs to extra half-hour, 45 minutes, whatever it blanks, and they enjoy that interactive part pursue, or even complete, his journey." turns out to be, was liberating for us. Fox of the show. If we give them everything, Bowman and Duchovny agree that they has been enormously supportive; they seem they're going to feel like when we got our work well together. "You know," says Bow- to trust us and think we know what we're first opportunity to go big, we abandoned man, "if I could comment on this..." doing. I think the only issue is that we don't everything that got us here, and we danced "See?" Duchovny interrupts. "He asks have the budget a typical blockbuster would with a different person. me." have, but I think we're all happy with what "The emotion is something that you "You know," Bowman pushes on, "I'm we've been given and what we've been able have to distill down. The size of this going to comment on this..." to do with it," Frank Spotnitz says. "I think mythology is enormous—and I'm sure it's "Go ahead," says a grinning Duchovny; we've accomplished what we set out to not going to get any smaller—but what is it noblesse oblige. accomplish. We've told the story we want- about? Who drives it? The key moment is "I think we work well together because I ed. It just feels right." -Ar

44 STARLOG//«/!

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The President (Morgan Freeman) announces a comet will collide with Top-billed is the astronaut leading a desperate mission into space that Earth, and Leder asks how people will will take them off on a comet "live their last lives."

So then why. given the logistics and just pie trying to escape the city. On the surface, it plain hard work that went into The Peace- didn't seem like anything special. We've seen maker, did she willingly take on the even that scene a lot. But there is a definite human, more grueling assignment of Deep Impact'! emotional edge that I wanted to come "'When says jump, you say through, so I kept at it until I got it right. how high," she offers. "I asked him, 'What There's also the real personal things—like makes you think I can do the end of the when is alone, staring into world?' And he said, 'Well, you did The her mirror and contemplating the last days of Peacemaker—you can do anything." So who her life—that just cried out for something was I to argue with that kind of logic? I more than the predictable. Then, I had to turn mean, he obviously had the confidence to let right around and try to get emotion out of me direct the very first DreamWorks movie guys in space suits dangling on wires. [The Peacemaker}. So he must have felt that I "I believe the SF elements highlight the could handle Deep Impact!' emotional power in the film. I didn't see my job as trying to put square and round pegs in Striking Emotions the same hole. I never saw the two elements Leder didn't really require too much per- in competition with each other, but more as suasion. She liked the fact that Deep Impact complements. Of course, some of the SF ele- ''dealt with human issues" and "how people ments were more tedious to shoot, but that would live their last lives." And, she explains, was just a matter of logistics."

it was the very things she liked about the film Deep Impact is the ultimate disaster that would prove to be her biggest chal- movie—a combination remake (When lenges. Worlds Collide), film adaptation (of Arthur "The challenge has been to really be on C. Clarke's novel The Hammer of God) and my toes and to tell the story the best way I original by Bruce Joel Rubin, can," she says. "Trying to get the right emo- Michael Tolkin and John Wells. It chronicles tion and the right attitude out of the human what may be the last days of man on Earth. A actors in the face of this big comet's comet is on a collision course, and only a

approach can be rough. It would have been small portion of the population can be saved easy to just let the comet take the lead and in underground "arks." The drama derives make this into a stereotypical disaster movie. from how people react to these traumatic

But I went into this film trying to combine events—approaching death unveils what vastly different emotions. they're really made of. "Just look at what we've got going on "I realize Deep Impact is a science fiction here," she notes, gesturing to the crowded film, but it has a very strong sense of reality. location around her. "I've been out here for I believe in finding the action in the drama. days shooting this scene with hundreds of Good action sequences have to have dramat- Impact is the ultimate disaster Deep human extras and thousands of animals ic tension in order to make them exciting and movie a combined original — attempting to get the gravity of this terrible exhilarating to watch. There are no car chas- screenplay, remake of When Worlds crisis across in an emotional way. That's es in Deep Impact, but that doesn't mean Collide and adaptation of Arthur C. tough. Consider the scene we shot where there is no action. The sequence on the Clarke's Hammer of God. there's a massive traffic jam of cars and peo- comet's surface is very fast-paced, and the

STARLOG/7i«!i? 1998 47 Tea Leoni plays a pulp journalist on The Naked Truth, but she goes legit as newswoman Jenny Lerner in Deep Impact.

As Robin Lerner, Vicki's mother, Vanessa Redgrave contemplates the end in the days of the comet.

end sequence where the comet hits Earth is absolutely breathtaking."

"it would have End Games to The movie is filled with talented actors. been easy In addition to Redgrave, there's Morgan let the comet Freeman (the U.S. President). Robert Duvall (leader of a space mission to destroy the take the lead comet), Tea Leoni, Denise Crosby, Elijah and make this Wood, Kurtwood Smith. Maximillian Schell, Charles Martin Smith, James Cromwell, into a typical Bruce Weitz, Mary McCormack and Blair should come as no surprise disaster Underwood. It that as the world ends, most of them die. movie." With such a cast, Leder was able to fash- ion apocalyptic drama. "It has been painfully hard on them, but I think once they realized this was not the typical disaster movie, they were willing to do everything they could to make this work," she says. "There are three very strong human stories here, and I think the actors appreciated the fact that I allowed them to behave like real people rather than cardboard cutouts." Leder offers that Deep Impact has "physi- cally and emotionally" been a mixture of "pleasure and pain." But, in the end, she has been driven by the personal challenge of

"wanting to get it right. A perfect example was this huge crowd scene we were shooting the other day," she reports. "We had this bit of dialogue going on between two of the actors,

and it just didn't feel right. Finally, it dawned on me that the reason the scene was not work-

ing was that it was being bogged down with

terrible dialogue. It just didn't sound right, so

I went in there with a pencil and cut about six lines. We were telling the story instead of

feeling it, and it didn't sound right." Additionally, Leder is quick to quash the impression that any direction came by rote.

"First of all, nothing is ever easy," she says. 'The minute you begin to think that, you're going to be in a world of hurt. However, the comet sequence was definitely the most ardu- ous. The actual physical set was extremely

48 STAKLOG/June 1998 " "

is frightened by the idea of Earth's end. "Sure,

it scares me," she admits. "I think anyone who tells you different is lying. It's one thing to Where's Harvey know that you might die—which is tragic in Fierstein's cell phone itself—but the helplessness in knowing the when you need it? people you love are going to die is heart- looked for new Leder breaking. Then, factor in the pandemonium angles on classic and panic that would transpire—and the scenes like this pile- world would be an extremely terrifying place. up of cars leaving a It is not as if you would have quiet time with doomed city. your loved ones to say your goodbyes." Meteoric Rise Leder, who admits to growing up on a healthy diet of European films, came to the attention of movie execs thanks to her hyper- kinetic direction on TV's ER. She admits to being shocked and surprised when Spielberg plucked her away from the small screen to direct The Peacemaker. "Everyone was telling me, 'This is the

first DreamWorks movie, and you're a woman director.' My response to all that was, 'Yeah, so?' I felt that thinking about the pres-

sure would only add to it. So finally what I really had to do was think about the movie,

difficult to shoot. Add on top of that bulky, don't really consume me. I think the effects the story, and to try to tell it the best way I uncomfortable space suits and weightless- in this film will be very good. We have a tidal could." ness, and you have very complex elements to wave unlike anything you've ever seen Adding to her challenges on The Peace- blend together to make the whole scene seem before. But my interest was not to make a maker was a personal loss shortly before

natural. There was very limited space on the movie that had CGI in it. It was the script and shooting. "My father died a month before we stage for the crew to work. We had practical the emotion that sold me on Deep Impact. started filming," she painfully recalls. 'That effects—snow flurries, debris, etc. —flying "I see the techno side as a device to was the most difficult part of doing the everywhere, and it was quite dark most of the enhance the human drama. This movie has it movie. I was in a position of not being able to time. After a few weeks of conditions like all—great action and great heart—but ulti- be in an emotional depression, to mourn his those, one tends to get a little burned out and mately it is about the human element, the death and celebrate his life. But what I found want to take a very long vacation." decisions you take for granted every day ver- was that, by directing that movie the best way Of course, Deep Impact features state-of- sus how you would live your life if you knew I could, I was indeed able to work through all

the-art computer-generated special effects. it was going to end at a decisive point." those emotions." But such effects were not an enticement for Thanks to recent media fervor over an After two massive productions, Leder is Leder. "I really hate computer-generated asteroid initially projected to strike Earth, no longer intimidated by the enormity of the images," she candidly admits. ""I'm fascinat- Deep Impact has gained a "torn-from-the- filmmaking process. "My intimidation factor ed by what you can do with them, but they headlines" aspect. Like everyone else, Leder is pretty much nil at this point," she notes. "I mean, I was terrified, and in a sense I still am. "I asked Steven Spielberg, 'What makes you It wasn't like I started out with an intimate, low-budget drama as my first film. I jumped think l can do the end of the world?' right into action in a big way. So—I'm always asking myself the questions 'Can I do "I hope to be not so this?' or 'How can I do this?' or, at my most much recognized insecure, T can't possibly do this! I don't as this hot new even understand this.' irector as for "But when I get to that point, that's when aking a good I dig really deep and remember something , movie," offers father [director told •Leder, at work that my Paul Leder] once me. He said, 'Mimi, what are you afraid of? You know what you're doing.' Mimi Leder laughs out loud when informed that, based on The Peacemaker and the advance word of mouth on Deep Impact (which opens this month), she's being touted as the hot director. "Am I

reallyV. It sounds nice. I hope I can live up to

it. I know it sounds great because that kind of recognition is, in a sense, my dream. But ulti-

mately, I hope to be not so much recognized as this hot new director as for being able to make a good movie. That's my dream." And it's a dream that hinges, to a large extent, on the results of Deep Impact. "I real- ly hope people get the message of this movie.

I hope all three stories cut together. I've got

my fingers crossed." •^f

STARLOGX/ane 1998 49 I

As stern alien bruiser Teal 9 Christopher Judge plays & guide By KYLE COUNTS on Stargate SG-1.

hristopher Judge can laugh about it now, future Stargate SG-1 colleague Richard Dean Anderson. but an ill-timed haircut might well have He was also a regular on the little-seen police drama cost him the role of Teal'c, Jaffa alien Sirens. warrior, on Stargate SG-1. "I went in for a reading with [casting director] Mary Jo Warrior ways

Slater and felt it went pretty well," says Getting into an alien mindset for Stargate SG-1 was no the commanding, 6-foot-3, 230-pound big stretch for Judge, even though it's his first genre out- actor. "It got to be Christmas time and I ing. "I didn't get a script right away, I just got sides

hadn't heard anything, so I pretty much had given it up for [pages] for the audition. But even in those pages, I knew dead. At the time, I had shoulder-length hair, and I decid- something more was going on [in terms of the character] I ed to cut it off because I thought the audition process was than met the eye. So, I played it very focused and hoped over. The day after I cut all my hair off, I got a call saying was right. It turned out I was. When I stepped on set, with they wanted me to come in and screen-test for Teal'c!" the armor and prosthetic stomach I had to wear, it was But unlike Samson, Judge turned his new, close- easy from that point on to become an alien." cropped look into an advantage—Teal'c (pronounced Teal'c, he explains, is "a Jaffa. The Jaffa race is Jaffa "tealk"), as it turned out, was intended to be bald in the enslaved by the Goa'uld ["ga-oold"]. Some of the series. "For all the other principal roles, there were three are the actual guardians of these particular gods; they actors at the audition. But there were eight other guys for make up the military stronghold of the Goa'uld, and they

Teal'c. I thought to myself, 'Wow, they have no idea what select candidates to become hosts for the Goa'uld. But they want.' After the reading, they read off the names of they are slaves nonetheless. My character is dissatisfied the people who would no longer be needed. with the Jaffa life. He realizes that they are, in fact, not included the names of every other person who had read gods—just a parasitic life form that thrives on the lives of for Teal'c. So I had a pretty good idea that I was going to others. So, I take it upon myself to influence a change. be hired. It was either me or nobody," he laughs. And in my first contact with the humans from the SG-1 Bom and raised in Los Angeles, Judge (who claims his team, I realize I might have an ally that actually has the age as "somewhere between 28 and 35") attended the strength, the wherewithal and the weaponry to be of some as a telecommunications/film major [use against] the Goa'uld." with a psychology minor, and achieved Ail-American In the series' two-hour premiere, "Children of the football status three of his four years on campus. "But I Gods," Teal'c escapes his enslavers and joins the Stargate always knew I wanted to be an actor," he recalls. "The SG-1 team. Why does he choose that moment to leave his television set was my babysitter growing up. I can remem- people? "In the scenes where they were selecting a female ber wanting to invoke the feelings that I was getting from host for the Goa'uld symbiont [a snakelike creature that the television—I wanted to be the one who was the catalyst guarantees the host perfect health, once implanted], for those feelings in other people. Performing was some- larva chose not to go into the host I selected, and she was

thing I've always known I was going to do." killed. Any other host who wasn't selected for the process His inspirations were varied: "the Sidney Poitiers of was also killed. I've been going through this process the era, the old Batman series and Star Trek. Every Friday much longer than what the audience sees. That's my back which I would go to work with my father, and we would stop on story: I've long been dissatisfied with the means by the way home and pick up burgers. Then, we would come they procure these hosts, and the devastation resulting in home and watch Planet of the Apes [the TV series]. I the lands from which they get them." would never miss an episode of Planet of the Apes— For Judge, Stargate's first season has been about his lived for that show." character "finding his way in this new world, where he fits In 1989, he began studying acting at the Howard Fine in, places where his input is needed and where it isn't." Studio in Los Angeles, applying what he learned in such Judge points out that Teal'c has more complex reasons for films as House Party II, Cadence and Bird on a Wire, as being than simply functioning as extra muscle for the SG- well as several TV shows, including Gabriel's Fire, 21 1 team. "Not only do I serve as a guide to some of the Jump Street, Wiseguy and MacGyver, the latter starring planets the SG-1, team explores, but you also learn that I

50 STARLOG/iwne 1998 Selected Photos: Shane Harvey

The rigid persona Teal'c projects does not mean he's bloodless, Christopher Judge

insists. It represents his passionate focus on

"If I let everything. ..play on the surface, I would be out of control." have a wife and child that I left behind. Part of my character's storyline is to go back and make peace with that situation. I don't want my son to become a Jaffa. Once you have this symbiont implanted in you, as I do, your

immune system is, from that point on, depen- dent upon the symbiont for your health. When I left, he had yet to be implanted with his first symbiont. So, I want to go back and make sure that he never becomes a Jaffa. My super-objective, in the long run, is to free all Jaffa from the enslavement of the Goa'uld. That supersedes everything." The Goa'uld larva living inside Teal'c is intended to be carried to maturity—its removal would result in his eventual death. "It's a mutual kind of symbiosis," Judge

offers, "I nourish it, and it nourishes me. It allows me to go many days without sleep, without food. It heals any injuries I might

have. But in turn, it feeds off my system. I

breathe for it. I eat for it. I nourish it. I carry

it for seven years; at that point it's mature enough to leave my body and exist on its own in another host. It can also, after that time, be strong enough to control the host it inhabits." In one of Judge's favorite episodes, "Bloodlines," Teal'c returns to his home

planet and is reunited with his wife and son. But their joyful reunion is short-lived. "They had been outcasts from their village, but my wife had gotten back into favor with the local priest," he explains. "My son was going to undergo this implantation ceremony, where he was going to get his first symbiont. Unbe-

knownst to me, she agreed to it because he had scarlet fever and was dying, so he need- ed the symbiont to live. I mistakenly thought

it was my wife's selfishness in wanting to get back into the upper levels of this society. I stop the ceremony and end up giving him my symbiont, and Daniel and Carter go to the temple and steal another one, which I'm implanted with." In another episode, Teal'c undergoes an experiment to see if he can sur- vive without his symbiont. "We found that I could not. They're working on some artificial means to give me an immune system, but up to this point, I am forced to keep the sym- biont." Like Star Trek: The Next Generation's

Worf, Teal'c is portrayed as a rigid, unemo- tional soldier who could definitely stand to lighten up a bit. Judge chuckles at the com- parison, adding, "It's not that I'm not emo-

tional, it's that I'm so emotional that if I let everything boiling inside of me play on the

surface, I would be out of control, and that might prevent me from reaching my super- objective. Also, if there's a situation that other people find life-threatening, I don't

consider it life-threatening, because I know that my symbiont protects me. Much of my role is playing against what I would tradi- tionally play as an actor. What my gut instinct tells me to play in a given scene, I tend to play the opposite. Judge compares SG1 peers Anderson, Amanda Tapping "It's sometimes hard for me to play and Michael Shanks to an extended family. Anderson, scenes where I find things funny but can't they all agree, is the curmudgeonly uncle.

52 STARLOG/7«ne 1998 laugh, because I have to play that there's something the character needs that he's not getting," Judge continues. ''Anything else is kind of lost on me until I can get back to my wife and son, until I can free my people.

There are episodes later on where I actually smile, and I do show some emotion. My first smile this year was not exactly successful, but it was an attempt at smiling nonethe- less." Regarding the show's slaver}' angle, the African-American actor admits he was "kind of worried" about possible flak from critics and friends for taking a role as a slave on a TV series, until he saw that his charac- ter would quickly emerge as a leader. "I saw [the slavery angle] right off when I read the script, and that's why I was attracted to the character. He was going to have the chance to rebel and free his people from their oppressors. That, to me, directly parallels the horrible American legacy of slavery, even all the way up to the '60s and the [Civil Rights] movement, where things start to change and an aggressive leader emerges at the movement's forefront. That's very much how I see Teal'c. Most people see him as very heroic and very noble." For the most part, the actor says filming in Canada has been "great." even though the first week caused him serious trepidation. "When we arrived in Vancouver, shooting was. ..difficult. The first w^eek. it was torren- tial downpours every day. It tested your patience at times. Then, the weather got nice. I'm in Army getup for most of the episodes, but there are a few where I go back into my serpent guard outfit, which unfortunately happened at the honest time tined [that we would be working together]." kinds of considerations he had before sign- of the year. 'Cumbersome" is a good word to The mere mention of series headliner ing on the dotted line, he names only one: "I describe how it felt to be in that costume all Anderson elicits a hearty laugh from Judge. have three kids, so basically I'm thinking, " day." "Rick is like our crotchety uncle. He can 'Hey, their college education is paid for!' add levity to absolutely any situation. In the In a more serious vein. Judge's hopes for Actor's Adventures MacGyver I did with Rick years ago, I Stargate SG-1 center partly around his char- While the principal cast shoots an aver- played a high school student, a cocky foot- acter. "I hope Teal'c continues to grow, and age of 12 hours a day. Judge's that more is learned about the work day generally lasts 13 and a whole mythology of the Jaffa and half hours, as he arrives 90 minutes I breathe for the symbiont Goa'uld and where they fit into the early to get into his alien makeup. universe. We have a chance to l eat for it. I nourish it." "That's not bad," he interjects. "On explore not only our universe, but

Sirens, I had 17, 18, 19-hour days, anywhere in the galaxy, and all the and that was the norm. There w ere some- ball player who thought the classroom was life forms we could ever imagine. thing like 900 people in the principal cast on just a place to go while the football field was "There's an endless oasis of ideas that that show, or at least it seemed that way. being cleaned. MacGyver taught me a les- could be harvested. And to have this vehicle Talk about conflicts between cast members! son about fulcrums and levers, and I was to do it, and to have a long-term commit-

It was a nightmare. Compared to that situa- that much wiser in the end. Our makeup ment so that you don't have to be constantly tion, Stargate SG-1 has been Nirvana." artist, Dan Newman, brought a tape of the looking over your shoulder to see if the net- As Judge relates his feelings about his episode to the set. and everyone got a good work is coming at you with an ax to cut your fellow cast members, he realizes he sounds laugh over how much younger we both show.. .what an enviable position to be in. a bit effusive. "Michael Shanks is like my looked. If anything, Rick has gotten more "Already, we're Showtime's highest- younger brother. We get along fabulously, amiable since then. He's a pleasure to be rated show. We've been picked up for [syn- and we spend a lot of time together, even off around." dication beginning this fall]. We've done a set. Amanda Tapping is like my sister. It Judge realized that his five-year contract helluva job of carrying on the legacy of the sounds almost too rosy, I know, but we get with Stargate SG-1 (with a 14-week hiatus StarGate movie. So, we've got our fan along that well. At the screen test, the three between mid-November and early March base," says Christopher Judge. "As long as of us talked almost the whole time, while that allows him to pursue other career we can keep the level of our shows up, and everyone else was preparing or sulking, opportunities) meant he would have to move stay true to our fans and never take their whatever actors do. We had such a natural his family to Vancouver from LA. All are intellect for granted, we have a chance to camaraderie. It's almost as if it was predes- adjusting well, he says. When asked what have a really long run." ^

STARLOG/Jime 1998 53

ean Devlin is a cheerful, talkative guy, still jazzed over having risen swiftly from a relatively unknown actor to the co-writer and co- producer of several blockbuster hits. Devlin is also pleased that his successes are in the science fiction genre, not the easiest medium to garner such merits. "SF fans are the toughest fans in the world to please," he says, "because they have the highest standards. "When SF movies are made by people who would actually stand in line to see one on Friday night, they're better because they're made without any cynicism. But when people sit around in Hollywood and say, 'Let's do what audi- ences are buying right now,' it's crap. And SF fans can smell it a mile away. If they feel you're doing it cyni- cally, they will just walk away." The question is—will they walk toward his latest endeavor, ^s month's new big- s'!^ cale Godzilla?

j initios'uiihilz iiJi) LI.£J. film 3 "

see a cieve. W*r. Z?..n n "i like to and j started straight—it wasn't a farce. And that's what talking about story ideas, and the direction we're trying to do with Godzilla—reinvent yet be respectful to the Devlin, who co-wrote and we would go with it, what we would do. him as an original, but produced Independence Day and StarGate Then, we were in Europe promoting Inde- origins and intent of the first. for the origi- with director , wouldn't pendence Day when [ID4 production design- "The moment of inspiration [producer] Tomoyu- normally be found hanging out in a run-down er] came over with his nal Godzilla came when over the Bikini Islands neighborhood, but that's where the co- drawings of the new Godzilla, what our ver- ki Tanaka was flying nuclear testing]. There writer/producer of this colossal movie is on sion would look like. The second we saw the [the notorious site of amount of significance to this sunny afternoon, near the corner of Fifth drawings, we said, 'OK, that's it, we've gotta was an enormous about Godzilla's origin. and Main, the heart of Los Angeles' Skid do this.' the Japanese people both and I believed that today the Row. Of course, a few minutes ago, it was But Roland world isn't as worried about nuclear war. Chernobyl, and soon it will be a rainy New- with the results of York, but between takes on Godzilla, it's the "THIS GODZILLA We're more concerned testing, nuclear waste getting into our street of the down-and-outers. nuclear IS NOT A environment, so we stayed true to the spirit of Godzilla while not staying true to the facts." 113 I bl HI 1 DINOSAUR. Of course, the cheese factor still lurks, Devlin is happy to talk about how Godzil- given all the Japanese sequels. In two distinct la came to be, and how he and his partner with a series, the films eventually total more than 20 Emmerich got involved in it. "Chris Lee [of They began from scratch new respected, and teeters Sony Pictures] came to us a few years ago script, going in a new—but also old—direc- titles. Godzilla is both so Devlin and about doing Godzilla, and we actually turned tion. In the original Japanese movie, released on the edge of a cultural joke, the Monsters, Emmerich had a fine line to walk. "If you it down. We wondered how you would over- in the U.S. as Godzilla, King of the first Batman came out, come the 'cheese factor.' You don't want to Godzilla is a dinosaur-like creature revived remember before about Tim Bur- make fun of Godzilla, because there are too by radiation from A- and H-Bomb tests, and there was enormous criticism and casting Michael many fans who really love the character. We that's similar to the origin of the Big G in the ton changing the look felt pretty Keaton. Everybody was sure that it would be didn't know how to make it properly, so we new film. "It's something we Devlin says. awful, and it was actually pretty cool," passed on it. Later, when [director] Jan De strongly about not abandoning,'" wrote this one, Bont got involved, he developed a really "In some of the earlier drafts, Godzilla was Devlin says. "When we we ourselves at all. We decided to good script" by Ted Elliott and . created by aliens, and that made it cool." But didn't limit However, budgetary problems sank the very radiation was how Godzilla was originally write it in a fantasy way, to make the film that ambitious De Bont version, which involved created. "That was not just a story idea," we couldn 't make. limitations of technology, two monsters, fleets of ships and toppling Devlin maintains, "but represented Japan's "Because of the was this lum- skyscrapers. thinking about nuclear radiation. So we the Godzilla of the other films Frankenstein coming down the So Sony went back to Emmerich and thought it was too important to what Godzil- bering, giant thought, 'When we do that Devlin at their own Centropolis Films com- la is all about, and we found a way to mod- street. But we a shot, we're going to have to develop a tech- pany. "Roland and I sat down and asked our- ernize that." However, their Godzilla is not that doesn't exist.' We have this agile, selves, 'Why do we keep turning it down?' dinosaur, but Devlin is cagey about saying nology quick, scary, wild creature, so suddenly all We decided that it was because we were just what he, she or it really is. to in a completely differ- the possibilities opened up, and what you scared of it—and if we were so scared, then "We wanted go project, could do in a film seemed really endless." we had to do it. That's the challenge: to pull ent direction" from the De Bont that it stumbling block that De Bont and it off in a way that's convincing, that's fun Devlin says, "but his script assured us One Elliott/Rossio faced were the many restric- and yet that's terrifying." could be done elegantly, that you could do it company that Emmerich and Devlin decided to abandon straight. I mean, still with a lot of humor, but tions that Toho, the Japanese Godzilla, constantly- the De Bont/Elliott/Rossio script, though respectfully. In a sense. Roland and I did that owns the rights to Sure, Independence placed on their script, and on the monster's they respected it—in fact, that script made with War of the Worlds. had to be so high, have this Devlin and Emmerich realize "that it could Day was a gas, and it was fun, but it wasn't design. Godzilla

it seriously, we did it many spines on his back, that many toes and be done in a way that wasn 't cheesy. Roland Mars Attacks! We took

56 STARLOG//;me 1998 —

Philippe Roache () says he's an insurance adjuster. And where Godzilla goes, damage follows.

fingers, and so forth. "Jan De Bont told us other planet. But the new Godzilla is "com- In Godzilla, Broderick plays Nick that he had problems, that every time they pletely American in origin," Devlin asserts, Tatopoulos, the scientist who's trying to fig- wanted to make a change, it was a big ordeal. "in that I'm an American, but, well, Roland's ure out a way to destroy Godzilla before We went for a completely different look, not German. In one sense, we wanted to distance Godzilla and offspring destroy the world. slightly different. We brought the designs to ourselves from the other films, and on the Offspring? Yes—one of the most firmly Toho, and said that this is the way we would other side, pay homage to them. So there's a established rumors is that this Godzilla is doit. lot we're borrowing, but we wanted to do this asexual, capable of laying hundreds of eggs

"They looked at it, and they took a long as though we had just come up with this idea, that will hatch out into more bad-tempered time in deciding. They finally said, 'It's so and there was no history. It takes place in the monsters that will, no doubt, each be different that we don't even want to comment United States, and with the exception of Jean assigned a city to stomp. Can Tatopoulos on it, other than yes or no. But we love this Reno, has a primarily American cast. (named for the designer) put a stop to this M "WE HAVE THIS AGILE. QUICK. SCARY, WILD CREATURE.

look, we love your idea, we back it 100 per- "We wanted to work with both Matthew large-scale family planning? ent—go do it.' This is a whole new rebirth of Broderick and Reno for a long time, but Best known in this country for his roles in jodzilla, and I think they appreciated that. especially Broderick. However, every time The Professional, Mission: Impossible and

)ur story is more like the original film than we've done a film, they were unavailable. So La Femme Nikita, Reno plays Philippe any other Godzilla movie. We want to give this time, before we even started writing, we Roache, who purports to be a French insur- birth to the whole legend again." set up meetings with both of them and said, ance adjuster—and one can well imagine that 'Look, we want you to be in this picture insurance claims would loom large in " Titanic Stars don't take another job.' Godzilla's wake. Devlin and Emmerich holed up in Mexico for five-and-a-half weeks and pounded out heir Godzilla script. "Of course, we're con- stantly revising it as we work on it, but struc-

rally it hasn't changed at all. We work on characters and try to make that a little better, nake moments scarier, and then as our spe- cial FX company keeps coming up with new gizmos, we try to have new gags." One of those new gags not directly con- nected with the special effects company is being rigged on Fifth Street as the interview continues. Large hydraulic jacks are careful- ly placed under the cars on the street, then connected to big gas drums. When "action" called, jacks will make the cars bounce ; the up and down, in time with the footsteps of the approaching Godzilla. Who, unlike the sky- scraping monster of the Toho films, is a mere

20 stories tall in this version, which seems big enough, all things considered.

In all the Japanese films, Godzilla either menaced Japan, or places where there were many Japanese people, including at least one

STARLOG/June 1998 57 —

Others in the cast include Hank Azaria and Harry Shearer, who voice many charac- ters on , Barton Fink's Michael Lerner as Mayor Ebert of New York, as Audrey Timmonds, Tatopolous' once-and-probably-future girl friend, Arabel- la Field, Kevin Dunn and Doug Savant. A life-long SF movie buff himself (who dressed as a at age 1 3 and took third in a SF con costume contest), Devlin agrees that it's not all that surprising to find Broderick a veteran of WarGames, Project X and Lady- hawke—in Godzilla. "He has a passion for this kind of film," Devlin says, "but he really hasn't done it in a long time. In a sense, he's a little like , in that he's such an intelligent actor, you have the opportunity to have a lead action hero who does things out of smarts rather than brawn. I'm tired of super-muscle-bound heroes in movies. I like to see a clever hero."

Devlin is forthcoming about many ele- ments of Godzilla, but he's keeping others as secret as he can. He won't admit whether Godzilla breathes fire, as in the Japanese "he has a few tricks up movies, but does say, Such diverse talent as actress Maria Pitillo and cartoon funnyman Hank Azaria join the his sleeve, some you've seen before, some Godzilla cast. You can learn more about the film in #173 and THE OFFICIAL that are brand new. We've given him some GODZILLA MOVIE & POSTER MAGAZINES—all on sale later this month. abilities he has never before had, especially stuff, unless a really compelling idea the speed at which he can move." actually eat anyone. He can step on all the original people he encounters, but he (or she or it) comes along. We just signed recently a deal Graphic Monstrosity doesn't chow down on anyone—at least in with Sony. We're going to try to make as films as we can, try to The filmmakers are allowing only a few our range of vision. "Toho has a big issue many of these 'event' glimpses of Godzilla: an eye here, a foot about that," Devlin admits, "but we found turn out at least one film a year." movies will be remains to there, a toothy mouth gaping in front of some ways around some of that." Just what those include two pro- Broderick. Devlin does admit, "He's not a One reason for making this beastie, if not be determined. They may at least not jects Centropolis set up originally at 20th dinosaur, but I think he's much more realis- exactly a kinder, gentler Godzilla, Voyage remake tic-looking than the original Godzilla, in that an openly carnivorous Godzilla, is that Century Fox—a Fantastic because he's and Supertanker which Devlin believes when you look at this, it feels like a creature "Godzilla's an unusual creature, — co-productions or, if you're familiar with. And the movements, both hero and villain," Devlin points out. "On could become Sony-Fox them, Sony-only films. obviously, are much better, because the tech- the one hand, he's the antagonist of the pic- Fox relinquishes is dangling the prospect of a James nology is better. But this Godzilla is not a ture, and he's causing us enormous amounts Sony in front of the duo (but it's the dinosaur, and it's bigger and wilder than of problems, but at the same time, the audi- Bond movie 007 we've ever seen before." Devlin proudly ence roots for Godzilla. So it's a unique lead subject of litigation from the MGM/UA for Disney's live- claims that Godzilla will be able to run sever- to have in a picture." film series owners). As Godzilla was virtual- action Gargoyles which Devlin, without al hundred miles an hour—but won't admit In the Toho movies, — did an early script of, based on whether this is on two feet or all fours. ly always a man in a suit; there are only a Emmerich, "OUR MAIN GOAL IS TO CREATE FILMS THAT WE LOVE has been replaced by To preserve the monstrous secrets, Devlin handful of shots in all the 22 films when he's the animated series—he and Emmerich have taken unprecedented anything else. While this necessarily gave another writer. their attention is focused 20 steps, embargoing all prerelease photos of Godzilla his distinctive shape, it also severe- For now, all stories their gigantic star. their star, providing journalists with few ly limited what the monster could do; those skyward, on

: expensive movie," Devlin details, even engineering a sort of "sting suits were heavy. In the new Godzilla, the "Godzilla is a very film will cost more than operation" (in which each licensee was given Big G is being rendered via computer graph- concedes. "This more money than we one easy-to-trace Godzilla design, and the ics, which makes him much more limber and we've spent before, big difference inevitable Internet leak was tracked down nimble. wanted to spend. But the many of the people and exposed). They're also trying to keep the While Devlin still maintains that he and between Roland, me and is that we don't make these flotilla of licensed merchandise from ending Emmerich will never do a StarGate follow- in Hollywood look at some other film: up in any stores before the movie's debut. up and are unlikely to attempt an Indepen- films so we can go time to make a Devlin makes no apologies for the secrecy: dence Day sequel, he does note that with we're not doing this biding really want to make. These are the "We feel very strongly that Godzilla should Godzilla, they are planning a series of three film we really want to make." be seen in the context of the new movie. Iso- films. "I think we came up with a unique way films we concludes, "Our main goal lated, he won't have anywhere near the of doing a sequel, so it's not totally pre- Dean Devlin that love. And while I impact that he does in the film. We're just dictable. We spent a lot of time on trying to is to create films we film we're going to do asking as filmmakers, 'Please let us premiere figure it out in that sense, and yet still have a don't know if every science fiction, we do want to make Godzilla first as a movie, then you can have franchise. I think we solved that. will be " stuff genre films. like films that are basically all the toys and everything else.' "And we have plenty of good on the We It's good for Although Toho did sign off on the design horizon. We're doing a smaller film in our mainstream, big event pictures. a focus, and it's the of Godzilla, and mostly kept their hands off division called The 13th Floor, a us because it gives us love with." the movie, they insisted that Godzilla not really unique SF film. We would rather do kind of movie we fell in

58 STARLOG/7i

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For actor-turned-professional model Hol-

land, it all began in . "I was born in Seattle, Washington a long, long time ago," Holland reminisced in this interview', con-

ducted a few months before his death. '"I was in the Merchant Marines and went to Alaska, worked up there in Anchorage for about a year and a half. Then. I came back down to California and went to Laguna Beach and did pottery. It was a lot of fun. I had a good life. I was a youngster then." But a rugged man's man couldn't make a career out of pottery. A visit to the old RKO Studios where his brother Dave worked as a writer led to a chance encounter and a quin- tessential Hollywood discovery story. '"Mervyn LeRoy was there," Holland recalled. "He saw me and said, 'Do you want to get signed up for a contract?' Savage doesn't I said. 'Sure.' He did a Ioc live in New York screen test on me, which I anymore. Until don't think was any good. I a few years ago. you could didn't see it. So. I was under con- walk down the streets of Man- tract to him for six months. I didn't do hattan, turn a corner and unex- any films. I decided at the end of those six pectedly confront Clark Savage months to go to New York to get some back- married. two of Jr. in the flesh. Sure, he was a lit- ground. Meantime, I got The tle older. He lacked the metallic us went to . My wife was born town. I did helmet of hair, but it was unmistak and raised there, so she knew the ably the Man of Bronze. not. I was frightened to death. New York was This experience befell many a a big city, and I was a little boy from Seattle." startled fan. Others were stunned to In the Big Apple, another chance walk by Flash Gordon or the encounter brought new opportunity. "I met Avenger, or even to spy a short- John Hartrider. who had a modeling agency. I s^ haired Conan the Barbarian play- was looking for work, naturally, so he signed ing handball in Central Park. me up and I started modeling." The people who reported these In the beginning. Holland posed for every sightings weren't suffering from UFO- conceivable kind of magazine, from the induced delusions. Until recently, those dying pulp magazines to comic books. Faw- supposedly fictitious characters did haunt cett built a comic, Bob Colt, around photo- parts of Manhattan. In fact, they were all graphic covers featuring Holland as a movie embodied in the same flesh. Western hero who wasn't in movies! Steve Holland had perhaps one of the 'Then, paperbacks came out and the most hauntingly familiar faces outside of whole thing exploded!" he exclaimed. "I TV or the silver screen. Over the last 40 was working day and night. I got to years, he was Doc Savage, the Spider. Sher- know about 200 illustrators and started lock Holmes, Nick Carter, Mike Hammer, painting myself. I did that until recently, Shell Scott. Jim and many other when I left New York." classic heroes on the covers of assort- Eventually. Holland was lured back ed paperback novels and comic to acting. "I quit for a while," he stated.

books. It was a career he pursued "I did a show, Mr. Roberts, in . I almost until the end of his life did six months over there and [Mr.

Meet the Man of Bronze: Steve Holland, the actor who embodied Doc Savage and countless other paperback heroes. As television's Flash Gordon, Holland sailed the spaceways in a 1950s series lensed in Germany and broadcast on the DuMont Network.

Roberts director] Joshua Logan brought me Gordon was pretty flat—I mean, the writing previously scripted Doc Savage in comic back and gave me a bigger part. Instead of and everything. It was go into combat, sub- books. But Holland had no inkling of the Shore Patrol, he gave me the part of Manion. due your enemy, save Doc or Dale and go on Man of Bronze at that point. Once he realized simply did the I did that for six months on the road, and to the next script. As a matter of fact, by the he was on a treadmill. Holland Logan put me in South Pacific, which was time we had done three or four shows, they work of fighting and -blasting his way as great! For two years. I was in South Pacific, designed a way of shooting to do three at Flash Gordon through episodes with such B- titles as Menace," and then I met Marty Poole. He got me Flash once. We would do all the spaceships for movie "The Micro-Man Gordon." three of them. Then, we would do all the out- "Return of the Androids" and "The Witch of door scenes for three, and so on, and put Neptune." On his off-hours, he enjoyed the Hero of the Spaceways them all together."' sights, which included many bomb-damaged The DuMont Network's Flash Gordon By one of the many coincidences that areas that ultimately found their way into the series is probably the most obscure filmed would keep bringing Holland into contact show. version of the famous King Features comic with the same famous characters, one of the ""To see those bombed-out buildings in strip character, despite having run two sea- writers of Flash Gordon. Bruce Elliott, had Berlin was really something!" he marveled. sons and some 39 episodes. It starred "I was over there for six months, and Holland as Flash, Irene Champlin as then I was in New York again looking Dale Arden and Joseph Nash as Dr. for work. Marty Poole said. "Well, Zarkov. This syndicated show, filmed we're gonna do 13 more in Marseilles.' in Berlin, updated 's We had done 26 in Berlin. So the fol- space opera fantasy for the 1950s. lowing year we all shipped out for Flash worked for the hokey-sounding Marseilles. I was over there for six Galaxy Bureau of Investigation in 3063 months, and we did them with a differ- and careened around the universe in his ent director." personal rocketship. the Sky-flash. Gunther V. Fritsch was the new Holland heard about the project in director, replacing Wallace Worsley. changes: Com- acting class and read for it. Probably it There were other GBI was his blonde good looks, reminiscent missioner Torgenson was replaced by of Buster Crabbe, that won him the Commander Richards. (Neither actor screen credit.) traded in part. It was no plum role. The produc- received Flash tion was mounted to utilize money his snappy uniform for a white light- his in post-war Europe, but Holland ning bolt-insigniaed T-shirt, and rocketship for the Skyflash II. saw it as a golden opportunity. old scripted "It started off hip, hip. hurrah!" he Edward Gruskin. who had laughed. "I don't remember the first Doc Savage in comics and on radio a before, produced and wrote the episode. I imagine I was learning lines, decade season. Otherwise, the stories and I wanted to make it special, bring French low-budget as much acting ability as I had to the were the same round of In his role. By the time I had done three of melodrama and fist fights. TV incarnation. Flash battled the them, I found out to my chagrin they Akim were all the samel Each one was 'go Terrible, the Great God Em of the Merci- save Dale Arden somewhere.' It was and the Electro Man. (Ming less was ignored.) Flash traveled back to work. It wasn't fun. Always pleased to chat with fans, Holland Berlin no coincidence ''Of course," he added, "there wasn't too nevertheless admitted he had "never felt post-war West — in ""The of Light," he much of the character to bring to it. Flash like a hero." there! —and Lure

STARLOG//wi

became the first man to pilot a faster- the mistake of using himself as a model than-light spaceship in 1950s TV. Holland modeled as for the Man of Bronze, fans howled, Both versions of the Skyflash were Savage in the same and Boris was replaced. Ultimately, toy rockets augmented by animation or torn shirt for years Holland posed for all but a handful of until a cleaning fire effects. Although they seem absurdly the more than 100 Doc Savage paper- ersatz today, they were state-of-the-art back covers, going through only two accidentally then, when Captain Video and His Video ripped shirts in 30 years. (A cleaning threw Rangers and Tom Corbett, Space Cadet woman accidentally threw out the orig- it out. typified SF TV. inal shirt.) "As far as the spaceship traveling into "Usually what happened was that space," Holland offered, "I always felt Jimmy would bring in sketches of poses I take that I couldn't believe it. I mean, I had that he wanted. Then, would or very little sense of it. The writing was those positions and add to them down to Earth, so there was no explosion change them and make them more than of joy or anything." the drawing." Holland preferred spending his off- Holland's interest in art, and his own hours with local artists, learning to ride a practical painting knowledge, are motorcycle and immersing himself in among the reasons his poses stood out, other cultural experiences alien to mak- regardless of who painted him. Particu- ing space opera. "I came back and start- larly, Holland used his awareness of ed modeling again. By then the how his body would translate to canvas paperbacks had come out. There was a to create zones of contrast for the artist

lot of work to do, and I was doing a lot of to exploit. that part it," Holland laughed. "And of course, the "I would twist my body so of it in fact that 1 had done some acting of it was in light and part was enhanced my modeling career. They shadow," he explained. "And they com- feel both enhanced each other. So, it worked plemented each other that way. You the out; it was pretty nice." LOG #198). posing for countless paperback it across your body—the shadow and

But it didn't work out for DuMont's Flash and magazine covers. In 1964. Bama was light. It's instinct." imitators. Gordon. When it hit the airwaves in fall 1953. commissioned to paint the covers for Bantam When Doc sales prompted Hol-

the show's violence drew criticism, and it dis- Books' revival of Doc Savage. Bama had def- land posed as the Avenger and Nick Carter appeared from many markets. "The way I inite ideas of what he wanted; a lifelong fan for George Gross. One Doc Savage artist,

remember it, Flash Gordon was panned." of Raymond's Flash Gordon, Bama, after Bob Larkin, had Holland perform double Holland recalled. "We did have fight scenes adorning Holland in the traditional Doc duty as ' version of Conan the in every episode. They brought in a couple of ripped shirt, deliberately had Holland strike a Barbarian. For Bama, he was also Nevada wrestlers from Marseilles, and we would have Raymond-style Flash Gordon pose. The Jim. a Western hero. Holland's face became a wrestling match. The guy would slam me result was a classic. Holland became the per- so overexposed on the paperback racks that over the head with a rubber gun!" sonification of Doc Savage. After Bama quit art directors started asking that Holland not the series in 1971, his replacements, Fred be used. When other models proved that Man of Bronze Pfeiffer, Bob Larkin and Joe DeVito all there was only one Steve Holland, the order For a time, Holland stood poised between turned to Holland. When Boris Vallejo made was rescinded. two careers, acting and modeling, much as his contemporary did. Holland did several Studio Ones with Charlton Hes- Posing as Doc ton, but no big breaks came his way. "By the Savage for leg- time I was back into acting after South Pacif- endary artist ic and Flash Gordon, there were so many James Bama, Hol- actors, and I was getting older," Holland land became the admitted frankly. "I was about 35-40 years character—and a old. I would have been fine in a character paperback icon. part. As far as being a leading man went,

there wasn't too much around. I was compet- ing with Heston and people like that, who

had college backgrounds. I was competing not too well," he added wryly. Turning his back on acting wasn't diffi- cult. There was plenty of modeling work, and Holland found to his surprise that artists loved working from his poses, and that his acting had enriched his modeling. "I remember doing a session at one of the studios. A group of students had come in with a teacher to watch what was going on. They were learning how to illustrate. So, I took the pose of a guy on a horse with a gun, shooting. And at the end of my thing, they

applauded me! I was amazed! I almost fell

off the rocking chair I was on. I had a real

feeling that I was on the horse riding down

the plains. Maybe that added to it." Early on, Holland hooked up with top paperback illustrator James Bama (STAR-

66 STARLOG//»>!

vas, twisting it to create artistic DANGEROUS areas of shadow and light. THE BLUE GAME A HEADLONG NOVEL OF THE OLD WEST-A CROOKED SHERIFF AGAINST A MAN WHO HAD TO LEARN THAT HE WAS BIGGER THAN HIS GUN:

Eventually, Holland left the acting arena, emerging as the premier paperback model When Holland posed as a Western hero,

for artists painting Mike Hammer, Sherlock he had the "real feeling that I was on the Holmes, Conan and many others. horse riding down the plains."

Model of Artists out being stuck in a 9-to-5 job. The secret of or three artists waited for me to come back. I He studied painting throughout his mod- his success, he felt, boiled down to one cre- was amazed. They said, 'These pictures are eling career. When he found time, he painted ative goal: "The feeling that you are what no good. We've got to wait for Steve Hol- paperback covers himself. But modeling bet- you are trying to portray," he said. "The thing land.' So, I would come in and shoot some ter suited his active lifestyle. Strangely, the is, I had so many years of doing it. They can more pictures. But the pictures always trans- man whose face and body were transmuted tell, people who are watching or taking the mitted from to the fingertips and into the image of so many classic American picture to draw from, if the hands are right. If toetips. You know what I mean?" heroes resists the label. the hands have nervous energy in them when Holland looked back on his long modeling "I've never felt like a hero," he stated. "I riding a horse or shooting a gun or whatever, career with understandable wistfulness. "I successful. I never thought of it as special. It was always that's the tell-all. Because some of the mod- was pretty If had implemented have down to Earth. It was always some person, els, their shoulders are right, but the hands speech with what was going on, I would some human being. No hero, no autographs, are wrong and the knees are wrong. So, you been successful as an actor. In those days, we not anything like that." get a broken-up kind of thing. lackadaisically went into acting. But I didn't Modeling enabled Holland to raise a fam- "In New York, I had a place upstate. Six know what I didn't know, so I stumbled join ily and pursue philosophical interests with- acres. I used to go upstate on weekends. Two along. I tried to join Studio One. I tried to a few acting groups, but I was turned down. I didn't have much of a place to go." Likewise, Holland reported that his old Flash Gordon co-stars received no career boost from the show, which still pops up on cable now and again. (All 39 episodes have been acquired by Englewood Entertainment of Independence, Missouri for video release.) "Irene Champlin was in upstate New York last I heard. Joe Nash went into the

technical side of the stage. I don't think any of us got anything after Flash Cordon." In 1992, Holland posed for a last spate of Doc Savage covers, left New York for a brief stab at stage acting, then retired to paint. He died on March 10, 1997 after a brief illness. He was 72. As for Doc Savage and Flash Gordon, the two characters he was most identified with, Holland noted, "Their missions—what they stood for—I think they were similar. Both were good characters." After Holland had retired from modeling, his phone continued to ring with requests to pose. "Bob Larkin called a few times while I was down here, and Joe DeVito wanted me to come back. I'm not interested in doing a cou- ple of jobs. If it's a lifestyle, yeah. So. I'm painting. I'm interested in painting, and I'm actually most interested in anti-heroes. I'm not interested in heroes." W

STARLOG/Jwne 1998 67 the early days of Camelot," says Fred- come from Disney, and the only recent exam- producer, but they left the project over cre- Inerik Du Chau, director of the animated ple, really, is 1997's Anastasia, from Don ative differences. Subsequent producer Frank feature Questfor Camelot, "King Arthur's Bluth and 20th Century Fox. Gladstone also exited. "So many of the sword, Excalibur, gets stolen by Ruber, an changes in a film like this one have to do with evil , and his griffin. Then, our heroine Swords in Stones starting up a division. It was just a tremen- Kayley, a young girl who believes that she In 1995, however, Warner Bros, decided dous amount of work," says Dalisa Cooper can be a knight, goes in search of that lost to take on Disney, and began the Warner Fea- Cohen, who ended up producing the film, growing pains that sword. The griffin steals it, but he drops it ture Animation Division. Their opening vol- "and there were many somewhere in the Forbidden Forest. On Kay- ley was Space Jam (STARLOG #233), but went into setting up a division and making a ley's way, she finds a blind guy, Garrett. that was a special case, a mixture of live movie at the same time." Together, they're going to get Excalibur and action and animation, and featured the clas- Major talent was hired. Multiple Grammy Oscar-winning Car- save the kingdom, so it's about people who sic Warner Bros, cartoon characters. The first winner David Foster and with Patrick do things against all odds." original, all-animation feature from Warner ole Bayer Sager wrote the songs, That pretty much describes what the new is Quest for Camelot, a fantasy in the tradi- Doyle doing the score. Among the actors pro- Elwes (Gar- animated feature, Quest for Camelot, is try- tion of two of Disney's lesser entries (The viding character voices are Cary ing to do. Against equally daunting odds, it Sword in the Stone, The Black Cauldron) and rett), Gary Oldman (Ruber), Jane Seymour hopes to become a success in a field almost a trio of animated-via-roto- (Lady Juliana), (King totally dominated by movies from the Disney scope epics (Wizards, Lord of the Rings, Fire Arthur), Sir (Merlin), Gabriel Studio. Only a handful of successful full- & Ice). Quest began under the direction of Byrne (Sir Lionel) and Bronson Pinchot (the length American cartoon features didn't Bill (FernGully) Kroyer, with his wife Sue as Griffin). Don Rickles and Eric Idle play the

68 STARLOG/Jwne 1998 Our heroine, Kayley (voiced by Jessalyn Garrett (), Kayley's blind ally, Evil Ruber (Gary Oldman) threatens King Gilsig) is out to do the impossible—be the represents a prominent theme in Quest Arthur's reign. The voice cast also first woman knight in Quest for Camelot, for Camelot—the need to fight against all includes Jane Seymour, Pierce Brosnan, directed by Frederik Du Chau. odds for what you believe in. Gabriel Byrne and Sir John Gielgud. same character, in a sense: the separate—and first director job—with Quest for Camelot. was the one everybody felt was the most disparate—noggins of a two-headed dragon He explains the two-headed dragon further, promising and the most interesting. Every- who assists Kayley and Garrett in their quest. "Devon [Idle] and Cornwall [Rickles] are the body loves the themes and ideals behind "We had read-throughs at the beginning," runts of the dragon pack. Devon, the taller Camelot, but there was a very strong desire to Du Chau explains, "with scratch actors who head, is the more erudite character, who actu- tell a new story, so the whole Camelot idea take you through the whole script so you can ally dreams of the theater, and all these things was used as a backdrop for that story. The get a sense of the pacing and how a script will in Camelot. Cornwall, the short, stocky head, desire was to utilize all the things that people sound, because scripts are there to be heard, a guy from , thinks of all the wait- know Camelot to stand for, like valor, honor, not read. And once you know that your dia- resses he can chase in Camelot. They think truth, courage. The usual Arthur stories have logue is working, then the actors come in, or it's a good idea to go with our heroes." been told, and I don't think any of us felt that you fly wherever they are. Sir John Gielgud. The movie is loosely based on the novel they needed to be told in the same way. In for instance, wasn't going to fly to LA to do The Queen 's Damosel by Vera Chapman; the animation, there may have been things left to a few lines, so we flew to London. Gary Old- screen story is by Jacqueline Feather and tell, but we didn't necessarily want to tell the man was shooting Lost in Space in London, David Seidler, with final screenplay credit story of Arthur only, because people have and we went there for him, too." going to Kirk De Micco and William already seen that." In terms of the actors, Du Chau asserts, Schirfin. The original novel was much darker "The biggest challenge for an animation than Quest for Camelot and, in fact, doesn't ROUIlCl T3DI6S director is to create a sense of a real scene, seem to involve King Arthur at all. In Quest, Du Chau says, "Arthur gets with pacing and a rhy thm, with only half the Producer Cooper Cohen explains that the wounded, so he cannot search for the sword people in the room. When Ruber, Oldman. Warner Feature Animation Division had himself. He really wants to, but Merlin advis- comes in to overtake the house that Juliana. developed several projects. "Of those, this es him not to, because it makes him a

Seymour, lives in, it's very hard for the actors to imagine all that and get a sense of pacing, because acting is reacting. If you don't have something to react to, it's really tough. So it happens in stages; most people come back [to record voices] four, five, six times, some- times more. "In live action, when you create a scene, you go to the set, block it out, and you play it—and then something happens, like one actor will try a line a different way, which surprises the other; they react to that, and before you know it, you have a really tense scene. In animation, you basically don't have any happy accidents, unless you do the scene over and over again, so you can play back the other actor's lines. And that's what we did." Du Chau began his career in his native Belgium, then moved on to Disney France. He came to the U.S. where he worked at sev- eral companies, eventually spending time at Chuck Jones Productions. Warners noticed him just as their Feature Animation Division was starting up, and before long he had his

STARLOG//Hfi

"The whole Camelot I idea was used as a backdrop." I

stronger person to rule and take care of his people than going after Excalibur himself, and getting more badly wounded or even killed. The knights of the Round Table go after it, but they can't find the sword on any of their searches. And of course, nobody goes into the Forbidden Forest, which is where the sword was dropped." Kayley (voiced by newcomer Jessalyn Rubers principal .the griffin Gilsig) is determined not to be bound by the hench...creature.. Excalibur conventions of her day, which dictate that helps the knight steal from Arthur, but then loses it in women cannot be knights, and sets out in the Forbidden Forest. Will no search of Excalibur, helped by the blind Gar- one go to find it? rett. Ruber, though a knight, is also an evil magician. He has a way of magically cross- beings and other crea- breeding human — Though Ruber creates an army of half- tures—with weapons. "Ruber transforms his human weapon warriors via an evil henchmen, who are just dumb, drunken potion, Bladebeak (Jaleel White) is an slobs, into war machines. He drops some ax/chicken mix with the "pluck" to do magic potion into a well, and then asks all some good. these dumb, fat guys to jump into the well. "Traditionally, of course," says Cooper They get catapulted back out as big, caul- "particularly in stories about dron-like creatures, like medieval robots. But Cohen, Camelot, there's magic and wizards, and we before anybody else jumps in to test it, Ruber have this Forbidden Forest that comes alive, finds this chicken we've seen around since it works very well in animation. It would early in the movie. His main thing is to and have been prohibitively expensive to do in always be in the wrong place at the wrong live action." time, so he's strolling along during the vil- also have a dragon country." Du lain's song, and gets grabbed and thrown into "We says, "which comes with big, mean the well. Ruber also tosses in an ax, so what Chau dragons who fly and blast fire. In order to get comes out is this chicken with an ax nose dragons, our heroes have to Bladebeak. Since he's an experiment, he's away from the cross an acid lake which eats at everything the only one who has the ability to turn good touches it. The Forbidden Forest is con- again. He's a fun character, and Jaleel White, that stantly alive; you never know if a tree is a who did the voice, made that performance tree, or if a leaf is going to take off and fly really funny." around you. paid a lot of attention to the Eventually. Du Chau reveals, "Ruber uses We details, to make sure this world is alive. his own potion and turns himself into half- one point, a gigantic rock comes to man, half-weapon, using Excalibur itself "At It's combined with 2D in a way that the ultimate good turns into the ultimate life. CGI I've never seen in animation. We have this bad." gigantic, skyscraper-tall rock monster climb into an enormous empty cave. Once our heroes go in, you can hear him snoring—he's sleeping—but the cave appears empty. "The camera points at the cave—it's com- pletely empty where we just saw the thing go

in, and he's pretty much the size of the whole mountain. But suddenly, it's a trick of the eye—we've made our ogre and all the texture of the moss on the rocks blend so perfectly with the painting that you can't tell he's there. Then, we switch on our 3D and he comes alive, and sits up. It's a pretty impres- sive scene." Holy Grails This particular tale of Camelot is set fur- ther back in time than most such stories expect knights in shining armor. "We Ogres, trolls, dragons and magic weapon-men don't proliferate in Quest for Camelot, but the decided to place it more in Celtic times," says mythology of the legendary kingdom—pursuing production designer Steve Pilcher, "when valor, honor, truth and courage—endures. there were fewer humans and more ogres, giants, dragons and trolls."

70 STARLOG/Jime 799,5 " Sf i

The griffin and Ruber epitomize Quests dark theme—but even they don't compare to the movie's inspiration, the novel The Queen's Damosel.

Devon and Cornwall provide the movie's musical comedy antics. But are they Going for a spoofing Madame Butterfly, Phantom of more ancient, the Opera or Sideshow? Celtic feel, Quest features sequence like that—I've got the sky very fewer armored dark, almost pitch black, and I've got the knights, more ground light. As she goes through the monsters and a sequence and starts to get away from danger. fabulously ani- I have a little bit of dawn light that comes up mated Forbid- horizon, which gives bit warmth, den Forest on the a of and it just hits her. You also want to make

sure it drives home the emotional point, the mood of that sequence. If it's scary, you want to have dramatic, contrasting lighting, dark darks, eerie lighting from below." As everyone ultimately does when talking about animated features. Pilcher mentions Disney, and even director Du Chau admits that though he has worked in animation a long time, "I've always wanted to do some-

This is Pilcher's first feature cartoon, after a great job. Our story, color-wise, goes thing completely different. No big studio is a career in illustration, and both Cooper through all the peaks and valleys that, dra- going to gamble on something that's outra- Cohen and Du Chau praise his contributions. matically, the script went through. It's not geously different for their first movie out the "I developed character drawings, designs, one of those things that will leap off the gate. What Warner Bros, did do. though, was inspirational art. paintings, and generated a screen at you, but subconsciously, everybody to trust in the people that make the movie. We lot of artwork based on the original concept."" in the audience will be drawn more into the don't have the same rules that Disney pic- says Pilcher. "I did a few paintings, like Kay- picture and into the emotion that we're trying tures have. Yes, our movie probably does ley in a gigantic forest where she was to convey because of those color choices." look close to Disney, and for most people dwarfed by everything else. I worked with a may look almost the same as a Disney pic- few other artists, and they executed drawings ture. But it's a little edgier, a bit darker. This based on the conceptual ideas I worked on "It's about people is not as far away from Disney as I am sure with the director." I—and anybody else—would want it to be. Pilcher created many large-scale pieces of who do things But this was the movie they picked to start art, some in pencil, some in oils, many done against all odds." the division up with. in gouache on colored paper. ''I work a lot "Quest for Camelot made way for differ- with lighting. I use it in the characters, the sit- ent movies that are being made at Warner uations and everything." While many of the "I read the script," Pilcher explains fur- Bros. Feature Animation," says Frederik Du final designs were initially created by Pilcher. ther, "and figured out the fixed things that are Chau, commenting on future works from this his major contribution was in the movie's use in it—which sequences are night, which are rival to the old guard. "We do a movie they of color. "I did 150 to 200 tiny paintings," he day. I followed the emotional track of the know how to do because it's a little closer to says, "about one inch by two inches, little whole story, supporting the story with the the Disney way, and at the same time, other impressions. I would do key drawings for color. If a sequence spans a certain time of films are in development here that are com- sequences, one at the front and one at the day, then I'll tie in a color. I'll always try to pletely different than anything Disney would back, and then a few in the middle. I did the keep it fresh each time, and have a comple- ever attempt. Iron Giant [a forthcoming WB entire film like that. I then put them on a foam mentary color, if I want contrast or an emo- animated fantasy] is a big step away from core board, tipping them into little squares, so tional change in a sequence. animated movies as we know them, and I

I could pull them off and change them." "For example, if Kayley's running away think that's only possible because we built Du Chau praises Pilcher's work. "He did from danger at night—and there is a the machine with Quest for Camelot" ^

STARLOG//(»ie 1998 71 success. in Species II, flirts with aliens—and

Once Species catapulted the Canadian n the beginning, I wasn't happy at all with By IAN SPELLING she promptly M anything about Species," comments actress into the limelight, turned up in two thrillers, namely Adrenalin: I Natasha Henstridge, the stunning, non- watched SF at all. At first, it was all kind of Fear the Rush, with Christopher Lambert, man-eating actress who starred in the 1995 stupid to me, but I got into it. I eventually right.' and Risk, with Jean-Claude Van SF blockbuster as the stunning, man-eating thought, 'Oh, it's all right. I'm all Maximum appreciate every- Damme. And now. of course. Henstridge alien, Sil. "I wasn't happy with the film. I "Don't get me wrong. I career. graces the screen anew in Species II. "I was wasn't happy with me. It was the first time I thing that Species did for me and my not contracted to do Species II in any way, had ever seen myself on screen, which prob- It really did everything for me. I had no out, and after the shape or form. But the first one did so well ably was a big part of it. I had a real hard time career before Species came career. I got and people wanted to see more," she notes. with that film. But the response to it was so film, I suddenly did have a film willing to take a "Species II isn't the same exact movie as good, and I finally started to watch Species opportunities. I had people Species Species. I was not asked to do the same exact for what everyone else was watching it for. chance on using me in their movies. thing. script was good, and I loved the Even that was hard. People liked the SF ele- made a lot of money, and I got a lot of recog- The I a part of it." idea of working with the director. Peter ments of it. and I don 't like SF. I never, ever, nition because was Medak's fantastic. So, I said yes." Alien ingenue As directed by Medak. whose diverse credits include The Ruling Class, The Changeling and , Species II begins with America celebrating the success of a manned mission to Mars, and welcoming

home its handsome hero, Patrick Ross (Justin Lazard). Problem is that Ross has been infect- ed with alien spores that transform him into an alien creature in human form—like Sil before him—and cause him to go on a killing spree. Enter Press Lennox (Michael Madsen), pro- fessional assassin and survivor of several vio- lent brushes with Sil in Species, who reluctantly agrees to do battle with this new Sil is dead. Long live Eve. Natasha %£wt Reuniting with fellow survivor Dr. Henstridge plays a calmer, more threat. Baker (Marg Helgenberger), he discov- human creature in Species //—until Laura she's freed to track a fellow alien. ers that she has been occupied for the past

. - ... - - m . . „ nuts* three years with a top-secret project oversee- ing the development of a half-human/half- alien descendant of Sil, Eve (Henstridge).

72 STARLOG/Jime 1998 "Sil was basically a killing machine total- some sex in the movie. When her mating ly ignorant of human emotions and feelings. genes are reawakened, there is some sexual Eve has been grown around humans, so she tension going on between her and the Patrick understands humanity much more than Sil monster, but Species II is definitely not as did," says Henstridge. The actress did not much about sex as Species was. read—happily—the alternate sequel script "I think Species II is more gory than the producer Frank Mancuso commissioned, first one. It's at least as gory. It's certainly which she heard "started off with two giant faster-paced than Species. The first one had a rats fighting" and went downhill from there. few places where the characters lagged "Eve has a very close relationship with Dr. around trying to figure out what to do and

Baker. She lives in this Habitrail-like place how to do it. This one doesn't have much of that has been her home, but she has been that. The characters go from one thing to the treated in every other way like a human next. It's a very fast-moving movie. It's also being. Until they reawaken the alien mating more physical for me. I got to do a bunch of gene in her—which they had suppressed to my own stunts. I get shot down a few times, help keep her calm and controllable—she's and I got to wear all of these squibs. I had a really very human. When they awaken that lot of running around to do. When you see gene, because they want her to help track Eve bust through the glass wall of the Habi- down the Patrick monster, things get pretty trail, though, that's not me. Sorry to ruin it complicated." For Henstridge, the differences between "Species ll is definitely Species and Species II. between Sil and Eve, were vast. "I had done several other films not as much about between the two Species movies, so I hope sex as Species was." Eve grown as an actress. I certainly felt much more comfortable in front of the camera, for you. But I did do a lot of the jumping off much more comfortable all around," she tables, the running toward the glass and the explains. "Species was my very first film. It jumping at it. But a stuntwoman actually did was all new to me. The sequel has a lot of sex the dirty work. Welcome to Hollywood." in it, but Peter wasn't obsessed with repeat- ing every element of the first one, and that ingenuous Actress included the nudity. Sil was not at all human, Species II also afforded Henstridge the and she didn't know from clothes. Eve is opportunity to share time on and off screen "I wasn't happy at all with anything about much more human, so it didn't make sense with Species veterans Helgenberger and Species" says Henstridge, who nonetheless for her to be running around naked anymore. Madsen. to befriend Lazard and to take direc- enjoyed the new script enough to give the That was areat for me. But there has to be tion from Medak, whose earlier films the series another chance.

While there was no shortage of nudity for Henstridge as Sil, she's pleased that in Species

II, Eve at least gets to keep more clothes on.

STARLOG/Jarae 1998 73 actress had long admired. "I had a lot of scenes with Marg and a bunch with Michael.

It was great to do Species II in that sense, because I was being chased the whole time by them in the first one," she explains. "I never really had the chance to work with them. This time the characters have a closer relationship and we actually had more scenes

together, so I got to hang out with them and talk and get to know them. Also, I was just a lot more comfortable with myself this time, and I could let myself spend more time with

them. And I had a good time with Justin. He's a very intense guy, very cool to be around. As

intense as he is. he's also easygoing, if that makes any sense. He's a very good actor.

"Species //is more gory than the first one."

"Peter is such a supportive, father-figure type of a director. His big thing is that he's extremely visual. Every scene is all about

how he sees it, and he works from that place.

Because Eve is in the Habitrail for so much

of the movie, it's hard to keep something like that interesting for everybody—for the actors, for the audience. Peter worked with a great art director, and they came up with this amazing Habitrail set. There were different

spots within it that looked visually interest- Henstridge isn't shy camera could go. Then. Peter about mentioning the ing, where the it seem driving force behind came up with camera moves to make it was. He's a Species II. There's "a even more interesting than lot of sex in it." great guy to have around on the set. He never raises his voice. He's very calm, but he gets it

74 STARLOG/June 1998 As Sil, Haistridge didn't really work much with her co-stars. In

Species II, she has many exchanges, particularly with fellow alien Justin Lazard.

all done. He's just a very talented man, and I romantic comedy. It Had to Be You; and in things. But, sure, I would certainly consider learned so much from working with him."' Belladonna, a dramatic love story shot on Species III. It would really depend on the The film, of course, taps into the very location in Brazil. All of these films, which director and on the script. It would have to be timely issue of genetic engineering and its should reach theaters later this year, are inde- interesting for me, and I would really have to myriad ramifications. Henstridge liked the pendent features. It represents the route Hen- have something worthwhile to do. idea that with each passing day Species II stridge realized she needed to take in order to "I would have to feel about it like I did more resembled science fact than science fic- prove to Hollywood's decision-makers that about Species II." -^f tion, though she's quick to admit that she's she could stretch far beyond the lethal SF no expert on Dolly the sheep or anything vixen. relating to DNA or the scientific possibilities It's that very goal which leaves the actress that Chris Brancato broaches in the screen- ambivalent about the prospects for a third play (see page 76). "It's all a little scary to Species film. Should Species II scare up big me. I have such mixed feelings about it. bucks at the box office, the producers will Genetic engineering can do great, great surely ask her back for another stint. What to things. But in the wrong hands," she argues, do? "I don't know," replies Natasha Hen-

"it can do horrible things. It would be great if stridge. "My fear is getting caught up in the scientists could find the cure for cancer, but All she can do is Species' thing. Species was what if they could find a way to give people the first thing I did. and it has yet to let me out cancer, too? It would be great if they could reproduce body parts for people who need "Sil was basically a things could also be done them, but horrible totally with that. It's all so beyond me in many ways, killing machine but it has really worked well in our films." ignorant of human As she did when she completed Species, Henstridge moved on to a flotilla of new and emotions and challenging film ventures once Species II feelings." wrapped. Her only other foray into the genre came in a Showtime Outer Limits episode of its grip. I'm shooting a romantic comedy called "Bits of Love," where she played a right now in New York City. Sometimes I'll hologram who turns the tables on her human shoot a scene and somebody will say, 'Watch lover (Jon Tenney). For more Earthly fare, out, man. She might kill you.' I still get that she stars with in the all the time. It's so weird how Species affect- Prairie Fires; with Luke Wilson in ed people. That makes it a little worrisome thriller Would Henstridge alienate herself again in to continue doing them, because I the romantic comedy Dog Park: with for me Species 1117 "I don't know," she says. Michael Vartan and Olivia D'Abo in another really want to move on and do different "Species has yet to let me out of its grip."

STARLOG/J/me 1998 75 Xfe)ans of the original Species get more gf for their money in the sequel, says Species II screenwriter Chris Bran- \l? cato. There are twice as many mon- sters in the new film, Brancato says, and a story that overlaps with plot threads from the original. An Ail- American hero returns from the first manned trip to Mars, unknowingly affected by alien DNA from the red planet, and officials want to employ a genetic duplicate of the original Sil creature (from the first film) to track down the alienated astronaut. "When the studio decided to do a sequel," Brancato explains, "the attitude of [producer]

Frank Mancuso Jr. was 'Let's not do some- thing typical. Let's approach this from a dif- ferent angle, so that we don't have a tired retread of the original, as sequels often are.' "In fact, my original idea was a little bit of a retread, and Frank asked me to re-do it. So

I went back to the drawing board. I've always been fascinated with The Manchurian Candi- date, and with the idea that somebody on a mission comes back, apparently a hero, but actually with some terrible demon inside. "It so happened that when we were devel- oping this thing, the notion of a grand, unex- plored place was the planet Mars. So I pitched Frank the idea of a heroic astronaut returning from our first manned mission to Mars, which

is actually, according to the NASA people I spoke to. a possibility—just a very expensive one. This person was tragically and terribly Scripting the sequel, Chris Brancato doubles the monster mayhem.

By KIM HOWARD JOHNSON

infected with alien DNA on Mars. Frank real- The writer developed a storyline based on back, and we created a new team character to ly warmed to the idea and said, 'Go full steam Mancuso's suggestion. Because he couldn't replace Forrest. We cast Mykelti [Forrest ahead and get this going.' This also allowed be sure at that point whether Henstridge Gump] Williamson in the role, and he's us to bring in a new villain, for whom we can ( who played Sil in Species) would be return- absolutely wonderful." briefly feel a strange, Wolf Man-like sympa- ing. Brancato chose a scenario that would Another sequel idea was being scripted thy—he's not responsible for having been allow for either possibility. "Always being simultaneously, but that didn't affect Branca- turned into a monster. We decided to create a alert to the realities of production, and com- to's work. "I came in after they had already new alien villain for this piece and use ing in from a television background. I knew been developing another script," he explains. Natasha Henstridge for his adversary, and that we were going to create a male adversary "Sometimes studios want to cover all the invariably create some suspense as to what for this piece," he says. "I also knew that for bases when they know they're going to make might happen if these two aliens got together the sake of conflict in the movie, the govern- a sequel, and they want to double the chances for a battle—or a lovemaking session, which ment would have secretly re-created a female would yield an offspring of tremendous alien to run tests on this alien species, really In writing the sequel, Brancato destructive potential." as a military preparedness exercise to devel- paid homage to the original, op toxins that would be destructive to them but added plenty of new twists, Doubled Dangers should they ever return. Of course, this particularly making the aliens Brancato says he took a chance to get the species returns a hell of a lot sooner than any- "a little tougher." opportunity to write the new film. "I was at body expected. I wrote the character of Eve, MGM working on The Outer Limits. I knew which is what she's called in the second film, that they were going to develop a sequel to to be any particular woman, either Natasha or

Species, so I walked across the lot from the a similarly beautiful woman. The role would television department to the feature depart- work no matter how they cast it." ment," he says. "My aggressiveness was Other characters who survived the first rewarded with a meeting with Greg Foster, Species also return, and Brancato wrote his the studio executive who shepherded both script accordingly. "I felt that the characters films through production. Greg listened to played by Michael Madsen [as alien-hunting my sequel idea and liked it—it wasn't a bad Press Lennox] and Marg Helgenberger [sci- idea, just fairly standard, in the sense that entist Dr. Laura Baker] were essential to Species II would be about two beautiful alien bring the audience back in." he says. women running around and causing havoc. "Despite the fact that Forrest Whitaker

Greg said, 'Let's see what Frank has to say.' played a big role in the first one, I knew that When Frank heard my idea, he said, 'Just try he was off directing movies and the chances to create a great stand-alone movie, and then of getting him to return were slim. I hoped we'll let it fit the form of Species later." that we could set Madsen and Helaenberaer

I,. f

Thanks to screenwriter Chris pedes veterans Press Lennox Brancat<& astronaut Patrick /lichael Madsen) and Dr. Laura Ross (Justir>Lazard) will be the Baker (Marg Helgenberger) first man to experience the return, now accompanied by fusion of human and alien DNA astronaut newcomer Dennis in Species II. Gamble (Mykelti Williamson).

STARLOG/fitfie 1998 77 —

ety. Since their planet is so far away, their vision of human beings Catching the Wave was stolen from television signals that have bounced off our satel- are very good- at work on The lites. Their conception of human beings is that they Species II screenwriter Chris Brancato is hard Baywatch factor. An unintended benefit of these First Wave, a new syndicated science fiction TV series that he looking—the they're so good-looking, is that it has made created with 's American Zoetrope Television. human husks, because for the aliens to assimilate into our culture. They have, "It's the story of a man who comes to believe that there is a ter- it very easy slept their way to the top." rible conspiracy afoot," says Brancato. "If any invading alien force in fact, have been many other "aliens amongst us" stories, were going to attack this planet, they would send a first wave of Though there approaches the subject differently. "As a writer, I've spies to chart the topography, infiltrate the institutions and lay the First Wave that there's nothing new under the Sun," Brancato groundwork for the horrible invasion to follow." come to discover you have to do is figure out an angle or spin to the In the world of First Wave, an alien race has done just that. observes. "What to tell many different and intriguing stories. "Cloaked as human beings, they have seamlessly infiltrated our civ- show that allows you been explored in shows like The Invaders, 'Vand ilization and done quite a good job of assimilating themselves. The idea has even Gene Roddenberry's Earth: Final Conflict, but I think our take They're performing all manner of experiments—psychological, hero, having been part of a terrible alien experi- military and others to lay the groundwork for a terrible second is different. Our will, emerges from his test as the only wave: a massive invasion. Our hero discovers that 300 years ago, ment designed to test human quest to explore things Nostradamus predicted Earth's destruction by these terrifying human survivor, and goes on a Fugitive-like the work of these aliens. Much like The Fugitive, he waves, and that our hero was prophesied to be the leader of human- that might be himself in the problem of a sympathetic client who's being ity's rebellion." involves these experiments. Invariably, he will wind These are no ordinary human-looking aliens, however, says harmed in some way by larger goal of exposing this terrible con- Brancato, but some of the sexiest invaders Earth has ever seen. up helping them, while the hair's breadth out of his grasp." "Because the aliens exist on a planet very far away, they've created spiracy will remain just a employs the concept of sexy genetic human husks into which they pour their consciousness, Like Species II, First Wave also trying to do is merge the concept of a bodies designed especially for the purpose of infiltrating our soci- science fiction. "What we're

always looked at Species as sexy SF. and I think there's a very large market for that kind of science fiction. And the movie was fun you can poke holes in certain sections, but

essentially, it's fun to watch." Brancato's upcoming TV series First Wave also combines those elements. "Inspired by that formula of sex, SF and hor-

ror, I am currently working very hard on First Wave [see sidebar]. It isn't related to Species in any way story-wise, but it merges science fiction and drama with a real sensual slant.

That's the type of SF I like to watch, and the kind that's fun to write. Species II wasn't a

chore at all—it was really a fun script. "Tm a fan of the real Joe Average vari- ety," he notes of his interest in SF "I am not a terribly well-versed aficionado of the

genre. I like good, traditional science fiction like 2001 and the ALIEN movies, and I came

about writing it in an interesting way. Years

ago. I had the opportunity to meet Chris Carter just as he was beginning The X-Files. of getting a script that works. Part of the rea- My partner at that time [Voyager's Ken Science son Frank may have encouraged me to come Biller] and I got to write an episode. up with a more 'out-there' concept was fiction allows you to bend the rules more because there was a more traditional script than traditional drama. I found that I liked it. going, and he wanted two scripts to evaluate Probably my most profound childhood influ- is fantasy SF. so he could have a real choice. I was happy ence was Twilight lane, which on the that the studio was going to allow two writers I've always loved the way it comments alluring way. to get work instead of just one. My attitude human condition in a very And to spend more was to write the best script I could, let them that's what drove me to try make a decision and be happy either way." time writing SF." Brancato and Biller co-wrote the first sea- Altered Aliens son X-Files episode "Eve." "It was about two The writer believes the original Species malevolent eight-year-old girls who both Mulder and Scully scored due to its combination of sex and the murder their fathers, and trying to deter- single alien. "I think part of the success of the criss-crossing the country says. "They first Species was the merging a very sensual mine if it's a serial killer," he character with a science fiction concept, the learn it's the work of twin girls who were idea of getting a DNA code from outer space both born in the same fertility clinic, where raised to a very high and combining it with a human embryo. I've both their I.Q.s were level, inducing psychosis. My partner and I face of a new Species. But what will The were very interested in The Boys From happen when the alien Eve is sent to Brazil, a movie about genetics experiments track this creature? Will she side with to reproduce Adolf Hitler. We thought doing humanity—or with her own? —

hero's journey with a sexy angle," Brancato says. "These aliens 22 episodes. Coppola is serving as executive producer. "We're pro know, now that they're here, that their good looks and sexuality can ducing a full season's worth of shows," says Brancato. "We'll really be of enormous benefit to them. We play on that a lot in the series. be able to create a wonderful journey for this character, without The mantra of sexy SF really hangs over this show, and at the same having to worry about whether we'll be off the air in six episodes time, we're trying to tell really smart, i That gives us a chance to find an audience wonderful SF stories." and get people excited about the show. writer has gotten some valuable The main character. Cade Foster, is a jSfr- The former Chicago thief who was reformed ViWa •m suggestions from Coppola himself. "I in at by a woman who becomes his wife. He \ iSHk . _v went up to his vineyard Napa Valley puts aside his burglary tools, but picks - '4f fc»f>A& the beginning," says Chris Brancato. a fascinating man. We talked a little them up again after the aliens make them- \ ^^BW g A j *2s55^Bfc "He's pi bit about his interest in science fiction selves known to him. %\^B\vi i ia^B|^K9n got here, they deter- AiVv^H it's a relatively little-known fact that his "When the aliens m^llffl Bt! * * w ith mined that there were 1 17 different human initial professional experiences w ere \ftSv II III ^altSB psychological archetypes. They found a mm i|| H Roger Corman, many of them horror and

human being to lit each archetype and liltiVlll SF based, and he has a great love of science fiction. He believes, as I do, that it subjected them to a series of terrible tests. Chris Brancato (with Justintin Lazard, right) is fertile ground for telling great stories Most of the people whom they expected to takes his "mantra of sexy/ SF" to television a show leadership potential caved in after with his new series The First-/rsf Wave. and commenting on the human condition. days, weeks or months of testing. The one Of course, he's a very busy man, but he guy who emerged from these tests as a strong leader was Cade Fos- has a sophisticated computer system set up where e-mail is always

ter. Framed for his wife's murder as a part of the experiment, he's flowing back and forth, so he's constantly aware of what we are now a fugitive on the run using his skills to expose this conspiracy." doing every step of the way."

First Wave will premiere in worldwide syndication this fall with , —Kim Howard Johnson

an X-Files with a genetics experiment gone awry as its basis was a very interesting story Though Ross "is not responsible for having been turned into a monster^ to tell. Our story came about through the love says Brancato, that doesn't mean we can take much pity on this. of a movie from years before, and we found our own themes and characterizations to explore that were totally different. It's proba- bly my most-seen piece of scripting. "I went from there to writing two episodes of Outer Limits. I had a wonderful

time because it's an anthology. You get to tell a brand new story in an hour every week, with new characters. One script was called 'Resurrection,' about a bio-holocaust that has destroyed human beings and the only sur- vivors are a town of androids being tested for military purposes. They don't die in this bio- logical holocaust, and two science androids try to re-create human beings from DNA that they've found. And so they are responsible for the second coming of humankind. "The second show was 'Beyond the Veil.'

It's about a guy placed in a special psychi- atric ward for people who believe they've been abducted by aliens. He comes to believe moment at the first movie's end where a rat that running the institute is actual- eats another rat. I didn't feel constrained by ly an alien himself, probing their minds for those early decisions, but I did keep in mind what they know. From there, I segued into the what this was conceptually—a horrific alien feature world." put in sexual situations with humans. "Frankly, I also wanted to pay some Sexy Species homage to the rules and regulations set up in Although MGM/UA is hoping to turn the first movie about what the aliens were Species into a franchise, the writer says that capable of and how our heroes were able to

too had little effect on his work. "In this com- track them. At the same time, I wanted to

petitive film world, studios are always look- make sure it was difficult for people to catch ing for brand identification," he says. "The the aliens. In the first movie, you could pret- success of the first movie has a lot to do with ty much just shoot them and kill them, and I a beautiful woman. When people talk about wanted to make them a little tougher." Species, they talk about the woman. They If Species continues to multiply, Brancato don't usually talk about specific sections of would be happy to rejoin the present team for the movie, other than the moment when she Species III. "I've had such great experiences kisses the guy and rams her alien tongue working with Greg Foster at MGM and with through the back of his head. Frank Mancuso Jr. in particular. Frank pro- in writing Hoodlum, the first feature I ever had "My guiding principle the duced "The merging of a very sensual character with sequel was that I liked coming into the story made, and I love working with the guy," he a science fiction concept," will make Species

in a different way than the first one. I didn't says. "He's a great producer and has a great II a success, says Brancato. But gratuitous have to rely on the somewhat tacked-on mind for SF and horror. goriness never hurt either.

STARLOG//«ne 1998 79

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