Scientifiction A publication of FIRST FANDOM, the Dinosaurs of Science Fiction

New Series # 36, 2nd Quarter 2013 PRESIDENT’S MESSAGE Ballot Enclosed for First Fandom Awards 2013 World Science Fiction Convention My thanks go out to the more than (75) It is with no small amount of regret that I members who responded to our recent have to inform all of you that I will be survey! We had quite a number of unable to attend the upcoming worldcon nominations for this year’s First Fandom in San Antonio. After twenty-five years Awards, and a ballot is enclosed. Not of living in the same house, my wife all of the nominations were included in Linda and I will be buying a new house. this year’s voting, but they will be We have already packed hundreds of retained for future consideration. boxes and put them into storage, but the Please return the completed ballot by work continues. We will likely be closing no later than July 22nd to me at 3701 on our new home (and subsequently Glen Garry Lane, Orlando, FL 32803, or moving into it) during late-August. send by email to [email protected]. Even though I won’t be there, I want to invite everyone who will be at the New Format for Our Newsletter Worldcon to come by the Exhibitor’s Hall The recent survey indicated that nearly and check out the First Fandom table. two thirds of our members fully support the idea of producing our quarterly New Contact Information newsletter in an electronic format. If you Larry R. Card has a new address at haven’t already done so, please send 2953 N. 500 W., Greenfield, IN – 46140. me your e-mail address so that we can George W. Price can now be reached at include you in the distribution list for those who will be receiving the new, full- 4418 N. Monitor Avenue, Chicago, IL, color expanded editions of Scientifiction. 60630-3333. Telephone: 773-205-1040, and e-mail: [email protected]. Some of our members also sent photos and their fan biographies for the First President’s Recommended Reading List Fandom Archive, for which we are still - THE INFERNAL actively seeking this type of material. BUDDA by & Lester Dent In Passing (writing as ). Another great novel in the new series of wild This issue contains obituaries of several adventures of Doc Savage. Published beloved people in our field, including by (2012), it is available in a Ray Harryhausen, Jack Vance, Nicholas trade paperback edition for $24.95, W. Ringleberg and T.G. Cockcroft. We ISBN 9781618270597. Purchase it in will fondly remember their comradeship local bookstores or order it online at and outstanding work in the genre. www.adventuresinbronze.com. SCIENTIFICTION New Series, page 2

FILMFAXplus - The Magazine of and friends, including Robert and Phyllis Unusual Film, Television and Retro Weinberg, Stuart David Schiff, Alex and Pop Culture #133 (Spring 2013). This Phyllis Eisenstein, Randy Broeker, Will issue features articles about Ray Murray, Mark Hickman, Steve Korshak, Bradbury, Joseph Mugnaini, and the Scott V. Norris, David Aronovitz, Greg 1950’s television show, Space Patrol. Ketter and Caz Cazedessus. Issues are available at local newsstands The quality of the material available in for $9.95, or they can be ordered the dealer’s room surpassed that of directly from the publisher at 1320 most world-class conventions. There Oakton Street, Evanston, IL, 60202. were many framed original pieces of artwork for sale, including well-known Seventy-Five Years Ago (1938) selections by Virgil Finlay, Hannes Bok, J. Allen St. John and Frank R. Paul. There were thousands of copies of pulp magazines in excellent condition, as well as rare books, toys, comics, cards and a lot of other related memorabilia. The Convention held a charity auction for the estate of long-time collector Jerry Weist, and hundreds of his rare pulp magazines and other unique items were sold. There was programming devoted to pulp-related films, and fans enjoyed seeing a number of rare movies such as , Raymond A. Palmer, Ed Weisinger, Julius Schwartz (L-R) Drums of Fu Manchu, Pigeons from (Photograph provided by Robert A. Madle) Hell, Pickman’s Model, and Yours Truly, Windy City Pulp & Paper Convention 2013 Jack the Ripper. After hearing about this show for years, I The art show featured a beautiful decided to find out for myself why display of more than a hundred pieces everyone really seemed to enjoy it so of artwork, many of which appeared on much. This convention attracts fans magazine covers. There were several from all over the world; people who fascinating panels, including one which enjoy collecting rare material, and most considered how classic genres are of the activities during the weekend take being treated by today’s new pulp place in in the outstanding dealer’s writers, and another that discussed the room. Among the themes celebrated importance of settings in pulp tales this year were the ninetieth anniversary centering around the city of Chicago. of WEIRD TALES Magazine, and Sax This show was one of the best that I Rohmer’s Insidious Fu Manchu. have attended in the past ten years, and During the weekend, I received great I give it my highest recommendation. I hospitality from the organizers, hope you can get there next year (April especially Doug Ellis, a genuine 25-27, 2014). For more information, enthusiast who publishes Pulp Vault. I visit www.windycitypulpandpaper.com. spent time visiting with many fans, pros (Written by John L. Coker III)

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Obituary - Ray Harryhausen of his family, he began to create his Ray Harryhausen was born on June 29, interpretations of such classic fairy tales Little Red Riding Hood Hansel and 1920 in Los Angeles. When he was as , Gretel Rapunzel King Midas young, he went to see movies, including , , and . The Lost Word (1925), but it was the Ray worked again with Willis O’Brien on release of King Kong (1933) that Mighty Joe Young (1949), a film that changed his life. He began to make and received an Academy Award for Special film model dinosaurs. He eventually Effects. Next, Harryhausen adapted met and was coached by Willis O’Brien, THE FOG, a short story by Bradbury, as the first of Ray’s several great mentors. the 1953 film The Beast from 20,000 Fathoms A movie manager put Ray in touch with . This success led to other It Came the owner of some photographs from science fiction films, such as from Beneath the Sea 20 King Kong that were on display at the (1955) and Million Miles to Earth theater – that person was Forrest J (1957.) Ackerman. Forry invited Ray to attend a During the 1960s, Harryhausen created meeting of the Los Angeles Science four classic fantasy adventure films: The Fiction Society in the Brown Room of Seventh Voyage of Sinbad, The Three Clifton’s Cafeteria, where he met his life- Worlds of Gulliver, Mysterious Island, long friend . They agreed and Jason and the Argonauts. to grow old together but never grow up. In 1964, he made a widely-acclaimed Harryhausen was interested in studying science fiction film, First Men in the photography and the business of film- Moon, followed by One Million Years making, and was fascinated with making B.C. (1967) and The Valley of Gwangi new mechanical means for creating (1969). Starting in the early-1970s, Ray realistic special effects. authored several volumes of FILM FANTASY SCRAPBOOK. Ray’s final three fantasy films were among the finest magical epics ever made: The Golden Voyage of Sinbad (1974), Sinbad and the Eye of the Tiger (1977), and Clash of the Titans (1981). Following his retirement in 1984, Ray stayed remarkably busy. In 1992, he received the Gordon E. Sawyer Award from the Academy of Motion Pictures Ray Harryhausen (1993) Arts and Sciences for technological (Photograph by John L. Coker III) contributions. A star was named for him Ray worked with on a series on Hollywood’s Walk of Fame. He was of Puppetoons for Paramount. During involved with several cinematic projects, World War Two he was assigned to the including the television documentary, Army Motion Picture Unit, where he Working with Dinosaurs (UK, 1999). In salvaged film that he hoped to use later. 2002, Ray finally completed The Story After military service, Ray returned of the Tortoise and the Hare. In 2006 home, and with that film and the support he published a large, highly-regarded

SCIENTIFICTION New Series, page 4 illustrated book on his life’s work entitled full-time writer in the 1970s. He and his THE ART OF RAY HARRYHAUSEN. wife Norma spent a lot of time travelling For several years, Ray enjoyed and living in different parts of the world. attending conventions and traveling abroad. Then, on May 7, after a lifetime of entertaining millions of people around the world, Ray Harryhausen passed away in London at the age of 92. (Written by John L. Coker, III) Obituary - T.G. Cockcroft (1926-2013) “New Zealand fan and bibliographer Thomas George Cockcroft died on April 12, 2013. He published an index to the Jack Vance Weird Fiction Magazines in 1962 under (Photograph © Spatterlight Press) the name T.G.L. Cockcroft. He also Vance was presented with many honors wrote for fanzines and other magazines during his lifetime. In 1961, he received and corresponded with fans of weird the Edgar Award for Best First Mystery fiction from around the world.” Novel for The Man in the Cage. He won (Summarized from SF Site News) the Hugo Award three times for The Obituary - John Holbrook Vance Dragon Masters (1963), The Last Castle (1967), and for his autobiography, This “Jack Vance passed away at home on is Me, Jack Vance! (2010). He received the evening of Sunday, May 26, 2013, the Nebula Award (1967) for The Last ending a long, rich and productive life. Castle, the Jupiter Award (1975), and Recognized most widely as an author, the World Fantasy Lifetime Achievement family and friends also knew a Award for Lyonesse (1990). He was generous, large-hearted, rugged, Guest of Honor at the 1992 Worldcon. congenial, hard-working, optimistic and The SFWA named Vance a Grand unpretentious individual whose curiosity, Master (1997). In 2001, he was elected sense of wonder and sheer love of life to the Science Fiction Hall of Fame. were an inspiration in themselves. After a long career spent entertaining Author, friend, father and grandfather – millions of readers, Jack Vance died on there will never be another like him.” May 26 in Oakland, at the age of 96. (Above quote from the Jack Vance Official Website) (Prepared by John L. Coker III) The man who was to become known as Obituary – Nicholas W. Ringelberg the writer Jack Vance was born on (From The Evening Tribune, Danville, NY) August 28, 1916 in San Francisco. He graduated from the University of Nicholas was born on March 30, 1916 in California, Berkeley in 1942, and did Kenosha, Wisconsin. He was a veteran carpentry and electrical work for a while of the U.S. Army Air Force during World before publishing “The World-Thinker” War II, having served as an aircraft (his first story) in THRILLING WONDER mechanic. During the construction of STORIES (1945). Vance held many the Mt. Morris Dam, he had worked as different jobs before finally becoming a an operating engineer. Prior to his

SCIENTIFICTION New Series, page 5 retirement in 1978, Nicholas was This book is lovingly authored by Jon employed by Foster Wheeler Energy Swartz and Larry Lowery, two Corp. in Dansville, where he had worked enthusiasts who have carefully as a machinist. He was an avid reader chronicled Buck’s adventures as an and especially liked to read science “interplanetary multi-media hero.” Jon fiction. He had a great love for children, enjoyed an extensive career in and loved “scrapping” in old junk piles, academia, and “his publications/papers where he acquired many fine treasures. number more than 500, including 35 He was a correspondent and well- books and monographs. He is a past known collector of rare books and president of The National Fantasy Fan magazines. He enjoyed this hobby with Federation and currently serves as both such good friends as L. Sprague de the club’s Historian and member of its Camp, John D. Clark and Oswald Train. Directorate. He is a member of First Fandom and is Special Features Editor On August 5, 2010, at the age of 94, of Scientifiction.” Larry is “a retired Nicholas passed away in Dansville, NY. professor who has written hundreds of (Information provided by Nick Ringelberg’s Family) academic and professional articles and nearly eighty books. Thirty one years Book Review ago he created the Big Little Book Club. THE BUCK ROGERS BIG LITTLE Some of his research and club BOOKS and OTHER COLLECTIBLES newsletters can be found on the club’s By Jon D. Swartz & Lawrence F. Lowery website (biglittlebooks.com).” Published in 2013 by The Big Little Book Club for its club members, this softcover edition measures 8.5x11 and consists of (92) pages of text and lavish illustrations, with a full-color wraparound cover. The list price is $30. A summary of the book’s scope can be Jon D. Swartz Lawrence F. Lowery found in the introduction: The book features many reproductions “This book focuses upon the Buck of artwork from the covers of pulp Rogers phenomena: the BLBs that magazines, BLBs, and newspaper served for forty years as the main comic strips, and wonderful examples of repository for its earliest comic strip radio premiums and toys from the story lines; the impact of the character’s golden age. There are also several adventures upon radio, movies, well-researched essays written by other television, and the corresponding historians of popular culture, including popularity of giveaway and premium Jim Harmon and Phil Redman. products; the abundant toys, games, As the popularity of Buck Rogers and posters. The pictures in this book continued to grow, his stories could be are a sampling of those collectibles. found in books and films and on They come from Larry Lowery’s television. This book carefully complete BLB collection and Jon documents these appearances, and the Swartz’s extensive collection of BR accompanying color illustrations spark a items that span nearly eighty years.”

SCIENTIFICTION New Series, page 6 sense of wonder that older readers likely Ray Harryhausen Talks with David A. Kyle first experienced many years ago. Kyle: From the standpoint of first Among the useful summaries found in fandom, Ray Harryhausen has come out the book are biographical sketches of of the ranks of the 1930s, as a young people associated with Buck Rogers; an fan who eventually would make his annotated bibliography; and several contribution to science fiction. When did indices describing fictional characters, you first become interested in names and subjects. imaginative literature?

Ray Harryhausen Archon 20, Collinsville, Illinois (1996) (Photograph by John L. Coker III) Harryhausen: I know that when I was young my mother bought for me a series of books called Wonder Books. They Our Hero had wonderful illustrations and photographs of strange things such as I found the book irresistible, and easily Egyptian temples, and charts on how read it in its entirety over the course of a long it would take to go to the Moon and couple afternoons. Since that time, I to Mars and all the different planets. have enjoyed looking through the pages That started to stimulate my interest in many times, relishing the fine science fiction. illustrations and thoughtful articles. It is a book that I recommend to everyone, Then, I saw Metropolis and Just Imagine whether young or young at heart; and The Golem when I was very young. whether discovering Buck Rogers for They had a real influence on me. We the first time, or (as in the case of the teethed on Frankenstein and Dracula. members of First Fandom) you’re I didn’t know much about stop motion at instantly transported back in time to the the time when I saw The Lost World. days of the possibilities awaiting us in King Kong was the one that did it. It the glorious future. sent me spinning out of Grummen’s Information: The Big Little Book Club Chinese in a tailspin. I haven’t been the (P.O. Box 1242, Danville, CA - 94526). same since. This big gorilla was (Written by John L. Coker III) responsible for introducing me to Fay

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Wray, Willis O’Brien and Forrest Members included Russ Hodgkins, Ackerman. I owe a big debt to this Morojo, and T. Bruce Yerke. Robert gorilla who was fifty feet high, Heinlein used to come around, and a sometimes forty feet, sometimes thirty guy named Bradbury. We were a group feet. He was a big inspiration to me. who liked the unusual. There was a I was more interested in the visuals than fellow named Walt Daugherty, who was the science fiction literature, such as the an anthropologist by trade, and a covers of Imagination that Forry used to photographer. He made presentations publish. The magazine covers for about Egyptology. Another young fellow Wonder Stories and the artwork of named Ray Bradbury would arrive Frank R. Paul were a stimulus. wearing roller skates. After selling newspapers on the street corner he I became interested in Gustav Dorẻ, and would skate to meetings because he he was my mentor. He was a wonderful had no money. He used to go meet the Victorian artist, noted for his engravings, stars at the Hollywood Theater where although he was a sculptor, an oil they did weekly radio broadcasts. Ray painter and many other things. I learned was writing for Forry’s magazine called about Gustav Dorẻ from Willis O’Brien. Imagination. I did one of the covers for Kyle: What was it that brought you an issue, which was mimeographed. together with others who were We would talk about space platforms interested in science fiction? and going to Mars. Ray was fascinated Harryhausen: King Kong did it. I went to with dinosaurs, and when he found out I a little cinema, a movie house, many was making them in my garage, he years after the picture had been came around. He and I used to have released. It was a fleapit, charging ten long chats on the telephone, dashing cents to see a rehash of King Kong. I ideas back and forth. He said he was saw these 11x14 stills of Kong, and I going to write scripts about dinosaurs. It wanted to borrow them and photograph cost five cents for a telephone call and them. I asked the manager, and he said you could talk for hours. that they didn’t belong to him. They I made 16mm experiments in my belonged to someone called Forrest garage, building jungles and dinosaurs. Ackerman. He gave me his phone I had read somewhere that George Pal number and I called him up. He lived was coming to Hollywood to make a about ten miles from me, so I took the series of Puppetoons, so I got my test streetcar. I met Forry there in his reel ready and took it over to him. At apartment, and he had thousands of that time there were very few people stills. He kindly loaned them to me for a interested in stop motion animation. I couple of weeks. They have been an seemed to be an exception. George inspiration to me ever since. was looking for animators, and he was Harryhausen: It was in the mid-1930s paying fifteen dollars a week. It was my when I was still in high school. Forry first professional job and I was delighted told me about the little brown room in to get the experience. The main thing it Clifton’s Cafeteria, where the Los taught me was patience. Angeles Chapter of the Science Fiction I animated most of the first twelve League would meet every Thursday. Puppetoons. George Pal furnished the

SCIENTIFICTION New Series, page 8 ideas, and he would lay them out. He were making hundreds of beautiful oil would also do some of the animation. paintings for War Eagles. He and I would work until twelve o’clock I brought over a suitcase full of my at night sometimes trying to get a scene dinosaurs. I was particularly proud of a out to Technicolor. stegosaurus I had, for which I had won Kyle: Was George Pal’s technological an award in an amateur contest at a experience contributing to developing local museum. I had made a diorama your talents? that I think won second prize. I was rather proud of it. He looked at it and Harryhausen: Not particularly. His said, ‘Those legs look like sausages. technique was completely different from that of Willis O’Brien. I have tended to You must learn to develop muscles. Every animal and every person has pursue the single-jointed figure. Each figure was pre-animated by a cartoonist. muscles to make the shape of the leg.’ I should have known this, but it was a Then they would go to a workshop shortcut. He said that I had to go to art where people would cut these figures school, so I went to high school during out of wood. It took twenty-four separate figures, all cut out of wood and the day and went to art school three nights a week. USC started a course on glued together with heads turned on a lathe, to take just one step. The film editing, photography and art direction and I signed up for it. Puppetoons figures were heavily stylized. I think that was part of the reason that his films never quite caught on. They had a certain elegance to them, but Tom and Jerry cartoons were just coming out at that time and everybody seemed to love slapstick. George Pal’s pictures sold at Paramount for about three years, when the shorts went out of fashion. So, he turned to feature films. This was in the late 1930s, and it was my first experience with professional animation, although I had done a lot on my own. Kyle: When did you first meet Willis O’Brien and what personal influence did Ray Harryhausen he have on you? Archon 20, Collinsville, Illinois (1996) (Photograph by John L. Coker III) Harryhausen: I met him when I was still in high school. He was my mentor. I I kept in touch with Willis O’Brien during noticed his name on King Kong, Son of the Second World War. He went back Kong, and The Last Days of Pompeii. East I think for the army. When I got out So, I called him up once at MGM when of the army, I thought I had better make he was making War Eagles. He kindly something with a beginning, middle and invited me over to the studio, and he an end. I started making fairy tales, the had several offices where six artists Mother Goose stories. I had to tell stories within three minutes. I made five

SCIENTIFICTION New Series, page 9 of them, and they were made for joints. They would ratchet, when you’d television. I referred to them as my move them they’d go too far, so it was teething rings. I learned so much by difficult to get smooth animation out of it. doing them. There were no books about I experimented with 16mm with mattes, stop motion animation at that time. I split screen. The 16mm doesn’t have showed Willis O’Brien some of them very accurate sprocket holes, so the two over the years, and finally when he pieces of film moved on the screen. It Mighty Joe Young started work on , I was quite a thrill to see it. became his assistant. Kyle: Among the early films that Kyle: Did you furnish these 16mm films impressed you was Frankenstein. to the television outlets? Harryhausen: Oh, yes. I was surprised Harryhausen: I took them around, but that I got in to see it. They had nurses nobody was interested. So, I put them in attendance in the aisles and an together with a prologue and an ambulance outside for people who epilogue. I had several of the Mother would pass out. Goose stories, some were ten minutes, some were five minutes. Humpty Kyle: Frankenstein wasn’t animated, but Dumpty was one of them, and Little it was imaginative. Did it appeal to you? Miss Muffet, Queen of Hearts, Old Harryhausen: Yes, that gothic weird Mother Hubbard. I learned an thing. The strange and unusual have enormous amount from just doing it by always had appeal to me, such as The trial and error. I was able to show Willis Invisible Man, The Old Dark House, and O’Brien how I had improved my Devil Doll with Lionel Barrymore. structure, and I had taken drawing at Art Student Center. Now my dinosaurs had Kyle: As you met Forrest Ackerman and muscles. Ray Bradbury did you start reading science fiction? It was because of The Lost World and King Kong that I first became interested Harryhausen: I started to, but I wasn’t as in dinosaurs. I used to make dioramas impressed. I did study script writing and of the La Brea Tar Pits out of clay. story editing, and I used this for my own When I saw King Kong, I saw ways of things later on. For The Seventh making them move. I got interested in Voyage of Sinbad I wrote a twenty- photography. Later I began making page outline and made eight big articulated joints, at first out of wood. drawings, which I peddled all over For my first dinosaur, which Forry Hollywood after Mighty Joe Young. Ackerman has, I got two lamps with the Nobody seemed interested. I was flexible necks. I used one for the tail determined to put imaginary images that and one for the neck. I covered them you read in storybooks about Sinbad, with pieces of bath sponges that I like the Roc and the Cyclops, that you trimmed. I’d put a silk stocking over it never got to see, on the screen. and cover it in latex. It was really crude Kyle: Did the expressions that you used and that’s why I gave it away. Then I on your models come from your face? made a cave bear which had wooden joints. I used to get beads from a local Harryhausen: Yeah, more or less. store and drill out the ball and socket Sometimes I’d look in the mirror. I used

SCIENTIFICTION New Series, page 10 to sit on the floor, where I had a big 20,000 Fathoms was made for two canvas and a stopwatch. I would go hundred thousand dollars. through the motions and time them so I could judge the movements. After you get more experienced, it becomes a second sense to you. Kyle: At what point did Willis O’Brien sort of leave your life? Harryhausen: I suppose it was after Mighty Joe Young. Nobody was interested. He won the Oscar for it. He should have won it for King Kong but the award didn’t exist in those days. Animation was sort of dead. No one L-R: Julius Schwartz and Ray Harryhausen was knocking on his door. That was Famous Monsters of Filmland Convention one of the reasons that I had to figure a (May 1993) way to make it less expensive. Mighty (Photograph by John L. Coker III) Joe Young had the reputation of costing Even so, there were very few producers two and a half million dollars. This was who were interested, because they lost at a time when RKO was being control. They did not want to have to transferred to Howard Hughes, who had depend on Willis O’Brien or myself to just bought the studio to make the ‘lust run the picture. Our pictures were all in the dust’ film, The Outlaw. All of the composed, structured and set up long overheads of the heads of departments before the director came aboard. The that they kept on were put on our director’s main job in our type of picture budget, and some of them didn’t have was to control the actors and get the anything to do with our picture. Mighty best performance. Joe actually only cost a million eight. Kyle: Was this the means by which you No one was screaming that they needed were able to cut down expenses? more animated films. For Mighty Joe Harryhausen: Yes, by careful planning Young, all of the elaborate matte there, would be the least amount of film paintings of the jungle were painted on on the cutting room floor. It was all glass. We had four very talented artists carefully planned out. The big drawings painting the jungles and making the would be the first thing, because they miniatures. We had forty-seven people were the visuals. Then I would make working on the film. Projectionists four hundred pen and ink sketches, for would be reading the paper all day while the set-ups, so we would know which I was the only one doing the animation. was a rear projection shot and which There was nothing to do between set- was a traveling matte, and which part ups so they would be playing cards. we needed first. This way it could all be I knew that it would be necessary to scheduled so that there would be much reduce the costs and make the process less waste. less expensive. So, I devised a method The name of the game is to of Dynamation, and The Beast from compromise. Unfortunately you don’t

SCIENTIFICTION New Series, page 11 like to, but when you are making a New Contact Information picture for a price, you have to Sam J Lundwall compromise. For example, during the Nockeby Backe 8 A Clash of the Titans filming of , even Lgh 264 though it was a more expensive picture, SE-168 40 Bromma they left my scenes until the last, when SWEDEN we were in Italy. We hired a special [email protected] plane to take fifty people to the next location in Malta, and the plane had to Annual Membership Dues leave that day or the company would Please make your annual dues checks lose a lot of money. So we had to shoot payable to Keith Stokes. This allows in the rain. I didn’t want to do it, but us to avoid spending $120/year for an these are the compromises you have to account listed in First Fandom’s name. make. That sequence is not one of my favorites. All through the picture you FIRST FANDOM have to compromise, at least I did, and I President think that’s the only way to get the John L. Coker III, 3701 Glen Garry Lane, picture made. Orlando, FL 32803, Tel: (407) 894-4425, [email protected] President Emeritus Robert A. Madle, 4406 Bestor Drive, Rockville, MD 20853 East Coast Vice President David A. Kyle, 3099 Maqua Place, Mohegan Lake, NY 10547 West Coast Vice President Arthur L. Widner, Jr., P.O. Box 5122, Gualala, CA 95445 Vice President at Large Erle M. Korshak, Shasta/Phoenix Publishers, 950 South Winter Park Drive, Suite 320, Orlando, FL 32707 L-R: Ray Harryhausen, David A. Kyle Dragon*Con, Atlanta, Georgia Secretary-Treasurer (Labor Day Weekend, 1998) Keith W. Stokes, 14305 West 83rd Place, (Photograph by John L. Coker III) Lenexa, KS 66215 [email protected] Sometimes you have to deal with Editorial Staff temperament, if an actor doesn’t want to Editor, SCIENTIFICTION do a particular scene. Joseph P. Martino, 905 South Main Avenue, I direct all of my sequences, but I’ve Sidney, OH 45365-3212, [email protected] never directed an entire picture. I just Special Features Editor don’t have that much patience with Jon D. Swartz, 12115 Missel Thrush Court, people. My actors always do exactly Austin, TX 78750-2101 what I want them to do. SCIENTIFICTION is published quarterly by First Fandom. The name First Fandom, the slogan “The Dinosaurs of Science Fiction,” and the First Fandom logo are all Kyle: Thank you, Mr. Harryhausen, for trademarks of First Fandom, and may not be used without the wonderful conversation that we have the expressed permission of First Fandom. Copyright © had here today. 2012 by First Fandom and the individual contributors.