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Home , Aron Eisenberg, Brent Maddock, Chasing Ghosts (NCIS), Corbin Bernsen, David Semel, Harsh Realm

ROSWELL: Classes begin at high! fflllPMiCMIMCHMIIIMICCIIC J 3

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#268 NOVEMBER UK £3.50 www.ign.com nr«awn.i«.uiw= exclusive figures inside!

We've bagged sotne creo4iJre§ s4raigh4 frotn 4he swatnps of Naboo.

You never know what you'll find when you venture deep inside this Otoh Gunga ooze. You could release one of the Gungan kaadus or unleash a Naboo sea creature like the opee sea killer or colo claw fish. A collection of 16 Sea and Swamp creatures in all — four in every bag. Some rarely seen in Episode 1. Others with major roles. All of them oozing with collectibility.

Call 1-800-327-8264 for the retailer nearest you. © Ltd. 8 TM. EPISODE I All rights reserved. Used under authorization, *TM & ©1999 Hasbro, Inc. http:/^starwars.com http:/^hasbro.com Iron Giant, This is now among my all-time favorite President/Publisher movies. Your article enriched my enjoyment of the NORMAN JACOBS film immensely. I hope you cover it more in future Executive vice President issues. RITA EISENSTEIN Joe Ramos San Diego, CA Associate Publisher MILBURN SMITH

See page 66 for a fun chat with the movie's terrific V.P./Circulation Director SCHULKIN composer, Michael Kamen. ART Executive Art Director Mail can't be forwarded. Other fans & advertisers may ...What I liked most from #266 was Ian Spelling's W.R. MOHALLEY contact readers whose letters are printed here. To avoid great article about Ian McDiarmid. Can hardly this, mark your letter "Please Withhold My Address." Editor believe it Otherwise, we retain the option to print it. took me four Phantom Menace viewings to DAVID MCDONNELL Write: STARLOG COMMLOG realize he was Darth Sidious, too. Managing Editor 475 Park Avenue South, Rick Szparkowski KEITH OLEXA 8th Floor Mt. Prospect, IL , NY 10016 Special FX Editor or E-mail: DAVID HUTCHISON ...The tribute to DeForest Kelley (#266) was moving communications and really showed what he was like as a person. Contributing Editors @starloggroup.com Marvin ANTHONY TIMPONE Cohen MICHAEL CINCOLD Bronx, NY TOM WEAVER IAN SPELLING

...What I liked best about issue #266 was the Consultant tribute to DeForest Kelley. The title ("Beloved KERRY O'OUINN Doctor") was perfect and poignant. The collage Senior Art Director of photos captured favorite moments. JIM MCLERNON David McDonnell is my favorite writer/edi- Art Director tor and he didn't let us down this time. RICK TENG Carol Duffy Macon, GA West Coast Correspondents MARC SHAPIRO BILL WARREN Thanks for your kind words. It was very impor- Financial Director: Joan Baetz tant to us all Beloved that the Doctor be proper- Marketing Director: Daniel Sierra ly honored. Circulation Manager: Maria oamlanl Art: Yvonne Jang, John Dinsdale, Dmitriy Ostrovskly, May Yung. ...STARLOG rocks! I love reading the letters Staff: Debbie Irwin, Dee Erwine, Jose Soto, Sunny Witchel, David Andreas. and articles, and there is just so much informa- Correspondents: (West Coastl Kyle tion! counts, Pat Jankiewlcz; (NYC) Mike Kim Lay McAvennle, Maureen Mctigue, joe Nazzaro, Steve Swires, Dan Yakir; Maraga, CA (Boston) Will Murray; () Kim Howard Johnson; (The West) Bill Flo- rence, Jo Beth Taylor; (D.C) Lynne We love the letters, too. Butfolks, we would love Morpheas' txStt-\n scc^-et doubled Stephens; (Florida) Bill Wilson; (Cana- to see more of them. Help! Write us now! Win da) Peter Bloch-Hansen, Mark as a oencH starpener valuable prizes! Phillips; (Booklog) Penny Kenny, yfifa Jean-Marc Lofficier, Scott Schumack, Michael Wolff; (Cartoons) Kev WILD WILD STUFF Brockschmldt, Alain Chaperon, Mike ^^verybody loved the Iron Giant except Fisher, Tom Holtkamp, Bob Muleady. ...As for what I liked best about STARLOG #265? I Thanks: Layan Afifi, Tye Bourdony, during his tap-dancing lessons... enjoyed the article on the classic TV show The Wild Chris Carter, Bridget cooper, Roger Cross, James Darren, Gloria Davies, Wild West. It was not only entertaining, but I learned Chris Day, , Dan Dick- a thing or two—and I've been a big fan of the show holtz, Marek Dobrowolskl, Lauri First, since the '70s. Kim Fitzgerald, Lynne Hale, John Hall, Jeffrey Hayes, Shelley Jeffrey, Michael Thanks for your cool SF magazine. Kamen, Lana Kim, David Koepp, Leah Michael R. Gates Krantzler, Caroline Landry, Kristen March, Pam Morrison, , Nampa, ID n , David Nutter, Renee O'Connor, , Tom Phillips, Mic Rodgers, Danielle Rosenfleld, Jeff ...The best thing about this issue? The "Wild Wild Hit Sanderson, Steve Sansweet, Cyd History" article by Tom Weaver. Now that I've seen Swank, Jeff Walker, Crystal Warren, the new movie, I'm really disappointed that they did- Alex Worman, Billy Zane. Cover Art: Mulgrew: ©1999 Para- n't do more with the excellent cast. It also had too .B00«B mount Pictures; O'Connor: ©1999 many low-brow sexual jokes instead of good writing. studios USA TV Distribution LLC; : George Lange/©1999 Jack Nordheden Fox Broadcasting Co. Champaign, JL B&-B00HK For Advertising Information: (212) 689-2830. FAX (212) 889-7933 Advertising Director: Rita Eisen- ...Even though Michael Dunn was only in 10 shows, stein he was the one villain who made the series for me to Classified Ads Manager: Tim Clark West Coast Ads: The Faust Company, this day. If I catch episode can an of 24050 Madison St. Suite 101, Tor- with him in it, I watch it again and again. rance, CA 90505 (310) 373-9604. FAX (310) 373-8760. Bill Breidenbach International Licensing Rep: Robert Santa Ana, CA J. Abramson & Associates, inc., 720 Post Road, Scarsdale, NY 10583. IRONIC MATTERS

...I loved Bill Warren's article in issue #266 on The NATIONAL BESTSELLERS Buy these HI books—wherever droids are sold.

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and surprising information, this is the ultimate Maul's Sith Infiltrator, discover the untold history of

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• All rights reserved. Used under authorization. www.starwars.com I ©1999 Lucasfilm Ltd.&TM. www.dk.com QUOTE OF THE TRIPLE PLAY MONTH Starship Troopers' Denise Richards is now officially a "Pardon me, boy. Is this the Bond Girl. She has a holiday playing the aptly named Transylvania Station?" Christmas Jones in next month's The World Is Not Enough. —Gene Wilder in Young So, we have three questions for her. What is her own person- Frankenstein al favorite 007 movie? "I would say Goldfinger," Richards responds. Her favorite Bond Girl? "I would have to say, NOTABLE BOOOKS Ursula Andress [from Dr. No]." And her favorite ? "I can't answer that!" The Queen's Amulet by Julianne Balmain (Chronicle Books, —Joe Nazzaro hardcover, $14.95)—a Star Wars spin-off—is now in stores. It's notable because it comes equipped with a replica of Amidala's talisman. J.R.R. Tolkien's famed fantasy gets unusual treatment in The Hobbit: A 3-D Pop-Up Adventure, illustrated by John Howe. It's a $19.95 hard- cover from HarperCollins, due out this month.

New Bond companion Denise Richards answers three 007 questions.

STUPID NETWORK DECISION OF THE MONTH FILM FANTASY The WB:For CALENDAR scheduling |^elease dates are extremely subject to change. Roswell opposite

Voyager. Now it October: Bats, House on Haunted Hill. Anne Francis invites you to start looks like we'll really have to November: Toy Story 2, End of Days, Sleepy Hollow, the in style with her learn how to program our The World Is Not Enough. limited-edition calendar. VCR. Or maybe get an alien December: Stuart Little, , The Bicentenni- al Fantasia FORBIDDEN DATES teenager to do it. Man, 2000, The Green Mile, , The Ninth Forbidden Planet fans can start the Gate. next Millennium in style with the January 2000: Supernova, Lost . new Anne Francis Year 2000 limited- February: Pitch Black. edition calendar. On the all-color cover, Spring: The Road to El Dorado, Flight 180, Frequency, The Crow: Salvation. Dinosaurs, the Forbidden star is seen in several Summer: The Hollow Man, -Men, The Adventures ofRocky & Bullwinkle, The Flintstones in Viva Rock Vegas, scenes from the MGM space classic, Chicken Run, Battlefield Earth, Titan A.E. Fall 2000: the on Forbidden Planet poster art and in a How Grinch Stole Christmas, Kingdom of the Sun. more recent shot, being reunited with December 2000: Minority Report, 2001: A Space Odyssey (re-release). her cuddly co-star Robby the Robot. The black & white interior features 12 vintage publicity shots of the cult actress (each appropriate for that month) and a dozen of her poems. A portion of the pro- ceeds will go to charity. It's $30 (money orders) to P.O. Box 3282, Palm Desert CA 92260—or check out her website www.annefrancis. net WHATEVER HAPPENED TO... Roger Rabbit? He couldn't disap-

pear unless it was funny. sotaes his l3c!<-dfcoverings ^rabi«n CAilSE TMEV HPD WO CLUE WHERE ToPLUG HM Three^Ho

— —

COMICS SCENE GENRE PEOPLE Famke Janssen has joined the X-Men cast. Screenwriter Ed (Starship Troopers) Neumeier She'll play Jean Grey (a.k.a. Phoenix & is now adapting another genre classic, Roger Marvel Girl). Janssen, of course, was also seen Zelazny's fantasy Nine Princes in Amber. Akiva in GoldenEye, Deep Rising and House on (Lost in Space) Goldsman and Mark Canton will Haunted Hill. Previously, she was the Model by produce. Day in that TV movie based on a little-known X-Files movie director has his comic and "The Perfect Mate" on The Next MEDIAliX; next film project, Riptide. The treasure-hunting Generation. , of course, is once adventure is based on a recent novel by Relic again her co-star—since he plays Professor X. By DAVID MCDONNELL authors Douglas Preston & Lincoln Child. Jon

By the way, the film has now been rescheduled Cohen is adapting it. (from holiday 2000) to an earlier release (sum- ILM's Tom Bertino and Dave Carson are co- mer 2000). Shooting is underway. directing the CGI-animated Frankenstein. They Harvey Pekar's American Splendor comics are headed to celluloid. Director Chris succeed co-writer Brent Maddock. (American Movie) Smith will make the feature for the Good Machine company.

CHARACTER CASTINGS GENRE TV Looks like the legendary —briefly seen in next month's Sleepy Hollow—will play Former STARLOG contributors Saruman in 's film version of Lord of the Rings. Liv () Tyler is the elf Lee Goldberg & William Rabkin princess Arwen. revitalized Diagnosis Murder as That former Nowhere Man, Bruce Greenwood, portrays President John F. Kennedy in 13 Days, writers and executive producers over the drama backdropped by the Cuban Missile Crisis. Kevin Costner stars. the last few seasons. Now, they're the Darkman's Frances McDormand—an Oscar-winner for her role in Fargo—is now filming a executive producers in charge of drama set against the 1973 rock 'n' roll milieu written and directed by Cameron (Jerry Maguire) Martial Law (CBS, Saturdays, 9 Crowe. Fairuza (Island ofDr. Moreau) Balk co-stars. p.m.). They plan on taking Law more Edward Kerr, once a member of the seaQuest crew, is now a regular on Snoops. in the Man from U.N.C.L,E,/7V's Kristy (The Phantom) direction. Their Swanson stars in Grapevine, Christopher Lee takes new Law team of writer/producers at a role in the a mid-season CBS show aim new include Next Generation's David about a single girl movie based on J.R.R. in Miami. Carren & J. Larry Carroll, Hercules Tolkien's Lord of the Michelle Forbes Next vets Gene O'NeiU & Maureen Tobin Rings. (By the way, for Generation's Ensign Ro more of Lee and other and Jacquelyn (VR5) Blain. With all co-stars in an ABC mid-sea- James Bond villains, see this genre expertise in mind, STAR- son drama, Bellevue. this issue's gatefold LOG readers unfamiliar with the poster.) show should check out Martial Law this season. SEQUELS & Simon Moore—who scripted REMAKES NBC's eagerly awaited multiple- The Matrix 2 and 3 will fairy tale mini-series Tenth shoot back to back in Kingdom—will adapt James Gur- fall 2000. The idea- ney's Dinotopia for Hallmark Enter- expressed during the first tainment. It'll be an FX-heavy film's lensing—to do a pre- six-hour mini-series targeted for quel and a sequel has been May 2001 airing on ABC.

At last! The Dune mini-series is discarded in favor of two follow-ups. The Brothers scheduled to go into production this Wachowski are once again writing and directing. Illus- fall. On the other hand, production of

trator is now at work on design concepts. the UFO abduction Keanu Reeves will return. mini-series Taken has been delayed.

Now, Steve Odekirk is scripting Jumanji 2. There Jennifer () have been previous drafts by other writers, including the Sky—seen on Xena as the original's Jonathan (Armageddon) Hensleigh. Amarice—is the protagonist of the Robert Gordon is at work on a possible Men in upcoming Cleopatra 2525. Her co- Black sequel. heroines are Gina Torres (Nebula on John (The 13th Warrior) McTiernan will direct the Hercules) and Xena's Victoria Pratt.

Rollerball remake. Despite the appropriateness of its A remake of Westworld—which intended Halloween premiere, the directed from his own original screenplay in 1973—is season debut of The X-Files has in the works. Fans may remember that the original shifted to November 7. September movie spawned both a sequel (Futureworld) and a 24 marks the premiere of two new short-lived TV series (Beyond Westworld). cartoons from Ren & Stimpy creator Despite the unsuccess of a theatrical movie (The John Kricfalusi. The original shorts, Nude Bomb), a TV movie and a TV series revival, airing that night on the Cartoon Net- would you believe a Get Smart movie is now in devel- work as a one-hour special, rethink

opment? Would you believe it's intended to star Jim that classic triangle of Hanna-Bar- Carrey? Would you believe this is a good idea? OK, bera characters: Yogi Bear, Boo Boo well probably not that last one. and Ranger Smith. The pair are "A Day in the Life of Ranger Smith" A Get Smart movie with Jim Carrey and possibly and "Boo Boo Runs Wild." without Don Adams? Sorry about that, Chief.

10 STARLOG/November 1999

VIDEO JONES NEW FRONTIERS laramount Home Video has announced The Com- On laser this month, look for plete Adventures of Indiana Jones, which includes UBDEOLOG : Deep Space Nine all three of Indy's theatrical films starring ($29.98) episodes #57 and #58, in new digital transfers, as well as 12 of the Young Indi- "Past Tense, I & II," in which By DAVID ana Jones TV movies starring Sean Patrick Flanery. The Sisko, and Bashir find them-

HUTCHISON I features have been priced at only $14.95 each, in VHS, selves back in early 21st century cropped for TV or in full widescreen. There is also a San Francisco and Sisko assumes $44.85 gift set of the three films packaged in their o the role of a historical hero. chronological order beginning with Temple of Doom, Upcoming are #59 and #60 Raiders of the Lost Ark and finally The Last Crusade. The gift set also includes a free Young Indiana ($29.98), "Life Support" and Jones adventure, 'Treasure of the Peacock's Eye." New introductions for each of the films have been cre- "Heart of Stone." ated by , and there are bonus interviews with Lucas and Flanery. Look for additional adven- tures next year. Warner Home Video has announced what promises to be the most spectacular DVD release of the year, The Matrix special collector's edition, which includes audio commentary, alternate camera tudy up, angles, behind-the-scenes documentaries, DVD- r. Jones! content and other goodies not announced at presstime. Your The version will be rental-priced until late omplete VHS only 'yentures next month, when a special VHS edition will be avail- are able with 26 additional minutes of supplementary ecoming material. ailable. Though still only account for a tiny percent- age of the home video market, Disney has decided to

embrace the format, releasing nine of its animated fea- tures in DVD before year's end. Pinocchio bows at the end of this month, followed by 101 Dalmatians, Her- cules, Mulan, Lady and the Tramp, Peter Pan, Lion

King II: Simba 's Pride, The Jungle Book and The Little Mermaid. As has been their custom with many VHS and laser titles in the past, Disney plans to offer these

titles for a very limited time before pulling them off the market.

Computer Animation Marvel, which is being simul- taneously released on both DVD ($19.98) and VHS ($14.98) from Image Entertainment, brings together several award-winning animation artists from around the world to display their artistry in a collection of shorts including the much-acclaimed "Bingo," another

installment of "Luxo, Jr." from Pixar and "The Physics of Cartoons." The DVD includes an additional short, "Jataka," not found in the VHS version.

POWER PACKS seen by the public). The DVD includes more debuts on Dimension DVD. Charlton Heston Paramount Home Video has taken Star than 550 stills, audio from story sessions and is The Omega Man ($19.98, Warner Home Trek: The Original Series to a new fron- rare behind-the-scenes home movies. Video) in this 1971 film, which is the second tier: DVD. Volume One includes "Where No Todd McFarlane's Spawn Ultimate Col- version of Richard Matheson's novel / Am Man Has Gone Before" and "The Corbomite lection ($69.95) includes all three seasons of Legend. The DVD includes a featurette on the Maneuver," while Volume Two features HBO's animated series. A bonus DVD-ROM film's making. "Mudd's Women" and 'The Enemy Within." disc includes an exclusive interview with The Hercules TV Action Pack ($49.98) Paramount plans to release Volumes Three Spawn creator McFarlane, an "In the Mind of from MCA/Universal Home Video is a four- through Six before Christmas, with the Todd McFarlane" featurette and production DVD set including: Hercules: Amazon remaining volumes following over the next art. Women/The Lost Kingdom, Hercules: The year or two. Each DVD contains two com- The James Bond Special Edition Box Set Xena Trilogy, Young Hercules and Hercules plete episodes with the original broadcast pre- ($199.98 from MGM/UA Home Video) is a & Xena: The Animated Movie. The boxed set views, reasonably priced at $19.99 per seven-disc set which includes: Goldfinger, includes special DVD goodies including a volume. Paramount intends to release "The Thunderball, Live and Let Die, For Your Eyes documentary, audio commentary, theatrical Cage" in both the original black-and-white Only, Licence to Kill, GoldenEye and Tomor- trailer, production notes, talent bios and film and re-edited versions as part of Volume 40. row Never Dies. The titles are also available highlights. Do not miss the mid-month release of Bob individually. Is Gonzo really a space alien? Will the Clampett's Beany and Cecil—The Special The RoboCop trilogy of films is now a government let him find out? Seek the Edition ($29.95) from Image Entertainment boxed set entitled RoboBox: RoboCop I-III answers in Muppets from Space ($24.98), (215-minute running time). This set includes ($59.98) from Image Entertainment. Coma from Columbia/Tristar at month's end. The four full episodes from the series and addi- ($19.98), directed by Michael Crichton, is DVD includes a whole galaxy of extras: a tional clips from Time For Beany, mastered now a low-priced title from Warner Home making-of featurette, Muppets & Wheel of from the original 35mm kinescopes. Archival Video. Tom Hanks gets his wish in Big Fortune, director's audio commentary, Kermit material includes a section entitled 'The Lost ($29.98) from 20th Century Fox Home Video. & Gonzo 's video commentary, deleted Work" and details various projects developed David Cronenberg's journey into virtual scenes, theatrical trailer, bonus trailer and tal- by Clampett from over five decades (never reality game playing, eXistenZ ($39.98), ent files.

12 STARLOG/November 1999 THE BIGGEST MOVIES! THE BEST MOVIE MAGAZINES!

POSTAGE & HANDLING: One magazine: Add $2. Up to five: Add $3. Six or more: Please indicate quantity of each being ordered. $5. FOREIGN: $4 per magazine. New York State residents add 8 1/4% sales tax. 007 James Bond Poster Magazine $3.50 Star Trek IV: . Canadian residents add 10% sales tax. OVERSEAS (PLEASE NOTE: Customs Technical Journal $6.99 Mortal Kombat $5.99 The Voyage Home $5.95 requires purchaser's daytime phone numPers on all Overseas orders.) Batman & Other Mortal Kombat Deluxe $6.99 _ Star Trek IV: The Voyage Home Cash, check or money order to: Comics Heroes $5.99 Nightmare on Elm St. 5: Poster Magazine $3.50 STARLOG GROUP, INC. Conan The Destroyer Dream Child $3.95 Star Trek: Generations $6.95 _ Account No. 475 Park Avenue South Poster Magazine $3 Octopussy $3.50 _ Star Trek: Generations New York, NY 10016 Dinosaur Over $6.95 The Top Special 3-D Cover $9.95 Card Expiration Date: . (Mo./Yr.) Dinosaur Special 3-D Cover $9.95 Poster Magazine $3.50 _ Starship Troopers $5.99 Your Daytime Phone #: Dinosaur t2 $5.99 Rambo III Poster Magazine $3.75 _ Streetfighter $4.95 (_ Dracula $4.95 Rambo III Theater Program $2 _ IV: Quest for Peace Method of Payment: Freddy's Dead: Rambo III $3 Poster Magazine $3.50 Name _ Cash Check

Print Name As It Appears On Your Card The Final Nightmare $4.95 Rocky II Poster Book $1.50 . Tales from the Crypt: Money Order

Godzilla $5.99 Rocky III $2.00 Demon Knight $4.95 Discover Godzilla Poster Magazine $3.99 Rocky IV $3.95 _ 2: Judgment Day $4.95 Master Card Visa Street _ Inside the Mafia (Godfather III) $3.95 Rocky IV Poster Magazine $3.50 . The Crow: City of Angels $5.99 Credit cards may be used for

Jason Goes to Hell: Rocky IV Magazine plus . The Shadow $4.95 orders over $10 Credit card orders may be faxed to The Final Friday $4.95 Posters $4.95 . The Untouchables $3.95 City. . State _ -Zip. 212-889-7933. Legendary Heroes $5.99 Spaceballs Poster Magazine $3.50 . Total Recall $4.95 Living Daylights Spawn $5.99 _ 's If you do not want to cut Your Signature _ Poster Magazine $3.50 Species $5.99 New Nightmare $4,95 out coupon, we will accept Lost in Space $5.99 Star Trek Makeup FX Journal $6.95 . Willow $2 written orders. Please allow

Masters of the Universe Star Trek II: of _ Wrath Khan $3.50 . Wing Commander $5.99 Total enclosed: $_ 4 to 6 weeks for delivery. — —

SPACE SHOTS SNAP SHOTS PC owners better be prepared for a shock to their CD- Now that we've gotten rid of the ROME systems, as System Shock 2 ($44.98) is now blood-and-guts segment of available for Windows 95/98. Published by Electronic this column, let's head over to Arts and Looking Glass Studios (who also co-developed something a little friendlier for the

it with Irrational Games), this SF/horror sequel to the Nintendo 64 system Poke'mon megahit System Shock combines first-person shooting Snap ($59.95) from Nintendo.

with role-playing—a combination that makes it better Based on the wildly popular ani- than any game in recent memory. mated series, this game will sell no Starting on 22nd-century Earth, your character matter how good it is. Therefore, chooses a military career with the technical-minded it's encouraging that the designers UNN Navy, the combat-happy UNN Marines or the took the time to put out a quality

O.S.A., a "black ops" outfit that trains its members in adventure for all ages, even though psionics. Once you've made your choice, you'll be it does live up to its name by being given three one-year tours of duty, which will help hone a "snap" to play. your skills and expertise for the big adventure ahead. Your objective is simple: assist (Note: Those skills are subject to change, depending on whether or not you decide to follow Professor Oak to take the best possible picture up on polishing either those skills or new ones.) of every Pokemon (which for those of you not

From there, it's on to serving as a security guard aboard the UNN Rickenbacker, com- into the craze is short for "pocket monsters"). manded by Captain William Diego Armed with a camera and 60 exposures of film, It's a problem all giant, metal-eating (son of Edward Diego, the schmoe you'll hop in the Zero-One (a land, sea and robots eventually face... who created the mess in the first vehicle) and go on guided safaris through sever- System Shock), as well as military al environments on Pokemon Island. adjunct to the Von Braun, Earth's Naturally, the little critters (60 in all on this

first faster-than-light starship built cart) won't stand still for the camera, so you'll by the TriOptimum Corporation have to find creative ways to position them. As (the same guys who created the your photography skills improve, so will your Artificial Intelligence--hay- tools. You'll receive apple-shaped Pokemon wire SHODAN in the first game food to entice some of them out of hiding, or an talk about bad coincidences!). oh-so-aptly-titled Pester Ball to make them run

As luck would have it, the Von from cover. Braun also has its share of prob- Once you're advanced enough, Professor

lems. To begin with, it seems the Oak will give you a Poke Flute, which you can ship was launched a bit premature- use to make a Pokemon perform for the camera.

ly, so don't expect all of the sys- After you've taken your shots and completed a tems to work. And certainly don't safari, it's back to Professor Oak's lab, where look for much help from the ship's he'll judge the photos based on the closeness of AI computer, Xerxes, which the shot, the Pokemon's pose and technique. appears to be an easy hacking tar- Bonus points are awarded should you have

get. Therefore, it's only natural more than one Pokemon in the shot, or if a that the ship would pick up a dis- Pokemon is using a power. The picture with the tress signal from Tau Ceti 5 and highest score is displayed inside a special head there. frame. A few weeks later, you wake Overall, Pokemon Snap is quite charming up from your cryosleep tube, only and refreshing, and will undoubtedly appeal to to find several cybernetic implants virtually all Pokemon fans (meaning it should on your body, lots of blood on the floor and e-mails from your only human contact, Dr. Jan- be a hit). Nintendo does its usual solid job on ice Polito, the Von Braun's senior systems analyst monitoring the Xerxes. graphics and sound, and the gameplay is Basically, you discover that an intelligent alien virus has transformed the crew into extremely simple. In fact, it's so simple that it mutated, worm-eaten monsters doing the bidding of an entity known only as the Many. will leave the older game fans who found it Appropriately named, since there are hordes of monsters and mechanical threats awaiting appealing clamoring for more, 'cause they'll be you throughout 10 levels of downright eerie action. What- done before they're fin- ever your career choice was earlier, make sure you use all ished saying, "Gotta the skills and expertise at your disposal, because you'll Catch 'Em All!"

need every ounce of them if you're going to survive this Still, kids will love experience. Also pick up whatever psionic powers and the game's color and weapons available (though in the latter case, you'll have to vibrancy, not to mention

pick and choose wisely, since you can't carry 'em all) and an innovative special learn to hack and repair systems where possible, or you'll feature which allows find yourself becoming one of the Many's...uh, many. players to print out their With System Shock 2, the needs of the Many outweigh favorite snapshots from

the needs of the few, or in this case, you. It's a must for the game at a Block- your PC system, provided you have the necessary system buster Video printing requirements and aren't squeamish. In addition to terrific station. Parents, be graphics and sound that really make you feel the Von warned: make sure your

Braun's chilling atmosphere, the game is an achievement kids have some good

in game integration. It has combined several tired types of shots before going, or gameplay and produced something fresh, unique and orig- you're going to be inal, which in today's PC game market is a delightfully shelling out lots of good shock to players' systems—perhaps the best they'll bucks just for a sticker v " of Pickachu's ear. find this year. to«ottGf YAASK, Z1^ofIP/ a

Art: "Big Bad Bubba" 14 STARLOGWovemfcer 1999 6

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Send Check or STARLOG Money Order To: 475 PARK AVENUE SOUTH (FAX 212-889-7933) |3 | NEW YORK, NY 1001 Collectible Concepts Group, Inc. © 1 999 NLP, Inc. Starfish by Peter Watts (Tor, he, 317 pp, $23.95) Lenie Clarke works for a corporation

exploiting the geothermal energy of a rift on the AVALCj floor of the Pacific Ocean. Surgically altered 442 pp, $25) for life in the cold, dark, crushing depths, Lenie This stab at modernizing the Arthurian legend R , , , : „ I and her co-workers are psychological cripples, 11 I K 1 n > 1 trips over its own pretentiousness. victims and victimizers, guinea pigs testing the With the suicide of the last king, it seems the corporation's theory that only psychotics can British monarchy is doomed, and no one is more survive the Lenie and her crew survive surprised than young James Stuart when his bid to abyss. flourish, becoming something their land- claim a modest inheritance reveals that he has claim and masters can't but not of the to the throne of England. bound comprehend, even Lenie knows real of the sea that all life Earth. James has doubts, but the visions he sees of the monsters menace on mnmu cool, bleak descent into the abyss, Starfish is as fascinating and mythic past and the presence of a mysterious coun- A disturbing as the mental and physical landscapes it charts. Through selor, Mr. Embries, imply that kingship is his destiny. Arrayed against meticulous research and evocative writing, Watts depicts an alien James are a ruthless politician bent on making Britain a republic, and a world and alienated people. makes grotesque sea beasts as seductive sorceress linked to the forgotten past. He pitiable as his cast of neurotics, pedophiles and abuse Lawhead seems to assume that readers will accept divinely ordained human addicts. Even the psychologists, bureaucrats and artificial intelli- kingship as the obvious solution to modern problems, giving the novel a gences responsible for Lenie's plight become sympathetic as they self-righteous, sermonizing tone. The plot is predictable, the characters join in the brutal, chaotic dance of evolution and extinction. border on caricatures and the passages detailing British politics are actu- —Scott W. Schumack ally more interesting than the book's action and fantasy scenes. —Scott W. Schumack

Moonlight and Vines by Charles de Lint (Tor, he, 384 pp, $24.95) Exactly the (Tor, he, Not Three Musketeers by Joel Rosenberg 316 pp, The latest "Newford" collection is a welcome return to that con- $23.95) temporary North American city where urban reality mixes with old Contrary to the title, the latest entry in the "Guardians of the Flame" magic. Standout stories in this volume include "Heartfires," with its fantasy series is not a comic swashbuckler. The humor in this book is pantheon of earthy old gods, the eerie romance "Held Safe by Moon- grim, and despite dragons, its tone is depressingly realistic. some light and Vines" and the Country & Western nostalgia of "In the Durine, Kethol and Pirojil are plain professional soldiers, loyal and Pines." competent, and the book's main virtue is that it takes three of the sup- A crow motif runs through many of the stories, and is at its best in porting players who usually sweat and die in the background of adventure the funny, touching tales "Crow Girls" and "Two Corbies." Less suc- yarns and lead characters. a makes them When scheming dowager cessful is "China Doll," which was written for an anthology based on empress sends trio to investigate minor squabble in outlying the a an James O'Barr's The Crow. This story, like "In the Land of the Unfor- province, it's obvious that something treacherous is afoot. But the three- given," suggests that hard-boiled violence isn't the author's strong suit. some are bound to do their duty, for these earthy, flawed but likable char- The appeal of "Newford" is most apparent in the book's first and acters are really searching for glorious deaths, with just a few moments last stories. "Saskia" is a romance that brings ancient spirits into cof- stolen to scrape up loot for a very unlikely retirement. fee shops and computer networks, and "The Fields Beyond the The book's relatively unfantastic approach is refreshing, but the Fields" is a sequel that charts the loss and of the sense of relentless fatalism will and cynicism grow tiresome. Rosenberg's fans omnipresent magic that makes de Lint's work so special. like this offbeat novel, but newcomers to the series should start with his —Scott W. Schumack earlier, more conventional works. —Scott W. Schumack Captain by Rick Shelley (Ace, pb, 281 pp, $5.99) Exile by Anne Logston (Ace, pb, 272 pp, $6.50) Junior officer Lon Nolan faces a major test when the Dirigent Anne Logston is a terrific writer. Her character Mercenary Corps takes a contract from one of two feuding groups of

Neve's arrogance is comparable only to that of the settlers on the planet Aldrin. Lon and his fellow mercenaries soon male love interests in old Harlequin romances, and realize they've picked the wrong side—a potentially fatal error. Fur-

yet the reader still roots for her. Possibly that's thermore, Lon has fallen in love with Sara Pines, who accepted his

because Neve's father is even more arrogant than marriage proposal shortly after meeting him. Sara awaits Lon on she, and readers want to see Neve rise and meet her Dirigent, if he survives Aldrin. challenge. And what is the challenge? That the The latest book in the "Dirigent Mercenary Corps" series is an spoiled Neve make her way through the world and unimaginative military adventure that will please only the least prove herself worthy to be guardian of the awesome demanding fan of the genre. In this future of starships and nanotech- power of the Nexus. nology, soldiers still dig foxholes and use bayonets. The battle Logston has perfectly mixed adventure, humor, danger and romance in scenes are convincing, but they could have been lifted from any this work. She balances Neve's arrogance with her companion Ash's good 20th-century war, and there is no effort to make Aldrin an alien humor. The pair complement each other nicely, and their interaction world. The supposed differences between the two colonial soci- allows the author to develop their characters in ways she wouldn't have eties—called East and West—are never detailed, and the implausi- been able to otherwise. ble romantic subplot is uninvolving. —Penny L. Kenny —Scott W. Schumack

Violent Stars by Phyllis Gotlieb (Tor, he, 284 pp, $22.95) beings who once worked for Zamos and are now orchestrating the The sequel to Flesh and Gold finds the trial of the Zamos vice car- syndicate's demise—if they can keep everyone alive. tel on the planet Khagodis collapsing under a wave of assassinations Violent Stars is another entrancing mix of melodrama, poetic lan- and kidnappings. Skerow, the righteous judge whose pity for a slave guage and deeply etched characters. Gotlieb creates sympathy for even

began the fall of Zamos, is driven into hiding with Verona, the daughter the strangest aliens, and the noble, flawed Lyhhrt become as likable as of the human ambassador. Meanwhile, battered ex-gladiator Ned Skerow or Ned. Verona's growth from a victimized child to an adult Gattes returns to the Galactic Federation's campaign against Zamos; he able to face her terrible link to Zamos confirms Gotlieb's skill in using must find a witness, his old robot comrade Spartakos, while herding a pulp fiction conventions to probe the human soul. troop of bio-engineered monkeys. Behind the scenes are the Lyhhrt, —Scott W. Schumack

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If you do not want to cut out coupon, we will accept written orders. Please allow 4 to 6 weeks for delivery. Otherland Volume Three: Mountain of Black A Civil Campaign by Lois McMaster Bujold (Baen, he, 416 pp, Glass by Tad Williams (DAW, he, 720 pp, $24) $24.95) Fans of Bujold's stories had been hoping for an invite to the wed- The amnesiac Paul Jonas, along with Renie ding of Barrayaran Emperor Gregor and his Komarran fiancee Laisa. Sulaweyo and her companions, have been told Bujold delivers, but the reader doesn't get to the altar quite that easily. they will find the answers to their questions at Certainly not with Miles Vorkosigan pursuing his own romantic suit of the walls of Troy. But like that long-lost city, Ekaterin Vorsoisson, the young widow he met in Komarr. Add in the

the truth is hard to find. And while the protago- standard assortment of Barrayaran political intrigues, plus butter-pro- nists search, the Grail Brotherhood prepares to ducing mutant insects, fugitive scientists and sex-changing Counts, OTHERLAND breach the final wall and shed their physical and A Civil Campaign becomes a rather densely packed romance. viOUftFAlN OR HACK CUSS forms for life in the virtual Otherworld. A lesser writer might have produced an unholy mess. But Bujold is

This third book in Williams' tetralogy is far superior to its prede- one of the few contemporary SF writers who can make a series work cessor in both action and philosophical scope. The characters are and, in her hands, A Civil Campaign shapes up into the fun read of the more focused, the action more intense and the payoffs more satisfy- year. A newcomer to her work might consider keeping a scorecard on ing. Williams also outlines the series' ontological and theological all the romances going on or, better yet, going back to the series' questions more clearly this time than in the earlier books, and, in gen- beginning and working from there. A good time is guaranteed. ~ " " —Michael eral, Volume Three of Otherland is a superb effort. Wolff —Penny L. Kenny

A Phule and His Money by Robert Asprin 1

with Peter J. Heck (Ace, pb, 288 pp, $6.99) : Dune: House Atreides by Brian Herbert & Kevin J. Anderson Robert With the assistance of Peter Heck, ; (Bantam Spectra, he, 624 $27.50) pp, Asprin has been having a lot of fun with the ; This much-anticipated novel is a prequel to the late Frank Her- adventures of Captain Willard Phule and the * bert's famous Dune saga and leads into the events of the first volume motley crew of the Space Legion's Omega j (at least one more book to come will fill in gaps between House Company. Having been left in charge of an Atreides and Dune). Herbert's son, Brian, and Kevin J. Anderson deal interstellar casino in their last adventure, Phule with the machiavellian intrigues of the Imperial Court and the acces- and Omega Company face perhaps their biggest sion to power of Shaddam IV. They also introduce the major charac- challenge yet: assisting the inhabitants of the ters of the Atreides and Harkonnen families, providing much info that planet Landoor in their recovery from a civil Lastly, casts new light on previously known facts. Herbert and war. Phule's obvious solution: construct an amusement park! Anderson develop a third intrigue, dealing with the Fall of the House Asprin has assembled a nice ensemble of characters in the Phule seventh book, to of Ix, that is hinted to eventually set the stage for a stories, causing at least one reviewer to compare these tales to SF follow Frank Herbert's Chapterhouse Dune. equivalents of M*A*S*H. But the experienced reader will find more House Atreides ought to satisfy all Dune fans: The story and char- than an echo of Keith Laumer's Jaime Retief stories or Harry Harri- vision, is no misguided acters are true to Frank Herbert's and there son's Stainless Steel Rat yarns—the same sort of irreverence mixed graft extraneous ele- attempt (as in the new Foundation series) to on with swashbuckling plots. This is not for everyone's tastes, but the decided not to mimic ments. Wisely, Herbert and Anderson have reader looking for light-heartedness would be Phule-ish to pass it up. Frank Herbert's unique style—in particular the abundance of itali- —Michael Wolff cized thoughts—and have developed a voice of their own, yet one that seems ideally suited to this rich and complex universe. A Second Chance at Eden by Peter F. Hamilton (Warner/Aspect, —Jean-Marc Lofficier pb, 420 pp, $6.50) This collection of eight stories set in the world of the "Night's Rhapsody by Elizabeth Haydon (Tor, he, 544 Dawn" trilogy starts with the brutal, chilling "Sonnie's Edge," a tale of minds with killers, where the pp, $27.95) a future "sport" teaming human Rhapsody opens on the mysterious Merid- most twisted player wins. The story has all of Hamilton's trademarks: ion, moving two soulmates through time. The slick writing, dazzling bio-technological speculation, a flair for action pace never slackens from this first, gripping and violence, lecherous, amoral characters—and those are the . moment. We follow Rhapsody and her two Almost half of the book is dedicated to the title story, a murder unlikely companions as they dodge an ancient mystery set in a sentient space habitat that shows Hamilton at his best. evil and create a kingdom out of chaos. The question of how crime is possible in a world where almost every- Sure, there are some weak spots. Rhapsody thing is observed by an incorruptible super-intelligence is satisfyingly tends to develop handy new abilities at the drop and plausibly answered, and the quirky characters and beautifully real-

of a sword, and it wouldn't have hurt to put a bit ized setting make this novella perfect light entertainment. more exposition into the opening chapters. Leaving all the whys and The other standout pieces are "Candy Buds," a perverse fairy tale

wherefores until the latter part of the book is annoying. Nonetheless, of power, and deceptive innocence, and "Escape Route," a

the characters are solid, their interaction is well-done and the various space-set puzzle yarn that develops logically into a leap over the edge mysteries are intriguing, making Rhapsody fun and entertaining. of reality as we know it. —Penny L. Kenny —Scott W. Schumack

The Far Shore of Time by Frederik Pohl (Tor, he, 320 pp, $23.95) It's difficult to take Pohl to task for perpetuating the curse of sequehtis; his "Heechee Saga" made for excellent reading. Pohl is, after all, Pohl, and he sets out to prove the point with the concluding chapter to his "Eschaton Sequence." After the events of The Siege of Eternity, the alien Horch release a copy of the human agent Dan Dannerman that had been under study on one of their worlds. Holding Dannerman's mem- ories—including the many losses he has suffered from being involved in the war between the Horch and the Beloved Leaders—the agent strug- gles to cope with his bitterness. But circumstances soon give him an opportunity not only to attack the Beloved Leaders, but to return to Earth (accompanied by two other copies). There, Dannerman hopes to be able to save the world from alien takeover or worse: total destruction. If there must be a continuing tide of sequels within the SF world, then at least the precious time of the reader can be occupied with superior examples, such as those provided by Grandmaster Pohl. —Michael Wolff

18 STARLOG/November 1999 Ober newlyn Art: Donato Obernewtyn: Book One of Obernewtyn Chronicles by Isobelle Car- OBERfNEWTYM mody (Tor, he, 256 pp, $22.95) ISOBELLE CARMODY Is there an Australian Renaissance going on? Some interesting work has been showing up from Down Under, and Obernew- "A WILD, tyn is a welcome addition to not only Australian SF, but all SF in general. The traditional tale of the misfit heroine's—and Elspeth is a truly HIGH-TECH enjoyable heroine—coming of age and gaining control of her powers in time to thwart a world-threatening plot becomes fresh when handled by

a writer of Isobelle Carmody 's skill. She has pulled off the neat trick of RIDE!" creating a post-apocalyptic world positively dripping with atmosphere. —Brian Herbert, co-author Dune: House Atreides Though it's literally a somewhat sterile setting, Jane Eyre or Heathcliff would probably feel right at home in the Carmody's moody, foreboding locales. Hopefully, the next volume of Elspeth's adventures will soon follow. —Penny L. Kenny

On Blue's Waters by Gene Wolfe (Tor, he, 384 pp, $24.95) Reading like a memoir within a memoir, On Blue's Waters is a fascinating but complex

adventure, as deep and inscrutable as the waters upon which it unfolds. Horn, a paper miller from a town on the planet Blue, sets sail to find a spaceship that might take him back to the Whorl, a generation ship that orbits the colony world, in order to retrieve Silk, a priest and hero of Gene Wolfe's previous series The Book of the Long Sun. Horn hopes Silk can help them against the influx of terrible vampiric forces that travel to Blue from the menacing world Green. Although a wonderfully multilayered work, written with the sensitivity and detail that

makes Wolfe's books such a delight, it's not for the uninitiated. The names of people and places are confusingly similar, and Wolfe refrains from adequately explaining certain aspects of his world. He also refers to the previous Long Sun books in anecdotal ways that further complicate the read. But for those who enjoy a thoughtful character study nestled in a rich world tapestry, as well as those familiar with Wolfe's other works, the book sings. —Keith Olexa

vVK The Rainy Season by James P. Blayloek (Ace, he, 368 pp, $21.95) Blaylock is single-handedly creating his own brand of literature, something that lies halfway between horror and fantasy, and uniquely taps into the imagery of both Old and New . In 1884, a psychic preserves the spirit of his dying daughter, hoping to reincarnate her into another time. In modern times, a man who is the guardian of his dead New York Times bestselling sister's daughter now lives in the same psychic's house. He is visited by a time traveler from yet another era; all these events are connected authors, L. Ron Hubbard through a mystic well that lies on the property. (Battlefield Earth, Mission The Rainy Season is magical realism at its best: richly textured, com- Earth®) Dave Wolverton plex yet not confusing, spellbinding through its deep emotional under- and current about love and the death of a loved one. (Star Wars: The Courtship —Jean-Marc Lofjicier of Princess Leia) take you

The Black Queen by Kristine Kathryn Ruseh (Bantam, pb, 448 pp, $6.50) on the ultimate off-road Arianna holds the Black Throne, but her mind is quietly being besieged by an outside Queen adventure. If you enjoyed force threatening to possess her. Since she is the only hope of keeping her world from plunging the fast-and-fun ride of into war, Arianna struggles over whether or not to involve her brother Gift, the true heir to the Throne and a wielder of immense magical power. Back to the Future and Despite the fact that some of Rusch's "wise person" archetypes tend to sound too much like like high-tech gadgets that Yoda, the Fey Empire provides a worthwhile setting for her characters. Of special interest is Ari- anna: a ruler torn by uncertainties on one side, and by an enemy which wishes to possess her on would stump even the the other. It's good to see Rusch moving further away from TV and film property novels and Men In Black, then you must working once again in the fertile field of her own mind. read Very Stranse Trip. —Michael Wolff A

The River's Gift by Mercedes Lackey (Roc, he, 122 pp, $14.95) Wherever Books Ariella, 15-year-old daughter of a minor nobleman, has a gift for healing. In exercising it, are Sold she escapes the boredom of her father's castle, first treating the beasts of the forest and then the creatures of Faerie. Her guide to the realm is Merod, the river spirit, and $25.00 US, $33.50 Canada Kelpie, who takes the form of a magnificent black horse. Her father's death forces Ariella into Also Available in Audio a marriage with a brutish lord, and only Merod can save her, and at great cost. $25.00 US, $33.50 Canada Lackey deserves praise for resisting any temptation to expand this slight tale into a longer or call: 1-800-722-1733 novel, but she might have shown too much restraint. The best parts of The River's Gift, like the Internet: www.bridgepub.com joyous harvest or the grueling wedding preparations, are apt to leave readers wishing for Easily read in sitting, the book is a pleasant trifle that should please Lackey's fans. more. one «) 1999 BPI. Ml Rights Reserved. MISSION EARTH

Others should consider the price, and think twice. is .1 trademark owned by L. Ron Hubbard Library. —Scott W. Schumack MONONOKE HOME PAGE Find out about this successful Japanese SF DIRECTORY anime soon to debut in the U.S. Please note: Inclusion here does not indicate en- http://www.geocities.com/Tokyo/Fuji/9270/ dorsement of any club or publication by STARLOG. And STARLOG is not responsible for information and spelling errors or changes in fees. Always write first to CALLISTO: WARRIOR QUEEN any organization, including a self-addressed, stamped Find out about that sadistically good actress envelope (SASE) to confirm its continued existence.

Attention: Not listed here? It is not our oversight. Hudson Leick, who plays Xena's You haven't sent information to us. Please write to SF Callisto. Directory, STARLOG, 475 Park Avenue South, NY, NY 10016 or E-mail to communications@starlog- http://www.heidihudsonleick.com/ group.com Provide all pertinent info on club/publica- tion type, sanctioning (complete with a photocopy of LIAM NEESON RING the letter sanctioning the club's existence from the sanctioning party), mailing address, phone number A hub of sites and info on the alter-ego of (mandatory), yearly dues or subscription rates and that Jedi Knight from The Phantom membership kit. To facilitate inclusion, please provide info in the style that follows, carefully typed double- Menace. space. These will be listed free at STARLOG's dis- http://www.bomis.com/rings/ cretion. Please note: STARLOG accepts absolutely NO phone calls re: fan clubs. liamneeson/

SEVEN DAYS ON-LINE WEBLOG You don't have to go back a week to see This lists E-mail addresses and websites what happened on UPN's time-travel show; for SF, fantasy & animation creators and just look here. their creations. Website operators may add http ://www. geocities .com/ their sites to this list by sending relevant TelevisionCity/Lot/1 179/ information via E-mail only to communica- index.html tions® starloggroup .com THE OMEGA CODE SITE SLIDERS—MY PARALLEL EARTH It's the first suspense thriller of the Millen- An interesting and comprehensive site. If nium. Can you break the code? you like to slide, this is the place. http://www.theomegacode.com http://www.geocities.com/ TelevisionCity/Set/2877/ SUPERNOVA INFO PAGE sliders.html A good start for info on this upcoming space thriller. HARSH REALM SITE http://www.ravecentral.com/ Visit the site of Chris Carter's new TV show In another failed comeback attempt, e supernova.html and James D. Hudnall and Alex Paquette's Gort tries to convince producers of S comic series. Hercules that he can replace ^ INVASION EARTH PAGE http://www.harshrealm.com/ Kevin Sorbo. £ Two alien races choose Earth as their bat- tlefield, and this site follows the war. ANGEL: THE LOST END OF DAYS WEBSITE http://www.twplus.beeb.com/ VAMPIRE Something dark, demonic and terrible this html/invasion_earth/ Dedicated to the new Buffy the Vampire way comes. Slayer spin-off, this site has spoilers, pix http://www.end-of-days. LEGACY WEB and more. com/landing/index.htm A site featuring that darkly mysterious http://www.buffyunlimited. show about the paranormal, Poltergeist: com/angel/index.html BRENDAN FRASER ZONE The Legacy. If you want to know about the star of Gods http://legacyweb.com/index.html TIM BURTON'S SLEEPY HOLLOW and Monsters, The Mummy and Dudley Do- News and photos on this upcoming Gothic Right, look here! RJNGBEARER.ORG film based on the classic legend. http://www.geocities.com/ Fan site for the Lord of the Rings movie http://members.tripod.com/ / trilogy. ~VanTassell/index.html Studio/8961/bf.html http://www.ringbearer.org

CONVENTIONS FIRST CONTACT 6 club.co.uk Cleveland, OH http://www.aliensfanclub.co.uk Questions about cons listed? Please send a self-addressed, stamped envelope to the address listed for October 8-10 Vulkon Conventions the Guests: Clive Mantle, Ralph con. Do NOT call STARLOG. Note: Con guests listed may not always appear and conventions Best Western Midway See earlier address may be cancelled notice. Brown, Gary Gillies without Conventioneers: Send all pertinent info no later than four months Milwaukee, WI Guest: James Darren, Jeff prior to the event to STARLOG Con Calendar, 475 Park Avenue South, NY, NY 10016 or E-mail to First Contact Conaway, Robert Colbert [email protected]. You must provide a phone number and (if one's available) an P.O. Box 510781 CREATION E-mail address. STARLOG makes no guarantees, due to space limitations, that your con will be list- Milwaukee, WI 53202 NOVEMBER ed here. This is a free service; to ensure a fisting in STARLOG—not here, but elsewhere—contact HERCULES & (414) 527-1778 Tim Clark (212-689-2830 x215) for classified ad rates & advertise there. XENA PRAXIS E-mail: [email protected] October 17 November 5-7 http://members.aol.com/arimmr/ San Francisco, CA Holiday Inn Greentree 2133 NW 208 Terrace page/index.htm OCTOBER 1999 Pittsburgh, PA Pembroke Pines, FL 33029- October 8-10 The Praxis Foundation ORLANDO 2320 The Galleria Tower Radisson Inn ALIENS CON 1999 100 West Broadway P.O. Box 18076 AUTOGRAPH (954) 441-8735 Tampa, FL October 10 Penthouse Suite 1200 Pittsburgh, PA 15236-0076 SHOW http://www.scifinetwork.com/ P.O. Box 2076 Shepperton Moat House Glendale, CA 91210 (412) 650-8163 October 3 startrek Riverview, FL 33568 Middlesex, England (818)409-0960 http://welcome.to/Praxis Foun- Holiday Inn International Guests: Robin Curtis, Erin E-mail: Aliens Fan Club http://www.creationent.com dation Gray, Mousketeers Dorren RaggedyAnn @compuserve.com 68 Trevillis Park Guests: Richard Chevolleau, Orlando, Tracy & Lonnie Burr FL http://www.stonehill.org Liskeard, Cornwall PL14 4EQ Paula Crist, Andrew Hassfur- Vulkon VULKON Conventions Guests: Joan D. Vinge, Jen- England ther c/o Joe October 29-31 Motes NECRONOMICON nifer Roberson E-mail: simon@aliensfan- Holiday Inn Strongsville SCI-FI SENSATIONS!

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Don't want In cut magazine? write order on any plain piece ol paper fit war I a ongside Xena, Renee Otonnor rinds inner peace.

By MAUREEN McTICUE Si

ive years ago, actress always a shock. I know her so well, so I'm not Renee O'Connor began really surprised, yet in the middle of a scene, When O'Connor watches a grand adventure. It sometimes it does startle me because I sud- an episode (like "If the denly react to what she's doing and I feel took her halfway around Shoe Fits"), the story the world and into another something on another level. A gut reaction details elude her though time as she journeyed to New like that is surprising when you're trying to do she remembers filming Zealand and a never-never era of something completely different." and the feelings involved. mix-and-match Greek mythology and Roman history. he constantly makes Lucy and me

There she began playing Gabrielle, laugh. Ted's the kind of guy girls fall in g- sidekick to Xena: Warrior Princess. love with, and they don't realize ^ A cast of recurring friends and they're falling for him because he's so o foes has enlivened the syndicated affable and unassuming. He has this | fantasy series—and most of those quirky charm that breaks down all £ actors have discussed their roles in those barriers: He's the buddy, the past STARLOG interviews. Despite friend you might have around you. crucifixions, resurrections and "OK," O'Connor continues,

betrayals on screen, this "family" is "here's an example. In the episode I tight-knit. directed ["Deja Vu All Over Again"], Ask one of them about the other, Ted has to play Xena—he's Xena in a

and it's as if they're talking about past life. And we have this very simple their best friend in the world. scene, Ted as Xena having a conversa-

O'Connor is no exception. Ask her, tion with Ares. I wanted him to play it for example, about the woman war- as Lucy plays Xena, when she's quite rior Xena, Lucy Lawless. staunch, her shoulders pulled back and "One of the things that surprises standing upright. She could take Ares

me about Lucy is that she is always on in a minute, and almost torments emotionally present, whether on or and tantalizes him at the same time. I off camera," O'Connor observes. wanted Ted to play that," she laughs, "If she feels something that moves seemingly incredulous about her own her or affects her in some way, request. "And then Ted played Xena as there's no holding back an emotion- the feminine side of Ted, a bit hysteri-

al result. If something that I might cally, in a comedic way. Then, I want- say as Gabrielle affects her, and her ed him to play a nasty moment

character would cry, Lucy cries. It between Xena and Ares, just mean, doesn't matter how many times we downright hard and formidable, do the shot. She's just so in touch because Xena has that about her, when with her body and has such strong she can test Ares with her whole body. emotions. She doesn't suppress Ted is such a nice guy that it's not in anything. If she's happy, she's the loudest per- Adventures with Joxer his body to insult and rip someone apart. I just son laughing in the crowd; if something both- Then there's Ted Raimi, the mighty Joxer. couldn't get it from him, he's just a good soul. ers or frustrates her, her whole body shows According to O'Connor, "He's an underrated That, in its own way, enlightened me about how she's feeling. comedian. Ted is nothing like Joxer; he's high- Ted and his true personality. He doesn't have "Because the character of Xena is so stoic ly intelligent and more modest than Joxer, who that nastiness other people have within them."

and formidable, these moments where Lucy's thinks he's the greatest warrior in the world. When it comes to theatrical nastiness, personality comes out more and the depth of Ted does impersonations on the set of different there's Ares, . "He's the true pro- her feeling penetrates her characters are actors he has worked with. He's an entertainer, fessional," O'Connor says. "Kevin walks on —

the set, knows his lines inside and out, doesn't even pick up the script. He has such a charis- matic quality that you want to see more of him on screen. He's an attractive man with a per-

sonality, yet so humble and so modest, that it's hard to believe he's so formidable-looking and strong. And he has an incredible sense of humor. I've seen Kevin as part of an improvi- sational group called Theater Sport in Auck- land, and he's very quick-witted and imaginative in his improv on stage. "I'm used to working with him as an actor,

so it was completely different trying to direct him. I was a bit nervous actually directing Kevin," she confesses, "because how do you direct someone who you think makes all the right choices already? Lucy is like that as well. You just stay back and let them do their thing and try not to mess up something that isn't bro-

ken. It was a real pleasure. Unfortunately, I didn't get to film my episode's fight scenes

because I was so far behind schedule. I had to send that to our second unit director Paul Of the very popular Xena That wasn't Grinden, and he worked with Kevin and Ted on musical episode, "The Bitter O'Connor the fight sequences. That was a big disappoint- Suite," O'Connor reveals, actually singing

ment for me, because I really wanted to work "No, I wasn't singing. in the acclaimed musical a with Kevin more than I had the opportunity to Everyone knew, from my dventure do. But that's the way it goes." popping a tune now and "The Bitter then, that I couldn't carry a Suite." She Songs of Cabrielle note. It doesn't stop me from admits, "I After four seasons, the sheer number of singing, though. Right now, couldn't episodes has proved a bit of a blur for O'Con- Lucy and I are working on a carry a note." nor. While the story details sometimes elude medley of '80s love songs

her, it's the other things that go into making a for a friend's wedding. show that she recalls. "Many times I do We're really not going to

remember what I wanted to do in the episode," perform it at all, but we're

she explains, "what results I wanted for the trying to tease and torture characters, like wanting to have Gabrielle learn her because I'm the one something at one moment. I remember what who's harmonizing—more direction I played her. I can recall those like shrieking—with Lucy. specifics and that's about all. " 'The Bitter Suite' was a "That's what happens to me. When I watch huge challenge. For one

an episode, I remember when we shot it, most- ly who was there that day, what the environ- It's a mother and child reunion

ment was like, what problems I had, what when Hope (also O'Connor) embraces her Destroyer son in elements I had to deal with on the set that "A Family Affair." caused those problems. That's what I remem-

ber even more than the script. I know that many actors can remember their lines, but we just go through these episodes so quickly that I gen- uinely leave with a sense of feeling, rather than specifics." Yet certain episodes invoke real memories. About "For Those of You Just Joining Us" (a Hercules clip show lampooning the show's staff), O'Connor says, "We had a ball! Any time you have the permission to play a differ- ent character in a farcical way, you have the utmost delight in being present on set. I found the script quite a gift because it had a wry sense of humor on top of the blatantly satirical more like farcical—set-up, farcical in being just slapstick, physical comedy. So, I had a great time. It was quite hilarious to see Michael Hurst play that sleazy character, Paul Robert

Coyle, who's nothing like that [in real life], thing, a person who doesn't sing at all, me, was ings of the songs Gabrielle sings with Xena going one step further into creating this seedy going to be cast in a couple of duets with Lucy. about their hearts hurting. She just nailed the stereotype of a lazy writer. He just did so many They cast another woman as Gabrielle's voice. subtext of what's going on between the two awful, hilarious things that I don't think you I had seen her in a couple of shows and it was characters, as well as the singing. So, what's even see on the show. I was constantly laugh- a thrill that she was going to be the angelic not to like?" ing at Michael." voice of Gabrielle. So, I listened to her record-

WAKLQG/Novemher I'm 27 Tales of xena Though O'Connor insists she doesn't remember much about most of the episodes,

one in particular stands out, " 'The Quill Is Mightier Than the Sword' is one of my favorite all-time episodes. That's one that I can still watch and laugh out loud remembering the days

we were filming. I remember laughing every day. I was completely amazed by the three naked Gabrielles running around the set that were supposed to look like me. Ted

and I just had the most fun in the tav-

ern scene when the beer is coming from the ceiling, because the stunt team went berserk for some reason," she laughs. "The stunt people went into this brawl, this mad event, and Ted and I couldn't keep straight faces. We had to start watching these brawling men and women and then turn toward the camera to say

our lines, and it was all we could do to get the words out without

shaking. Also, I remember being mortified by having to get up on

the stage in my little knickers and bra and having to dance as a sexy Gabrielle for Joxer's

morbid dream. So, I remem- ber real specifics about how I felt." amusing to play Hope, a Gabrielle wannabe. She wishes she Other shows prompt rec- had the heart and soul of Gabrielle, but she doesn't. She so ollections. "In 'The Return wants to be like her mother, but she can't because she's a of Callisto,' the one moment different creature underneath all that golden hair. I always that stands out the most in thought Hope was a bit of a robot, because she has no soul.

my mind is Lucy and I in "There's only one scene in that episode when I have to front of the funeral pyre go back and forth between the two characters. I've only had

for Perdicus," O'Connor two scenes when I had to do that. The first scene was easier says. "We were out on because Hope was dressed in a different costume and I just top of the hill at the locked onto the character. I also understood the dialogue beautiful black sand more than I did the second time around on 'Family Affair,' beach. I was remembering, where Hope wasn't threatening Gabrielle but wasn't yearn- as we were ing for her love, either. It was Hope being vindictive. That filming the scene was very difficult for me—for some reason I just did funeral scene, not quite click." being there in The prison episode "Locked Up and Tied Down" elicits that exact spot a more physical response from O'Connor. "We were filming

almost three years during winter in New Zealand. It was raining, and I remem- before when I was ber the women playing the prison extras were wearing these filming the Hercules TV sandals and flimsy outfits," she says. "And these poor movie and had just found out a dear friend of mine women were just shaking, they were so cold. We had one

had died. It was just a bizarre twist of fate that I woman leave because she was getting hypothermia. would be back in New Zealand at that location film- "It was freezing, and Lucy was out there rolling around

ing a funeral pyre for another dear friend. It was quite in the mud in as little as everyone else. I felt very sorry for ironic. them at that moment because I actually had to wear a differ- "I didn't get to see the actual filming of Lucy and ent costume, so I was probably warmer than I usually am Hudson [Leick] in the chariot races or when Hudson during the winter months. That was a brutal episode, was drowning in the quicksand. So, watching that because the elements of nature were against us. I enjoyed

episode, I was mesmerized by those shots. They were so playing against Katrina Browne [as Thelassa]. I found her dynamic and epic-looking. T.J. Scott directed that show, refreshing to work off of—not as if Lucy's chopped liver or and he has become one of my mentors as a director; I just anything," she laughs. "It's always nice to have a guest love his style." actress come on board. They add a new element to the O'Connor goes on to discuss other episodes. "I was show." completely frustrated trying to believably sell the fact that With the series' fifth season now underway, O'Connor is Gabrielle lived through a lava pit in 'Family Affair.' I had ready for new adventures—provided that Gabrielle and to suspend my disbelief and take a leap of faith that Xena somehow escape their fourth-season finale fate. That Gabrielle did survive," she explains. "It's always quite cliffhanger found them both hanging on crosses in the snow, crucified by the Romans. How are they going to get out of "The Ides of March" proved pivotal as the that? peaceful Gabrielle takes a last stab at the Renee O'Connor isn't telling. way of the warrior. STAR WARS: STAR WARS: EPISODE I THE PHANTOM THE PHANTOM MENACE #1 MENACE DYNAMIC FORCES QUEEN AM IDALA #1 DYNAMIC EXCLUSIVE HARD-TO-GET FORCES EXCLUSIVE HOLOFOIL QUI-GON JINN HOLOFOIL COVERI COVERI $10.00 Unsigned $10.00 Unsigned $19.!95 Signed by $29.95 Signed by Robert P. Craig Russell Teranishi and Chris Chuckry Limi'ited Edition Limited Edition

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( M M

Animal tamer Jeffrey

oversees a wilcl kir^, By KIM HOWARD JOHNSON of TV adventure.

f the legendary BeastMaster has Animal Magnetism ly created a bible that takes into consideration a master, that man is Jeffrey The BeastMaster TV series relates the story Dar's traveling partner Tao, a rather unique Jffpp-Hayes. With nearly two dozen years of Dar (Daniel Goddard), a mighty warrior and character who has a strong mental attitude but of television production under his the last surviving man of the Sula tribe, who doesn't have the physicality of our hero." belt, including Time Trax, exec- has the ability to talk telepathically to the ani- The show's overall feel, according to the

utive producer Hayes is now mals. Dar searches for his long-lost love Kyra executive producer, is a bit more serious than overseeing the new Lost World and BeastMas- (Natalie Mendoza), who has been enslaved by others in the action-adventure genre. "On a ter syndicated programs (both debuting this the brutal Terron warriors who destroyed their textural level and in terms of production month). people. He must wander through the lush, design, locations and the way that we've gone

Like the three films starring Marc Singer untamed Mydlands, which teems with about creating these other worlds, it's a sophis- (which spelled it The Beastmaster), the new demons, spirits and various tribes, as well as ticated show," says Hayes. "In many ways, BeastMaster is derived from the classic novel two other mythic realms: the ominous Territo- we're dealing in a Tolkien-esque [theme], with by Andre Norton (known as The Beast Mas- ries and the magical Downs. mythic-type creatures that are not necessarily ter). BeastMaster follows the adventures of a "Dar travels between different worlds and treated in the tongue-in-cheek way that Her-

man who can communicate with the animals comes across different civilizations," says cules does. We're doing it in a more reality- through a fantastic, mythological universe. Hayes' opportunity to produce this series arose when he and partner Greg Coote were talking ^BeastMaster is his with friends at Alliance Atlantis. "They asked if we would be interested in doing BeastMaster in animal? Australia unique down with them," says Hayes. own

"That's how it started." Hayes. "At the heart of the show is a hero who, based way, and that creates a more Thus, BeastMaster is a co-production through his communication with animals, is sophisticated show." between Coote/Hayes Productions and able to help people. He basically goes to these Goddard, an Australian actor known for his Alliance Atlantis. Like Earth: Final Conflict, worlds, enduring trials and tribulations, and role on the Home and Away, was it's distributed by Tribune Entertainment. ends up dispensing justice and taking care of apparently the ideal choice for Dar. "The way

The idea of a BeastMaster series appealed people along the way." Daniel carries himself, his stature, is the epito- to him for two reasons. "I've been shooting in Though the BeastMaster series is based on me of a heroic-looking character—not to men- Australia for over 10 years now," Hayes says. the Norton book (and not the movies), the tion the fact that the BeastMaster is his own "One of the things we do very well down there series definitely expands on the story. The unique animal," notes the producer. "Daniel is create other worlds. BeastMaster is the type weekly adventure also features such regulars just had that handsome, heroic look. He simply of show that needed that kind of world, some- as Kyra and the highly-intelhgent but clumsy looks the part, and that had an awful lot to do thing unique-looking that people can be trans- Tao (Jackson Raine). Others include the pow- with his consideration for the role. ported to that wasn't in the Hercules genre. I erful Sorceress (Monika Schnarre), King Zad "On top of that, we needed somebody who knew that we could accomplish that, and so (Steven Grimes), the merciless ruler of the was appealing, who could act and who was that was the first thing that appealed to me. treacherous Terrons and the Ancient One (Gra- accessible. We were very lucky to find Daniel. Secondarily, the material that [writer/executive hame Bond), a powerful supernatural entity. He has real star quality—that charisma that producer] Steve Feke had developed was "It's really based on the bible material that comes off the screen and makes for TV stars. unusual and very heroic. It just felt like it had Steve Feke has created," says Hayes. "He used That's important in this medium." all the elements." the book as a jumping-off point. Steve has real- Hayes really can't compare Goddard's per-

STARLQG/November 1999 thetics and CGI in order to build more | sophisticated creatures. CGI can look car- \ toony, and we don't want that for our <

show. We want people to feel as if they've «

been transported to another world, where s

everything is real if mythical." | In addition to the visual FX, Beast- i Master will also be loaded with action and «

stunts. 'There's a band of very evil men I

called Terrons who are responsible for the s slaughter of Dar's tribe," says Hayes. £

"They're horrible people who wear bone S

armor. There are all sorts of battles j between these warriors and Dar, lots of |

action and highly choreographed fights \

and martial arts-type sequences. Dar has ;

watched the snake, the eagle and the tiger, t and he has designed his own unique fight- P

ing style from the way those animals ] fight." \ Filming in Queensland, Australia 1 formance with that of Singer, the movie Beast- eagles and our ferrets," says Hayes. "We've offers plenty of advantages for a series such as < master. "They're two different people, with had all sorts of other animals like cougars, and BeastMaster, with different forests, the ocean similar strength and presence," says the pro- so it gets pretty wild, because animals are ani- and other landscapes all in close proximity. ducer. "They each brought different things to mals. It makes for interesting shooting." "That's one of the strong points of being down the characters." Despite the show business warnings about there. There are extremely varied looks. We Of course, another plus for Goddard's nab- working with animals, the executive producer can get big rainforest jungles, savannas, blue- bing the TV gig was his willingness to work says that they're worth the extra trouble. "It's water oceans, skies, lakes, waterfalls—all that with non-human co-stars—namely a tiger, an one of the elements that makes the show differ- stuff, and that helps a lot in the way that we eagle and a pair of ferrets—along with a vari- ent. It is a little nerve-wracking at times when create our worlds. We get the kind of big pro- ety of animal guests. When he got the part, in wild animals are on the set, and when I say duction value that you don't normally see on fact, Goddard had to not only train in martial wild animals, obviously they are trained to television," adds the producer. "We're also

arts, but also with a plethora of beasts, includ- some degree." doing The Lost World down there as well." ing poisonous snakes. "We set him up for train- Hayes is thankful, in fact, that there haven't The success of Hercules and Xena opened ing well ahead of the shoot with the tiger, the been any memorable on-set incidents with his the doors for numerous, similar syndicated wild cast. "The most interesting thing so adventures, but BeastMaster, according to

Leapin' lizards! Veronica (Jennifer far involved our tiger, Ruh, who is actu- Hayes, is a different kind of animal. "I certain- O'Dell) a Lost World lizard confronts ally named Sasha," he relates. "I was sit- ly think the material [sets it apart]. The scripts man in the episode "More Than ting in the production office when the are very well-written," he maintains. "Steve Human." trainer walked the tiger through the has a strong vision for the show, and every- office a few times and around the studio. thing begins with the script—an old saying, but nHj He was taking Sasha for his afternoon absolutely true. The storytelling is very strong, SI walk. As well-trained as Sasha is, and and people will recognize that and be taken

I has been for years and years, it's still along by it. This is not simplistic storytelling.

very hard to get used to, 'Oh, yeah, It's sophisticated with a lot of depth to it, a lot " there's a tiger over there.' of layers. We are creating stories that have ele- ments that travel through the arc of our 22 Beastly Burden episodes. In addition to this extensive "I've been involved in many shows over the menagerie, BeastMaster also includes years, and to me, BeastMaster has all the ear- plenty of other special FX. "We're doing marks of being a hit, because of Daniel and the a lot of prosthetic work," says Hayes. storytelling. You've got to have that personali- "We have a show coming up, ty to put in your scripts and on TV, in that we have ogres and spider-witches. We've close-up medium, so that the audience is going done bird-men the size of humans who to invite you back every week. I think we've digest people by wrapping their wings got that in him." around them. We have a sorceress in the The executive producer is also overseeing show who's very enamored by Dar's The Lost World, a new adventure series based ability to communicate with the animals, on the Sir Arthur Conan Doyle story. It was and so she's after him to give her his first adapted as a 1925 silent film (which Doyle . When he doesn't, she creates himself reportedly showed to a meeting of problems for him, so there's that mysti- New York magicians, attended by Harry Hou- cal, magical element involved in the dini and Walter B. Gibson, creator of the Shad- show. We're employing a broad range of ow). Later versions include a 1960 Irwin Allen visual effects that include prosthetics as remake with Claude Rains in the Professor part of the blue screen work. Challenger role, a 1992 film with John Rhys- "Blue screen nowadays is a very Davies as Challenger and a 1998 Canadian- common process, and we're using CGI, made feature with Patrick Bergin as the but we are not creating full monsters on professor. computer," says Hayes. "It's a combina- Hayes explains that the Lost World series tion of elements—real elements, pros- came about in conjunction with Telescene and

32 STARLOG/November 1999 Hayes believes Time Trax, on which he : John Landis' St. Clair Entertainment, as well teamed with veteran producer Harve Bennett, 2 as DirecTV for the action-adventure network. : truly ahead i

5 "Lost World was one of the early projects that they wanted to in Australia," j do says Hayes. = "We made the two-hour movie and it went on DirecTV. j Using that as a selling tool, we got it

> into the syndicated marketplace."

: Like Star Trek: Voyager, Sliders and Other- world, Lost World involves a core group of

> characters, all lost and trying to find their way

j back home through strange places, although ' Lost World is obviously set on our own non-

5 cosmic, non-parallel world: Earth. "They're in

: the Lost World as they search for a way out, and they encounter all sorts of strange people and civilizations," Hayes explains. "In that way, each hour episode is its own self-contained adventure. We've had Mad Atoc-type slavers and Jules Verne-type stories, and there are ape-

men and dinosaurs. There are all sorts of crazy things that they run into, because in a way, The Lost World becomes a canvas that you can paint anything on." And what of the lesser-known Chal- lenger story, The Poison Belt! "Somebody gration, probably more easily than when mentioned that to me, and we're all very there was a balance of power. Look at interested," he says. "The Challenger char- India and Pakistan—there's a chance of acter is great. I'm excited to be doing The a nuclear war there that could spread to Lost World because it's so much fun. The China and the U.S.—who knows?" other book sounds fascinating, but I just Hayes produced the 1997 ABC mini- haven't had a chance to get it because I've series version of Verne's 20,000 Leagues been so busy. It could end up potentially Under the Sea, featuring Michael Caine being material for further adventures. But as Captain Nemo. Although he was that's down the line." "thrilled" with the results, Hayes was 1 Hayes also produced a Dr. Jekyll and disappointed by its sinking ratings. "It Mr. Hyde TV movie with Telescene, though suffered because CBS had the Robert it differs considerably from the version [a TV movie with Ben Louis Stevenson story (also endlessly Cross as Nemo] on a few months ahead remade in film, and musical variations). TV of it," says Hayes. "Michael was a great "It was for DirecTV," made he says. "We Captain Nemo, and I thought our pro- cast Baldwin in that, Adam and shot eight duction designer did a fabulous job cre- days in Hong Kong, with the balance of the ating the Nautilus and that whole shoot in Australia. It written was by Peter underwater world. It was a very hard [Demolition Man] Lenkov, and he's a Hong shoot, but it was satisfying to watch in Kong movie buff. He wrote a fantastic the end. I was thrilled to do it, mainly script which had parallels to the original Dr. because as a kid, the Disney picture Jekyll and Mr. Hyde, but creates a character [with James Mason as Nemo] was one who's trained in all the medicines of the of my all-time favorites." ancient Chinese, and uses them to enhance Likewise, Hayes was happy with his abilities in terms of strength and vision. Time Trax. Although that series ended He's trained by a Tao master. It's all based sooner than he had hoped, he has some on a legend that says in Hong Kong, every pleasant memories. "It was great work- 100 years, the tiger is born to protect the world forced to omit a great deal of material fro with Harve Bennett and Dale Midkiff," from the evil dragon. It's a unique concept." Nevil Shute novel, but that won't be a problem says Hayes. "The series concept itself was very The two-hour movie serves as a for a with the mini-series, which Hayes calls "a con- good—after it went off, ABC had a similar possible series. "It's contemporary, and from temporized version of the novel." Russell {The series, Timecop. But conceptually, Time Trax that point on, the Jekyll-Hyde analogy is really Shadow) Mulcahy is directing. was a very strong show. I enjoyed Selma, the in terms of him using these potions derived The continuing threat of nuclear terrorism character who he carried around in his credit from the Chinese medicines to enhance his makes the story even more relevant for today's card, I thought Elizabeth Alexander was a lot abilities to fight the bad guys," says. Hayes audiences. "There are more bad guys today, of fun [as Selma]. Unfortunately, it only ran "The dragon is out there, and he's evil, he's the really, than there were 20 years ago," Hayes two years. It would have been nice to have seen dark side. Our guy is the tiger, the good guy, remarks. "Twenty years ago, it was the Rus- it go four. Overall, we had fun making it." whose destiny it is to fight this battle." sians, the Chinese and the Americans, and But for now, the master of the BeastMaster there was a balance of power. The scary thing is consumed with thoughts of his current Sea Beast today is Pakistan, India, and Iraq. It's a series. BeastMaster and The Lost World Meanwhile, Hayes is also preparing a four- scarier world, because there are more of them promise to do what Jeffrey Hayes' projects hour cable mini-series remake of On the [with nuclear weapons] and they're smaller. often do—carry the viewer into another ( Beach, the story of Australians waiting for the Take a look at the Russian Mafia trying to sell I strange, mystical place. "If audiences want to effects of a nuclear war that has already plutonium to the Iranians. Think about the I be transported for an hour into another destroyed the rest of the world. He notes that imbalance of power in the world today; there S world—and believe it," he says, "they should Stanley Kramer's 1959 two-hour film was are many candidates that could cause a confla- I watch these shows."

STAKLOG/November 1999 33 TEN* WM/ iWTMK

CMssRWMfc OF RosfYOL

f there are two areas in which It's about two characters David Nutter has become something who very much want to

of an expert, it's aliens and young be together but can't, people. The acclaimed director has and some of those rea- worked with one or the other on 21 sons will come out on

Jump Street, The X-Files, Space : the series. It's also a Executive producer David Above and Beyond and the show that really bridges Nutter claims Roswelfs "a 1998 teen Disturb- generation gaps. If love story," but alien Max (Behr) and human Liz ing Behavior. you're 16 years old or (Appleby) discover that their And with his latest project, the WB's new 60, everybody wants to romance isn't in the stars. series Roswell (Wednesdays, 9 p.m., debuting feel something and be in

October 6), Nutter is combining several years love. I'm very proud that of alien encounter experience with a forte for this was the highest testing pilot in the history searched for a main title theme, not to mention working with up-and-coming actors in a tale of of 20th Century Fox dramatic television. It's getting on the set with the directors so I could extraterrestrial teens trying to pass themselves also a show whose highest testing audience give them as much support as possible. Basi- off as human. "I've said this before," jokes was in the 25 to 34 year range. cally, I deal with just about every aspect of this Nutter, "that Disturbing Behavior was about 'To me, the most important selling point of project." teenagers being the aliens among us, and now Roswell was that the audience has to believe in Nutter initially got involved with Roswell look what has happened!" the characters they're watching. But when you thanks to a television development deal he have these test audiences and screenings, you signed with 20th Century Fox. "They started Alien Teens realize that about 40 or even 50 percent of the proposing script ideas for pilots, and this was Roswell's story begins with an alien ship people don't know about Roswell [the 1947 one that was sent to me," he notes. "It was crash-landing in 1947. Its passengers are incident]. So you can't take that as a given," he taken from a teen novel series from Simon & apparently killed, except for three children in adds. "You have to create this world that's at Schuster, Roswell High. I read the book and suspended animation who were eventually least real to them." then met with the writer, Jason Katims, and he freed. Cut to the present, where the now- Nutter is finding that his role as executive and I really hit it off, so he went off and wrote teenage aliens (played by Jason Behr, Bride of producer on the series certainly expands on his the first draft. We then got together and started Chucky's Katherine Heigl and Brendan Fehr) responsibilities from that of director. "I guess making adjustments—I think we made a really concerned." endeavor to fit in to society by posing as the way it works is that I get my finger in just good team as far as the pilot was humans. Their secret is revealed, however, about every pie of the project," he says. "In Strangely enough, Roswell was originally when one of them uses his healing abilities to other words, I make sure the wardrobe is con- developed for another network before eventu- save a classmate (The Thirteenth Floor's Shiri tinuous with the pilot, make sure that we can ally finding its way to the WB, which was Appleby) from a fatal gunshot wound. Enter actually shoot the locations and sets we're try- enthusiastic enough about the project to order a the authorities, led by Sheriff Valenti (William ing to make work and help the directors in that full 22-episode season. "Fox TV was going to Sadler), who are out to discover what's really capacity as much as I can. I make sure that the do it for the Fox Network," says Nutter, "but going on in Roswell. scripts are good and spend time with the writ- they weren't quite sure where they wanted to According to Nutter, who directed the pilot ers talking over things—I'll sit down with take the show, whether mid-season or whatev- situation episode and is now acting as executive produc- them on a sequence and be a devil's advocate: er. Fox Network was also in a where adjustments to the er, the series' most compelling aspects have 'What if we tried this, what if we tried that?' So it could have had us making nothing to do with SF or aliens. "Most impor- there are many different parts to this job. show that really wouldn't have fit properly,

tantly, it's a love story," he explains, "and like "I also spend time with the composers, get- because they're so used to the Beverly Hills Romeo and Juliet or even Beauty and the Beast ting the series off the ground musically. I 90210 and Melrose Place tone and sensibility, that all." in some respects, it's a fairly forbidden love. talked to people about the main titles and and our show really wasn't at

Developing and directing the Roswell pilot , that's where the hub of the talent someone with a lot of beauty and stature," Nut- was a major boon for Nutter, who had been is.' So we went up to Vancouver, and brought ter adds, "as well as someone with depth, heart badly burned on Behavior and was anxious to Brendan Fehr down to test in LA." and soul beneath the hair and body. She had to find more rewarding work. "It was originally be someone much more there than you would going to be a mid-season show, a summer start- Disturbed invaders expect, and Katie will be able to show that up," he says, "but we wanted to make the script The biggest challenge was casting the right more and more as the series goes on." better and better. We were going to shoot the talent to play the three alien teens. The roles The role of Liz, a Roswell High student pilot in December, but ended up shooting it in ultimately went to Behr, who plays Max whose life changes dramatically after she's January. That gave us more time to finish the Evans, Heigl as his sister Isobel and Fehr as saved by Max, proved to be more difficult to project and make it as good as it could be, as Michael. "First, let me say that Jason is one of cast. A.J. Buckley, who had worked with Nut- ter on Disturbing Behavior, came in to Roswell to audition for the role of the sheriff's son Kyle, and suggested they look at Appleby. "A.J. had worked with her on a low-budget fea- ture, and said, 'Why don't you see this girl? She's quite good!' We were at the stage where we were trying to find the right Liz, so I said

sure, and bang, that was it." Heading up the show's adult cast is veteran character actor Sadler as Sheriff Valenti. Sadler

is familiar to readers for such diverse roles as Death in Bill & Ted's Bogus Journey, Newber- ry in Disturbing Behavior, the villain of 2 and Section 31's Sloan on DS9. In Roswell, he is a man obsessed with discovering the truth about the trio of teens, and how they're connected to a mysterious murder years earlier. While Sadler will be appearing in sev-

eral first season episodes, Nutter says the sher-

iff definitely won't be a one-note "Curses, foiled again!" antagonist.

"Jason and I both felt his character couldn 't be a black hat, because that gets very old," he notes. "Many TV shows will create characters where you get a sense of who they are, but they're just the bad guy out to find you and you well as giving us a chance to get many of the the most naturally gifted actors I've ever don't know why because there's no tone or good young actors before the pilot season had worked with," Nutter remarks. "We talked a lot dimension there. One of the scenes in the pilot really started. about this character during the show's early that I'm really happy with is when Sadler talks

"The greatest thing for me is that I really stages. Even in the audition process we talked to this agent and explains why he's so hell-bent got to exorcise my ghosts from Disturbing about him, and he totally got the guy. He on finding out who these kids are. You get a Behavior. Everything I had wanted to do with understood Max's humility, he understood that sense of his passion. He's not a bad guy, he's

it, that they [MGM/UA] weren't interested in that was Max's strength. There's also a won- just a guy who wants to find out the truth and and cut out of the movie, Fox wanted to do on derful calmness, maturity and wisdom about what's happening." this smarter show. Fox wanted a series with the guy that I thought was very important. All With his actors in place, Nutter now had to broad-based appeal which had respect not only three of the aliens needed to [convey a sense create the world in which they lived. Working "You have to treat this whole UFO and alien thine as hov ve treat it in our real lives."

for the teenage audience but also the SF audi- of] wisdom that was something other than with production designer Vincent Jefferds and

ence. It was unbelievable how supportive they what you would expect from a young person, award-winning director of photography John

were in making it as good a show as it could and he was perfect at that. S. (X-Files) Bartley, Nutter tried to create a be." "Brendan Fehr has such charisma and such Roswell that was a bit more colorful than its Because Nutter was able to cast Roswell natural ability. He hasn't been doing this for a real-life geographical counterpart. "After the before Hollywood's pilot season began, he had very long time at all, but he has wonderful pilot and the show got picked up," he says, a much larger pool of talent from which to instincts. He's from Vancouver, and looks a lit- "Vincent and I went out there to check it out, to draw. He also auditioned a number of young tle like David Duchovny, so that can't hurt, see what we were trying to [replicate]. And for actors he had worked with on other projects, especially when you're talking about aliens. It everything you hear about it, Roswell is not a from Millennium to Disturbing Behavior. "It was funny, because we checked these people happening town. In many respects, you have to was important for me to cast not only young out [in casting] and of course they were all build this mystical place and all the mythology people who were good," he admits, "but also handsome, and we said, 'You know, they look so that Roswell can actually live up to it. We adults who were good and not two-dimension- kind of alien-ish!' They were all cookie-cutter, had to make our Roswell a Southwestern/New al stick figures, which often happens in these and I thought it was very important for us to Mexico/desert place—you still have to have kind of teen dramas. When we started casting find characters that were individuals. That's those sensibilities—but not make it as deso- the show, everyone kept saying, 'OK, we'll how I always feel: they have to have that indi- late." cast in and then go to New York,' vidual quality about them to actually stand out. That meant creating fictional locations,

and I said, 'Wait a second. We've got to stop in "Katie Heigl's character really needed to be such as Roswell's UFO-themed diner, which "

id/Cbpyrigtit:i998 MG

serves "Will Smith burgers" and "blood of "I think that was impor- alien smoothies," or the town's annual Crash tant," Nutter says, "because

Festival celebrating the original 1947 incident, this isn't a Felicity; it's not a complete with exploding spaceship and burn- simple show to do. Roswell is ing aliens. The festival not only provides some a series that has a lot of emo-

of the pilot's comic bits, but is at the heart of its tion, but also a lot of activity, most poignant moment. so the director must be very "That's important, because you have to proficient with respect to his treat this whole UFO and alien thing as how we camerawork as well as the

treat it in our real lives. It's a cash cow for performances and emotional

many people," says Nutter. "For others, it's a stuff. It's a good balance, and

goof or a joke, and you have to make that as it's important to find directors

believable as possible. I think the moment I'm who have been out and done quite proud of is at the pilot's end, after different things." [one of the show's executive Nutter does plan on return- producers, cameoing as himself] does the ing to the director's chair from countdown, and the ship crashes and these time to time, and has just fin- Feeling alienated aliens are burning. Everyone's laughing about ished shooting the season's by the fate of Disturbing it and cheering, but not the alien teens. You get first regular episode. "It's Behavior (pictured) a chance to see how those three really feel about them trying to get back didn't keep Nutter about it." to normal, and realizing that it from pursuing his will never be normal again. Roswell vision. Roswell Highs Max at least is trying to do "I'm just going to

Looking back, Nutter believes that the that, but Michael has this do it as well as I Roswell pilot represents the best of everything incredible information about can," he says. he has learned working in film and television. the 1959 photo. He's now pas- "After Disturbing Behavior and the pummel- sionate about trying to find out

ing I received creatively and emotionally, I did what happened, with this

not know if I had it in me to do it again, but I death of someone with the sil- just jumped back in and said, "This is what I ver handprint. So he goes off

love to do so much, so I'm just going to do it as and makes an attempt to find

well as I can.' I did that, and it wasn't that hard the truth." to get to this point in the show, because I've As David Nutter prepares surrounded myself with such wonderful, tal- for the debut of Roswell, he ented people like John Bartley, Jason and so hopes viewers from every forth. That made it very manageable to do. walk of life will find some- "I also spent time with a wonderful editor thing of interest. He's also not named Stephen Mark, who cut the Millennium bothered by early suggestions pilot for me and some of the best X-Files that I that the series is "The X-Files directed. I always say a director is an artist with with teenagers," or "Daw- no hands and no eyes, so these people definite- son's Creek with aliens." ly helped me in all of those areas. Roswell "They do that about every- came out being something that's the closest thing, don't they?" he reflects thing to who I am as a person. without a trace of annoyance. "When I got on The X-Files, I was so fortu- "That's something you can't nate to get those early scripts from Glen Mor- do anything about. You go gan and Jim Wong—episodes like Tee' and, with whatever they say the more importantly, 'Beyond the Sea,' that start- show is, and when they final- ed to expand on 's emotional ly do see it, they'll get their status as well as David's. It was nice to give own impression. The X-Files a little bit of heart and soul. The "I have to say, if anyone audience really grabbed onto it and got so told me that this was a show attached to the show from that point on. about teenagers who are actu- "Those early shows built an extremely dili- ally aliens from Roswell, gent and extensive fan base," Nutter adds, "and New Mexico, I would - after I had worked with Chris [Carter], I used le, and many people do. At what I learned on Roswell. He knew how not to first, they say, 'Oh yeah, I'm push it too far and how far to go, the difference sure that's a real good show.' between drama and melodrama and powerful Once they see Roswell, and small." though, they tell me, 'Man, I With the pilot finished and production was impressed with the underway on the series, Nutter has turned his restraints you guys took in attention to the myriad duties of executive pro- turning that idea into a show. ducer, which includes booking directors for the It works really well.' That's season, including Cliff Bole, David Semel, what I'm most proud of. Peo- Tucker Gates, Chris Long and possibly even ple see the logline and what

Frakes. Most of the directors come to the table the story and concept is, and with a varied list of credits that are not limited then they see the show and to the burgeoning crop of teen dramas fast tak- say, 'This is so much better ing over the fall schedule. than we expected!'

interesting stories," Carter less," Carter explains. "He has some old-fash- says. "It's a big departure ioned values. He'll always justice despite from the comic book idea. any kind of personal sacrifice. He speaks the

We've changed everything. truth. He is a man of his word. He's an honor- The comic book does have a able person.

VR component. But beyond "Pinocchio is that same man, but he has lost that, we really haven't saved his innocence [through his exposure to] the much. Hudnall won't be Harsh Realm. His instincts are heroic, but he involved." knows that to stay alive in Harsh Realm you cannot behave heroically. So, he believes in the War Games mythology that surrounds Hobbes and he The hour-long pilot intro- becomes a reluctant friend for Hobbes, having duces audiences to Lt. to rescue him from certain situations that Thomas Hobbes (Scott Hobbes' heroic impulses put them in. So,

Bairstow), a veteran of the Pinocchio is a strong man. Some might even

bloody warfare in Sarajevo say that he is a stronger man, in a way, than who's about to exit the mili- Hobbes, but he has lost his way in terms of his

tary and marry his fiance, personal character. Santiago is the most dan- Sophie (). gerous kind of madman, in that he absolutely

Right before his long- believes in his philosophy, which is something

By IAN SPELLING planned return to civil- ian life, a general wo years ago, X-Files pro- (Millennium star Lance ducer Henriksen in a pivotal stepped into Chris Carter's cameo) implores office and handed him a Hobbes to help test the

comic book about a P.I. latest tool in military operating in a VR land- combat training: Harsh scape entitled Harsh Realm. Realm, a top-secret, "This is an interesting idea," Sack- sophisticated computer heim announced to his boss. "It simulation program would be great for a televi- (narrated by Gillian sion series." Anderson) that hurls Carter appreciated the Hobbes into a gloomy, comic book's title and liked the virtual reality fractious and godless notion in James Hudnall's colorful creation, world ruled with an iron but the mastermind behind Ten Thirteen Pro- grip by one Omar Santi- ductions couldn't quite wrap his brain around a ago (Terry O'Quinn), way to pull off Harsh Realm as a weekly show. whom the general Then there was the little matter of his other tellingly identifies as projects. Carter at the time was swamped with the simulation's man to his responsibilities on The X-Files and Millen- beat. we've seen across history with Peter the Great, nium, as well as the X-Files film. Hobbes soon allies with Mike Pinocchio the Sun King, Adolf Hitler and Benito Mus- Virtually anything can work out, however. (D.B. Sweeney), a wary, virtual loner who solini. He is one of these people who is bent on

Cut to October 1999, and welcome to Harsh knows the Harsh Realm Universe as well as controlling the world and fashioning it in his Realm, the eagerly anticipated Fox show pro- anybody and considers Hobbes the savior so own image." duced by Carter, X-Files veteran Frank Spot- often whispered about and so desperately Interestingly, Carter did not write his char- nitz, Tony (From the Earth to the Moon) To needed. Together, they encounter VR versions acters with specific actors in mind, though and, of course, Sackheim. "It took a couple of of several familiar faces, including Sophie, as some of the usual suspects came to the fore- years of me working, thinking and having it in Hobbes deals with the dual realizations that he front after he completed a draft of the teleplay. the back of my mind before I realized what I could be in Harsh Realm indefinitely, and that O'Quinn has been something of a lucky rab- liked about the concept and how it might work life in the real world will go on without him. bit's foot for Carter, appearing in The X-Files, as a series, as the engine to generate many "Hobbes is a traditional hero in that he's self- co-starring in Millennium as the enigmatic — —

If Omar Santiago (O'Quinn, left) has his way, Harsh Realm would be humanity's only reality. So it's up to Hobbes and Mike Pinocchio (Sweeney) to stop him.

spew. I said to Terry, 'I know Dozen, Platoon, Stalag 17 and The Grand Illu-

this is a lot of words.' He said, sion, as well as the SF classic Blade Runner, as 'Hey, I love the words.' That's inspirations for the show. "Hobbes will be a writer's dream. You can moving away from what is Santiago's occupa- write whatever for Terry tion zone and moving into areas that haven't and in this case he'll be an quite been taken over by him. So, he'll be often bombastic villain—and walking into situations where people are

he'll pull it off because he can unaware that they're in an altered reality, and

make it believable. Terry will he'll be trying to make them understand how

underplay some, what I think they might live better lives and get the justice

is, overblown rhetoric." they're not getting in Harsh Realm. The regular cast also "We will make visits back to the real world,

includes Max Martini as Lt. as it's important to understand what the conse- Mel Waters, Sarah-Jane Red- quences are of the parallel world to the real mond as Inga Fossa and world. It's not all just happening in the imagi- Rachel Hayward as Florence. nary world. We realize by episode three that Upcoming stories include there is a big plan afoot, with consequences for

a brief arc in which Hobbes all of us if, in fact, this was all true." attempts to return to the real So, audiences might meet the characters world, to reconnect with his again in the real world? Or might run into Hen- wife-to-be. Unfortunately, he riksen's general again at some point in the learns the harsher realities of future? "Yep," Carter replies coyly. Will we Harsh Realm and comes to know, either in the real world or within Harsh

understand that it behooves Realm, when we're dealing with corporeal or him to stick around and finish VR characters? "No," he says, laughing.

his mission, which is to get "There will be no indicator. You will not be Santiago. able to tell who is virtual and who is real, a Peter Watts and making a cameo in the ^ character with consciousness, inside X-Files big-screen adventure. Bairstow m Harsh Realm. There will always be a guest-starred memorably as the teen 11 question about that." healer in "Miracle Man," a first season There's no question, though, that X-Files episode co-written by Carter I VR is a tried-and-true SF staple. And then there's Sweeney. "I had | VR.5—which aired, and failed, on Fox known D.B. in Vancouver," the produc- several years ago Deadly Games, er says. "I liked his work a lot. I felt he Earth 2, The Matrix, The Thirteenth embodied the strong character of Pinoc- Floor and eXistenZ all put virtual real- chio. In a funny way, he could have ity to use with varying degrees of cred- played Hobbes as well, because there's ibility and success. VR demands a likable and heroic quality to D.B. But certain similar approaches, but Carter when Scott came along, I saw that as believes that he and his Harsh Realm being the perfect two sides of two collaborators will use it in new and heroes. The characters were both men unique ways. "I don't think I've seen with tremendous amounts of strength any other show do what is basically a and character, but one had, as I say, lost simulated war game that people are his way. So, I thought D.B. and Scott plugged into," he comments. "So we embodied the characters perfectly. have a different approach. Beyond "Also, having worked with Scott that, VR offers great storytelling before as an actor, I knew his strengths. opportunities. That's where I'm taking So getting him for the show was a a different approach. Many other stroke of luck. Samantha Mathis came [shows and movies] were one-offs." to us unexpectedly. We had seen many, many actresses and some of them had Deleting Files The'"fruth is still out there. auditioned really well, but Samantha Creatively speaking, that's also Although Harsh Realm is Carter's just blew us away. She gave a subtle what sets the series apart from The X- new series, he asserts ijnt he will depth to the performance. It's a role Files and makes it a fresh challenge for not let The X-Files languish—but Carter, who's loath to repeat himself. that's a little tricky, and her audition he'll skip directing. suggested an immediate understanding "It's a completely different kind of sto- of Sophie. She'll be a recurring character. "What we'll find is that Santiago is an all- rytelling vehicle," he says. "So, creatively, it's

"Terry O'Quinn is just a wonderful actor powerful adversary, and Hobbes is going to a matter of putting on another kind of hat. As a and a great guy. We created the character of find himself mostly on the run. That's where writer, we're telling mythic war stories, but it's Watts for the Millennium pilot. The character Harsh Realm will owe something to The Fugi- also a buddy concept. So, you're telling stories had a lot to say. Watts was very talky, and I had tive," explains Carter, who also acknowledges not about a man and a woman who have a pla- written some rather arcane jargon for him to such war films as Paths of Glory, The Dirty tonic friendship, but something about two men

40 STARLOGA'cwemto- 1999 —

who have a very strong and passionate as much of my attention as they can get," he eighth

1 friendship. That's a great dynamic to write says. "That means I won't be directing The Ducho *

for, and it's something different for us." X-Files this season, either." plans t Though he'll be deeply involved in the That statement brings us to The X-Files, farewe) day-to-day of Harsh Realm, which films in which returns, appropriately, November 7 season' Vancouver, and will fea- for its seventh and, presumably, final sea- Fox wo ture music composed by X-\et , son. Carter promises that this year of that

don't expect Carter to step behind the cam- will be a doozy, with the tract c era as a director. He has taken that assign- sixth season's light- eigl , ment frequently during the X-Files' run, but hearted episodes giv- v there's simply not enough time in his day ing way to far scarier right now. He'll leave the shot-calling to the hours, and with likes of Kim Manners, Michael Watkins and everything building JWBH^^hK i

others. "This year I will be responsible for to the show's cli- 44 hours of entertainment programming, max should an I and I think it's important for a show that may be in its last year X-Files—and a show that is in itsfirst year Harsh Realm—to get

"You will not be able to tell wh is virtual

Bairstow isn't escaping the Harsh Realm easily, but that suits Carter just fine. "Getting him for the show," the producer notes, "was a stroke of luck."

Photo: Michael Lavine

STARLOG/November 1999 41 — —a

of their viewing habit. But I always said you needed that darkness in order to have a very bright hero. Lance, I felt, was always a very bright hero, even though he was a very laconic

one. So, I think the show was sometimes mis- understood. It was sometimes maybe some- what too dark for people. But as far as being a storytelling vehicle, I thought we told some wonderful stories in Millennium.

"I'm sorry to see it go. It was a good show.

I think it's a hard show to do in the climate we're in now—a climate very sensitive to what people perceive or suggest is violent content. I have lots of arguments about that. But I am

sorry that Millennium did not last. I think it had a really solid, hard-core fan base. We're work- ing right now on figuring out how to keep Season seven looks alive, possibly in an X-Files to be The X-Files' episode that would pay homage and respect to last—or does it? that character. There's a part of me that would Even Carter admits like to do a Millennium feature. I'm sure that he "doesn't we know right now." could one with Lance that would be worthy of the big screen." One element of Millennium sure to carry want the show to go on without him? "I feel Files series and feature, other talents— over to Harsh Realm will be the violence issue.

very possessive of The X-Files," he says. "So I, revolving door that included the - Carter has braced himself for the inevitable

of course, worry about its health, because I see tandem and, later, Chip Johan- backlash, but is ready to defend himself and wonderful movies to be done in the future, and nessen—handled the day-to-day production the show. "The concept dictates certain things," I don't want the series to just fade away." chores on Millennium. he argues. "The truth is, I think Harsh Realm is And speaking of future features, where do "I was interested in telling stories about a very moral show. It's instructive and con- "We're telling mythic war stories."

matters stand regarding the second one? "I good and evil. When you do that—unless you stractive. It does not glorify violence. It is not

don't know how far off it is. We would like to parody yourself, which Darin Morgan did gratuitous. If you look at the pilot, you'll see

do it sooner rather than later, but it's all about wonderfully a couple of times in season two that there's very little real violence. There is

energy, time and intention." a show develops a darkness to it," Carter notes. some conceptual violence, if you will, because

Looking back at season six, Carter chooses "And some people chose not to make that part it's a digital and conceptual world, an imagi- some personal highlights. "I liked 'Trian- nary world. Sometimes, now, people are

gle.' I liked David's episode very much," so overly sensitive and hysterical about he says, referring to "The Unnatural," a violent content that if they see a gun or a baseball-themed outing written and direct- gun goes off, they consider that to be vio- ed by Duchovny. "I liked the 'Dreamland' lence. For responsible storytellers, which

two-parter and 'Arcadia,' too, but those I believe we are, it has the effect of hob-

were very light episodes were kind of bling you if you aren't able to tell stories comical. 'Monday' was a great episode. using traditional dramatic conventions

The mythology shows worked well and I (such as war)." particularly liked the season finale ["Bio- Even as Carter speaks, the wheels are genesis"]. I've written the first two turning at Ten Thirteen Productions. The episodes of this season and they, with the company hopes to get going with several sixth season finale, make a three-episode features, and they're developing other TV arc." shows as well. Personally, Carter hopes to eke out an hour here and there to pen a Millennium Bugs novel he has wanted to do for a long And now to Millennium. As everyone while. "It is," he reveals, "a genre thing." knows by now, Carter's other series The X-Files, Millennium, an X-Files which chronicled the exploits of Frank feature, Harsh Realm and perhaps even a Black (Henriksen) as he attempted to keep genre novel? Hmm, that's an awful lot of evil at bay—didn't make it to the Millenni- otherworldly projects for a man who um. The show started off strong and most admits he was never much of a SF guy.

fans feel it ended strong, too, what with the What gives? There's simply no denying concluding trilogy of "Nostalgia," "Via the genre's infinite storytelling capacity. Dolorosa" and "Goodbye to All This," but "Science fiction opens opportunities that

in between, the series repeatedly lost its reality prevents you from exploring," footing. That resulted, in part, from Chris Carter concludes, "which is that all Carter's split focus. While he oversaw X- things are transmutable at all times." ^w- Production designer Marek Dobrowo

Production designer Marek Dobrowolski took one look at the script for is on the right track. The set is a series of modular rooms and stn Supernova and laughed. It was not an expression of painful resigna- criss-crossed by numerous corridors and accented by twisting sta tion, a realization that a screenwriter's over-active imagination was The tone is dark, and everything radiates an air of dread. really going to put him through his paces to create this SF thriller's future "We're trying to be as accurate as possible to the reality of a br world. In fact, he recalls it was just the opposite. world," says Dobrowolski. "This has to be a place in space which sh< "I was thinking, 'What do I have to do to make things more difficult for isolation and hardship." " myself than the script dictated they would be?' reflects Dobrowolski dur- Like most elements of Supernova, the production design came ti ing a break on the Raleigh Studios soundstage where Supernova (now in fits and starts. Dobrowolski came on board in November '97 anc scheduled for January release) is lensing. "My approach going into this film working, in consort with then-director Geoffrey Wright and an army was that we had to go way beyond the script. I felt I had to go further with cept designers and storyboard artists. At that point, Supernova wa concept and design than what was on the page. My feeling was that the psychological, and the production designer was devising an envin writer creates the drama and the designer creates the environment." that would convey the weightlessness of space. But his plans were s Though Supernova is the fantastic tale of a race against time to deal with when the studio and Wright parted company early in '98. alien terror an aboard a spaceship, what attracted Dobrowolski—whose pre- "The change in directors definitely threw our world off," 1 vious genre credits include Last Action Hero and The Craft—to the project Dobrowolski, who also cites a then-impending SAG strike as a pi was the realism he was charged with creating. "I wasn't asked to do varia- problem. "When Walter Hill came on the film [as the new di tions on Star Trek and Star Wars'' the production designer notes. "In fact, Supernova changed from a psychological thriller to an action-SF the approach was to get as far away as possible from what we know about film. The change required a completely different look. We were told t space movies. I was asked to create an environment that would reflect the the sets more ALIEN-like in design to emphasize the terror of a mor way life would be only 100 years from now, incorporating what we know the ship." now about space travel and extrapolating that information into what might But rather than chaos, the production designer found a strong si possibly be the near-future." cooperation as the Supernova team attempted to play catch-up. "Wal A quick tour of the Supernova spaceship sets indicates that Dobrowolski the producers came in and took a look at what we had and found tha According to Dobrowolski, criss horror of Supernova. S team visualize a nightmare in sp

of what we had designed would still work as is or with some minor adjust- it's not thousands of years in the future, either. It's in the i

ments. With rare exceptions, I think most of the changes we ended up doing I'm trying to make it as real as possible. A very strong il

were more to accommodate tone and perspective." ship's design came from modern architecture, which, over tl

Dobrowolski was ultimately responsible for two major Supernova sets. has tapped into engineering and structure as part of its ova

The first, an ice-mining facility on the moon Titan, features the inte- tried felt moon's to do the same thing. We the spaceships would be | rior where the ice mining and processing work is done amid mineral-tinted design, borrowing a lot from the current design of space j ice, drilling machines and exploding geysers. On top of this interior is an oil- tapped directly into modern architecture, and have taken wha" rig-type structure which contains processing tubes. in terms of design and structure."

"The set was built in an airport hangar. We had the basic set, and we As for the designer himself, Dobrowolski was born and ri mixed in CGI images, miniatures and matte paintings. The drilling machines where he gravitated toward theater design and worked in a j were done in miniature, as was much of the exterior of the processing plant. ductions before moving to France to design sets for theater We had to rush the construction. We had 45 days to build this set, which was ductions. Later, he ended up in as a product! tough because many of the elements of this set were automated." Off-Broadway plays before moving into movies.

Dobrowolski recalls "feeling like a kid in a toy store" when it came time His first job was the Cannon Films series of fairy tale ada to design the other major set—the Nightingale, the hospital ship where Italy and Israel. "I learned a lot about working fast and usirt

much of the action takes place. Dobrowolski's design is very functional. The available. We often shot the films back to back, so I had to t passageways are laid out so as to allow director Hill to effectively differen- together and ready to go." He eventually moved to LA, whi tiate space for different action scenes. At the set's core is a sunken corridor his credit list with Bound by Honor, Live Wire and Ove; where spokes radiate out to modular areas: hospital, crew quarters and cargo before signing on for the challenges of Supernova. bay. A total of eight corridors criss-cross the modules while a pair of "This has been a wonderful opportunity," Marek Do1 descending staircases offset a diagnostic engine room and the DSU tubes, eludes. "Supernova has given me a great deal of tc which serve as a molecule-scrambling form of transportation. ent possibilities. The freedom is what I like about scienci "The ship design is not totally rust-bucket," explains Dobrowolski, "but would love to get another opportunity to do science fiction." liddle, because fluence on the e last 15 years,

-all design. We ery modular in stations. We've t it has given us ised in Poland, lumber of pro- >and opera pro- Dn designer for ptations shot in g whatever was ave everything

;re he added to night Delivery No matter what incarnation, you can that the song of urowolski con- this Nightingale is going to explore differ- be a funeral dirge. fiction, and I :

All Supernova Art & Photos: Copyright 1999 MGM Pictures Design & Layout: Rick Teng

i?— Scaramanga (Chris with the Golden Gu lion per shot. Bond practice with ultima ered Solex gun. Elii match with 007. 197

James Bond Photos: Dr. No Corp. Russia: 31963 Danjaq Goidfinger: ©1964 Danjaq, L Thunderball: ©1965 Danjaq, ©1967 Danjaq, LLC & Unitec

LLC & United Artists Corp. I United Artists Corp. Live: ©< Corp. Gun: ©1974 Danjaq, L Danjaq, LLC & United Artist

LLC & United Artists Corp. I Artists Corp. Octopussy: ©1 Dr. Kananga/"Mr. Big" (Yaphet Kotto). Two-faced Tee Hee (Julius Harris). Enforcer to Mr. Big. Armed with Corp. View: ©1985 Danjaq, L diplomat/drug kingpin. Always ready to play ©1987 Danjaq, LLC & Unitec metal. One bad-ass dude. Regarding 007, ready to Live LLC & United Artists Corp. ( Solitaire. Willing to Live and Let Die in undertak- and Let Die. Restrained on a train. Declawed. 1973. United Artists Corp.Tomom ing massive drug-profiteering project. Inflated, Artists Corp. World: ©1999 [ deflated and bubble burst by Bond. 1973. 007 Gun logo: Trademark & < lopher Lee). The Man n. Dealt death at S1 mil

I became part of target Ite firearm, solar-pow- ninated in shooting 4.

) ©1962 Danjaq, LLC & United Artists Carl Stromberg (Curt (Richard H LLC & United Artists Corp. Jaws _C & United Artists Corp. Jurgens). Shipping assassin. Brush LLC & United Artists Corp. Twice: magnate. Oceanic Tried to dine onj i Artists Corp. Service: ©1969 Danjaq, itiamonds: ©1971 Danjaq, LLC & entrepreneur. A Me while emploj 973 Danjaq, LLC & United Artists German Drax. Hijacked -C & United Artists Corp. Spy: ©1977 Almost a shark!

. Corp. Moonraker: ©1979 Danjaq, nuclear subs. Aspired instead. 1977. Li [yes: ©1981 Danjaq, LLC & United to remake the world finish finishing I 983 Danjaq, LLC & United Artists _C & United Artists Corp. Daylights: with more water. Tried short love aboal i Artists Corp. Licence: ©1989 Danj to off The Spy Who sides; lioldenEye: ©1995 Danjaq, LLC & Switched m: ©1997 Danjaq, LLC & United Loved Me. 007 tube- world. Retired. \ sanjaq, LLC & United Artists Corp. shot him instead. 1977. ©1999 Danjaq, LLC Harold Sakata). Personal bodyguard and chauffeur nger. Wore sharp-looking hat. Strong, silent type. Iresser. Knew martial arts. Fatally shocked while sctrocution lessons from 007 at Fort Knox. 1964.

Hugo Drax (Michael Lonsdale). Aeronautics magnate. Space entre- preneur. A French Stromberg. Hijacked Moonraker shuttle. Aspired to remake world with fewer humans via spore death. Shot into space by 007. 1979.

Kristatos (Julian Glove assisted CIA and Britis Sponsored ice-skating double agent. True alle

report For Your Eyes Cj ness by competitor. 19

iiel). Steel-toothed sd after every kill. The Spy Who Loved red by Stromberg. General Georgi Koskov (Jeroen Krabbe). snack but bit it Two-faced Russian defector/drug & iter hired by Drax to weaponry kingpin. 007 scared The Living 007. Found true but Daylights out of him. Disappeared in ranz bancnez rug kingpin. Alex Trevelyan (Sean id Moonraker. KGB custody. 1987. Murdered CIA Agent Felix Leiter's wife and 006. Old friend of Bond IHelped Bond save maimed Leiter. 007 used his Licence to Kill action. Hatched scherr 379. for vengeance. Barbecued. 1989. device. Fatally tangled!

Time has trekkedun but mm |l%VllW|(ntp Mulgrewa in still . struggles to bring Voyager ome. CAPTAIN KATHRYN JANEWAY contin ues to stand tall and proud. Even after five

full seasons, despite less than stellar ratings and regardless of assorted personal matters that nearly caused her to quit, Kate Mulgrew

insists that Star Trek: Voyager remains a fun, fulfill-

ing and provocative part of her life.

"Of course it has," Mulgrew says forcefully as she warps into season six. 'That's my job and, as everyone knows, I take my job very seriously. The writers—Brannon Braga and Joe Menosky—are allowing Janeway to go where I need to take her. That transition began to take place a couple of sea-

sons ago, and now it's in full swing. My power is probably equal to theirs, creatively, regarding the character. "I have created Kathryn Janeway as much as they have," she adds. "I think the great element that

needed to be in place, and now is, was that of trust. The writers know that I understand Janeway very,

very well. I know her now in a way that is so deep and so filled with my own nuances that they allow me to not only to endow her with those nuances, but to guide them accordingly." Does that mean Mulgrew makes suggestions? By IAN SPELLING Offers up storylines? Perhaps even puts her foot down on occasion and argues, "My character would never do that?" Mulgrew's thoughtful answers are authoritative, but not inflexible. "I have never said, 'My character would not do that.' A good actor

never says that. A good actor says, 'Let's try it.' However, I am very careful about command. That

nil tiiinifiir —

Photo: Danny Feld Photo: Michael Yarish

What a long, strange journey it has been. But Star Trek: Voyager's Captain Kathryn Janeway (Kate Mulgrew) still sets the course in season six.

has been an ongoing vigilance on my part. dictable moments that she engen- When I feel that her command is threatened or ders. There's a confidence there in inappropriate, I will certainly address that all the relationships and a trust that immediately. [Jeri Ryan], for has developed that serves us very example, has countermanded my orders now well." three times in the last two seasons. It is inap- At the time of this interview, propriate. It makes the Captain look wishy- Mulgrew and her Voyager co-stars were nearly very long and very specific shots. Every washy. I said, 'Let's have a scene where finished filming the sixth season's sixth episode so far has been like a mini-movie.

Janeway handles it.' And they did that for me." episode. And so far, according to Mulgrew, so Brannon is planning to do a lot of that. He's good. "We've done several interesting trying to cover every character now with a far Startling Treks episodes. Of course," she notes, " 'Equinox, greater specificity, at least for the first nine

Mulgrew, in a positively chatty and reflec- Part U' resolves the cliffhanger from last sea- episodes. After that, it will be open season, if tive mood, continues, heading off in a different son. We've done 'Barge of the Dead,' which you'll pardon the expression." tangent as it relates to the show's writing. was really a Roxann Dawson episode. B'Elan- There's far more to the revamped Voyager "Brannon has a wonderful gift for than just greater character specifici- austerity in language, and that's ty. The powers that be are out to much more Janeway 's way than broaden the series' appeal signifi- verbosity. And I much prefer it as cantly in an effort to attract new an actor. viewers, be they total newcomers or "I also love the laughter that forlorn Deep Space Nine junkies I've not only been given, but that seeking a Trek fix. Star Trek boss

I've owned. Most of it is absurd Rick Berman has already revealed laughter. When people are lost in that such an effort means the first six space for six years, they laugh a episodes will be purposefully acces-

lot. It's called gallows humor. sible even to those unfamiliar with What happens to people who are Voyager's inner workings. For Mul- under duress for a long period of grew and her co-stars—not to men- time can be not only extremely tion the writers and crew—the comical, but can be shared only initiative has meant longer hours, Doctoring scripts. Mulgrew is happy to let the writers by those people. There's a short- harder work and an intensified dictate Janeway's motivations—mostly, but she notes hand now between characters, focus. that "I am very careful about command." even in their communications, It has also manifested another

and it's through facial expres- situation. "Revisions! Unbelievable sions. It's there between Janeway and her na [Dawson] goes back into a rather mystical revisions!" Mulgrew shouts, dissolving into senior officers. state to meet her mother and to confront her the kind of gallows laughter that Janeway "There's also a specificity in the relation- spiritual side. The set—this ship of death would so well understand. "They're doing

ships which, of course, evolves over time. I was a knockout. The journey that B'Elanna unbelievable work on the word here. Some-

address Tom Paris [Robert Duncan McNeill] takes is a powerful one, and it's something times I don't get revisions until midnight [of now in kind of a maverick way. The maverick we've not seen before on Voyager, or on any the day before shooting] that are meant to alter in me goes out to the maverick in him. That's Star Trek show for that matter. a scene completely. Brannon's job, as he sees

the way we communicate. With the Doctor "The Doctor has a brilliant show in which it this year, is to strip down the work. Often, [Robert Picardo], there's a much greater his fantasy life takes over ["Tinker Tenor Doc- that's tough on [the actors]. My pattern and desire to appreciate his sentience. With tor Spy"]. All the women are in love with him, work ethic is such that I like very much to Seven of Nine, there's a relaxation and a all the men are in love with him and he's the study the night before and prepare, so that I

trust that comes with accepting her captain of the ship. It is Bob Picardo as you have the freedom the next day not only to

for who she is, and for all the have never seen him before. It's so funny and rehearse, but to do what I want to do within the conflicts and unpre- so beautifully shot by Mike Vejar—he uses context of the scene. But often I'm getting Stepping out of uniform? Janeway has done it several times, for instance—as "If they intend to Queen Arachnia, "Bride of Chaotica." bring us home at revisions at the last minute now. Fortunately, they're almost always improvements. So, I've the season's end, had to learn to roll with the punches." it will be made Captain courageous clear that we are Just as Mulgrew has learned to roll with the punches, so too has Kathryn Janeway. She's going home/' tougher than ever, still human and humane, but

clearly hardened by the last half-decade of liv- son began, during it or after it? Were her dire

ing with the consequences of a fateful decision. warnings just a negotiating ploy? After all, Her goal could not be clearer: get her ship Paramount wanted to sew up the entire Voyager home. But Janeway realizes she must do it cast for a seventh season. Or did personal con-

without caving in to the fear and loneliness that siderations truly override all other concerns? drove Captain Ransom (John Savage) of the Mulgrew swears that her controversial U.S.S. Equinox to nearly toss aside every last words derived not only from her desire to

shred of honor normally held so dear by begin, in earnest, her life with Hagan, but also officers. Thus, Janeway commands with passion and compassion, although she finds these qualities sorely lacking in her per-

sonal life. But that situation may soon change. Mul- grew, dropping a little bombshell, reveals that ly broke our hearts. It was one of those very episodes in the near-future should find strange, mysterious and haunting things. It was Janeway seriously engaged in a relationship. unresolved and very difficult to understand.

It's not a fait accompli yet, and no character Then, of course, I went on and so did Tim. I has been selected as Janeway's paramour. "I met Rick. We got involved. Then, toward the don't think it will be one of the regulars," Mul- end of last spring, that ended. And my mother grew observes. "We're talking about what to called Tim and said, 'You might want to call do right now. Whomever it's with, I would like Katie now,' and he did. I told him that my heart to see it carry through to the season's end. By had been broken, that we never had closure, doing that, we'll see Janeway's fragmented and he said, T think we need to put closure to self, her passion, her needs—all that has been this.' I said, 'I agree. When, when, when?' We bottled up for so long, all that has been couldn't figure it out, and I said, 'You see, it's repressed. I would like to see her with a as impossible now as it was then, unless you humanoid. want to meet me for lunch on Friday.' He said,

"Do you remember 'Counterpoint?' Do 'I'll be there.' He met me for lunch on Friday, you remember Kashyk [Mark Harelik]? I and that was it." would go for him. I think the return of Kashyk Around the same time Mulgrew's love life in a very, very moving story would be great. It was coming together, she nearly broke from would be great to see him and Janeway as two Voyager. While speaking with the press, Mul- people who come together other under impos- grew more than hinted that she might beam off sible circumstances, but who somehow make it the show. The media and fans alike went on red work until somebody has to die. That would alert. Rumors spread like wildfire. Did Mul- very interesting." grew mean she wanted out before the sixth sea- Speaking of romance, now is as good a time as any to address Mulgrew's real-life affairs of the heart. As every Trekker knows, five years, you bet this is a Mulgrew dated frequent Trek director Rick rougher, tougher Janeway. But her Kolbe for several years. Then, like a photon mission hasn't changed: She'll get torpedo out of the blue, came the announce- Voyager and her crew home. ment that Mulgrew married Tim Hagan, a politician from Cleveland. Mulgrew cheer- her fears that she was missing far too many fully recounts a saga that spans more than important moments in the lives of her two half a decade and two continents. "I met Tim young sons. The actress took her concerns six years ago in Ireland. We fell in love," she to Berman and Braga, stressing that she remembers. "He was then the Commission- yearned for some flexibility in her sched- er of Cuyahoga County, which is all of ule. She could handle long hours when she Cleveland and beyond. And I was newly worked, but she coveted the occasional day divorced and in Ireland with my two chil- off so she could be by Hagan's side at some dren. I met him through the then-ambas- political reception if necessary or at her sador, Jean Kennedy Smith, who is my sons' school for sporting events. In other mother's great friend. And it was instant. We words, Mulgrew wanted to reduce the fre- fell in love and the romance began.

'Then I came back and I got the job on Season six outings like "Barge of the dazzled with their Voyager. Tim has two little girls, so it was Dead" Mulgew cinematic detail. "Every episode so far virtually impossible to continue. It absolute- has been like a mini-movie," she notes.

STARLOG/7W,vemfotT 1999 53 quency of times that she would be sitting at home for hours, unable to go anywhere or do anything, waiting for production to call her in. And she didn't want too many more instances in which she shot only a single, non- essential scene. Berman and company heard Mulgrew out, and ultimately they came to an agreement that satisfied everyone. Janeway wouldn't be pulling a vanishing act this year or next. Just how close, though, did we come to losing Mulgrew? "If they had said to me, 'We really don't care,' I may have considered leaving," she responds. "I was under contract already for the sixth year and I intended to honor that contract. I'm only talking about conversations and negotiations for the seventh sea- son. It really involved my happi- ness quotient. In many ways, I set the tone on the set. My mood and my approach are very important, and I think there's nothing worse than a profes- sional actress who is unhappy because she misses her husband and children. But [Berman and

Braga] realized that. And if I may say so, they were not only gentlemen about it, but very gracious. I am much, much hap- pier now."

Mulgrew is so happy that she's even willing to review a batch of Janeway-heavy fifth season episodes. Appropriately enough, the conversation begins It took a lot of soul searching for Mulgrew to with "Night," the first episode consider abandoning ship. Fortunately, talks of the 1998-1999 season. with producers ironed out any issues. "I loved that show, and I understand that the audi- , officers tell me they're not Frontier" aired as a two-hour UPN movie. ence didn't love it so going to let me do that. I The gamble paid off handsomely, as Voyager much," she says. "I'm loved it." earned some of its best reviews and highest

sorry about that, but it Mulgrew's hour of ratings in years with the action-and-FX- makes me think that choice from last season packed return of the Queen (Susanna perhaps the audience | remains "Counterpoint," Thompson). "That was wonderful. It was isn't as reflective as I in which Devore inspec- beautifully done. I thought Susanna was had hoped they would tor Kashyk, who should great," Mulgrew notes. "Talk about grace be. I thought 'Night' be seeking defectors, under pressure. She did a beautiful job with was such a terrific opener implores Janeway to grant the Queen, and I thought Jeri did a terrific job for us. Janeway is him asylum. "I kissed the with Seven of Nine. We all got to play the hell

depressed. Of course she's script when I got it. I kissed it out of our scenes. The special FX were fan-

depressed. We're lost in this dark and I called Brannon," she raves. "I tastic. It's a great feeling on the set when all

blanket of space. There's nowhere to said, 'I'm in heaven. Don't touch it. Let of the departments are equally involved. The breathe. There's nowhere to go. It's all coming me help you get the right actor.' And to their FX guys get in there, and so do the set design

down on Janeway. credit, they chose the guy I recommended. I people, the hair and makeup people, the "I loved the scene," she notes, "when I knew Mark Harelik was a great actor. I had actors, the writers and producers. You could

walk on the bridge and tell the crew that watched him for years. I knew we needed a sense the collaborative effort from beginning

they've all got to do this and got to do that great theater actor, somebody who could carry to end." and that I'm going to stay behind in off all the levels at which an actor had to play Other memorable outings for Mulgrew the shuttlecraft. That a great the character." included "Bride of Chaotica," in which In was scene, when my senior Though technically a two-parter, "Dark Janeway had to assume the role of Queen Star Trekkers at ease. This Voyager cast shot proves that black "I have is anything but basic. created Kathryn Janeway as much as they have/'

very important, for example, that B'Elanna re-establish herself and that Neelix [Ethan Phillips] be developed. "As for coming home, there's a season of stories there. Come on, just think of the ramifications, the repercussions. They're unend- ing. We would have explosive conflicts that we can't possibly have now. If we return to the

Alpha Quadrant, what would it mean to the aboard the

ship? What would it mean to Chakotay [Robert Beltran]? Where would Neelix go? Seven of Nine alone—think of what they could do with her adjustment to life back on Earth. "I don't know if they'll actual- ly bring the ship home or not this year, because everybody seemed

to think it was going to happen

last year, and it didn't. I don't

think they'll titillate the audience unendingly. That would be stupid.

I think that if they intend to bring

us home at the season's end, it will be made clear that we are going home." Mulgrew must bid farewell in a moment in order to study her script for the next day's shoot, but before doing so, she contemplates Arachnia in Paris' "Captain Proton" 0 & Alpha both the episode she would be quickest to erase holonovel after the fantasy spilled over into With season six now underway, fans are from any comprehensive Voyager episode reality; "11:59," in which Mulgrew played still enduring a game of "will they or won't guide, and the one she thus far considers the her own ancestor, Shannon O'Donnel, circa they" when it comes to two plot points of great best in the Voyager canon. "I would erase 1999, and "Equinox," the cliffhanger in interest: the possible return of Q (John de Lan- 'Twisted,' " she says. "What the hell was that? which the Voyager crew is thrilled to meet up cie) and the much-awaited arrival of Voyager And the one with the lizards, too. I've forgotten with another Starfleet ship stranded in the back in the Alpha Quadrant. In a nutshell, Mul- the title. Blissfully. It was the one in which Delta Quadrant, only to realize that its crew grew doubts anyone will see Q, while home Robbie becomes a lizard and I become a lizard hasn't exactly been following protocol. may be closer and more viable a plot machina- and we have lizard babies." " 'Bride of Chaotica' was a blast, a blast," tion than some people imagine. That would be "Threshold." enthuses Mulgrew. "It was a little controver- "I think that the writer-producers feel that "Right," Kate Mulgrew concludes. "That sial, but what the hell? It pushed the envelope there's no particular arc for Q in the state that was just silliness. 'Counterpoint,' I would say, a little bit, which we must do every now and Voyager is in and given what we've already was our finest hour. The whole show was then. And I loved playing Arachnia. '11:59' done with Q in other episodes," the actress rea- wonderful. I always feel I have to play was another wonderful show. How often do sons. "They're feeling that there are so many Janeway at two levels, as the Captain and as a you get to play your great-great-great-great- other journeys still left unexplored that they person, and I got to do both with such a won- grandmother? What did I think of 'Equinox?' must address them first. So, it's probably true derful script and one of the world's greatest Let's just say not all of them can be as that Q won't be back this season. That's sad for actors to back me up. It was like a dance. That provocative as one might hope. I think the me, because I adore John. We're very good final scene on the bridge was pure heaven. 1 writers knocked themselves out, but certain friends. But I understand entirely the writers' would say that's as close as I've come to com- variables and components were missing." feeling that they have to look at some of the plete happiness on Voyager, and I hope we get

regular characters who have struggled a bit. It's even closer this year." * I

ho is Q? And what? Also how? Not to mention when and where? And most importantly, why? These questions and many more are When John answered—sort of, more or less, somewhat and on occasion—in /, Q, a $22.95 hardcover being published this month by Pocket Books. The memoir teams John de Lancie, the veter- de Lancie is an actor who portrays Q in the Star Trek Uni- verse, and , a past STARLOG contributor and an extremely prolific writer questioned, whose work includes two relevant Trek novels {Q-in-Law, Q-Squared). It's an idea whose time has come. And where? "I had the idea while I was sitting there is somewhere in Chicago," de Lancie notes, pin- pointing its geographical origins exactly, "that it would be fun to do a book with Peter. I always an called my agent, Andy Zack, and said I thought that would be a good idea, and he said, 'I think so, too.' I then called Peter and he answer. agreed. Meanwhile, Andy had come up with the perfect title, /, Q. Peter and I batted around JOHN de LANCIE some ideas. We met in , we just and PETER DAVID kind of chit-chatted and didn't come up with And The lord of chaos faces the End of much. We met again in my house in Everything alongside his trusty side- California, threw out the first idea and kicks Picard and Data in /, Q, the new started again. I said, 'I see a frame novel by de Lancie and Peter David. around [the narrative], which has to do multiple choices. with a suicidal woman who's actually a She sits down and begins to read." greater being, a god, where the buck stops. I ing ("Don't let me die. I'll do anything] You David and de Lancie collaborated closely

also see the end of the universe, and I think we want money? I'll give you money!"), despair on the book. Unlike some past co-bylined should use the Elizabeth Kiibler-Ross levels.' ("There's no point in going on. It's all hope- genre novel ventures, this isn't a case of one We went downstairs in my office and banged less. I'm going to die. This is so depressing!") writer doing the work and an absentee celebri- out the storyline." jl- and acceptance ("Nothing I ty author just taking the bows. David and de

Kiibler-Ross I can about it. So I die. Que Lancie wrote the book electronically via e- The J /] do steps, outlined in her J-^ £-»~\ V framed around the woman who nature to him over the last decade. to do with the greatest mys- /, comes to a beach deciding that "It's great fun to have the license to say j it all," anything want, short of being tery of all. They detail the fi I 2iTlui5 she's going to end de damn near you stages terminally ill Lancie explains. "She has offensive," de Lancie admits, sighing. "I humans go through in 2K seen everything—big planets, couldn't get away with calling Picard 'a little confronting the inevitabili- little planets, the multiverse. asswipe,' which I had in there until the final, ty of imminent death: dis- XL She's bored. And she wants final draft." Since it's a Trek novel, licensed by belief or denial ("I'm not to kill herself. As she walks Paramount, certain things understandably going to die!" a typical into the water, her toe is couldn't be printed. So Picard eludes the patient might whine), stubbed by a bottle. She digs insult. Data wasn't as lucky. "That little ass-

anger ("Damnit! I bloody it out of the sand and picks wipe! In a funny way, you get to find out a bit " Q." don't want to die!"), bargain- I U r\^j v_ t\d it up. Inside there is a note. more about all the subtext involved with With a snap of his fingers, Q'(John de Lancie) can change into any shade of shirt. Plaid! Purple! Orange! Yellow!

p^rf of ^Or^ryjtcietyf'

1 5 C^r To vout — —

Q comes out in the morn- ing sun. As titled less and stunned was he by this unexpected vis- he asks in itation. How many times I wondered, had the fo your the book, "To whom poor sap poured out his heart to some alleged do mad deity and received only silence for an answer. gods pray? But now.. .now, God was speaking to him. English- Hope swelled in his heart as he verily flew up

men?" Write the side of the cliff. So quickly did he climb if you get that he cut his hands against the sharp rocks, shorter h^oY the joke. and tore his clothes, but he did not care. All he David—with numerous Trek novels and knew was that he had been given a divine mis- comic books to his credit—also provided the sion, and he had no intention of failing. Trek expertise. "I watch all of the Q episodes," "Finally, he reached the top. The cliff de Lancie confesses. "I just don't remember extended to a narrow point in front of him. He them after I've turned off the television." took a deep breath and walked with confi- Q, of course, made his debut in the Star dence to the very edge of the cliff, just as he Trek: The Next Generation premiere had been instructed. He stood there wondering "Encounter atFarpoint," quickly becoming the what to do next. series' —and the whole Trek saga's—most "Suddenly, the piece of ground he was popular antagonist. In his Next Generation standing on gave way. Which is not surprising, appearances (including the show's finale "All since it is rather stupid to stand at the very Good Things..."), Q specialized in tweaking edge of a cliff. He waved his arms frantically, the noble Captain Picard (Patrick Stewart). trying to defy gravity, but to Stopping by Deep Space Nine for one episode desire, simply by will- no avail. ("Q-Less"), Q taunted Captain Sisko (Avery ing it to be so. There "As he plummeted to the Brooks). He also visited Voyager ("Death are some who try to ground, my voice boomed Wish" and "The Q & the Gray") to tempt— moralize about my from on high again, 'Now you and flirt with—Captain Janeway (Kate Mul- activities, to act as if are a dead man.' He landed grew, a real-life longtime friend of de what I do is right or with a splat, but I had already Lancie's). Although de Lancie doesn't rule out wrong. I don't share lost interest," de Lancie con- an eventual return to the Trek Universe, he that point-of-view. tinues reading. "I know you believes another Voyager stint unlikely. The Right? Wrong? Trivial think I was naughty, but in producers feel Q's character arc on that notions, labels applied truth I had done the man a show—now that he has a wife and child—has by those whose exper- favor. You don't believe me? run its course. tise is restricted to You know as well as I that once his fellow beings had /, Q includes both of those characters—the labeling others. My Lady Q (played on Voyager by Suzie Plakson) actions are my own, caught up with him, they and son q—while once again teaming the irre- and I am answerable would have dispatched him in pressible trickster with the straight-laced only to myself. In that a far more painful fashion. Sadly, de Lancie doesn't Picard and the literal-minded "pocket calcula- respect, I could almost The quality of mercy is not expect Q to return to Voyager. tor" Data. They're off on a quest, to see the be considered a force strained, but falls—like those His character arc is played wizard so to speak, trying to figure out what's of nature. No one who commit fratricide—from out there. Looks like it's time the heavens above." going wrong with the universe. Is it running questions the ethics of for a new Trek series. down, reinventing itself or simply dying? a hurricane, quake or Together, as that excerpt Along the way, Q and that Starfleet odd couple ion storm. These things simply exist. I am the demonstrates, de Lancie and David are taking encounter various familiar faces—among same way. I am above good and evil. I cannot Q to a whole new place. "You discover all them, Q 2 (the Q played by Corbin Bernsen in be measured, judged or assessed, poked or sorts of stuff," says de Lancie. "He falls into a "Deja Q"), , Picard's lovable Borg prodded, quantified or qualified, and I'm not raging river and sinks immediately. The rea- alter-ego Locutus and—inconceivable! the sort you would want to make angry. In son? We would just throw in, T never learned Grand Nagus Zek (portrayed by The Princess other words: don't tread on me." to swim in Q camp. I hated the water and dis- Bride's Wallace Shawn on DS9). But don't mistake Q for a god or the God. liked people telling me it's great once you get "I had in my mind, Peter as well, that there Knowingly, de Lancie takes on the Q persona in.' So doing this book has been fun—because " would be breakouts in the story from time to to announce, T know there is no God. Why of the deadline—and a good experience for

time," de Lancie notes. "Every once in a while, can I say that? Because I am God. The idea of me. Readers should find it amusing as well as

I stand off and begin talking about things I'm God is preposterous, and praying to God is relevant, provocative and controversial." interested in, just rhapsodizing." even more preposterous. Why pray to some- An audiobook version of I,Q, performed This isn't Chicken Soup for the Soul or one who created the problem in the first place? by de Lancie, accompanies the hardcover. It " even the Soulless. Q reveals the secrets of the It makes absolutely no sense.' will be followed in November by another universe (according to him), offering anec- As revealed in the book, Q once gave suc- audio project, the latest release in the Alien dotes and aphorisms, illustrations and uplift- cor to a fearful sinner, a man who had killed Voices line headed by Leonard Nimoy and de ing fables. He's a kind of nasty Rod Serling his own brother and prayed for guidance. Lancie. The eagerly awaited audiobook—an complaining about human intelligence and Appearing as a somewhat amused shaft of original production not based on a novel " alien behavior while dispensing rough frontier light, Q suggested a mission. T tell you that introduces one Star Trek legend to another as " injustice with godlike powers and a not-so- you are not a dead man,' de Lancie reads, that logical hero from Vulcan debates the bad kindly quip. intoning as Q, " 'but you have done wrong. Do boy of the Q Continuum. It's Spock vs. Q. As Q explains in the book, "Another point you see the fearsome cliff high above you? What's next for Q beyond that? of useful information: I am omnipotent. Some You must climb to its very summit and stand "He's just heading off to new worlds," John

might think this to be a bad thing. I, of course, upon the edge.' de Lancie says with a twinkle, "to accomplish " do not. It is the state to which I am most accus- 'Your will.. .is my command, dear one.' more good deeds." tomed. I am able to accomplish whatever I He could barely get the words out, so breath- New worlds: You've been warned. PUT YOURSELF INSIDE THE ACTION

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Photo: Carl Studna/ConcoM R$dofdX. . .w?.v.v. "The Way You Look Tonight." I "His Way" introduced Vic I Fontaine (Darren) to (Rene lAuberjonois), Kira (Nana Visi- Itor) and DS9 fans.

only because I didn't know better—but of Ira's, because he created the character. Luckily for James Darren's career has taken many me and everyone, he was accepted with open unusual turns over the decades—from arms. The fans tell me that Vic was a breath of several Gidget movies to serious war films fresh air. It was unexpected, but thank God like The Guns of Navarone, from being cata- they liked him. pulted across time and space in The Time Tun- "He has so many great qualities: he's so '2 'TO it comes to relationships and love, 0- nel to co-starring with Star Trekker William wise when Shatner in T.J. Hooker. But when given the and the fact that he could turn himself off and chance to play , the suave, sage on—especially off, that he could end the pro- s holographic lounge singer on Star Trek: Deep gram whenever he wanted to—was kind of hip. Space Nine, Darren decided that was a turn he Vic was written as a very warm character who

didn 't want to take and turned down the offer cared about others, and people like that. I three times. always believe, as an actor, that if you're lucky o "All the Way." Vic's DS9 pals banded "I didn't want to play a singer," he explains. enough to get a character who's written that together to rob the Mob. Otherwise, it's I "When my agent called and said it was the part "Badda-Bing, Badda-Bang." well and is likeable, then your shot of being of a Vegas singer, even though I was a Star Trek accepted is greater. Playing Vic has just totally § fan, especially of the original series, I told him Hans Beimler quickly followed. "There must changed my life. It's something I never expect-

I didn't want to do it because it was so on the have been eight or nine people in the room ed to do, never even thought about doing, and nose. Then after the third turndown, he asked when I went in, and they wanted me to read, never really pursued. Now I'm back singing me, 'Would you at least do the producers the but I hate cold readings because I don't really again—which I never thought I would be courtesy of reading the script?' I did and do them well," he recalls. "So what I did was, doing—and I'm releasing a new CD." thought, 'Wow! This guy is incredible!' I didn't during the course of conversation, I would say Darren stopped singing in 1982 after work-

realize it was a Rat Pack-era singer and I didn't some lines from the script, and they would look ing in Las Vegas for 12 consecutive years with

realize it was written as wonderfully as it was, at me. Hans would say, 'Gee, isn't that from the Buddy Hackett. "My wife and I were having

so once I read the script, I called my agent and script?' and I would say, 'I have no idea,' but I dinner with a friend, Rick Husky, and his wife.

said, 'I've got to do this part.' did know. I continued the conversation and I He was a producer of T.J. Hooker, and my wife would say something else from the script, and asked, 'Why don't you put Jimmy in the series? Just in Time finally they caught on to what I was doing and I'm so tired of having him out of town.' So I did A meeting between Darren and DS9 execu- I got the job. I didn't realize I had the job until a one-shot thing on T.J. Hooker, and then was tive producer Ira Steven Behr and producer I left, because Ira told me once I left the room, put in the series as a regular. For almost four

everybody looked at each other years, I did nothing but that, and then I started

Here's to the Losers." Even and said, 'Gee, I dunno, what do to direct. I never really thought that I would Captain Sisko () you think?' and Hans Beimler ever go back to singing. I never planned on it, heelped break the bank, and then stood up and said, 'What are we never even kept my voice up, actually, and joined Vic for a Vegas duet. talking about here? He is Vic never planned on acting again. Directing was Fontaine. We don't have to look fun. It's a tougher job than acting for me any further! That's the guy!' because you have more responsibility, but I But even the producer's zeal didn't have to shave, which was great." fails to capture fans' reaction to Vic Fontaine's resemblance to singing leg- Fontaine. After his debut in the ends like Frank Sinatra and Dean Martin was a sixth season episode "His Way," deliberate move on the part of the producers

the crooner became the first char- and Darren. "A lot of Vic is me," Darren says. acter on Deep Space Nine, per- "I spent a lot of time in Vegas seeing the Rat haps even in Star Trek history, to Pack perform and hang out, so I chose to make be instantly beloved. "The fans him a lot like Frank Sinatra and Dean Martin. accepting Vic was a big concern," His confidence is very much Sinatra's. His wis-

ft' . Darren explains. "Not of mine dom is delivered like Frank would deliver it. — V.V.V.V.V.

His love for a good time is Dean. His charm is with Rene, who is a wonderful Dean, and Frank, too. So there's a combination actor—in fact, they're all wonder- of the three of us in there." ful actors—I felt so incredibly And Vic has another, more physical con- comfortable, and it carried through nection with Martin—his patent leather and all the episodes. That to me was suede shoes. Darren wore those shoes, which very unusual, and I think that had a once belonged to Martin, in every episode. lot to do with the writing and the "Maybe 20 years ago, there was this Italian great chemistry between Rene and shoemaker named DiFabrizio on Third Street myself. It's just wonderful if in Los Angeles. He made everybody's shoes: you're lucky enough to have that. Sinatra's, Dean Martin's, Burt Reynolds', Tony That's why I think 'His Way' is

Orlando's, Sonny Bono's and mine. I was in such an outstanding episode: it had there one day, and he told me he had a pair of the two characters who got togeth- shoes he had made for Dean, who never really er so well, and Rene and I hit it off liked them and gave them back to DiFabrizio. instantly." 'He's the same size as you, Jimmy. Do you Vic then made fleeting appear- think you would like to have them?' They ances in "Tears of the Prophets," weren't great-looking shoes, trust me, but I "" and "The said, 'Oh, they're beautiful! I would love to Siege of AR-558" before the high- have them.' And of course I put them in a clos- ly unusual "It's Only a Paper et wrapped up for 20 years so nothing would Moon," which focused on the ever happen to them. hologram and his relationship with "The DS9 wardrobe people took me to Ensign (Aron Eisenberg), some shops to buy a tuxedo," he continues, who had lost a leg in "Siege" and "and Ira Behr asked where I originally had my wasn't coming to terms with his tuxedos made and where Dean, Frank and loss. Despite the counseling efforts

Jerry Lewis had theirs made. At Sy Devore,' I of Lt. Ezri Dax (Nicole deBoer), said. 'That's the only place that made my Nog retreated into Vic's holo- clothes, and made all of Dean's, too.' So he graphic world, where he and "It's Only a Paper Moon." Vic showed the wounded said, 'Well, that's where you're going.' And Fontaine learned from each other. Nog the delights of holo-Vegas in an effort to help they actually still had my pattern there, if you "Aron and I had a great relation- him get a leg up, so to speak. believe that! Then we went to the original shirt ship," says Darren. "When you're maker that made all our shirts, and they had my doing a scene with an actor, it's no different Nana, everybody. pattern, too! Considering all that, I thought it than meeting someone in real life. Either the "People would stay for off-stage lines, would be incredible to wear Dean's shoes with camaraderie and the connection's there, or it which is unusual. They're released. The cam- all this original stuff. I wore them in every isn't. The funny thing in 'Paper Moon' was, era's turning around to do a close-up of me or episode, and just knowing I had his shoes on Dax would say things that would snap in Vic's whomever, and I would say, 'You guys don't was great." mind and make him realize he was being blind- have to stay,' and they were like, 'No no no, Darren readily admits that he uses the same ed by this whole thing with Nog. She would we're staying.' They could have gone home a arrangements for Vic Fontaine that he uses in say certain things and he would look at her and lot earlier, so that was very considerate of them his regular acts. "I sing just like I would sing, pretend, 'Oh, sure. I knew that,' and then he as actors, and very professional—not too many and I use the same charts. Those things never would act out what she had suggested in help- actors do that. It's so upsetting to me that DS9 go out of style. You listen— to Sinatra's record- ing Nog along. That was a nice episode." is over. If you're lucky enough in life as an ings from 25 years ago 'Come Fly With Me,' Shortly thereafter came another Vic-centric actor to work with people that you love to work T Got the World on a String' —they're great story, "Badda-Bing, Badda-Bang," in which with and are extremely talented, it's so sad charts. Ira Behr chose all the songs I did on the Mob took over Vic's hotel/casino/lounge as when it ends. To get that again is not easy,

Deep Space Nine. He told me if I didn't like part of the holoprogram's ongoing storyline. Jesus, not by a long shot. I mean, I've directed them, I didn't have to do them, but all the songs However, if the DS9 crew (dressed in period a lot of shows where the people weren't he chose were so great, it was tough not to like gear) didn't oust Frankie Eyes and his goons unfriendly, but they didn't care. They had no them." before their boss arrived, Vic would have been relationship with each other. It was like, 'OK, I

And while it may not be readily apparent on erased permanently. Darren admits, "I was did my thing, now I'm out of here.' And that screen, in every episode Darren actually lip- given a hint that [the episode] was going to really wasn't the case on T.J. Hooker, and it synched to songs he had previously recorded in happen by Ira Behr, but I was ou're Nobody the studio. "That was only because they can't really thrilled when I read it. 'Til Somebody get any decent sound [on the set]," he explains. Filming it was a killer, all the Loves You." Or so "They don't have the equipment on the stage. planning and scheming to the holographic Also, from the standpoint of editing, it would get Frankie Eyes to look bad Vic advised his be murder to do it live. This there. I way, they can cut and get him out of pally Odo. The in and out wherever they want, and the tempo thought it was done beauti- little umbrella would be exactly the same all the time. If there fully and directed really goes in the J " was just a slight variance in tempo, it would be well. Avery Brooks and I had drink. ^-o*' tough to edit." a great time doing the duet

'The Best is Yet to Come.' All the way They—the characters In his debut episode, the self-aware holo- loved being with Vic as gram counseled Odo (Rene Auberjonois) to much as Vic loved being pursue his then-unrequited love for Major Kira with them. He was so happy,

(Nana Visitor). "The thing that really strikes you know? It was just great me about that story is that when I walked onto chemistry with Sid [Alexan- the stage my very first day and started working der Siddig], Colm [Meaney],

STARLOG/November 1999 63 mm* "

certainly wasn't the case on Star Trek or of that to Vic Fontaine. My reception was The Time Tunnel!' better than it had ever been—you could hear a pin drop when I was singing, and s Nfght and Day that's not always the case. Why? I could-

! Mention of the '60s time travel series n't tell you. Maybe it was just me, maybe

elicits many memories from Darren (who it was just my aura. Maybe it was because discussed Time Tunnel in STARLOG I had Vic next to me." #180). He firmly believes the show was, He also guest-starred in the last five pardon the pun, ahead of its time. He keeps episodes of Melrose Place, reuniting him in touch with co-stars Robert Colbert and with his T.J. Hooker co-star Heather

Lee Meriwether, and still has the sweater Locklear. "I played this horrible character

he wore in the show. "I was offered $5,000 named Tony Marlin, a real jerk. I hated

for it," he says disbelievingly. "I thought to doing him, to be honest. Anson Williams myself, 'Why would I want to do that?' It's had directed one of my DS9 episodes, just something that's so nice to have, and and he called me and said, 'Hey, I'm

it's irreplaceable, like Dean's shoes. If I reading this Melrose Place script, and

ever sold them, I would be really sad. It's there's a character running through five

almost like a piece of art." shows that you would be great for.' "The Best is Yet to Come." It's This One's From the And with so many classic TV shows "So when the producers sent me a Heart, Darren's terrific new CD, now in stores. being made into movies, what are Darren's script, I called them back and said, feelings on The Time Tunnel also going in that She sat on the floor, and then I started to get 'You're crazy! This guy's an Englishman! I

direction? "I keep wishing that they would do a choked up, and we had to cut. She said to me, don't want to do this. I can do it, but nobody's

film of The Time Tunnel. I know it would be 'Boy, I'm really a big help, aren't I?' And I going to buy it, me being a foppish English-

well-received, because it does have quite an said, 'I can hardly look at you when I sing that man.' So they asked if they changed it to a guy

audience, and it has a cult following for sure. line. That's really a tough thing for me to do.' It from the East Coast, would I consider doing

With today's technology, it would be great. You was really so sad. When I think about it now, I it?, I said sure, and they did. But as much as I

would think it would be a natural. I've talked get choked up, I swear to you. It was just real- liked working with the cast and loved working

with Irwin Allen's wife several times about it, ly bittersweet." with Heather and Anson, the character was but I'm assuming she doesn't have total con- After hearing Rick Berman's statement (in very unappealing. I used to talk to Ira Behr

trol. I know Fox does have control as well and last issue's interview) that "In my heart, I think occasionally as I was filming, and I would say,

sometimes it takes forever to get a movie made. we've not seen the last of [the Deep Space 'I sure miss Vic Fontaine!' I didn't enjoy play-

But I think The Time Tunnel is a shoo-in; it Nine] characters," Darren cautiously expresses ing Tony nearly as much as I enjoyed playing optimism that maybe Vic Fontaine will return. Vic. Not even close." "I know Ira Behr doesn't want Vic to go away, Now in stores is Darren's new CD, This

that's for sure. I hear a lot of talk about doing One's From the Heart, a project he's very pas- something—I don't know what, because no sionate about. "That's from the last line I say to one is specific—with the characters, including the gang in the final episode of DS9. That's Vic. That would be great. You just pray to God how I came up with the title, because the

that everybody would be available, and every- record company wanted to call it all different

body would want to do it, but then again, you space titles, and I said, 'Nope. Vic Fontaine is never know. When I'm at conventions, people not a space guy. He's a Las Vegas singer.' PlayingVic lias just totally rfxarLged my life."

say, 'Gee, you should be on Voyager,' and I "The CD has all the songs I did on Star

think to myself, 'That would be OK, but it Trek, with a couple of additional ones like wouldn't be DS9.' To me, the characters on "That Old Black Magic,' 'Sophisticated Lady' DS9 had so much color. I'm not putting Voy- and 'Satin Doll.' Sammy Nesta did the arrange-

ager down, don't get me wrong. It's just that it ment for 'Satin Doll,' and at the end of the song

was so different from Voyager, and Vic fit more he said to me, "The band is just vamping, and into DS9 because he could bounce off so many it's going to be a fade. Can you talk during people who had all these different colorful per- that?' So I talked off the top of my head when I

sonalities. It would seem. . .strained. The cama- said, T hear things are pretty cool up on Jupiter raderie between the characters wouldn't be and Mars.' Even in 'Come Fly with Me,' I said,

there, so it would be kind of strange." 'Blast off, let's fly away,' and that's all because of DS9," James Darren notes. "I thought I I'll Be seeing You would throw in some things that only Trek fans Darren's days since that last episode have would take up on.

would make money, if it's done well." been busy ones: In April, he performed live for "Actually, my son wrote something that

It ;,- Deep Space Nine's finale, "What You the first time since 1982, opening at the Clar- they used in the CD's inside packaging. says, Leave Behind," wouldn't have been complete idge Hotel in Atlantic City. "It was great!" he 'In 1966, I starred in The Time Tunnel, and without one last serenade from Vic. "The sad- enthuses. "It was more than I ever expected, went from the Titanic to the Moon. Thirty dest thing was doing the last episode and because going in after all those years and open- years later, I traveled in time once again, back singing 'Just the Way You Look Tonight.' The ing up without a break-in date, I was a little to my early days as a Vegas singer, this time via

director said to me, 'Walk down and wherever concerned, to say the least. I wanted it to be the magic of Star Trek: Deep Space Nine, and you feel like moving, move.' And I walked right. I wasn't thinking this was going to be a the character I played, Vic Fontaine. This CD down and just happened to be at Nana with that disaster, or that I was going to be nervous. I you're holding is the result of this wonderful line 'And that laugh that wrinkles your nose,' actually went out with more confidence than I alchemy.'

and as I'm singing it to her, she started to cry. ever had in my life, and I have to attribute some Indeed it is, Vic. Indeed it is. BOTAGE millennium celebration

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n his career as a composer, orches- the music for an animated feature, Kamen was offered The Iron Giant, I watched the trator and artist, Michael Kamen has excitedly leapt at the chance—simply because film—and completely fell in love with it. This written every kind of music, from bal- he had never done one. was in its early state, when a lot of the draw- let to rock; worked with everyone from "It's one of the great pleasures of childhood ings were unfinished; you would be looking at

Luciano Pavarotti to Metallica; and to recognize that animated work delights you," it, and suddenly the color would disappear and scored films ranging from the Die says Kamen. "And so little of it, recently, has you would see pencil drawings moving across Hard action-adventures to Mr. Hol- delighted me. Most of the stuff that I see is very the screen! But the story was soooo beautiful land's Opus. But when he was starkly commercial and very 'manufactured- and the little boy was soooo well-drawn— offered the opportunity to compose looking' and doesn't have any heart. When I don't mean drawn as a picture, I mean drawn — — —

The composer's love affair with the Kurzweil, a "science fictiony" musical instrument, began with Highlander.

as a character. And it was funny, heart-warm- But I loved the idea of the show, and I ing and delightful, and I just said yes." loved the way they treated the main figure

[the boy]. I once again thought that it Metal Music would make a great ballet—and then, The story of a small boy who finds a 50- again, I took my hands off it." foot robot in his own backyard, set in 1957 After the story of The Iron Man had Maine, writer/director Brad Bird's Iron Giant dogged Kamen for many years, "I got a has received critical raves and is being hailed call from my agent saying, 'I've got a lit- He'll be making music to the end of his days. as a modern animation classic (although its tle film that you might like. It's an anima- — Michael Kamen can't conceive of any other box-office reception didn't live up to the title's tion ' My ears perked up, because I've kind of existence. outsize dimensions). For Kamen, working on always wanted to do an animation. And the movie was a culmination of years of inter- when he told me what the name was, I said, human beings are really about us; they are real- est in the subject matter. After "doing his time" 'The Iron Giant! Is that like The Iron Man!' He ly identifying marks of our civilization."

with a rock 'n' roll band, but prior to begiiining said [blasely], 'I dunno.' It took a little pursu- As for working alongside Bird, Kamen

his film career, "I used to write ballet scores ing, but gradually I discovered, not only was it admits that he didn 't—at least, not until the two I wrote a dozen or so for some major ballet The Iron Man, but it was also Pete's property men had "a very 'science fiction' kind of meet- companies in New York," explains the 51-year- Warner Bros, had acquired it from him and ing. Like anybody working on a film, he was

old composer. "I had heard a story called Iron given it to Brad Bird. And Brad fell in love tied down to it. He couldn't leave his perch in

John about a little boy who discovered an iron with the concept of a robot from outer space LA, / couldn't leave mine in London. So we man living under a lake near his house. His falling into the clutches of a little boy and went into a video conferencing center, where parents forbid him to go there, but he had to go. humanizing him, as the boy humanized the we 'met' over closed-circuit television! We I loved the story—I researched it and found out robot. Then, Brad read the script and Hughes' looked at the film together and discussed it, and that it had been an old Scandinavian legend, version, and he wrote an entirely new version, in two three-hour sessions, we did a spotting." and that Carl Jung, the psychologist/psychia- set in America. It's another retelling, I suppose. To capture the 1950s feel necessary in this

trist, had made a whole case about the Iron Like Jonah and the Whale or Noah's Ark, these sort of story, Kamen claims to have taken his Man being a separation drama of a child's need stories that continue through our history as cue from Bird. "He, like any other director, is to become his own person.

"I always thought it would make a great ballet score, and was in the act of trying to pre-

pare it when I got a call to come to England to work with Pink Floyd. I had done the orches- trations on The Wall, and they were making the film [Pink Floyd—The Wall, 1982]. In Eng- land, I took my youngest daughter to play school and met a very old family friend, a won- derful artist named Leonard Baskin, by acci- dent, on the street. I asked him what he was doing in London. He said, 'I'm here illustrat- ing a book by the English poet laureate Ted Hughes, The Iron Man.' I said, 'Wow! That's really a coincidence!' "Later, I was introduced to Pete Townshend [of The Who, responsible for the Tommy album, movie and stage musical], and we became friendly, and he asked me to come see his new show The Iron Man," Kamen laughs. "He had

fallen in love with it when he read it in Hughes'

version, and had turned it into a London stage presentation. I love Pete; I didn't love the show.

STARLQG/Nm ember 1999 67 — I

I Photo: Copyright 1!

Herrmann—there he admits. "I was an amateur astronomer from was some John age six—I used to try to grind my own tele- Williams, and I scope mirrors!—and The Twilight Zone always think there may inspired me. I've really loved science fiction have even been stories of that nature. Herrmann's music turned some of my own me on tremendously, because there was some- stuff. But what thing very different about it—different from really impressed the other [TV] music like Route 66 and 'Rook-

me, as it always ie, Kookie, Lend Me Your Comb' [from 777 has, was Her- Sunset Strip]. It was sufficiently different to rmann's music. please me, and I used to sit at the piano won- And I went imme- dering, 'How did he do that? How do you make diately for that, those chords?' And I would 'invent' them and I and I realized that would find them, and I would try to scare the Brazil—"the at the end of the shit out of myself in six seconds. Or to make most magical day, it would be myself very happy. It was very early on, ban- film I had ever seen"—marked just the right lan- gin' on the piano, that I discovered it was real- Kamen's first guage for the film: ly all a variation of 'happy' and 'sad' collaboration To make it big, harmonies. And if you skewed them the right with the brilliant orchestral, multi- way, they became weird and more interesting!" Terry Gilliam. layered and very he says with a laugh. rich tonality. I The protean Kamen's movie work—which very proprietary about his work, but in this don't know how to describe it, which is me not to date has received two Oscar and four Gold- case he actually invented the characters—he having the language to talk about music!" he en Globe nominations—has its start in the mid- was Dr. Frankenstein, he created these people. laughs. , but he characterizes The Dead Zone And, although he doesn't think so, I can attest (1983) as his "first good picture, and my first to his fluency in emotional language: He was Dead Chords contact with a really great filmmaker—David able to talk about music as if he were a Juilliard Long-haired, glib and decidedly enthusias- Cronenberg. It was all done very, very quickly: professor, but he just didn't know it. He kept tic on the subject of music—his and others' Cronenberg has a relationship with [composer] saying, 'I just don't have the language for it, Kamen is now London-based, although he has Howard Shore, and Cronenberg wanted Shore but I would like the music to be x and x and returned to his native New York City for vari- for The Dead Zone. For reasons unknown to y...' Unbeknownst to him, he speaks exactly ous business matters. Raised in a house filled me still, [executive producer] Dino de Lauren-

with music, he tiis didn't want Shore, and put out a call to a started playing the figure in the French music business: 'Get me piano at age two, another composer!' And they found me— soon added the don't know how—and I got his call: 'Come to guitar, clarinet and Hollywood. Meet with Dino. Meet the director.

oboe to his reper- See if you think you can do it quickly enough.'

toire and met leg- So I flew to LA and met Dino, who said an endary music immortal line to me [in an Italian accent]: 'To makers like Pete me, a composer is like a watermeloon. You

Seeger and Lead- never know if it's ripe until you open it!' belly, friends of [Laughs] When I saw him at the premiere, I his parents. He asked, 'So? How do I taste?' He said, 'You one now adds to his ripe watermeloonV

list of musical "The work was very, very, very quick; it influences Johann was very truncated. I had read and loved

Sebastian Bach, Stephen King's Dead Zone. I found it to be

whose music "is very tender and sad, all the lost life of the man

eminently high up in the coma. I love Christopher Walken, who is

on the list. It was a bizarre actor, and I really responded to the that music, as well movie. I sat in my house in London—I was liv- as Leadbelly and ing in a Gothic palace at that point, making this the right language. the Weavers, that led me into music, simply for supposedly scary movie with a tenderness and

"When [moviemakers] are working on a the enjoyment of listening to it. My parents a bittersweet quality to it. I was very happy to film and it's unfinished, and they need to show were very devoted to the left-wing political see responded to it just that it to varying degrees of executives in the com- spectrum that begat American folk music at the way and asked me to do his Amazing Stories pany, the executives need to see a complete time. I always thought of Pete Seeger as a ["Mirror Mirror"] based on the work I had film; they're used to looking at complete films. major hero, and Leadbelly as a major musical done on The Dead Zone." So [the moviemakers] 'finish' their films with figure. Those were the people who I looked up Kamen adds that director Cronenberg "had borrowed music from other movies and they to—they were making a difference in the very little input—we met in a period of over show an unfinished film with finished music. world, they were talking to people who were two days. At that point in time, I didn't know (Sometimes with disastrous results—it doesn't interested in making the world a better place. the ropes, really, I didn't know how to make a always make sense to take music from Robin Or so it seemed, as a child. And I kinda feel demo of a score and send it to the director. But

Hood and put it on a Civil War drama, as they that way still!" he was brave enough to say, 'OK, well, I guess once did.) But very often you get an idea of the More applicable to the subject currently at I gotta do what Dino wants me to do' because film's mood. Brad made a score out of bits and hand—Kamen's SF, horror and fantasy film Dino wouldn't hire Shore. So—there I was, the pieces of Bernard Herrmann—some of Herr- scores—is the impact that Herrmann and TV interloper. I worked on it in London, I took 10 mann's incredible scores, like The Day the series like The Twilight Zone had on the bud- days to write the whole thing, and then I went Earth Stood Still and the other great SF movies ding composer. "My interest in 'the dark side into Abbey Road [the legendary recording stu- that he did in the '50s and '60s. It wasn't all of the Moon' has always been very profound," dio] and started conducting. I think the whole I — '

All Iron Giant Art: Copyright 1999 Warner Bros. movie was recorded in—a day! And that that! I saw it on television not too long ago, and I was really impressed. If / had heard that work, I would have hired me—there's some really cool stuff in it."

Brazil Melodies Cronenberg had few suggestions for his own film's score—but isn't that sort of situa- tion an improvement over being saddled with a director who tries to tell a composer what he wants, but who can't describe music? Kamen dances nimbly around the question, volunteer- ing instead, "Well, there are directors who are more emotionally available, and can tie that in with plain English. Or, their responses are so easy to see—I mean, somebody like Terry Gilliam, who, when you do something right, just lights up! He's like a child!" Kamen's first association with the talented Gilliam was on 1985's Brazil. According to

Kamen, landing that assignment was the result the nut [laughs] ! It was somethin' else entirely, inspired by him—but, really, I should have of "a funny day in the studio with Pink Floyd, and I flipped out. It was the most magical film taken the figurative horn out of my mouth very where we called in a percussionist to overdub I had ever seen. When I met Terry the next day, often and allowed him to do it while I just sup- some tambourine on an album called The Final we had lunch. . .and a lifelong addiction to the ported it." Cut. We had just done the orchestra, and films of Terry Gilliam began." there's this guy Ray Cooper, who I had seen Kamen, who says he worked on the score Action Symphonies before in an Elton John in Russia video, play- for Brazil for approximately six months, adds Bracketed by these two collaborations with ing percussion while Elton played piano. Just Gilliam to the short list of directors who can Gilliam was Kamen's score for Highlander, playing and banging and hitting and striking convey what they want music-wise: "Endless- the 1986 fantasy-adventure helmed by former everything! When he came back into the cen- ly! What he wants, and what he doesn't want, rock video director Russell Mulcahy. "I loved tral room, he asked, 'Who did the orchestra?' and what he might want, and what it could be the visuals in the movie, and the story is, again, and I said it was me. 'Oh, really?' he said. and what it shouldn't be and, 'Why don't we Twilight Zone-ish as it leaps back and forth 'Have you ever done any film?' I told him I had try thatT He's an adventurer, and the spirit of through time—that's something that has a film opening in London the very next week, creativity is so vast and supported by his own always intrigued me. It was my first score on . Venom [1982]. I didn't think he would know creativity that you just keep going. Brazil was an instrument that has become a fixture in my ' about it. He said [gasps], 'You did VenomIT I an important film; it was the first time I had life, the Kurzweil, which is science-fictiony all was taken aback, like he was saying, 'You had anything like the canvas that I really do by itself—it was developed by Raymond ' wrote The BibleV He said, 'When I'm not believe film offers a it composer. And was one Kurzweil, who worked with Stevie Wonder on ! playing percussion, I'm the managing director of the only times I had come across a talent as applying the concepts of artificial intelligence • of Handmade Films. We screened Venom' I large as Terry's. It was the first time I was get- to a musical computer. That was the first time I asked, 'Who's we?' and he said, 'Well, me and ting to really put my major opus down on was able to work on this instrument, which , ' George Harrison.' And I started melting— paper." 'remembers' everything you play and can play couldn't begin to tell you how much the Beat- Kamen subsequently reteamed with it on instruments that sound very much like the • les changed my life! Just the very idea that Gilliam on 1989's The Adventures of Baron real orchestra. It led me down the dark path of .

George Harrison had actually sat in a room and Munchausen, providing a bombastic, adven- working with computers and musical instru- ! listened to my music was more than I could turous and (Kamen's own word) "beautiful" ments." \ take. Ray said, 'We agreed that we wouldn't score that says he's very proud of. he "But," he Kamen had no connection with the High- . release the film, but the music was great. quickly adds, "I think I didn't do Terry a ser- lander sequels and TV spin-offs, but he has ; George liked the too.' I said, music, 'Really? vice there. The movie was already complicated worked as the regular composer for two other ( Isn't that incredible...' —and my heart was and rich enough, thumping! and I should have "Then, Ray said, 'Maybe you should meet tried to become Terry Gilliam. You would love Terry. He's much simpler, making a film called Brazil, starring Robert De instead of digest- Niro.' I had the image of mad crowds, throb- ing the entire bing in the heat, sweating bodies walking thing and swal- down the big avenue in Rio and dancing the lowing it! I think samba, and I had mad images of all this bac- I worked a little chanalia goin' on. Ray said, 'I'm gonna call too hard on you'—and of course, as you do when you're a Baron Mun- young man, you think that the phone's gonna chausen. So ring any minute. And the call didn't come until that's a critical a year later, when Ray said, 'OK, we've fin- assessment of my ished the movie, and I would like you to see it own work and meet Terry.' So I went to a screening room which you won't and sat and watched a four-and-a-half or five- get very often. It hour version of Brazil\ I did expect De Niro is such a rich can- naked to the waist dancing up and down the vas that Terry streets of Rio, and instead I saw this incredible made; I was stim- story that wasn't about the country—or even ulated and — —

Weapon Photo: Copyright 1992 Warner Bros

recent movie series, Die Hard and Lethal the star dies—it became a joke. You Weapon. As each movie in both series could either respond to it by giggling or, tries to outdo the last one in the action if you were trying to be serious, by try- department, Kamen admits that he too is ing to make it magical. I'm really similarly challenged to top his previous pleased with the score; it doesn't matter score. "But there you're working with what the film is. It's some of my more another category of people: You're work- mature recent work. It was a very well- ing with a grrreat director on Lethal intentioned work on a film that I thought Weapon, Dick Donner, and an amazing highly of while I was working on it man, , who produces Lethal and then as the work played itself out, it Weapon and Die Hard—or at least the unfortunately was clear that it wasn't good Die Hards. You're inspired some- gonna work!" times by the film that you're working on, and sometimes you're inspired by the Magnum Opus people you're working with, and you Mentally running down his own list As a kid, Kamen didn't read comics or play with guns. to because you want to of credits (which also include Robin want do your best Now as maestro of the Lethal Weapon and Die Hard Hood: Prince Thieves, Mona Lisa and please these people—you want to live up sagas, he's "making movies which are comic books, of to their images of you. They hire you about gunsl" Event Horizon), Kamen says his because, they think, 'You're the best!' favorites include "Brazil, absolutely. so you better bloody be the best! Growing up ful film, an extraordinary-looking film. The And Don Juan DeMarco [1995] I did a beauti- on the left wing of American politics, I wasn't story is in the classic Twilight Zone fashion, ful job on, I must say—I give myself full good allowed to read comic books or play with with some deep passion to it. I know it wasn't marks on that one! Iron Giant is definitely up guns—and here I am, making movies which articulated properly, and I don't think director there, too." But, he adds, the experience that "really has changed my life" is his involvement What Dreams May Come touched with the Mr. Holland's Opus Foundation, a Kamen at "a very raw time in his non-profit organization which he has founded life." His lush score plays counter- to help children who may not have the advan- point to the sadness on screen. tages he had in school.

"I grew up with music, but all of it came from the New York City public school system and a great assortment of teachers and men- tors," Kamen explains. "When I worked on the film Mr. Holland's Opus [1995], I had a partic- ular teacher in mind. When I finished the movie and went back to school, the High School of Music and Art, I asked a teacher, 'How are things?', really expecting him to say, 'Great, great.' And I heard that things were really not very good, and that the movie's story—which I had taken to be a fabrication was actually the truth: Politicians had decided to save money by cutting the music. "I decided, in the most Utopian way, that I

had to do something about it, so I started the Mr. Holland's Opus Foundation. For the first three years we did a little bit of good, and made a lot of noise. But it wasn't—until last year, 1998, that we took on a force 'a force' is real- ly the right way to describe her—who also has

are comic books, about guns\ So it was a very Vincent Ward was given the opportunity to do a great tradition of music in her blood. She's tongue-in-cheek situation." it the way he wanted to—or maybe he was Henry Mancini's daughter Felice, and she's In the same genre, Kamen made a one- given too much opportunity to do what he transformed the Foundation into a really active entry visit to the James Bond series, supplying wanted to do! The film had a 'history' in that and very helpful unit that has put thousands of the score for Licence to Kill (1989), Timothy they had hired another composer who had fin- instruments into kids' hands and about a mil- Dalton's second 007 actioner. The Bond ished a score; this was a replacement score that lion dollars through various school depart- movies are, of course, so identified with one I was being asked to do at a peculiar time in my ments. And that makes me as happy as a composer (John Barry) that the natural ques- life for a film about love and death—and life clam!" tion becomes, how did you "make it your after death, and love after death. My wife had Having already given STARLOG nearly own"? With a laugh and yet another moment of just gone through some major surgery, and twice the amount of time allotted for this inter- self-deprecation, Kamen scoffs, "I'm not sure I times were emotionally strained. She had come view during his jam-packed New York trip, did\ Not honestly. I tried to make some inter- out of the surgery, and there was this film on Michael Kamen gives the impression that he esting things for one character who does offer. would be entirely happy to keep on chatting change, the bad guy, and some beautiful "So, What Dreams May Come touched me that writing music, and talking about music, themes for the other characters who change, at a very raw time in my life. I reached out for and living music are passions he intends to pur- which are the girls. I tried hard to play versions a song at my wife's suggestion, a song that I sue to the end of his days. "Music is endlessly of James Bond, but I'm not a jazzer—I don't had written 25 years earlier, 'Beside You,' and energizing—it never becomes tiring, it never know those chords! But I tried my best." drew the score from the song. And I tried in gets tedious, it never becomes a pain in the Another, more recent fantasy film credit on every case to run opposite to the film—the film ass—it's makin' musicT he chatters. "I would Kamen's resume is ' What was depressing beyond even amplifying that do it every day whether I was asked to, told to, Dreams May Come, a critical disappointment word to its utmost degree. In the first two min- commissioned or paid for it or not. I don't have despite Kamen's lush score. "It's a very beauti- utes, the little kids die, and five minutes later, any other way of beingV Jig Explore the History of Science Fiction in

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Selected Photos: Carol Segal

Joshua (Roger Cross, right) was part of the First Wave to conquer Earth, but when the worm turns in episodes like "Breeding Ground," this alien opts to help humanity.

The extraterrestrials have come to Earth in human form, with Joshua taking on the body of a black man. The series, cre- ated by Chris Brancato and executive-produced by and Larry Sugar,

has finished its first successful season on the Sci-Fi Channel.

It's on the set of 'Target 1 17," a second season episode with female wrestler Sable guest star- ring as an alien, where Cross relaxes. He has a day off from shooting, but stops by to chat about the series. "I knew right away that this was a special role for TV," he says of the alien warrior. "Often, when writers write for a quote- f\ lthough some actors like to thank to myself, 'I'm going to give this acting thing a unquote black actor, they write him in a comi- of the material is J» their lucky stars, Roger Cross year. If it doesn't work out, I can always go cal manner. Frankly, much Jt *A thanks his lucky waterfall—one back to flying. That was eight years ago." not great. But when I was down in Los Angeles ironically nearly cost him during the TV pilot season, three shows really £ 2; that fcll caught my attention, and First Wave was at the j his life. Friend or Foe? the list. They gave me a great audition J ^ But it was that trau- Cross, who has made guest appearances on top of matic event which such genre series as Stargate SG-1, The Outer piece, where Joshua is captured by Cade Fos- played a pivotal role in the First Wave star's Limits, Highlander, Strange Luck, Sliders and ter, and you see the character conflicts between decision to pursue acting. "I got this gig to do a The X-Files, is best known for his current role them. I knew Joshua was a character who I movie [International Rescue] in China," as Joshua, the alien who has formed an uneasy could bring my own persona into and make explains Cross. "I did it for fun—I was a char- alliance with human crusader Cade Foster even stronger." ter pilot at the time, not an actor. During a (Sebastian Spence) on First Wave. Is Joshua Cross was a contender for the role early on, break from filming, I was crossing a river with friend or foe? His merciless way of dealing and when he was hired, "things couldn't have this huge waterfall roaring downstream. As I with rogue aliens who have betrayed bis race worked out better. I was living in LA at the jumped over the rocks to reach , I suggests a one-track mind, but Joshua has time, but Vancouver was home. I had moved to

1 , slipped on one that had moss on it. I lost my occasionally stepped forward to save humans Canada from Jamaica when I was 1 and Van- balance and plunged into the water. The river's from alien harm. couver is where I started my acting career. I current carried me down a ways and I was struggling. I could hear the waterfall getting closer and closer, and the guys on shore were scream- ing and freaking out. "I managed to grab onto a rock and hold on. I yelled to the others,

'It's OK, I'm fine.' I got to shore and one of the actors said, 'Roger, do you realize that the rock you grabbed was the last one before the waterfall? If you hadn't grabbed

that...' I was stunned. I realized how

close I had come to being swept

over. I would have died. It was the

first time that I was made aware of my own mortality." But the frightening experience served him well. "I used this experi- ence to connect emotionally with my death scene in the film. It was a great feeling, acting-wise, so I said

Though their cups hardly runneth over with mutual love, Cade Foster (Sebastian Spence) and Joshua do respect—and occasionally help—each other.

74 STARLOG/Wovcmfcer 1999 — —

had originally gone to B.C.'s Trinity Western University to study the aviation business and to fly my own charter flights. Around this time, someone I

knew from Stephen J. Cannell Productions called me. They

knew I had martial arts [train- ing], and I ended up doing some stunts on .

Later, I decided to go to Peter Breck's Acting Academy in Vancouver and acted in 21 Jump Street'' From there, Cross landed many TV and movie roles, cul- minating in his compelling and dedicated First Wave character. "Joshua takes his job seriously. He has a strong belief

in what is right and wrong, but he is also the consummate sol- dier who belie'ves in duty to his race. The [alien] Gua hierarchy

is very militant and structured, but Joshua has disobeyed orders on some occasions. In 'The Undesirables,' he's ordered to kill an alien woman who has fallen in love with a human. The aliens are not

allowed to have sex unless it's for procreation. But Joshua allows her and her human lover, a scientist who has devel- oped wormhole technology, to escape in a boat. Crazy Eddie LaBelle) haa "In a sense, Joshua respects Nambulous (Rob even Sure, Joshua's playing a deadly game, but not more reasons to be paranoid once he gets a taste Cross—he loves First Wave. "We have a lot of fun her free will to fall in love," of the inhuman—and dangerous—Joshua. on the set," he notes. "It's a great group of people." Cross says. "But he's almost caught by his people for letting her get away. peans were friendly at first, but some of them He explains to the hierarchy, T couldn't were planning some very devious things. And Enemy or Ally? destroy her. There were other humans around you wonder, 'What if the Europeans and Indi- The one person who has taught Joshua that the boat dock. Was I supposed to wipe out ans had gotten along?' Could they have co- humans can be strong and courageous is Fos- everyone to get to her? If I had had backup, existed with mutual respect rather than one ter. An ex-thief who lost his wife to the aliens, maybe I could have gotten her.' That was an side saying, 'You'll do it our way or else?' Foster tracks down the enemy intruders each example of him getting out of a very dicey sit- Joshua is caught in that same crossfire between week with the help of computer expert Crazy

uation. But it may catch up to him. We don't humans and the Gua. He's searching for that Eddie (Rob LaBelle). A core of respect begins "If Cade Foster were truly an annoyance to Joshua, he would have killed Foster by now.

know how much longer he can keep doing common ground. He feels that if they can't find to develop between Foster and Joshua—but are what he does, yet be torn between his own race a common ground, his people should go to they friends or allies? "Joshua warns Cade in

and the humans. We'll see." another planet." "The Undesirables,' 'The last time we met, I let Joshua is clearly against some of the meth- However, the aliens won't allow Joshua to you live. Don't make me regret that decision.'

ods employed by his race to invade Earth. The prevent their plans to destroy humanity. "It's In essence, he won't tell Cade that his race is harder his people push to destroy humanity, the important to note that Joshua isn't saying that he bad. They're doing what they must do to sur- more decisive Joshua becomes about making a likes all humans," Cross continues. "He has vive. As one of the aliens in the upper echelons stand. "He loves his people," stresses Cross. grown to respect certain humans. His viewpoint of the Gua hierarchy, Joshua has a great posi- "They come first. He knows they need a new is one of a soldier. Tactically, he would rather tion of power that he must protect. He won't planet with resources or they will die. But he win this war with as little loss of life as possible. allow Cade to jeopardize that." doesn't like some of their experiments, or their He doesn't want his people to die, but he does Nevertheless, Joshua is impressed by his choice to use human beings as guinea pigs. not want Earth ruined by an invasion that may human foe. "If Cade Foster were truly an He's connecting more and more with the be underestimating human strengths. If that annoyance to Joshua, he would have killed human race, and that's creating a dilemma for happens, Earth would be destroyed and they Foster by now. Joshua respects Foster for being him. would have to find another planet. There's no able to stand his ground against the aliens. All "It parallels when the Europeans came to question that as time progresses, he's becoming of the other humans who were subjected to North America and met the natives. The Euro- more connected to the human species." alien experiments cracked under the pressure.

STAKLOG/November 1999 75 They had hallucinations, they jumped out of as to whether to continue the invasion." suggestions in the scripts, usually wanting to windows, they went crazy. Cade came out of The humans who don't possess admirable show more of Joshua's caring side, and they've the experiments saying, 'I'm gonna get you qualities are, in Joshua's eyes, often worth been receptive to that." guys!' Joshua was taken aback by that. 'Hey! killing. In "Joshua" (his debut as the moral Wait a second,' he thinks, 'Humans aren't alien), Cross' bounty hunter poses as a cop to Alien Yet Human? capable of that.' This tells him that there could track down Foster in a mountain wilderness. A First Wave will continue filming in Vancou- be other humans who won't be pitiful smug human deputy on the case not only ver, and it has already been greenlighted for a pushovers." threatens to investigate Joshua's background, third year. Cross is looking forward to future In the last episode of year one, "The Deci- but makes racial slurs against him. Joshua adventures, on and off screen. "We have a lot

sion," Joshua confronts his fellow aliens and promptly kills the man by breaking his neck. of fun on the set, it's a great group of people." makes a strong argument, aided with clips "And he throws the dead body into the trunk of But he does recall one unusual guest star who

from previous adventures, that the human race a car," Cross recalls. "Joshua then says, 'Your didn 't enjoy himself at all. should be spared. hatred for each other will only hasten "We did one episode with a live rattlesnake.

"Joshua states, 'What if the your defeat.' Joshua knew right Now, you can't take all of the venom out of it

humans learn about us and away this guy was going to be or else it won't rattle. So early in the morning, band together? They could trouble, and when the the trainer came out with this snake, which was be quite formidable. We deputy made these 'won- hissing and snapping at everyone," Cross can't take for granted derful' comments, relates. "By the day's end, it was coiled up

that we can wipe Joshua found it much inside its glass cage, asleep. They still needed

them out.' The easier to kill him. The to get a close-up of it, but it wouldn't move. It episode ends, deputy was a threat was laying there like, 'Leave me alone.' So | notes Cross, I and a jerk. Joshua they're poking and prodding it, trying to get it it "with the alien | was not only upset going, and slowly begins to come to life assembly about with him, but found again. The snake handler warned, 'If the snake

to vote it practical to kill him gets loose, don't move! Just stand where you

to protect his own are. I'll pick it up and everything will be OK.' ." identity "Meanwhile, the assistant camera operator

What plans are in is totally concentrated on getting a close-up of store for Joshua during the the snake, and focusing the camera's eye. And second year of First Wave! as they poked the snake again, it got really Cross shakes his head with a pissed, rose up over its glass container and smile, saying nothing. This sub- headed straight for the assistant camera opera-

ject is strictly off-limits. "I can't tell tor. The guy took off, jumped over a rock and you," he finally laughs. "Chris [Branca- ran up the street so fast he looked like a blur.

to] will kill me if I say anything. You' 11 have Let me hasten to add, if that had been me, I would have done the tfjflfl same thing! The snake They don't jus l3i66^ handler, true to his word, m got the snake back into ™ its cage. It wasn't a big an alien, but a man. deal, just a little excite- ment." to watch the show." But with some encourage- Cross finds his human co-stars no less ment, he says carefully, "Joshua started out as exciting and wonderful to act with. "Working

a cold-blooded killer. That was his job. But with Sebastian and Rob is great. They give slowly we've seen more of his personality, something back to you as actors. There isn't a and in this episode ["Target 117"] there's huge cast, and there are not many effects or

more background about where he came explosions going on, so it's very story-driven. from. We learn he had a long-lost love, There's also more emphasis on the acting. We someone he had to leave because she was also had a guest star, Alison Matthews [the

a student and he was a teacher and it was female lead Gua] who acted with me in 'The A an inappropriate relationship. This is Decision,' and she was wonderful." also the first episode where Cade, Eddie The actor gets a kick out of the recognition and Joshua are together, so you see he has been getting. "A teacher came up to me some interaction between recently and said, 'My students love you and Eddie and Joshua. That your show. You're a positive image for a black much I can give you." person.' That was interesting—they don't just He has been see an alien, but a man. Another time, on East- pleased with the er Sunday, I went to church and I heard this direction of the voice behind me say, 'Joshua!' I turned around

show and of and it was this little girl, with big eyes, who his charac- then scurried off."

ter. "We Roger Cross is also appreciative of the have series' loyal fans, concluding, "We're trying to Despite great do something special here. It's a great show! Joshua's loyalty to writers. First Wave combines drama with a SF edge,

his people, the alien is I trust and I think it does it well. To the fans, keep developing a soft spot for them com- watching. You won't be disappointed. We'll humanity. "And that's pletely. I've always give you something to enjoy and to creating a dilemma for him," made some remember." Cross affirms. Each figure sold separately

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The X-Files'" & 6 1999 Twentieth Century Fox Film Corporation. All rights reserved. Dark Horse ComicsS and the Dark Horse logo are trademarks of Dark Horse Comics, Inc. registered in various categories and countries. All rights reserved. —— By IAN SPELLING I thought that The Phantom Menace was magnificent," enthuses Frank Oz. "And I loved Jar Jar Binks [Ahmed Best]. I don't know what the whole flak was about. When I read the script, I thought, 'Oh, Jar Jar is going to be a terrific character.' I was surprised at the bizarre reaction to him. I love Jar Jar. He's hysterical. I think the script is neat. And what's really amazing was the world that George Lucas created. It's absolutely staggering."

Oz, of course, returned to Star Wars action in the intervening years, to returning to Lucas' Yoda. It surprised me that they decided to do in The Phantom Menace, once more bringing universe. Yoda as a puppet. I thought that they would go to life Yoda, the sage Jedi who had previously "I didn't have an opinion on whether or not with CGI. But I love the character," Oz says, appeared in and George would ever come back to Star Wars," "and I like working with George. So I was . he admits. "I was happy to hear that he decided happy to do it. George intimated to me that But the skilled puppeteer with decades of to do it, because I'm a fan of the Star Wars there's something about Yoda as he is now experience working with Jim Henson's Mup- movies. But I had gone on with my life and that's more organic, that worked somehow. I'm pets on Sesame Street, The Muppet Show and didn't think about it, really." comfortable with CGI, it's used properly. I films based on those two programs, not to don't think you could make Yoda entirely CGI, mention directing credits on The Dark Crystal, Wizardry of Oz because he's so known as who he is, [by how] Little Shop of Horrors, Dirty Rotten All it took to secure Oz's talents for The he looks. I think Yoda—and this is my own Scoundrels, The Indian in the Cupboard, In & Phantom Menace, however, was a phone call opinion—should not be too hi-tech, because Out and the recent Steve Martin- from producer Rick McCallum. "Rick came to you'll lose the warmth. But I think we can do comedy Bowfinger never gave much thought, me and we talked about how they wanted to do some CGI with him. I'm for CGI or anything Though hardly a Phantom Menace, Muppeteer Frank Oz was the unseen talent behind Star Wars: Episode fs sage Jedi Master Yoda.

Muppeteer Frank Oz li hand in bringing Yoda to life. that enhances the film and the film's action occurs several Oz, a self-declared characters, as long as you're not "fan of the Star decades before The Empire showing off." Wars movies," Strikes Back, wherein the tiny On the set of The Phantom certainly didn't green Jedi master was intro- Menace, Oz took pretty much expect to reprise duced. The character doesn't the same approach to perform- the role of Yoda. walk with a cane in The Phan- ing the character as he had more But the Force was tom Menace, nor does he strong at than 15 years earlier. Oz, and breathe heavily. Gone, too, is Lucasfilm. the three puppeteers who pretty much of all of Yoda's manipulated Yoda with him, Empire-era feistiness. "I missed toiled two-plus days in doing the feistiness, but there rehearsal for every one day of was no room for it," Oz shooting before the camera. explains. "It was too serious a Advances in puppeteering, he time, with the bad guys notes, barely affected the pro- encroaching." ceedings. The puppeteers still Still, Oz explored new had to coordinate realistic facets of Yoda. "I know just a movements and interact believ- bit more about how significant ably with the other actors in a he was in his home base. When given scene. "In the beginning, you saw Yoda in The Empire it was cables, and now it's RC Strikes Back, he was in exile [remote control]," says Oz. from his own people and his "You still have the same basic own planet. You never really situation, though—four people saw him in power," Oz asserts. trying to make one character work subtly. who are working with him. Sam, Ewan and "And the second time you saw him [in Jedi], he There are always good parts and bad [aspects] Liam were very good [with Yoda], and the was very old and weak. The Yoda you saw in to technology, but you're doing essentially the scenes with Yoda in The Empire Strikes Back The Phantom Menace was younger. He was same thing and still trying to achieve a com- would not have been nearly as good if Mark not weak; he was powerful. He was still old, mon goal. Hamill didn't do as fine a job as he did. And [at but he was at home, he had the structure of "It was fun working with Sam [Jackson] the time] I wrote Mark and [Empire director] government around him and he was in his ele- and also, in the little bits I had with them, with notes telling them that." ment." Liam [Neeson] and Ewan [McGregor]. At least In reprising Yoda, Oz did make some minor And, assuming Yoda turns up again in half the success ofYoda comes from the people adjustments to account for the fact that the Episode II and/or ///, what might Oz still like "I would be more surprised if there were ever limitations to what you could do with a puppet,

TAKLOG/November 1999 "I don't feel proprietary about Yoda, though. I'm very much involved in his psyche, and in his emotional life. I feel good about that,

but I don't feel proprietary at all. I believe that

Star Wars: Yoda is George's vision. It's his writing and

Episode / features Larry Kasdan's writing. The people who work a younger, Yoda with me all have a hand in making him brasher Yoda. And come alive. I'm just the guy who takes all the Oz was pleased to elements and puts them together." explore the Do the achievements—emotionally—with various emotional a puppet ever surprise Oz? "I'm never sur- aspects of this yet-to-be deposed prised," he answers. "When there's an emotion Jedi. that's called for from a puppet, it comes spon- taneously. And I'm not ever surprised by it. I don't know why I'm not. I've been doing this

for a long time now. It's instinctive for me. I would be more surprised if there were ever lim- itations to what you could do with a puppet." The Puppet Menace Performing, Oz notes, has had "quite a lot" of impact on his directing. "Being a performer, I think—I hope—I can feel when the actors are at a certain place in their performance, whether * they're pumped up and ready to go or not. I I love the character. took acting lessons for a couple of years in my 20s, not to be an actor but to learn the language to learn about the character? "What do I want Yoda. Then he turned powerful. At first, Luke and learn how to talk to actors," he says. "That to know about Yoda?" he asks, repeating the Skywalker [Hamill] thought he was an annoy- was very important, too. I don't know if the question. "I know a lot about him, but I would ing little creature, so Yoda behaved like a little reverse is necessarily true; if directing has like to have an opportunity to explore more annoying creature, hitting R2-D2 [Kenny made me a better performer. That's a different levels than just power. In the beginning of The Baker] and everything. There's obviously some deal. The reverse is more true. I just learned so Empire Strikes Back, he was an impish kind of impishness in Yoda, since he was able to do that, much from Jim [Henson]." a guy because he was pretending not to be and I would love that to come out some time. Given his ongoing connection to the Mup-

STARLOG/Wovem&er 1999 Design & Layout: RickTeng

The possibility of rendering Yoda via CGI was considered, but Oz's wizardry was chosen once again to give him life.

pets and to Sesame Street, Henson is clearly "Doing the Muppets is a never far from Oz's thoughts. Many "firsts" vacation. It's fun," Oz com- resulted from Oz's personal and professional ments. "I don't have a $50 mil- association with Henson, which began when lion budget on my shoulders. the then 17-year-old Oz met Henson at a pup- The joy for me of doing the peteers' convention in California. Oz became Muppets is not only to play the Henson's right-hand man, performing charac- characters again, but to work ters and eventually developing into a director with my fellow brother and sis- when he and Henson shared the helming ter performers. I've known chores on The Dark Crystal. Oz went on to call some of them for more than 20 the shots on The Muppets Take and, years. You also get to tap into a nearly a decade after Henson's death, contin- younger part of yourself, a part ues to spend five or so days a year taping that's much more filled with Cookie , Bert and Grover segments for abandon and joy." Sesame Street. He also participates in the Mup- Oz will also continue to pet films, most recently Muppets from Space, direct. He's next scheduled to in which he once again performed Miss Piggy, helm The Score starring Fozzie B ear and Animal. Michael Douglas as a gentle-

f Muppet man Oz is also a masterful director, having handled such films as The Dark Crystal, Dirty Rotten Scoundrels, Little Shop of Horrors and most recently Bowfinger.

man thief out to complete one last big job before beginning a profitable retirement. Returning to Star Wars, Oz admits that he doesn't know what the future holds for him and Yoda. And, just as he didn't sweat whether or not Lucas would ever kick-start the saga again, he's not losing sleep over Yoda's involvement

in Episodes II and/or ///. "I'm not really wait- ing to see," Frank Oz concludes. "My gut instinct is that I probably will play Yoda in the

next one, but I'm OK to do it and I'm OK not

to do it. Again, I like working with George a lot and I love Yoda, but if George has other ideas, if he doesn't put Yoda in or if he has Yoda be in another form, that's OK with me. All I care about is that it's good. That's all I ever care

about." _*«, By KIM HOWARD JOHNSON

writer/director David Koepp, Richard in adapting the writer's work. something ForMatheson's 1958 novel A Stir of Echoes "It's great to be working on by your favorite authors, because I just was love at first read. In fact, Koepp liked The only way one of the book so much, he acquired the rights and connect with so much of their work—there's a helmed the film adaptation (now in theaters). to learn how reason why they're one of your favorites," says Koepp, a veteran screenwriter responsible Koepp. "However, I was reticent about chang- for the Jurassic Park movies, The Shadow, ing things. The script first has to develop its Snake Eyes and The Paper, had only directed to direct is to own life. They're different media, books and one other feature (The Trigger Effect) before movies. I always start with something fairly let it bend off in its own deciding to turn Matheson's tale into a new do it." faithful, and then movie. direction. After five or six drafts, it starts to "I'm always drawn to stories of the ordi- neat to see a ghost story set in this rowhouse assume a life of its own. Being slavishly faith- nary guy in extraordinary circumstances," says setting. My Mom's family is all from Chicago, ful usually doesn't work, with some excep- Koepp. "I'm a big horror and fantasy fan. And and I like the architecture and setting. When tions. You have to recognize when that's not. was a 40-year- I wanted to try something eerie. we see Chicago in movies, it's usually subur- possible and when it's This "I liked the idea of setting a ghost story ban Chicago. We don't see those cool Polish old book that I was updating to the present day, against a working class background. I've seen neighborhoods." so I definitely had to make certain changes." writer/director, fact, two a lot of ghost movies, and it's often the same The in made "1 thing: Upper-middle-class couple quit their Ghost writer noticeable modifications. changed the set- novel centers on Tom Witzky (Kevin ting," says Koepp. "I took it out of these tract s jobs and buy this old house in Maine that The California, they're going to turn into a bed and breakfast, Bacon), who begins hearing voices and seeing house developments in Southern late '50s, and then they see this luminous woman in flowing strange visions of a young woman after he's which were new-ish in the in the house, her hair billowing in hypnotized at a party. Though Koepp idolizes moved it to working-class Chicago. | garments is the at its heart. I unseen wind. I thought it would be Matheson, he admits to some initial trepidation "The second mystery I an

S PARI OO/Novembei IW —

thought the book was very good, but I also thought it was set in '50s issues and mores. But that's just a plot issue—that's not chang- ing the character issues or the other real hooks. "This story is still pure This story is still pure Richard Matheson.

That's aiming high, but I hope it is." Many other changes were cosmetic, simply Richard Matheson." updating elements or changing characters. The most difficult alterations involved the plot. i|g I* "Changing the reasons behind the ghost story, and the background of the murder, was hard," Koepp says. "All that other stuff, like changing the hypnotist brother-in-law to a sister-in-law, are just little things that you feel your way into as you go on. Plotting is an incredibly difficult skill to master. It's elusive, like being able to create a melody or hit a curve ball. I've always struggled with plot, because it's just really hard. Pretty much anybody can do dialogue, many people can write jokes or scary stuff, but honing a plot is extremely difficult." Like the hero in the story, Koepp has also been hypnotized, though with obviously less dramatic results. "It's very neat. And it's inter- esting how participatory it is," says Koepp. "Things certainly don't happen against your will or even out of your control—it's just a deepened level of concentration in which you

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can manipulate things in your brain a little good suspense is more. However, eight percent of the popula- intercut, which is tion—the lucky eight percent, as we call them how you create in the movie—is highly hypnotizable. Ninety tension, cutting percent of the population can be hypnotized between simulta- somewhat, two percent can't be hypnotized at neous events. But all. Eight percent, though, are highly sug- then I thought of gestible, and they do things that they don't instances of great remember, like having pins put through their suspense hands. sequences that

"That eight percent cuts across all strata of are not intercut, society. There are no common characteristics. like long walks Rich, poor, smart, not-so-smart—it's anybody. down hallways That's why I like the idea that this guy, a frus- where we're trated father and a telephone line man who headed toward a doesn't really like his job and feels like he's door at the end going nowhere, [gets these powers]. Close the long, slow Encounters is a bit of an inspiration for this, approach to too, in that a common man can have this com- something. But pletely uncommon experience." then that sus- pense has been set up by the knowledge that While some writer/directors may simplify Ghost Raider there's something horrible going on behind the elements in a script, the opposite is true for The film's all-important suspense, accord- door, so maybe that still applies—it's just a fat Koepp. "I probably write stuff that's harder to ing to Koepp, doesn't come from the screen- intercut. I used to think there were rules, but film," he says. "I know I'm going to be shoot- play or the director alone. "It's a little of both," now I don't know. Sometimes you just have to ing it, so I try to write something that's visual- he admits. "Much of it is in the writing and the change one little thing and then suddenly the ly interesting and that helps tell the story. The execution. You just have a sense of it. I used to suspense plays. Maybe it's more intuitive than biggest thing is choosing subject matter and think there were suspense rules, like all really anything else." setting. Once that's done, you've pretty much Like his decided how difficult the protagonist, will be physically. Koepp has been hypnotized, but "When I decided Stir of the only specter Echoes was to be set in a resi- he saw afterwards dential neighborhood, that was his vision for clarified many production The list of books, films and TV shows Stir of Echoes. scripted by Richard Matheson is a issues, and I knew I could han- long one, with many projects beloved by dle it. If I had set it on a genre fans. Among the better-known are schooner at the turn of the The Incredible Shrinking Man, What century, there would have Dreams May Come, Somewhere in Time been a whole other set of chal- (based on his book Bid Time Return), lenges that I may or may not The Legend ofHell House, The Night have felt ready to undertake." Stalker, I Am Legend (filmed as The Koepp has never exactly Omega Man), Dying Room Only, numer- been alone in his choices, ous ATP Edgar Allan Poe adaptations, the either. Before making the tran- acclaimed look at alcoholism The Morn- sition to directing, Koepp ing After and celebrated episodes of The worked with some of today's Twilight Zone and Star Trek ("Turnabout hottest directors on some of Intruder"). their biggest films, including the first two Jurassic Parks,, Koepp is hoping that his own Stir of and Carl- Echoes is remembered as one of the best Mission: Impossible Matheson projects, though he recognizes ito's Way. He realized just those directors his stiff competition. "Duel is still my how much taught when he decided to favorite because of its simplicity," says him Koepp about the story of a man pursued shoot his own films. "Steven Brian by a sinister, unstoppable semi-trailer. Spielberg and De Palma ' "Obviously, Steven Spielberg did a fan- probably had the most influ- ence on me," says Koepp. tastic job directing it, but the story is so "Mostly Palma, I guess, simple, it's like a little fable. The charac- De because several ter's name is even Dave Mann, which I we've done films together, and we've been think is the point of the story—it's just Man against Truck, Man against Giant pretty close friends for the last Immovable Object. five years. He has taken a in next gen- "It's brilliant and simple and con- great interest the directors], he's tained. I love the scene in the laundromat eration [of and toward the film's beginning, when Den- really interested in teaching. nis Weaver stops to call home and he's He's very patient. Steven too he's always up for a talking to his wife—apparently there was — It he is, he has a bizarre link to his first two screenplays. something at a party where somebody question. doesn't matter how busy the films I've directed are like the was coming on to his wife, and he says, enjoys sitting down and telling you how he's "Both of more something. They're both generous with first few films I wrote, Apartment Zero and Bad 'What did you want me to do—punch doing the guy?' He's emasculated and has to go their time. Influence" says Koepp. "They were darker out and prove his masculinity. "I've done two movies with Steven and three thrillers that had scenes of corpses wrapped in with Brian that's a lot of sitting around watch- plastic a prominent theme! Give me a good "Duel is my favorite Matheson script, — — ing sets. But you don't learn by watching. The body disposal scene. I think they both hark back and I Am Legend is my favorite of his to direct is to it. just to that, because they just express more of the novels. It's certainly one of the three best only way to learn how do You until you do it yourself. The only drag things I'm scared of by movies. Later on, I start- horror novels I've ever read—forget hor- don't know is that you have to get to give you ed to work with directors who have such large ror, it's one of the strongest endings to a someone million to learn." and dominant personalities that the film is just story I've ever read. It's so perfect, so between one and $80 go bound to reflect their sensibilities more than symmetrical, it does all the storytelling things you're supposed to do." Ghost Rider mine, and my sensibility doesn't really include script a disposal in it. I David Koepp says that through The writer/director jokes that Stir of Echoes any without body scene like to think of this movie as much of his genre work, Mathe- one big body-disposal son's family is a very important movie." part of his life—and his writing. "I candidly discusses love the way his family is continu- Koepp his genre misfires, pulling ally woven into Matheson's work. no punches when describing his You can see, if you really take the time and read eight or nine of his work on The Shadow, star- ring "It wasn't novels, his children growing up in Alec Baldwin. screwed it his writing, his relationship with very good. We his wife maturing. All of those up," admits Koepp. "I could never really lick the script. I relationships are obviously very important to him. It shows up in all "My sensibility doesn't his work. And it also dispels the really include any script notion that a fantasy writer can't without a body disposal be a personal writer." scene in it," says Koepp. "I —Kim Howard Johnson like to think of this movie as one big body-disposal movie."

84 STARLOG/November 1999 always had terrible problems with an invisible because it's so intense. Koepp wrote The hero. What do you have him do, except smoke Sometimes when you Shadow, but he knows a cigarette in a creepy way, like in the Invisible look back on it, and it's why it shot blanks at I couldn't crack it, I sit- Man movies? and was just a videocassette the box office: "It probably too determined to stay on it and lick ting on your shelf, you wasn't very good. We it. I was on that thing for four or five years, think, 'What was all the screwed it up." doing a new draft every five or six months. I fuss about?!' But at the should have just said, 'I can't get this one, go to time, it seems awfully somebody else.' I made some bad decisions, important to everybody." and other people made bad decisions. Parts of One of the director's it worked, most of it didn't. What are you most important child- going to do? No one was injured during the hood genre influences making of the film—a very important detail." was a TV classic to He finds writing and directing both cre- which Matheson and atively satisfying. "They're completely differ- many of the best writers ent. They're both satisfying for their own of that era contributed. "I reasons," says Koepp. "Writing, to me, espe- still think that for people cially if it's an original story, is deeply satisfy- of our generation who ing because it's quiet and peaceful and new. have those sort of tastes, You begin at zero and start building. On a real- Twilight Zone was a huge ly good day, I can write maybe six or seven influence," says Koepp. "And it's no coinci- project occupying him is another superhero hours, and I love that. I love the quiet, and you dence that Matheson wrote many of the best film. He's scripting Spider-Man, finally bring- get to live a normal life. There's such a hubbub Twilight Zones, including 'Nightmare at ing the -Steve Ditko comics creation when you're directing a film, a constant bom- 20,000 Feet.' Twilight Zone continues to hang to the movies. And after that? "I would love it bardment, that it's hard to think when you're over the stuff I like the most, because it's a fan- if Stir of Echoes was not the last film I direct- directing. However, you do have the satisfac- tastic premise wrought on real and believable ed," David Koepp says. "It's a great gift to tion of seeing something through from begin- characters. To me, that's the heart of fantasy. direct a film, and you have to go into it saying ning to end, and as a writer, you're always It's about guys like me to whom something every one could be the last and you're going to forking it over to somebody else to let them see extraordinary happens. That's what escapist enjoy it to the fullest, do the best you can and it through. They could do it better or worse, but literature, in all its forms, is about—what if hope you're back for the next game. they always do it differently. something really out of the ordinary happened "But the future? I don't know. I wouldn't

"Ultimately, I find writing more comfort- to me, wouldn't that be interesting?" mind doing something funnier. But I probably able, and I find directing more satisfying. In After finishing Stir ofEchoes, Koepp is tak- couldn't get away with wrapping any more directing, the highs are higher, the lows are ing some time off—though he plans to contin- women in plastic without having my wife lower. It's a very emotional experience, ue both writing and directing. The current divorce me!" -A*

mm STARLOG/November 1999 85 . . .

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After years punching in as a stuntman and fight coordinator, Mic Rodgers makes his directorial debut in Universal Soldier: The Return.

"My career trajectory is like a guy shootr a gun with I eves shut

Though the sequence was carefully Twister and Lethal Weapon 4. He also served They work hard when they're working, but planned out, the three Fighters still discuss it as second unit director on such films as when they're not working, they're just big and try out new movements mere minutes liraveheart and Volcano before finally get- kids. I'm focused 24/7. It's a different deal before cameras roll. This is typical ting the of the the chance to direct bis own film. "Jean- for me. But that's OK—I asked for it, and I way Rodgers works through his stunts and Claude and I are both with United Talent enjoyed making the film." action scenes. "It's 100 percent planned out Agency, and they packaged us together," Even though the weight of the movie beforehand. Then it's 100 percent impro- says Rodgers. "He's an action star and I'm rests largely on his shoulders, Rodgers does- vised when it comes about," says the direc- an action director." n't mind the responsibility. "It doesn't both- tor. "Everything changes. You plan as best With the end of the production less than er me," he says. "I still have my big black you can, but you must be flexible when you two weeks away, Rodgers' directorial debut bag with all my pads in it. If they don't like shoot because the actors bring something has definitely proven to be a learning expe- me or they lire me, I'll just go back to being new to the table. You gel good ideas that rience. "It's easier than 1 thought on certain a stunt guy. Directing is important, but it's way." levels, harder on other levels," he notes. "It's not what life's about."

Rodgers began his film career as a stunt- harder for me because I'm not hanging with Although every scene has had its share of man and moved up to stunt coordinator on the stunt guys. I don't get to play around. problems, they've all still proven rewarding.

STMOJOG/Novermber 1999 89 When the brilliant Self-Evolving Thought Helix S.E.T.H. (Michael Jai White) starts thinking bad thoughts, he thinks them very well.

"Heidi Schanz as the love interest brings something special," says Rodgers. "I hate weak women. She didn't want to be weak,

and I didn't want her to be."

Braveheart—it has its own identity." His past efforts brought him continually The director was quite impressed closer to his goal of directing. "My career tra- with the original Universal Soldier, jectory is like a guy shooting a gun with his

and is pleased to give Van Damme a eyes shut," the director jokes. "I go by sense. I "Everything has worked out to my expecta- chance to flex his acting muscles a little more had a huge love affair with Braveheart, being tions," says Rodgers. "People will be surprised in the sequel. "He built such a strong character the second unit director. Mel's vision was so at the tender and heartfelt moments, and that at the end of the first one," says Rodgers. "He's clear that it was easy for me to fall in step with Jean-Claude displays humanity. He has a good human again, but you never got to see what him. I've always enjoyed being a second unit relationship with his daughter [Karis Bryant], that person was like. The audience wants to director, but he's one of the people who and with Erin [Heidi Schanz]. That part of the see it—and that's what brought about this sec- pushed me into directing and convinced me I it I want- picture is really strong—besides the fact that ond movie." could do it. I also had an urge to do — the action parts are strong. I can do the action Universal Soldier director Roland ed to at least try once. If it works out, I would

in my sleep. The thing is to not do it in my Emmerich went on to helm StarGate, Inde- love to just be a director."

sleep, to pay attention to it. Rodgers refined his skills under "I was never worried about the several talented directors, but he may human elements. I'm just naive enough have learned the most from Richard to think that I can talk to somebody Dormer. "Dick is like a father figure about what I'm thinking and they'll or mentor to me," Rodgers says. "He

understand it. And that's the way it has taught me how to direct on many dif- worked out. Jean-Claude, Heidi, Bill, ferent levels, how to work with Michael Jai White—everybody is a actors, with the camera, how to deal really decent, responsive and creative with production. I got a lot from John person, and none of them seem to have Badham, too. I worked with John an ego about their character's impor- three or four times. He puts a great tance. They all have thought about intellectual slant on things, and I

their roles, and I listen to them as much need to make myself think in those as they listen to me." modes more than I normally would

The result is that Rodgers is happy as a stunt guy. Not that stunt guys are with both the action sequences and the not intellectuals, but we tend to work human interaction. "I'm proud of on more basic levels—laughing, everything. I'm proud of the scene with scratching, having fun. [As a direc- Jean-Claude and Karis, which is really tor] you have to think about emo- poignant—they did a great job," he Pyrotechnics are fun, Rodgers avers, \ tions. And then I've worked three or says. "I'm proud of the action scene but "It has to have a story, and it has four times for Mark Rydell, an where the Unisols charge outside and to have a heart. If it doesn't have actor's director." those two things, no one's going to blast the crap out of the Army—it kicks When Rodgers first got the watch it a second time." ass!" Return script, he immediately began to get ideas of how to add even more Soldier's Story pendence Day and Godzilla, but Rodgers isn't action to this combat adventure. "There were Rodgers isn't focusing on the film's SF ele- worrying about Emmerich's giant shadow. "I many changes I wanted to make," he notes. ments. "I don't classify this as an SF film," he don't know what Roland did before Universal "The producers liked my changes and con-

explains. "To me, it's an action-adventure that Soldier, but I make a good living as a stunt guy cepts. The whole film's look is something I just happens to be set in the present with a and a second unit director," he says. "I only brought, and it was developed by the produc-

rather futuristic storyline. It doesn't remind me need so many cars, so many pairs of pants, so ers and David Chapman, our art director. But of a Lethal Weapon because those are cop many toys. I'm quite happy with my lifestyle, S.E.T.H.'s chamber, the look of Ryan-Lathrop,

films. It doesn't remind me of Maverick or so if this doesn't pan out, it's not a big loss." the look of the Universal Soldiers—those pret-

>ii£?;390 STARLOG/Mmw/w 1999 I "

ty much haven't changed from the very first

drawings that I did, and I'm pleased with

that. I'm also pleased with the input from all the different departments. They've made the thing look huge." Martial Awe Rodgers found it valuable to think deeply about a film, even when he was just coordinating stunts. "When I worked for all of these other directors, they required me to think on levels other than just stunts," he says. "You just can't be a stunt coordinator

and say, 'When do you want it?' It has to make sense. A lot of times I would go into story meetings on Lethal Weapon films with Dick Donner on Saturday to figure out points of the story that had nothing to do with action, because later on, that story point will dictate action. So, you can be a blind bat and just say, 'Point me in the right direction and tell me when you want some- body to fall down'—you can easily do that, but that's not the way I like to function. I like to be involved in all aspects. If you were a push-button stunt guy or second unit

director who didn't think for himself, I hardly think anyone would give you the money to make a picture." Likewise, the director has considered care- fully the theme running through Universal Soldier: The Return. "The theme of this movie is the second chance," says Rodgers. "Dever-

aux gets a second chance at life. He's living, he's working, he has gotten his humanity back through Ryan-Lathrop, he's a single parent with a daughter—and when all of this action

breaks loose, he must fight to retain it. You've

got to work to make yourself happy in life. It just doesn't drop in your lap. And basically, that's the film's theme. You've got to make your own breaks, your own luck, and you have to be happy when the opportunity arises." And Rodgers has plenty to be happy about as well, starting with his supporting cast. "Heidi Schanz as the love interest brings something special to the film," he says. "She

"Directing is important, but it's not

what life's about.

and I talked about it. I hate weak women— I'm proudest of. And if I'm have no use for them. She didn't want to be going to be a director, that's the weak and I didn't want her to be, and so she type of director I'm going to kicks ass! She's a thinking, intelligent, capa- be." ble woman in this picture. That may be threat- Rodgers doesn't concern ening to some guys, but it's not to me. I think himself about getting audiences it's really sexy and strong, and it's the way into theaters. "This has a built- women should look at themselves. Kiana Tom in audience," says the director. brings something exotic to the picture because "Half of our country is going to of her background in exercise and fitness. want to see the film just because

She's beautiful, strong, funny—the best-look- Bill Goldberg's in it, and lean- ing Gabby Hayes anyone could want. Claude, just because he's a "I don't want this just to be an action pic- great action star. They already ture," he says. "It has to have a story, and it has know what they're going to get.

If it to have a heart. doesn't have those two The big surprise will be that it has a great story again as soon as they give me a job," he says. I things, one's it no going to watch a second as well." "If not, then I' 11 see my family and race motor- I time. I'm sure there are other people who And no matter what happens, Mic Rodgers cross until someone decides to put me to | could bring that to the picture, but that's what isn't worried about the future. "I'll direct work."

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er's landspeeder, a jalopy hover-car, and devoted equal time to the Dark Side of the Force by creating the Death Star. As if that weren't enough, Stears also helped create the Jedi lightsabers. His work on the ground- breaking SF film earned him his share of a special effects Academy Award. Unseen Brilliance Stears was regarded as the dean of special FX artists in the movie 1958, almost 40 years before director industry. Many see him as instrumental in the transition, during the past Inlaunched—and then sank Titanic in breathtaking widescreen 20 years, from industrial to computer technology. In 1986, he was and glorious color, the legendary cruise ship suffered a less spec- selected to create special FX for the movie appropriately titled F/X, tacular black-and-white demise in A Night to Remember. The man which featured a man much like Stears who is marked for murder. The who built the ship model for that impressive film outing was John special FX master fights back utilizing the tricks and tools of his trade, Stears. and the result is an entertaining blend of story, character and dazzling When the very first James Bond screenplay called for diabolical flash. Dr. No's elaborate Jamaican island hideout to perish in a fiery Born in England, Stears served in the Air Ministry as a draftsman, explosion, Stears not only came through, he immediately became and later worked for an architectural firm making scale models. While an invaluable member of the 007 production team for the next eight in his 20s, he went to work at the Rank Organization building minia- movies. In Goldfinger, he created Bond's magnificent Aston Martin tures, and moved quickly into the realm of theatrical features. DB5, complete with bulletproof windows, revolving license plates, This summer, Stears died in Los Angeles from a stroke at age 64. forward-firing machine guns and rear-firing oil slick nozzles. The There were no front-page headlines or television obituaries on the Aston Martin featured a passenger seat that could be ejected at the evening news. He passed quietly from the world of the living, mourned touch of a secret button. Stears took delight in inventing ingenious only by those who knew him. Stears was one of the many brilliant cre- devices that would save Bond's life, and was in fact the real-life ative individuals who labor in movies and television, unseen and unher- version of the gadgeteer Q. alded. The best of these artists provide sparks that ignite storytelling For the 1969 film On Her Majesty's Secret Service, Stears creat- and lift average movies to stellar entertainment. ed a massive avalanche, and he designed Scaramanga's outlandish A master of fiery car crashes, deafening detonations, convincing vehicle in The Man with the Golden Gun. He won an Oscar in 1965 miniatures and inspiring futuristic technology, Stears added wonder and for special effects work on Thunderbolt. And when the Bond film- magic to the world of science fiction and adventure. makers wanted a classic automobile to fly in the movie musical In his name, let us toast all those other invisible artists and crafts- Chitty Chitty Bang Bang, they once again called on Stears. people who bring their personal joy to the production of motion pic- Just prior to 1977, Steals went to work with a bright young film- tures. Their names might not appear in large type, and their deaths maker who wanted to make an ambitious space fantasy loaded with might go unnoticed by the general public, but those of us who see creatures and devices never before seen. That filmmaker was behind the scenes should pause to recognize them, salute them, and George Lucas and the movie was Star Wars. give them the honor they have earned. Brainstorming with Lucas, Stears designed R2-D2 and C-3PO, —Kerry O'Quinn the most beloved droids in science fiction. He made Luke Skywalk- COMICS'AUTOS'BASEBALL.ANIf»MT10M. of . moVEARS SC( F ,

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had trained in for years, laughable, and at times endearing. I celebrate but never got a chance his dedication and consistency. In that, there's to do because I was art." doing serious roles in As Wood's silent stalker, Zane found him- fairly conventional self bringing to life a character who is "tor- films. I've just been mented, misunderstood. He operates from very

dying to bring it out primal needs. Initially, he escapes this mental onto the screen. Two, institution and steals sustenance and trans- doing Ed Wood's unpro- portation. He finds a gun in the car. He takes duced opus was also another step and steals some money. He's on very cool." this survival path that leads ultimately to his A "pretty big" fan of undoing as he goes down the wrong path reputedly the most toward trying to find the person who stole his awful auteur to step money. But he's very direct, which really behind a camera, Zane works in the silent sensibilities. There's no confesses that Wood's question what his motive is." work "brings a smile to my mug. I used to watch wake up Call his films when we pro- Once involved, the Chicago-born, Swiss- jected them in 16mm in trained actor wasn't content to simply sit in his the high school auditori- trailer. Zane became a co-producer and used um on Saturdays. They his connections to help draw in a higher-caliber were always events, cast and crew. While Eartha Kitt and Christina because they were such Ricci were already on board when Zane was a laugh." signed, the cast eventually swelled to include At the same time, John Ritter, Ron Perlman, Tippi Hedren, Carel the actor notes, "It was a Struycken, , Jonathan Taylor strange sacrifice he Thomas, Ann Magnuson, Will Patton, Andrew made. It's like he McCarthy and even Plan 9 star Vampira. allowed people to feel Zane's fellow thespians eagerly signed on good about themselves for the same reasons he did: "Ed Wood and by being the whipping silent film," he notes, "It was that simple. The boy. He was this cinema combination of those two elements allowed us martyr who took the to have an incredible cast because everyone Attempting a Rudolph Valentino dive, allowing one to set wanted to celebrate this filmmaker in shooting 2000 look, Zane opted for 'a Princess Leia hairdo and a goatee" up one's own bound- what could be, I think, one of his most clever as the silent film's nameless thief. aries. So, I have much scripts. respect for him. "We closed deals quicker than any film. heroic lead. As it was, the / Woke Up Early "Retrospect makes everything a little Ron Perlman called us from the airport. He had screenplay remained unproduced for nearly a rosier, you know? Beneath the themes of his a lay-over in Minneapolis, and he read the quarter of a century, while Kathy Wood, the movies, the macabre trappings, there's this script on the flight and called immediately. He auteur's widow, fended off offers from innocence, this love that I see. And it's whimsi- said, 'I love it! Hands-down, I'm in. I've never moviemakers less interested in her husband's cal, it's humorous. [His films] survive because agreed to do a movie quicker.' No one took vision and more interested in adding dialogue they are these strange specimens, at times pause." and other "improvements."

It was only after Iliopulos, a one-time stu- dent of Federico Fellini and a longtime admirer of Wood, convinced her that he had every intention of remaining faithful to her husband's script that she agreed to let it go before the cameras. Iliopulos' first choice for leading man had been rock musician Iggy Pop. "But when Billy came in," the director remembers, "he was perfection. It really needed somebody as strong as he was to pull this whole thing together." What made the project especially appeal- ing to Zane was that it combined a pair of

subjects he had long enjoyed. "One, it was an opportunity to make a feature without dia- logue. I've been a big fan of silent film for many years, and have been wanting to see its return to cinema. To be able to be at the cen-

ter of that was very important to me, and still

is. It's a great means with which to tell a story. One of the biggest drags in modern

cinema is exposition, the idea that audiences

won't get it unless you drive it home [verbal-

ly]. I believe that you can really tell a story with action and emotion and acting. Silent comedy, physical comedy was something I

96 STARLOG/November 1999 "

Crypt Photo: Cliff Lipson/HBO

Nor did they give any quarter, Days of zane as Zane discovered once shoot- The nameless, voiceless thief

ing began on his character's of / Woke Up Early is only one of attempts to kill off the mourners. the nefarious ne'er-do-wells Zane "Doing some kick-boxing and has essayed. In his time, he was

atomic body-slams with Tippi one of Biff 's band of bullies in the Hedren —getting my ass kicked first two Back to the Future films, by Tippi Hedren—was probably a sinister seafarer in Dead Calm one of the strangest afternoons and of course Cal in Titanic. At [of my life]," he laughs. "Charm- the same time, he has flown ing lady with a serious right against the Nazis in Memphis cross." Belle and fought evil as the jun- Another woman who made gle's purple-clad paladin, The quite an impact when she hit the Phantom (which he discussed in set for her cameo was Kathy STARLOG#227). Zane confides Wood. "I'm really glad she could that he enjoys playing both good be in the film. She was quite and bad guys "for different rea- funny. I'm trying to gain access sons. Psychos get all the good

to a circus tent, a little shy in the lines. Heroes get to kiss the girls. coin, I and see a sweet old lady. So, it just depends what your fla-

She pulls a Ruth Buzzi and vor is. I enjoy psychology, and

whacks me with her purse," Zane what I really like while playing notes. "Kathy's aware that the heavy is to bring a sense of there's this novelty surrounding not sympathy per se, but of Eddie, but knew that we were understanding the character's

coming from a place of love and motives. And it's challenging to respect. We were celebrating all the things that someone else come on, doing a day's work. bring a layer to it that the script didn't have but he was chastised for—as art form and decon- The hardest thing was wrapping. The patients the director wants or something that you would

structionalist cinema—and she got it. Aris took over the asylum for 22 days, and it was like to contribute, or maybe it's written bril-

would wear this ring she gave him to wear, hard giving the keys back. liantly and you heighten what exists. But it's which was Eddie's, and she said, 'He's with "This was truly a labor of love. There's pursuing the character's psychology and really

us! He's with us! I feel him today!' nothing else like it. It's such a radical depar- getting it across. Zane was equally impressed with his direc- ture, and it's such a surprise we got away with "Heroes are pretty cut and dried. Their tor. "Aris was so perfect for the production. His it," Zane comments. "It's so hard to make a actions speak louder, but they're usually not love of the piece, his spirit and his vision, his movie. You spend your time just chasing the written that well. You know all their backstory,

aesthetic was so right on the money, and his money. But once you make it, the effort that where they came from and why. The arc of a

knowledge and lack of knowledge real- heroic character in current film is ly served it, you know what I mean? If too pat. They can't exist or operate you're doing an Ed Wood film, you beyond their field of previous expe- don't want someone who's too experi- rience. 'They killed my family, and enced. So, he made choices that would that's why I'm setting the scales be frustrating to a conventional system straight,' or 'That's why I've got a

but really worked. It was an ideal situa- chip on my shoulder until I lighten tion." up by spending time with this farm-

Convincing the crew of that, how- ing family,' whatever it is. There's

ever, took some doing. Although / very little room in the three-act Woke Up Early wasn't shot in an imi- structure or the quick pace of most tation of Wood's "style," Iliopulos and heroic movies to get in anything Zane insisted on including some other than cause and effect.

things their idol would most certainly 'The villain is a little more com-

have done. "The wild thing was get- plex and interesting, and if it's world ting some of the best people in the domination, money, vengeance or

business and asking them to do their whatever the issue is, there's usually worst. It was really exciting to take some kind of psychological tweak

these meetings with incredible cam- that lies under it that can make him eramen who do million-dollar com- more human and more unnerving,

mercials that look slick and lovely, and it makes your hero better. You and asking, 'OK, can you put a bump elevate your hero by being a more

in the dolly track, man? And when you formidable foe, but sometimes it's pan over, can you get a flare off that? awful nice to be the hero." We want to see the light stand.' Zane wallowed in the dark side 'Aaargh! What are you talking about?' when he helped tell a pair of Tales I would add, 'About the sets. Can this one goes into it, the talent, the people, it's such an from the Crypt. In the TV episode ("Well- wobble a bit more when the door closes?' Con- exercise, I commend any film, good or bad, Cooked Hams"), he played a murderous, tinuity people were just going, "The phone was that actually gets made. This was a huge and would-be stage magician out to steal Martin " black before!' T know. That's the point!' he wonderful gamble. / Woke Up Early the Day I Sheen's secrets, while in the series' first fea- laughs. Died is a rocking good time as a movie. In this ture, Demon Knight, he was a hell-dweller bent "It was a great experience. Aris had such a age of digital revolution and cutting corners, on acquiring a religious relic. What stands out love of all the people who were there. He was we shot this sucker in beautiful 35mm. It's gor- most in Zane's memories of the two shoots is like this mad emcee hosting a 22-day-long geously directed, wonderfully costumed, "some really talented people working for not a party because every day, you would have incredibly cast, and we got away with murder." lot of money. I love the producers. They're all

STARLOG/November 1999 97 'The wild thing was getting some of the best people in the business ana asking them to do their worst."

always diffi- "Going through this period of cleansing culties. It's and awakening, this shaman/lizard woman just a given. tells him who he is and what his purpose real- But the Tales ly is: the sage of the ages, this rock-and-roll thing, they had messiah. From his example, he can lead peo- a particular ple out of the war-torn streets. It's this rock recipe going opera that's Mad Max and Shakespeare meet

through it. Doors music. It's pretty cool. I got to rock out

Why did Zane want to When it came with Grace Jones, singing [mimicking her do an Ed Wood movie? to blood and accent] 'Break on through to the other side.' What actor wouldn 't? guts, they They're opening at San Diego Rep and then were the will probably take it to Broadway, which is guys." where I would jump in." Zane will Beyond that, he remains open about what

really great, but it was like a charity. It was be turning back to good when he makes his he would like to play in the future. "I've cool to work with Martin, and to work in the next foray into the genre in a stage musical played quite a few different characters from aviator. It's TV show format, but I think I did it for barter," called A Celebration of the Lizard. "We did a Biblical epic to Western to WWII he laughs. workshop and performed it twice, once in San like the studio commissary, you know, guys in

"I was like, 'Well, that deal sucks. I'll do it Diego and once up in LA. It's based on music costumes, and, 'Oh, I did that, did that one, did for a computer. You guys have got good hard- from the Doors and the poetry of Jim Morri- that,' " says Billy Zane. "There are characters I ware relationships! I would like to see my son, and they structured this narrative, a post- haven't even played yet that I think are excit- agent get 10 percent of that modem!' Demon apocalyptic portrait of LA. This lone figure ing me more than the things I've done. But Knight was a great movie, a real pleasure to goes from the killer on the road to messiah and there are lots of characters I'm looking for- make. It was tough, hot, crazy. But there are deliverer. ward to playing." ^

I become Spock, that day becomes 15 Years Ago 10 Years Ago something special." "I would have loved to have What did you think of the movie —Leonard Nimoy made Dune in black and version of The Beast Master'! "I Interview: Marc Shapiro, issue #147 20 Years Ago in white, but it really is a color film. thought it was dreadful. Awful. I STARLOC To me, it's true to Frank Herbert. made them remove my name from "If I categorize myself—though I It's not the book, but it's true to it." any connection with it the moment Five Years Ago it "[Universal Soldier] prefer not to—it is as a fantasy — I read the script and saw that was my writer, which covers a much Interview: Paul Mandell, issue #87 bore no resemblance to my book! biggest box office film ever, and in broader field [than SF]." You see, my agent sold the movie that movie, Van Damme was not —Richard Matheson "That's an in-joke from when we rights, but I didn't have script kicking ass—he was running Interview: Bob Martin, Issue #27 didn't know how Digital [Produc- approval. So, they made a movie away. Women love the film, tions'] computer graphics on the that had nothing to do with my because they want to protect the

"Disney is the one studio which film were going to work out. We book." guy" has allowed itself to become truly were afraid The Last Starfighter —Andre Norton —Jean-Claude Van Damme expressive. And I think this [The was going to look like Gumby in Interview: A. C. Crispin, issue #147 Interview: Kim Howard Johnson, issue Black Hole] will be their most Outer Space'' #207 important film since 20,000 —Nick Castle, director "Spock is definitely one of my best Leagues Under the Sea." Interview: Brian Lowry, issue #87 friends. When I put on those ears, "As long as we keep trying to —actor Joseph Bottoms it's not like just another day. When break the mold of formula, of the Interview: David Houston, Issue #27 safe and allegorical IsonartiHhaoy & Walter Ktwmg AVflry Brooks: Deep SpaceComryianrlris television that has face a future without SIAR TfttX Mpl served television for so ' fillsJL THE SCIENCE FICW L many years, and as long as we're still try- ing to talk about some hope for our future, then I think Deep

IVAQEflS Space Nine will con- tinue to be important." " "J —Avery Brooks Interview: Ian Spelling, issue ON #207

98 STARLOG/TVovemfcer 1999

V Me Your

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Yoor rjiind is tfe sfa'tfe. .Ydiir deeds are the story.

Vf i p n.c e Fiction H d v p n t u f e Come

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