Leonard Nimoy Invaded!

I BODY SNATCHERS RETURN

UMBER 19 FEBRUARY

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-*i ¥

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Gantina Reunion TT A!AVJd«L'

Backstase with SUPERMAN on the Horizon GALACTICAs Volcanoes on Mars Athena TV's BUCK ROGERS Talks NASA: How to Fly in Space 02 INTERVIEWS: Ralph Bakshi Defends THE LORD OF THE RINGS Roger Gorman— Master of 'B' Movies '18 96"491 12 1 . . .

ASTRONOMY will orient your life to the sky. With the help of Sky

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there is . . Jupiter . and that's Saturn!!" You'll discover what you can see with a telescope with Star Dome , as you come to know the zodiac and STRONOMV bright familiar constellations in the sky. ASTRONOMY also has popular. monthly departments such as Equipment Atlas, vour R guide to telescopes; Gazer s Gazette to help you I ^!l ONo my know what you're looking at; Astro-News with all the latest, and Astro-Mart. Become a subscriber to ASTRONOMY and join us in our monthly journey through space and time. You'll find in its pages a whole new world of wonders and experience that will ********influence your entire life. Special Offer to Starlog Readers To welcome you as a subscriber to If you've been impressed all your life with ASTRONOMY, we'll send you — absolutely stars that punch you in the eye on a warm free — a gigantic full color wall poster summer night, you should be reading depicting the 22nd century exploration of ASTRONOMY magazine. If the wonder and the Antares star system. Painted by space excitement of a billion spears of light seems artist John Clark, this futuristic poster is just beyond your understanding, you should be regularly priced at $5. You'll receive it free, subscribing to ASTRONOMY. mailed to you in a protective tube.

ASTRONOMY takes you out there . . . into the astounding beauty of the myriad universes around us, and brings you into direct contact with exciting new knowledge and discoveries emanating daily from giant mountaintop telescopes and orbiting space observatories. Month after month, with brilliant full color photographs, original space art and sparkling dramatic writing, ASTRONOMY *r% makes the stars and galaxies seem to spill off the pages and into your life! What was once dry-as-dust math and physics is transformed in ASTRONOMY into mind stretching adventure.

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7 FEBRUARY 1979 7 Number 19 THE MAGAZINE OF THE FUTURE

FROM THE BRIDGE ROGER CORMAN INTERVIEW The Master Of The 'B's Is Back With A COMMUNICATIONS Big Budget Space Adventure 46 Letters From Our Readers THE 'STAR WARS' TV SPECIAL LOG ENTRIES A Cantina Reunion Filled With Song & Latest News From The Worlds Dance & A Few Surprises 50

Of Science Fiction & Fact : GERRY ANDERSON'S "SPACE REPORT"

BUCK ROGERS TALKS From The Mailbag . 54 Actor Gil Gerard Talks About His Upcoming TV Portrayal Of The Archetypal Space Hero FUTURE CONVENTIONS 55 INTERPLANETARY EXCURIONS, INC. SUSAN SACKETT'S "STAR TREK REPORT" Volcanoes On Mars. Port of Call: Olympus Mons On Board The New Enterprise The

Setting Is Familiar, But : 56 GALACTICA A Revealing Interview With Maren (Athena) Jensen "SUPERMAN" ON THE HORIZON As The Premiere Approaches, Superman DAVID GERROLD'S "STATE OF THE ART" Gets Ready To Take-Off A Parsec In A Peartree-Or-What Makes Kessel Run? SPECIAL EFFECTS—PART XIV ^n Creating & Filming The Mothership From "CE3K" 60 THE BODY SNATCHERS RETURN The Ultimate SF-Horror Story About Alien Contact FAERIES: THINGS THAT GO May Be Even Scarier The Second Time Around BUMP IN THE NIGHT New Illustrated Book Explores The World Of Creatures IN HOBBITLAND RALPH BAKSHI Who Do Not Live By Human Rules 68 Exclusive Interview With The Controversial Filmmaker

CLASSIFIED INFORMATION . GETAWAY SPECIAL Win A Chance To Send Your VISIONS Own Experiment Into Space SF Currents In The Mainstream.

Part I: From The Beginning 76 HOW TO FLY IN OUTER SPACE

NASA's new Spacesuit Propulsion Unit , LASTWORD FEBRUARY, 1979 #19

Business and Editorial Offices being the 1978 wrap-up issue of starlog, indulge me for a moment while I Starlog Magazine, Inc. This reflect on what I consider to be the highlights of this past year. These are the 475 Park Avenue South events I especially loved: New York, NY 10016 Being a guest at the Pittsburgh Fantasy Film Celebrity Con, organized by Bob Michelucci and Bill "Wilson, two of the most professional young producers I've ever Publishers met and a pair of genuinely good people. Those who attended were also of unusually NORMAN JACOBS high caliber; never pushy or obnoxious, but plenty eager to talk with the guests and KERRY O'QUINN learn whatever they could about careers in all branches of the science-fiction world. Assistant Publisher Receiving a phone call at our office from Isaac Asimov complimenting Jonathan IRA FRIEDMAN Eberhart's Interplanetary Excursions series, saying that he never thought he'd read an article that would teach him something new about our solar system. Seeing David Houston, our West Coast Editor who launched starlog with Norm- Editor and me and who has been a friend and project collaborator since high school, have HOWARD ZIMMERMAN his first science-fiction novel, Alien Perspective, published. Acquiring tapes of Bernard Herrmann's last movie score (posthumously) for release Art Director as a starlog record, and completing work on The Fantastic Film Music of Albert ROBERT P. ERICKSEN Glasser, a complex project that started in Hollywood when Torn O'Steen and I visited Senior Writer the maestro's home over a year ago. ED'NAHA Assembling the starlog staff in our conference room for a slide show when Managing Editor Charlie Lippincott visited with fantastic pre-production art to 20th Century-Fox's new BOB WOODS feature, Alien. Limiting the staff in our conference room to make space for Dave Prowse — one of the largest, and nicest, people ever to stretch out in our offices. Science Editors Receiving congratulations from readers when we didn't even mention our June an- ROBIN SNELSON niversary in the magazine. Seeing starlog translated into Japanese and hearing that DAVID HUTCHISON the first issue sold out there. Giving birth to our sister magazine, future, after a Associate Editor wonderful seven-month pregnancy. RICHARD MEYERS Lunching in New York with Gerry Anderson and Barry Gray. Visting Bob McCall's painting studio in Arizona. Watching a five-day marathon of 1950s "B" SF West Coast Editor DAVID HOUSTON movies at Wade Williams' 45-room mansion in Kansas City. Having dinner with Boris and Doris Vallejo at their home in Yonkers and talking them into their first Special Projects published collaboration, The Boy Who Saved the Stars. TOM O'STEEN Being interviewed by ABC-TV as part of their coverage of the world premiere of Advertising Sales Close Encounters of the Third Kind. Receiving a phone call after midnight from a RITA EISENSTEIN friend in Ohio who had just seen our Robby the Robot commercial on TV. Commission- ing Chesley Bonestell, a living legend, to do an original cover painting for our newest Columnists Photo Guidebook, Space Art. DAVID GERROLD And perhaps best of all: receiving literally thousands of letters from readers, young JONATHAN EBERHART and old, expressing how much starlog means to them — not just how much they SUSAN SACKETT enjoy it, but also how it inspires them, teaches them and makes them look forward to GERRY ANDERSON the future. That makes me and my partner very proud.

Space Art Advisor This is some of what made 1978 a thrilling year.

RON MILLER Next issue in this column I'll give you some future specifics you can look forward to — a sneak preview of the big events 1979 will offer to those of us who love the Art Staff LAURA O'BRIEN many worlds of science fiction. SUSAN STEVENS

Production Assistants: Beverly Gerdin-Compbell. Dovid Hirsch, Peter Mosen Contributors This Issue: Chafes Bogle, Chesley Bonestell. Joe Bonhom. Howord Cruse, Kent Dorfmon, Phil Edwards, Al Flyn. Chuck Jones, Paul Mandell, Alan Maurer, Notaiie Millar, Tom Rogers Kerry O'Quinn/Publisher

For Advertising Information: Iro Friedman. Rita Eisenstein (212) 689-2630

ABOUT THE COVER: CBS is keeping the Star Wors

Fever high this fall with its recent star-studded TV STARLOG is published eight times o year Of about every six and a half weeks by O'Quinn Studios. Inc., 475 Pack special. The video package centered around Avenue South, New York, NY. 10016. This is Issue 19, February 1979 (Volume Four). All content is copyright © 1978 by O'Quinn Studios, Inc. Subscription rates: S1 1 .98 for eight issues delivered in U.S. and ConodO; foreign subscription S 18.00 Chewbocco's return home and the reunion with in U.S. funds. Second-closs postage paid at New York, NY. and at additional moiling offices. Notification of change of ad- his family. But certoiniy one of the highlights was dress or renewals shouid be sent to STARLOG, Subscription Dept., P.O. Box 1999, Farmingdale, NY 1 1 737. STARLOG the latest gathering ot the infamous Cantino; accepts no responsibility for unsolicited manuscripts, photos, art or other materials, but if freelance submittals are accom-

there were a few new faces in the crowd, in- panied by a self-addressed, stampled envelope they wiil be seriously considered ond, if necessary, returned. Reprint or duding proprietor Bea Arthur. reproduction in part or in whole without written permission from the publishers is strictly forbidden. From deep space..

The seed is. planted... terror grows.

A Robert H. Solo Production of A Philip Kaufman Film "Invasion of the Body Snatchers"

Donald Sutherland • Brooke Adams • Leonard Nimoy Jeff Goldblum • Veronica Cartwright • Screenplay by W. D. Richter, Based on the novel "The Body Snatchers" by Jack Finney • Produced by Robert H. Solo Directed by Philip Kaufman *P United Artists PG PARENTAL GUIDANCE SUGGESTED jg nni dolby stereo I™ SOME MATERIAL MAY MOT BE SUITABLE FOR CHILDREN I l iil I r. k. «. .-.— ...... r ,.;„„ »™. vw,M am q.„h 1c n UOH B ATransamenca Company Copynghi © United Artists Corporation MCMLXXVHI AH Rights Reserved™, Because of the large volume of mail we RODDENBERRY NIGHTMARE receive, personal replies are impossible. DEAR ANONYMOUS Comments, questions, and suggestions ...Kerry O'Quinn's "From the Bridge" of general interest are appreciated and (starlog #17) was indeed a frightful night- may be selected for publication in future mare, but I wonder how true that dream Communications. Write: might have been?! From what I've heard STARLOG COMMUNICATIONS about the powers-that-be in the television and 475 Park Avenue South movie industry, that sort of attitude is com- 8th Floor Suite monplace. It's definitely the last place on New York, N.Y. 10016 Earth you'll find Vulcan logic! I suggest, Kerry, that whatever you ate before going to bed FLASH that night be stricken from your menu in the future. Kim Wheat 15 Middlesex Rd. #8 Newport News, VA 23606

FOUR INTO THREE DOESN'T GO

. . You . made a mistake in starlog #17 on page 23. The caption to the Spielberg artwork says: "Spielberg finds himself in the midst of elements from the three feature films that launched his fame." It's not three, but four — Duel, Jaws, Close Encounters and The Sugarland Express. The police cars are from Sugarland. . . .My friend says that Buster Crabbe, alias 77ie editors and staff at starlog would Eric Erickson like Flash Gordon, is alive and about to make a to thank very much the reader who so kindly Rt. 3, Box 132 movie, but I say he's dead. E Would you please sent us a portion of his space stamp collection. Montrose, 81401 tell us if he's dead or alive. CO Yet we cannot actually say "his. " Unfortunate- Sean MacDonald ly, the donor chose to remain anonymous. It is 43666 Deborah Our caption writer is either clumsy or a real truly a splendid series of stamps, a couple movie critic. of Sterling Hts., MI 48078 which are shown here, and if the need arises, we will not hesitate to thankfully use them in our The legendary Buster is alive and well and magazines. living in Arizona. Here's an idea for all classic SON OF QUARK Hash fans out there. Why not spread the word to the powers-that-be at Dino DeLaurentiis EDUCATIONAL SPINOFF productions that Mr. Crabbe would be per- . . I'm . not one who reads much, but I fectly cast as an elder statesman of space in it make a point to read starlog. I feel that I Dino's forthcoming Flash Gordon remake? have greatly benefited from starlog; it has aided me in school on such subjects as science, MUSIC TO GALLOP BY English and art. Thank you for an enjoyable and educational magazine. You ask for ideas for music for future albums. Terry Comeau ZIV Television used Boston Blackie and The 15 Newman St. Cisco Kid. The music ZIV used during the chase Apt. 18, Hanson House scenes is very interesting, exciting and very St. John, NB E2K 1X5, Canada beautiful. If you could get this music it would add greatly to your albums. I have enjoyed all of your albums very much. CRAVING A BACKWINDER Ken Troup ... I was very interested in your Box 136 "How to Roll Your Own" ( starlog #io ), but I have Bairdford, PA 15006 been unable to find the Craven Backwinder, as suggested On our newest release, "The Fantastic Film in your article, for many of the ... I'd like to thank you for the assistance in my special effects. Music of Albert Glasser," i starlog records quest to save the NBC series Quark. Ken SR 1001) you can hear the music from The The Anderson response to my letter was not what you could Slapout, Cisco Kid. It was one of those classic series— OK call overwhelming (I received 13 letters), but I the first to be shot completely in color. I'm now have petitions circulating around and The Craven sure you will enjoy this exciting music written I'm Backwinder will backwind over planning to by Mr. Glasser. start a fan club in the future. All in 250 frames for use in Super 8 special effects. all, I believe the NSQA has been a success it It is and supplied by Halmar Enterprises , P. O. never ALERT. would have been without your help. Box 793, Niagara Falls, Ontario, Canada Again, I Please be advised that the following companies thank you and may The Source be with L2E 6V6. One dollar sent to the above ad- you! that have advertised in starlog magazine dress will get you a catalog, listing goodies Darren Domek have proved to be negligent in providing the for the Super 8filmmaker: matte boxes, edit- Chairman services they have promised: Starfleet Com- ing supplies, books, etc. National mand, Movie Poster Place, Anshell Minia- Save Quark Assocation tures, Andromedia Foundation. 8869 Brierwood Rd. Jacksonville, FL 32217 (continued on page 8) 1 MUSIC TO READ SF BY

package in ten days' time — membership will be cancelled and you'll owe nothing. About every 4 weeks (14 times a year), we'll send you the Club's bulletin, describing the 2 com- ing Selections and a variety of Alternate choices.

If you want both Selections, you need do nothing; they'll be shipped automatically. If you don't want a Selection, or prefer an Alternate, or no book at all, just fill out the convenient form always pro-

vided, and return it by the date specified. We try to allow you at least ten days for making your deci-

sion. If you don't get the form in time to respond within 10 days, and receive unwanted books, you may return them at our expense. As a member you need take only 4 Selections or Alternates during the coming year. You may resign W>>M any time thereafter, or remain a member as long as you wish. At least one of the two Selections each Music guaranteed to send the imagination soar- month is only $1.98 plus shipping and* handling. ing. Music to take you into the same exciting new Other extra-value selections are slightly higher but dimensions of time and place offered by writers always much less than Publishers' Editions. Send like Heinlein, Asimov, and Clarke. Including film no money. But do send the coupon today. scores from such movies as Fahrenheit 451, this superb stereo recording is a $4.95 value. Now it is available exclusively to members of The Science Fiction Book Club at a big 40% saving — yours for any4 books for 1flo just $2.95 when you join. How the Club works: When your application for membership is accept- with membership if this $4.95 record ed, you'li receive your introductory package of 4 BONUS: Also take, you wish, value — available exclusively to club mem- books. (If you also want the record, check the ap- now propriate box in the coupon below.) If not com- bers for just $2.95! pletely satisfied, you may return this introductory

8532 The Hugo Winners, Vol. I & II. 6221 The Foundation Trilogy. By Isaac Giant 2-in-1 volume of 23 award-winning Asimov. The ends of the galaxy revert to stories, 1955 to 1970. Asimov introduces barbarism. An SF classic. Comb, price each. Pub. ed. $15.45 $20.85

2378 The 1978 Annual World's Best SF. 4515 Battlestar Galactica: Saga of a Star Edited by Donald A. Wollheim. The best World. By Robert Thurston; based on origi- short stories this year by such talent as nal screenplay by Glen A. Larson. Noveliza- John Varley, Joe Haldeman and Harlan Elli- tion of the pilot for the new hit TV show. son. Special ed. Special edition. Science Fiction Book Club 0125 The Fellowship of the Talisman. By 0372 Splinter of the Mind's Eye. By Alan Foster. The further adventures of Garden City, N.Y 11530 Clifford D. Simak. If Duncan Standish can Dean Dept. TR089, cross the dreaded Desolation and prove the Luke Skywalker and Princess Leia Organa. Please accept my application for membership in the talisman is real, mankind may conquer the Pub. ed. $7.95 Science Fiction Book Club. evil that has kept Europe in a permanent

Middle Ages. By the author of Mastodonia. 6429 The Masters of Solitude. By Marvin Send me, as a beginning, the 4 books whose numbers I Pub. ed. $8.95 Kaye and Parke Godwin. In a struggle for have indicated below, and bill me just 100 (plus shipping at survival, tribal groups pit their psychic and handling). I agree to purchase 4 additional books 2386 The Star Trek Reader IV. Adapted by powers against a mysterious City's closed regular low club prices during the coming year and may de- James Blish. 12 more novelized episodes gates. Explicit scenes and language may resign anytime thereafter. I agree to the Club Plan as from the award-winning TV series - plus be offensive to some. Pub. ed. $10.00 scribed in this advertisement. SFC books are selections the full-length novel Spock Must Die I Pub. for mature readers. ed. $9.95 #4. 4440 Stellar Science Fiction Stories D Send me, in addition, GREAT SCIENCE FICTION FILM del ed. Six original stories Judy-Lynn Rey, MUSIC and bill me just $2.95 plus shipping and handling. 2543 The Dragonriders of Pern. By Anne about alien races, Galactic Empires and McCaffrey. A mammoth volume containing fabulous inventions. Explicit scenes and

all three novels: Dragonflight. Dragonquest language may be offensive to some. Spe- and The White Dragon. Special edition. cial ed. Mr. Mrs 4382 The Earth Book of Stormgate. By 7831 Galactic Empires. Brian Aldiss, ed. Miss Please print Poul Anderson. 11 tales of man's adven- Two-volume anthology of 26 stories by fa- complete novel, mous authors Clarke, Asimov and others tures in the galaxy, plus the Address. .Apt. The Man Who counts, with Nicholas van covers the Rise and Fall of Galactic Em- Rijn. Pub. ed. $10.95 pires. Comb. ed. $17.90 City. .State. _Zip_ not valid signature The Science Fiction Book Club offers its own complete hardbound editions Order without sometimes altered in size to fit special presses and save members even If under 18, parent must sign. more. Members accepted in U.S.A. and Canada only. Canadian members will be serviced from Toronto. Offer slightly different in Canada. 45-S140 .

(Continuedfrom page 6) "SPACE" SUPPLEMENT ROLLER COASTER FEVER!

. . . Last winter I purchased the Official Moon- FUTURE TENSE base Alpha Technical Notebook by David Hirsch. It is the best existing publication concern-

. . .With all due respect to starloo and ing Space: 1999. The last page has a form

Louise Jones, I was surprised to find that (which 1 promptly filled out and mailed) that starlog is associated with the magazine registered MM , the person to be notified when there is Future World. In what manner or function is a new section. I am interested if there are any starlog associated with Future World"! 1 new sections currently being or W'-'-f'-fif 'i A made planned. Alan Whitney If so, about when would they be released? New York ¥//•: '-MSk Gregory Dritschler ft 449 Lincoln Blvd. starlog is not associated in any way with the Happauge, NY 11787 publication Future World, starlog's sister

publication is called future—The Magazine KmmB The first supplement to the Tech Notebook is of Science Adventure. Each issue of future currently in the planning stages and we hope to explores the many fascinating, futuristic aspects Mm: have it in print sometime soon. All owners of of science fact and science fiction the Tech Notebook who have sent in their registration forms (or a photocopy) will be in- formed of the supplement before its publication. Mr, D.l.G. The editorial staff of STARLOG and

. . . Thank you for your article on Bert I. Gor- FUTURE is in the process of assembling a Col- HEADS UP don's films in starlog #16. It brought me back or Photo Guidebook on Roller Coasters of to the days when I was a little kid, when three or America. Scheduled for publication in May of ... I was disgusted by the photograph in issue four of us would go to the Saturday matinee. If 1979, this large-size quality paperback book will #15 concerning The Fury. Some people, strange anyone out there is a fan of Bert Gordon and include a comprehensive directory of all coasters as they may be, may enjoy pictures of gross other people that were involved in the old "B" in this country, along with color and black & things such as that. But I thought it was totally movies and has experience in fan clubs, why white photos. unnecessary. If people wish to see people blown don't you start a fan club for these people and You can be a contributor and receive a credit to shreds, let them see the movie or go buy some their films. I would gladly be your first member. in the book along with free a copy of the cheap, underground magazine, starlog is too Deryl Murphy publication. — Here's how great a magazine to be catering to these people's 9216-168 St. If there is an amusement park or theme park problems. Edmonton, Alta., Canada near you that includes a wooden-type roller Bob West, T5R-2V9 Jr. coaster (not a Wild Mouse, or similar metal 160 EI Bonito Way construction), just send us the following: Benicia, CA 94510 (1) The name of the park, the name of the

GODZILLA !S COMING! coaster, and the name of the town it's near. (2) A color slide and/or a B&W print of the ATTENTION SUBSCRIBERS: Please do coaster, along with a self-addressed, stamped not send merchandise orders in with envelope for return (if you don't want photos your subscription renewals. Since all returned, no need for the envelope). subscription renewals and complaints We might write to you for additional infor- are handled at P.O. Box 1999, Farming- mation, but if your photos are used in the book, dale, N.Y., 11737, your order may be de- you will be listed as a contributor and receive a layed up to a week. complimentary copy.

Send all information and photos to: STARLOG/FUTURE RollerCoaster Fever 475 Park Ave. South New York, NY 10016

. . . Will starlog ever print the definitive WILLIAMS' Godzilla story? JOHNNY MUSIC

Eddie Clarke I was recently watching an old episode of Irwin

Jersey City, NJ Allen's Lost in Space and I saw in the credits,

"Music by Johnny Williams". I would like to

The definitive Godzilla story is on its way, Ed, know if this is the same Johnny Williams that but not in the pages ofstarlog. This January, wrote and conducted the themes of Star Wars starlog will launch a very special sister publica- and Close Encounters of the Third Kind? tion, monster invasion, which will deal with the David Mondo more horrific elements of the science-fiction/fan- 220 Berry Ct. Apt. #22 tasy field, monster invasion willfeature the ulti- Morgan Hill, CA 95037 mate Godzilla story, including a giant, full-color poster (never-before-seen in this country) of the Yes, David, you're very observant. That is leaping lizard. Also on handfor invasion will be indeed the same Johnny Williams who also articles on Christopher Lee, The Creature from the wrote the TV series Time Tunnel, Voyage to the Black Lagoon, monster makeup, the "new" Wolf- Bottom of the Sea and Land of the Giants. Mr. man, the latest horror films and much more! Williams has also scored some big movies: Watch for it! Towering Inferno, The Fury and Earthquake! Two Magazines Designed For Everyone Who Looks Forward To Tomorrow

Full-Color Photos! / Original Art! / Rare Movie Stills! /Interviews!

Science-Fiction News! / Behind-the-Scenes at Movies 8. Television

Special Effects Explained! / Space Science Experts! / Exciting SF Events!

. Top-Quality, New Products! / Visions of Tomorrow! / . .All in These Two 80-page, Glossy-Paper Magazines, Each Published 8 Times a Year (about 3 weeks apart). / SUBSCRIBE TODAY and start enjoying TOMORROW! flWlOG EACH ISSUE INCLUDES: • SPECIAL EFFECTS — Photos, interviews & diagrams of behind-the-scenes magic! \ • DAVID GERROLD — Science fiction's outspoken \ ' young author writes a regular column! • TV EPISODE GUIDES — Cast lists, plots, credits, photos & more data! • STAR TREK REPORT — Official information & latest news direct from Susan Sackett! • INTERPLANETARY EXCURSIONS — Visit a different part' of our solar system, with science writer Jonathan Eberhart and space artist Ron Miller! • GERRY ANDERSON — The master of "Space -1999" answers reader questions in his Space Report! • CLASSIC MOVIES — Rare photos and trivia facts! • CONVENTIONS, COMPUTERS, & COMICS — Any subject that touches science fiction, STARLOG covers it! • FAST NEWS — From the exciting worlds of science fiction & fact, latest photo news! Future EACH ISSUE INCLUDES: • INTERVIEWS — Exclusive talks with the giants; Arthur C. Clarke, Steven Spielberg, Ray Brad- bury, Larry Niven, Fred Pohl and many others. STARLOG/FUTURE Magazines D STARLOG (U.S. & Canada) • portfolios of painters like ARTISTS — Full color 1-Year issues) $11.98 475 Park Ave. South — dept. - si9 (8 Chesley Bonestell, Bob McCall, Boris, and D FUTURE (U.S. & Canada) other great space and future artists. New York, N.Y. 10016 1-year (8 issues) $11.98 • — Visions of tomorrow by writers like total AUTHORS Enclosed $ : STARLOG (Foreign, surface) Ben Bova, Isaac Asimov, William Nolan, and (cash, check or money order) D issues) $18.00 Norman Spinrad. 1-year (8 Please allow six weeks processing time before first issue • — NASA specialist Jesco von Putt- FUTURE (Foreign, surface) SCIENCE will be mailed. Don't want to cut out this coupon? Send $18.00 kamer explores the marvels and mysteries of your order on a separate piece of paper. 1-year (8 issued) the universe. • SF GRAPHICS — Posters, book covers, commer- cial storyboards and other advertising and promotion art. • BOOKS — Reviews of the latest publications. • HARDWARE — Latest gadgets from inventors. • FUTURE FORUM — SF celebrity panel answers questions. • SPACE — Satellites, probes, habitats and our ex- citing steps toward the stars.

ADVERTISERS: TEACHERS & STARLOG is now the LIBRARIANS: YOUR FRIEND'S NAME most potent advertis- Every school library ^ ing force in the sci- should have these pub- INIQUE ence-fiction field. Send lications. They will be, GIFT FOR a note on your letter- the most exciting edu-^ head for a copy of our cational tools you have A FRIEND new rate card, and dis- found for the sciences > humanities. For cover how economi- and South America — add $4.50 for South/East Asia, , '.OTE: Foreign Air Mail, add $1.50 for Europe & cally the force can be special class rates (25 funds ONLY! Africa & Japan — add these amounts to rate for foreign surface, and send money in U.S. with YOU! or more) please write . new! ORIGINAL SOUNDTRACK MUSIC From Science-Fiction and Adventure Movies! "The Cyclops" "Top Of The World" "Beginning Of The End" "The Amazing Colossal Man" "Big Town" TV Series "The Buckskin Lady" "The Cisco Kid" "The Boy And The Pirates" HEAR: if Exciting Orchestral Suites! if Glorious Melodies! if Thundering, Soaring Music!

ALBERT GLASSER, one of the most Deluxe album opens up and prolific and talented music composers includes rare photos and notes on all of Hollywood's Golden Age, wrote, the shows — complete with cast, arranged and conducted over 125 credits and other valuable data. movie scores — none of which were Stereophonic Sound: Our first ever released on records and most of release that includes glorious, which were never heard and full-dimensional music. appreciated properly underneath the Almost 1 Hour of enjoyable listening. dialogue and sound effects of the Available only through this ad and double-feature thrillers they enhanced. in select outlets. (Not distributed to STARLOG RECORDS has selected general record stores.) musical highlites from some of the best None of this music has ever been movie scores of Albert Glasser. We are previously released. proud to present a rare collection of High-quality, custom vinyl pressings. dynamic film music. Limited run — order your copy today!

Our Premiere Release. . ORDER TODAY!!!

For the first time, a soundtrack

record of the classic 1 950 movie of Send cash, check or money order to: "The Fantastic Film Music of ALBERT Man's first step into space. GLASSER" $7.98 (plus postage & handling) The dramatic full-orchestra score STARLOG RECORDS dept. -S19 475 Park Ave. South (complete on this album) is a stunning "ROCKETSHIP X-M" $6.98 (plus New York, example of early Romantic film music NY 10016 postage & handling) — the type that inspired scores like "Star Wars."

The composer is Ferde Grofe, best NAME known for his "Grand Canyon Suite" and other American music classics, and ADDRESS this is his only soundtrack album. The theremin, the wailing electronic CITY instrument used in Hitchcock's "Spellbound," is heard throughout the Mars sequences. STATE ZIP A "must" for science-fiction fans and POSTAGE & HANDLING: soundtrack collectors, the album U.S.A. — 4th Class postage: $ .72 each record DEALERS: Write for wholesale rates includes photos and extensive — 1st Class postage: $1.52 each record on these, and exciting future releases from RECORDS. background notes. A valuable Canada — each record (U.S. funds): $2.02 STARLOG Foreign — each record (U.S. funds): $4.02 NOTE: Send order on separate paper, if you don't want to collector's item, available only through cut out coupon. this ad and in limited select outlets. Total Enclosed: $ Canadtan * Foreign Customs: Payment In US. Fund* Only

10 .

LATEST NEWS FROM THE WORLDS IDIOTIC/ OF SCIENCE FICTION 6 FACT

STARLOG/FUTURE ANNOUNCES SHORT FILM COMPETITION

(Baltimore) April 13-15, 1979. Deadline *\k*l for submitting finished films is April 1, 1979. Provided you take photos and other- wise document your step-by-step making of the film, this material may be used in an article on the winning entries in star- log and/or future. Best of all, if the winning entries are of high professional quality, starlog/future plans to pack- age the films for wide commercial ex- posure—an opportunity to boost you into the motion-picture limelight and produce income in addition to your prize money. Any films produced within the past two years, 1977-78, are submissable, and if you don't have a finished film, we suggest you get to work immediately on the script and designs. For detailed rules, fees, releases and entry forms please write today:

SF Short Film Search

it 5-15 is most desir- David Ellis For the first time, amateur filmmakers on length, minutes will have the opportunity to gain pro- able. The subject can be anything that 4221 White Ave. fessional status and receive fame and ex- falls within science fiction, future, horror Baltimore, MD 21206 posure—not to mention cash prizes, star- and space fantasy; it can be humorous or that not have to at- log and future magazines are sponsor- serious; it can include animation, stop- Please note you do participate in the SF Short ing the first annual SF Short Film Search, motion, live-action or any combination tend Balticon to if you would like infor- open to all filmmakers, whatever their ex- of techniques. Film Search, but perience and budget. The entries will be viewed by a panel of mation on attending, please request it

write. Lights. . Films may be submitted in 8mm, Super- film experts,- and the winners will be an- specifically when you

. .Action! 8, or 16mm, and although there is no lim- nounced and screened at the Balticon Camera.

OTHER WORLDS ON EARTH

Location scouting takes up a good part of almost any feature film's pre- production time. Science-fiction films set in space or on another world have com- Alien landscape: this monly relied on carefully constructed bizarre landscape in studio sets and miniatures for an out-of- Yellowstone Park will this-world look. The newest trend is to appear as the planet find suitable alien landscapes right here on Vulcan (with the help this planet. of SFX wizards, matte George Lucas used locations in Tunisia paintings and minia- and Guatemala with great success in Star tures) in Star Trek — Motion Picture. Wars. The quest for unusual geographic The settings has been picked up by the makers of Star Trek—pie Motion Picture. Re- with one cently, a small 'unit from the Star Trek crew were SFX wizards Joe Viskocil and of the sky and distant landscape production team traveled to Minerva's Mike Minor. of his skillfully executed paintings. Also Terrace, a unique geological formation of Viskocil and Minor constructed a fore- along for the shooting was everyone's hot bubbling springs and rimstone near ground miniature with towering red crys- favorite Vulcan, Leonard Nimoy. Yes, Livingston, Montana, to film a sequence. tals that blends perfectly with the natural, Spock will get to make one of those in- The location had been chosen as just otherworldly formations of Minerva's frequent visits to his home planet in the right to be the planet Vulcan. Among the Terrace. Matthew Yuricich will fifl in part new movie.

11 "CEOK" FLIES AGAIN ary equivalent of one. Coinciding with the culled from exhaustive interviews with coming of the yuletide season, Ariel has re- CE3K director Steven Spielberg. The The hottest project currently afoot in leased three oversized CE3K books and a Filmbook traces the development of the Hollywood these days is the remaking full-color CE3K calendar, featuring never- widescreen saucerfest from its inception to of Close Encounters of the Third Kind. before-seen saucer shots from the film. its breathtaking premiere in New York City Because of Steven Spielberg's involvement The CE3K UFO Calendar for 1979 in 1977. Every aspect of the film is covered with an upcoming George Lucas-produced features a dozen individual UFO portraits for the benefit of the true movie lover. SF adventure, his plans for filming the plus a dazzling centerspread of extraterres- CE3K sequel, Close Encounters of the trial doings. Close Encounters of the Third "CE3K" NOVEL Fourth Kind, has been delayed. So as not Kind: A Document of the Film Epic ($9.95) NOT STEVEN'S to leave the UFO front altogether, Spiel- takes a slighdy more ambitious look at the berg is currently planning to re-release One of the most an expanded version often posed of CE3K in May of questions concerning 1979. This second, the phenomenal improved version Close Encounters will feature many of success story (aside the exposition scenes from "what does the trimmed from the movie mean?") con- original film and cerns the best-selling will probably offer novelization of the the edited "When film, published last You Wish Upon a December by Dell. Star" musical end- Did Spielberg really ing, featuring Jiminy write the novel? And Crickett vocals. on if he didn't, Who In addition to rein- did? Well, recently, stating already- while chatting with a filmed scenes, Spiel- starlog reporter, berg will be beefing Spielberg revealed up his new version 1 the true origins of the with original foot- 1 256-page book for age. "I'll shoot some 1 the first time. new scenes—from ! "It was very early the original script," d on when we made said the director re- | the deal with Dell." cently. "They're | he recalls. "It in- scenes I couldn't I cluded an advance afford to shoot be- § with a promise that I cause of budgetary I was going to have reasons. I was unable I direct writing input to convince Colum- g into the book. But a bia to okay them." post - production on The scenes are cur- o the movie became so rently being shot on 1 impossible that I had the Coast, with West to get somebody else Spielberg working A scene from Ariel Books' Close Encounters of the Third Kind portfolio. to write it. I didn't on original CE3K write the first, second material on week- or third drafts. Those ends while filming his forthcoming 1941 film, exploring some of the questions raised were written, based on my screenplay, by feature during the week. by the production concerning the existence Leslie Waller ( note: an author also known Also, Spielberg has said yes to the Smith- of other life forms in space. With an intro- as Patrick Mann), a very good writer. sonian Institute's request that the film's duction by Ray Bradbury and an epilogue "When I read his drafts, though, I told

Mothership be sent to the museum for per- by Carl Sagan, the book features interviews the publishers that unless it was cleaned up I manent display, joining such other media with many of the film's stars and crew wouldn't let my name go out with the mementoes as Star Trek's Enterprise and plus over 80 full-color stills. book. So I sat down and spent less than a

All in the Family's living room furniture. The Close Encounters of the Third Kind week—I wouldn't say rewriting the novel Portfolio ($7.95), designed for visual-effects —but polishing it, and taking a lot of the

lovers who would rather watch the action plot and twisting it back in the direction of A "CLOSE ENCOUNTERS" than read about it, is a collection of 18 color the screenplay. All told, there's about 20

CHRISTMAS scenes from the movie. Individual stills can percent of me in the book. I wish I could

be removed and framed. say there was more, but there's not. I cringe Ariel Books has its way, every SF fan The Close Encounters Third Kind If of the when I see my name on the cover, and I in the will country be having an alien en- Director's Filmbook ($7.95) offers the most usually avoid it at bookstores. Actually, I've counter this Christmas, or, at least, the liter- in-depth coverage of the movie to date, never bought a copy."

12 DUCK SCOOP

b is t0 great for Duck ^'kl J° ° ' ' IH Dodgers in the 24th and a Half Century!" The year was 1957 when those pearly words were last uttered by a spluttering big-beaked fowl named Daffy Duck. His clarion call also marked the end of the classic age of short cartoon subjects in theaters, led, at the time, by Warner Brothers and director Chuck Jones. In the 20 years since, Jones has won ac- claim with his animated TV specials (How the Grinch Stole Christmas, Rikki-Tiki- Tavi) while Daffy and his brethren Bugs Bunny and the Road Runner kept busy with an occasional commercial or rerun.

But now the team is back together for a science- farcical sequel entitled Duck Dod- gers and the Return of the 24th and a Half Century. Also returning for the updated effort will be the futuristic hero's nemesis, Martin the Martian, and his faithful stut- tering sidekick, Porky Pig. But that's not all folks. Jones also hopes to entice Mike Maltese and Maurice No- ble, gag-man and designer, respectively, of the original cartoon, out of retirement to Chuck Jones' portrait of the "Duck Dodgers" gang. New short subject is in the making. serve the duck. In the meantime, Jones has his new gathered a group of Warner veterans to Jones fan has also aided the resurgence of Jones as visual consultant for serve as script animate the six-minute short, set for Duck Dodgers. He has already gone so far movie comedy and offer to the Dodgers sequel. The theatrical release in late 1979. as to include WB cartoons on the same bill man—gratis—on Steven Spielberg. One fellow professional and Chuck with his own award-winning films, hire cartoon lover's name?

Sterile surroundings created for the TV version of Huxley's futuristic novel.

"Tom came up with a design that was simple and clean," she says. "It's like nothing ever done before. Taking a few basic shapes and designs, he managed to construct a city set that, when filmed from different angles and with interior pieces rearranged, could be transformed into any area of the metropolis. Every piece of the set was moveable and rearrangable. It was MIKE McMASTERs 1953-1978 economic, yet visually stunning to behold.

Seeing it on the TV screen, you get a "BRAVE NEW WORLD": soothing, warm effect. The colors are all The Star Trek fan world is shocked and very muted and the structures simplistic." saddened by the untimely death of 25- A TV FUTURESCAPE After Brave New World was completed year-old Mike McMaster. McMaster died

last summer, the producer set out to pro- in an accident at his home on Sept. 6, When producer Jacqueline Babbin tect her city from science-fiction 1978. He is best remembered by Trek fans decided to bring Aldous Huxley's scavengers. "I just thought our city was for his replica of the Enterprise, the Bird of ship the Kling- classic Brave New World to NBC-TV as a something special," she smiles. "The Romulan Prey and cruiser. final four-hour mini-series, she knew that the whole show is special. In order to keep the on His efforts were employed work had to be adapted in an impressive look totally unique, I had to stand guard on a new project for Bantam Books, to be visual sense as well as a literary one. In over the set, after a fashion. I think all of released sometime in 1979, and his revised order to ensure a solid shape of things to the Universal lot wanted to use it for some edition of the bridge blueprints were just released. will come, she hired Peabody- and Emmy- project or another. I had to say no to all of Mike McMaster be sorely winning designer Tom H. John to create that. Huxley's book is one of the all-time missed by all who appreciated his eye for the look of the brave new world's infinite best science-fiction books. I didn't want research and accuracy, his lectures, humor unique skills. city. the TV show to be anything less." and

13 - No. 6 - - No. 3 - No. 4 - No. 5 No.1 - No. 2 Guide, ".Fantastic Journey," "Star Convention, "Outer Limits" TV Guide, 3-D Part 2, "UFO" Pice "Space 1999" Year 1 Guide. "Star Trek" Animated, Special "Star Trek" Rere Color 6 Nick Tate Talks. "Star Trek" Censored, SF TV Trek" Worlds," Spaceships. "1999" Year 2 "Arena," CompUte Episode Guide, "War of the Address Guide. Space Art Effects -Parti Comics Guide, SF TV Movies Guide 3-0 Movies Filmography Shetner & Nimoy Article- "Logan's Hun," The ^mem ^fijj^w*m, XsBmsqgft&y**" &M.& **^&

12- 9- No. 10- No. 11- No. - No. 8 No. Close Encounters faatura. Ster No. 7 Encounters pre Ths Prisoner. Computer Games. Pat Duffy. Lynda Cor Asimov. Closa Animation, "The F»y." Interviews: Trek II. Computer Animation. "Star Wars," Robby the Model Rock SF Merchandise The Superman movie. Incredible Shetner. Jered Martin. Fan- view SF- Hartan Ellison Interview, tsr. FX: Tha Laser Blast. Art by Bonastall, Tha Robot, Eagle Blueprints. Guide interviews Harryhausen. Shrinking Men, SP Spec* Tut tastic Journey G uiae Star Wars. con; "Star Trek" Report Sat. A.M. TV, NASA Makeup Man. SF Comic*. Makeup Men. 50.TVSF. Bskshi. George Pal.

14- No. 15- No. 16 — No. 17 — No. 18- No. 13- No. 'Galactica"— Behind the Scenes The Invaders Episode Guide Special Fall TV Issue Finlsyart. Jim Dsnforth This Island Earth. Episode Guide Logan s Run Episode Guide 3O0I Virgil Galactica" Color Poster Dr.Jekyli&Mr. Hyde UFO." The Twilight Zone". Sound Solar Power Satellites Space films, The Time interview. Project 2nd Annual Merchandise Guide Disney's Rogers Art Interviews: Spielberg. Roddenberry Capricorn One. Star Wars Effects. David Getrold Boo McCall's Buck Machine. David Prowse SFX: Miniature Explosions SFX: Hollywood Holloween! Death Beest". chop 1 interview: Alan Dean Foster Danh Vadei P S Ellenshew

Park Avenue South, 8th Floor Suite, New York, N.Y. 10016 1— $5.25 each I POSTAGE & HANDLING No. No. 2— $4.25 each extremely limited, and when I Our stock is prices INCLUDE postage for regular 3rd Back issue each it. $3.25 . . that's No. 3— present supplies are sold out . I Class delivery (4 to 6 weeks). For super-quick No. 4— $3.25 each check, or money order. service, include your own self-addressed 9"x12" Enclose cash, I envelope stamped with 1st Class postage. Ameri- No. 5— $3.25 each I can stamps only please. We will process these .No. 6— $3.25 each ORDER TODA Y! DePt sn orders the same day they are received, and you I No. 7— $3. 75 each should have them within 10 days. No. 8— $3. 25 each I 1 magazine: add $1 .06 1st Class Postage Name Postage „No. 9— $3.25 each I 2 magazines: add $1 .84 1 st Class 10— $3.25 each 3 magazines: add $2.62 1st Class Postage No. Address I or more $2.75 each (For MORE THAN 3 magazines, send TWO No. 11— Postage on I envelopes with appropriate 1st Class No. 12— $2.75 each City EACH. Incorrect postage will cause a delay in I No. 13— $2.75 each shipment.) -Zip. No. 14— $2. 75 each State_ I POSTAGE: No. 15— $2.75 each I FOREIGN this magazine, please Note: If you don't want to cut up Canada & No. 16— $2.75 each (For all countries other than U.S., piece of paper. I print your order on a separate Mexico. Above rates do not apply.) No. 17— $2.75 each Canadians & Foreign Customers: Payment in U.S. Funds Only I Air Mail Rate: add $1 .70 per magazine No. 18— $2.75 each I TREK TROTS a five-minute satire entitled Star Trot fea- rocking his camera about, we'll run turing funnyman Hogan as Spock, Roger from side to side like brainless FOR AUSSIE YOCKS Stephens as the remarkably Shatner-esque sheep! Captain Quirk, Andrew Harwood as Sulu The camera begins to shake and the three and Delvene Delaney as Uhura. crewmembers proceed to trot According to Australian starlog cor- Enterprise sets: re- of time respondent Cam Ford, NBC's Satur- The sketch employed two one, a back and forth, completely out

markably detailed mock-up of the Enter- camera. . .and even each other. day Night Live isn't the only TV show to with the prise bridge, the other, the Enterprise's what Australian TV will do to parody the legendary Star Trek series. In Wonder wherein perspiring Australia, the Paul Hogan Show televised mighty engine room a Galactica? Scotty (also played by Hogan) frantically pedaled a Rube Goldberg pushbike con- traption ... hooked up to a massive generator while yelling his classic, "Warp

factor five, Captain? She'll no' take it! We'll bur-r-rn the engines oot!" Typical of the show's humor was Spock's describing his Vulcan father as

". . .a cool, boring, humorless man. His idea of a joke was to stuff pickled onions in your pocket." There was also the following exchange between Uhura, Kirk and Spock: UHURA: Captain, emergency! We're heading into a shower of meteorites! KIRK: Mr. Spock! What course of ac- tion would you suggest? SPOCK: Quite logical, really, Captain.

Andrew Harwood as Sulu in a hilarious We'll do what we always do. (He Delvene Delaney does a convincing Lt. Australian lampoon of Star Trek. points to camera) When he starts Uhura at her bridge console for Star Trot.

"BATTLE OF THE PLANETS" popularity, having been bought in 44 out STARLOG - A FRONT of the U.S.'s top 50 markets. > EXPLODES TV RUNNER ON Battle recounts the exploits of a group of five superheroes in their attempts to During the 1960s, America was besieged defend future Earth from alien invaders. Last August, starlog/future added a by a horde of fully animated SF shows The heroic "G-Force" is composed of lovely lady to its growing family. Her from Japan. Now, in the wake of Eighth Commander Mark, Jason, Princess, lab- •name, appropriately, is "Starlog" and Man, Marine Boy, Astro Boy and oratory-manufactured Keyop and Tiny. she's a two-year-old chestnut filly. Over Having the ability to fly, the team some- the winter she'll be in training at Mon- times escapes doom by generating a ticello (New York) Raceway, and she'll powerful whirlwind. G-Force is given their make her professional debut as a harness orders by droid leader, 7-Zark-7, who, racer in May of 1979. During the '79 rac- together with robot dog 1 -Rover- 1, fights ing season, she'll doubtless put colts to the forces of the ecologically depressed shame on racetracks all over the east coast. planet, Spectra. The G-Force does battle "We haven't perfected faster-than-light in the stars while aboard their ship, The drive yet," confides publisher Norman Flying Phoenix, a spacecraft which can Jacobs, "but the crystal ball says she's a metamorphose into its mammoth mytho- good front runner. We just hope she lives logical namesake. up to her name!" Leading the forces of Spectra is evil Zoltar, who receives his orders fom The Spirit. Week after week, Zoltar sends out Publisher Jacobs robotic nasties to take on the G-Force. with filly, Starlog. his memorable creations Droid leader 7-Zark-7 leads battle forces. Among more are a titanic turtle, armies of mechanical Gigantor comes Battle of the Planets. squid, a gigantic praying mantis, a four- Based on several full-length movies from faced Balinese god, a peacock with mind- Japan, Battle of the Planets is actually the altering rays and a thousand-eyed blob brainchild of an American firm, Gallerie equipped with a death beam in each eye. International Films, who saw a chance to Produced and directed by David Hanson, jump on the SF bandwagon and took it. Battle of the Planets features the voices of The resulting syndicated series, which Alan Young, Casey Kasem, Janet Waldo, boasts 85 self-contained episodes, is an un- Ronnie Schell, Alan Dinehart and Key qualified success in terms of TV station Luke as Zoltar. a

disaster from the sky. The problem centers on the Prometheus, the largest manned spacecraft ever constructed and the first to be launched, built and operated by both Russian and Americans. The ship has a

malfunction which causes it to get stuck in a decaying orbit. Like a circling time bomb, Prometheus stalks the Earth in a tale mixing SF, suspense and unintentional humor. The Best of Lester Del Rey ($1.95 in paperback from Del Rey) is yet another fine addition to this company's "best of" series tracing four decades of Del Rey writing. The Mythology of Middle Earth by THE BORIS BOOK Ruth Noel ($7.95 in hardcover from Houghton Mifflin) is a fascinating insight For Boris fans, collectors and art enthusi- into the origin of Tolkien's tales, tracing asts, FUTURE has arranged for a limited the connection between the hobbit mythos quantity of a beautiful special edition and the real-life legends they were based magazine featuring the sketches and pain- upon. In author Noel's domain, Tolkien's tings of this talented artist. The book in- Gandalf= Merlin, Aragon = Good King cludes an interview with Boris, a complete Charlemagne and the Ring of Suaron has index to his book covers and posters, its origins in the Nordic Volsung saga. photos of Boris posing, his family, his NEW SF TITLES The Fellowship of the Talisman by Clif- studio, many of his original prose-photos, in hardcover by Del and a superb collection of black-and-white ford D. Simak ($8.95 reproductions of his paintings, original pen horde of new science-fiction books, Rey) is Simak 's first excursion into total and ink sketches, book and comic covers, Aboth hardcover and paperback, are fantasy and is enjoyably off the wall. Hero and even some of his early advertising art, currently wending their way to bookstores Duncan falls for Diane, an axe-wielding greeting cards, etc. With a full-cover cover, across the country. Among the most note- warrior who rides a griffon. Together they glossy paper, 52 pages, 8V2" x 11" format, worthy: Skyfall by Harry Harrison ($1.95 battle primordial evil, assisted by goblins, this special book has a very limited press in paperback from Ace), a novel which in a Middle Ages adventure taking place in run and will not be mass-distributed to in terms of England in the 1970s. regular bookstores. Order your copy today, predates Lucifer's Hammer directly from FUTURE-only $5.00 each, plus postage and packing. CENTUM LAUNCHES PREFAB affair, and in a deluxe outfit kit, which COLLECTORS: features not only the saucer but its power FLEET UFO pad launcher, three "super-C" engines and A few remaining copies of the 1978 Tarzan other extras. Anyone interested in flying Calendar are still available. This features 12 Thanks to the folks at Centuri, it is Centuri's saucers—or model rocketry in glorious full-color paintings by Boris, on now possible to sight—and even fly— general—can write the UFOlogists at large format, glossy paper. While the pre- UFO without being considered the slight- Centuri, c/o Box 1988, Phoenix, Arizona sent supply lasts— $4.95 each, plus 90' est bit strange. Centuri, a corporation 85001. A close encounter of a prefabri- postage. world-renowned for its line of flying cated kind is guaranteed to all. model rockets, has recently come up with the ultimate in futuristic models. Their FUTURE Magazine creation, aptly entitled the Flying BORIS Products dept. — S19 latest 475 Park Ave. South Saucer, is the world's first rocket-powered New York, NY 10016 model UFO. Built entirely out of rigid paper and DThe BORIS Book — $5.00 ea. rugged 4th Class Postage: 50* ea. cardboard, the lightweight yet 1st Class Postage: 90' ea. Flying Saucer features extensive body de- DThe TARZAN Calendar — $4.95 ea. tailing, including eerie "Space Glow" (Include 90* ea. for postage) decals for night display. The Flying Saucer

lifts off the launch pad in normal, safe, NAME model-rocket fashion and then soars to impressive heights. At the peak of flight it ADDRESS flips over to recovery position and floats slowly to the ground, ready for another city" flight. No parachute recovery system- in model STATE standard operating procedure rocketry—is needed because of the craft's Enclosed: $_ unique aerodynamic design. Note: Don't want to cut up this page? Just write your Centuri's new saucer model is available Fly your own UFO with this aerodynamic order on another piece of paper and enclose cash, check or money order for booklsl and postage. in both kit form, a do-it-yourself assembly model rocket saucer from Centuri. Canadianus & Foreign Customers: Payment in U.S. Funds Only

16 WATCH WARS LOGAN'S RUN AND CLOSE ENCOUNTERS OF THE THIRD KIND AT HOME AH in 400' Version Super 8mm/ Color sound Discount Price: $49.95 each

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Reel Images proudly offers over 2000 great movies in Super 8mm-16mm and Video tape. Movies to own and love featuring Hollywood and Europe's greatest stars and directors. Feature length classics, short subjects, cartoons, avante-garde and experimental, newsreels, comedies, science fiction, musicals PLUS

MUCH MORE! Shipping instructions: [Mease add S2.0II per film for shipping within the I niled States. S3.50 per film for shipping to ( anada. $5.00 pt S8.00 per film for airmail to Europe. Connecticut and < atifornia resident* please add appropriate sales lax. a NEW! FROM STARLOG I FUTURE FACTS OF THE (ANTI) MATTER ANGEL IN OUTER SPACE

the name that Astronomers have recently suggested Farrah Fawcett-Majors, thousand magazine ar- that if antimatter universes really launched a ticles, has insured her 1001st by signing up exist, it might explain the sudden, violent multi-million dollar SF love destruction of some galaxies. Antimatter, to star in the III. Her co-star in the three- the idea that every form of positively story, Saturn is Kirk Douglas, fresh charged matter is complemented by an. character drama for The Fury. The identical form of negatively charged an- from his fine reviews intergalactic triangle has timatter, was first proposed by physicist third side of the talent behind the Paul Dirac in. 1928 and eventually gained yet to be cast, but the it is ample. scientific acceptance in the mid-60s. camera has been firmed and such classics Scientifically, the difficulty was that an- Stanley Donen, director of is and timatter created in the Jab lasted only the as Singin' in the Rain, producing designer for barest fraction of a second. However, John Barry, production A Wars and Super- scientists at the European Nuclear Clockwork Orange, Star Research Organization in Geneva have man, is directing from his own script. Shepperton lately produced antimatter particles and Filming starts at England's year. kept them buzzing around in a magnetic Studios at the beginning of the new No. 1 field for 85 hours. They managed this feat by firing a beam of protons at a tungsten PREMIERE EDITION wire. When the protons struck the wire, FUTURE #6 SPOTLIGHTS antiprotons chipped off and were collected "THE ULTIMATE ALIEN," in FULL COLOR! in a magnetic field. scientists and SF writers TECHNOLOGY Featuring: Over the years, TOMORROW'S speculated the possibilities suggested by * GIANT Color Fold-out Poster of antimatter, such as the proposed existence issue #8 of future magazine, director Spaceships from TV's of a mirror universe in which your an- In Richard Donner and actor Christopher "PROJECT UFO" timatter persona would be reading an an- Reeve reveal how they translated the world's * BATTLESTAR "GALACTICA" — timatter copy of this magazine. Since an- best-known comic book alien into a realistic, Behind-the-scenes Photos and timatter and matter annihilate each other flesh-and-blood hero while still following Information when they meet, producing incredible the established legend. Look for the cover * "INCREDIBLE HULK" — Color amounts of energy, the creators of Star story on Superman— The Movie. Pix & Story Trek used this idea to juice the Enterprise's Computer technology—both present and warp engines. "Theoretical release of such future— is also highlighted in the issue. In NO. 2 Trek's scale compares to power on Star Ivan Berger GIANT "Battlestar Ga]j "The House of the Future," nuclear energy as an H-bomb compares to Color Poster, plus s explains how computers will make life at "j*" all-color pix on a kitchen match," wrote Whitfield and home—even getting up in the morning— movie, "StaL Roddenberry in The Making of Star Trek. Motion PicAeVieV" Project joyous experience. The "Tomorrow" "Sheer annihilation of matter and an- UFO'/*2^. 3t*' "Hulk" column, by Ted White, explores the coming togers" on timatter was the only power source con- sights and sounds of computerized rock ceivably large enough to do the job and roll, and "In Print" examines books achieving hyper-light speeds." on home computer technology.

Mail to: SF COLOR POSTER BOOK 475 Park Ave. South dept. S19 CLONES AND GNOMES 8th Floor Suite ON THE WAY TO TV New York, NY 10016

Please rush by First Class Mail: December is always a big month for TV D SF POSTER BOOK No. 1 specials and CBS has very special 2 D SF POSTER BOOK No. plans for December of '78 and '79. This Enclosed: $. ($1 .50 each year's Christmas season will see the arrival plus 750First Class postages handling of Clones, a two-hour telefilm written by each — total: $2.25 per book) John Shaner and Al Ramrus and starring Ray Milland, Robert Foster and Adrienne Barbeau. NAME Next year, CBS is planning a two-hour, fully animated special based on the best- ADDRESS selling book, Gnomes. The colorful adven- ture will incorporate tales and legends CITY from the work and is being scripted by Ray STATE ZIP Bradbury. * separate paper, NOTE: Send order on From Gnomes, the book. ! if you don't want to cut out coupon.

18 ' PHOTO f 36 pg over 100 photos GUIDEBOOKS many in FULL COLOR $2.95

V plus postage . 200 pgs FULL-COLOR THROUGHOUT Over 150 Paintings! $7.95 [regular edition]

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First and only book of space art — from the historical roots to today. Over 50 artists: H McCall. Pesek. Hardy. diFate, Bonestelt, etc. plus the NASA collection by Rockwell, Vickrey, Wyeth, etc. Planets of our solar system,, hardware art, distant visions of imagination, and more! Biographies, museum directory, book list — the most beautiful and fascinating art book ever published!

All Books in This Special Series: 100 pgs. • QUALITY high-gloss paper throughout! 1" over 200 photos • BIG QVa" x 1 page format! many in • RARE photos & VALUABLE reference data! FULL COLOR! • A MUST for every science-fiction library! $5.95 • The PERFECT GIFT for any SF fan! plus postage • — tMiiiiFmnm NOT AVAILABLE on newsstands ORDER TODAY!

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Here's how The SPACE ART Club works: color on highest quality rich, textured paper (approximately " " 1 8 x 24 with white border) . Truly a luxurious piece 1. EIGHT ART PRINTS - Eight times during the next of art — ready for framing! year a new edition fine-art print will be issued (the same day each issue of FUTURE Magazine is published). Each 3. THE ARTISTS - The complete set of eight will edition will be limited to 5,000 prints. Each print will be include a variety of space scenes: planetary landscapes, announced and pictured in FUTURE, and if Club members cosmic vistas, imaginary wonders, and futuristic hardware. do not reserve all 5,000, the remaining prints will be The artists are the masters of the field: Bob McCall, offered to readers at 810.00 each, plus postage and packing. John Berkey, Ludek Pesek, Syd Mead, Adolf Schaller, -. Ron Miller, Don Davis and Vincent diFate. Virtually 2. HIGHEST QUALITY - Each fine-art print will be a the Hall of Fame in space art, this incredible group major painting by one of the world's greatest astronomical represents a staggering collection of artistic techniques artists. The editors of FUTURE, together with the artists and scientific imagination. themselves, will select the paintings. Most will be exclusively created for this project and none will be available 4. 50% SAVINGS - By joining The SPACE ART Club for anywhere else. Each print will be reproduced in full- one year, you will automatically receive each print as it is

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(If vou want more than one membership or if you do not want to cut up this page, send order on separate paper.) seemed for a while that Buck Rogers Itwould never fly again. NBC originally planned a new TV version of the clas-

sic comic strip tale in the spring of 1977. A script was commissioned, production STARLOG INTERVIEW teams were hired — and then the project was shelved. A couple of false starts later, actor Gil Gerard was sent a script and asked to play the famous 20th century aviator who is hurled 500 years into the future. Gerard promptly turned it down. That was in January of 1978. Today, clad in futuristic apparel, Gerard lounges on BUCK the massive Buck Rogers set along with co-star Erin Gray, who portrays Buck's love, Col. Wilma Deering. Just how did Gerard finally fall into the Buck Rogers role? "It wasn't easy," he laughs. After rejecting an initial offer, RUBERS he ignored a second plea from the show's producers. "I had just finished a serious acting job, a TV movie called Killing Stone" he recalls. "I saw my career going in a direction I wanted. I had the IS BACK idea that Buck Rogers was comic book 22 The many worlds of Buck Rogers! Clockwise from right: Buster Crabbe as the spaceman in the 1939 serial. Next, Gil Gerard in the 1978 version. Be- low, Pamela Hensley, as Princess Ardala, gets tend- ed to. Watching over her

is the 280-lb. Duke But- tler as Tigerman. in color

is Buck's interrogation by suspicious Earth for- ces in the 25th century. Finally, Twiki the robot, who embodies two person- alities, combining R2- D2 and C-3PO.

and I just didn't want to get involved with some super-plastic figure without the 1939 serial that starred Buster it. I turned it without reading down feelings." Crabbe. Yet 1978's Buck is not a post it . . . twice." It's Buck's sense of humor that World War I dirigible pilot but an Executive producer of Buck, Glen A. interested Gerard most. "Like the part astronaut. Blasting off on a NASA Larson, is not a to turned man be down, where I kiss the hand of Princess mission in the late 1980s, he is struck, however. He considered Gerard perfect Ardala," he says. "She denies knowing while in orbit, by wandering eometary for the part. "If I were doing this for me, and I say, T think you're mistaken, debris which cause him to be flash- theatrical release rather than for TV," Princess. I never forget a knuckle'." frozen. Thanks to inert gasses in the Larson theorized, "I'd want Burt Erin Gray winces. "And I'm standing comet-thing, he falls into a state of Reynolds for the role. see We Buck there looking on and groaning at the suspended animation. His craft is Rogers as a wisecracking, a 11-American cominess of his retort. It's wonderful." slammed out of Earth orbit and sent hero type." sent the script is Larsen to Gray yet another convert to the Buck spinning around the Sun (all this before Gerard again, this time via the actor's school of thought. She also turned down the opening credits too). agent. "You read it and then tell Gil her role in the production until she read Five hundred years later, a mammoth about it." the script. "I loved it," she smiles. "Buck Draconian starship, arriving ostensibly Gerard laughs in embarassment. "My is playful, childlike. Gradually he brings on a peace mission to Earth, intercepts agent called me later and said, 'I think this quality out in Wilma. I'm very, Buck's ancient capsule. They find the you ought to read this. It's not what you formalized at first, as I've had to hapless pilot and revive him, assuming think it is.' I read it and we started nego- be ... as our whole society has had to be that he is a spy from Earth sent to find tiating." How did the script change in order to survive. Then Buck comes out the Draconian 's real reason for their Gerard's mind about the Buck role? "It's along — down-to-Earth, with real feel- Earth visit. The aliens assume Buck's tale a dynamite script. It has a lot of good ings, feelings I've had to cover up all my of time travel to be a not-so-clever ruse. stuff in it. The humor of the character life — and finally I . . . well, I come out The Draconians allow Buck to escape. appealed to me especially. And he is and tell him I want to play too." Attempting to contact mission control in vulnerable — not afraid to show that he's The script that has entranced the two Houston, Buck contacts the futuristic confused. He's strong, but he can show young actors is a mesmerizing update of Earth forces instead. They lead him down weakness. He's a human being — not the tale first recounted on the screen in for a safe landing and arrest him as a 23 Buck's sense of humor interested

Gerard most. "I kiss the hand of Princess Ardala. She denies knowing

" ; me and I say, 'I never forget a knuckle.

Above: on location at the Hotel Bonaventure, recently recovered Buck (note the NASA jumpsuit)

is accompanied by Wilma Above: Gil Gerard as the intrepid space on his way to a lounge. traveler, Buck Rogers. Before entering the He has just been inter- realm of video science fiction, Gil was a rogated by the Earth Council daytime-TV star. Right: Erin Gray as Col. who are suspicious of Buck. Wilma Deering, the apple of Buck's eyes.

sleek Stewart role on the soap opera The Doc- Draconian spy. Buck, meanwhile, has Angeles' Bonaventure Hotel — a for tors, a role which lasted two and a half learned from Princess Ardala, leader of setting where the "Atlanteum" scenes avalanche of video commer- the Draconian party, that their mission is Fantastic Journey were filmed. years. An and movie work followed. of the "Trojan Horse" variety. They Gerard is aware that Buck Rogers may cials plus TV is now — Buck Rogers. Surrounded come to conquer. Rogers attempts to be the turning point in his career and And by spacey sets, Gerard talks about science warn his futuristic Earth ancestors of the simply delighted by the fact. "I have en- has for as long as I can fiction, a subject upon which he plan and is greeted with total disbelief. joyed science fiction opinions. Ultimately, Buck has to ward off an remember. I liked Flash Gordon and definite but I didn't care much intergalactic assault single-handedly in a Buck Rogers in the comics." "I loved Dune, is the sequel, Dune Messiah. What I thrilling climax aboard the alien For Gerard, his starring role in Buck for whole thing of mothership. the culmination of an acting career that loved about Dune was the he was in college in the guy learning — the desert culture, the At present, Buck Rogers is being began when Little Rock, Arkansas. "I sandworms. Learning to ride a sandworm filmed at Universal, with its sets spread hometown

. the end, in mathematics," he moans, was . . wow! Then toward over five of the largest sound stages at the majored in in chemistry and biology and Dune Messiah, they went through all this studio. Extra exteriors are being shot at "minored Upon graduation, religious thing, trying to parallel him to MGM. Gerard and Gray are clearly en- graduated neurotic." industrial chemist, but Christ or something." joying their science-fiction outing and he became an in found his attention wandering. "One That statement triggers a reaction there is talk at NBC that the mini-series in school was acting. Erin. "Did you hear them mention the (currently taking the form of three, two- thing I had enjoyed painting the scenery, word 'spice' at one point in Star Wars?" hour films with the first episode being I loved everyting — floor, doing bit parts. (Spice being one of the key concepts in released theatrically outside the U.S.) sweeping the stage myself at the age Dune.) could spin off into a weekly excursion in- And I just couldn't see looking back on the life I was "Yeah," Gerard adds. "Remember to space-age adventure. Gerard has been of 90 it great that I the skeleton of the sandworm on top of totally surprised by the ingenuity used by leading and saying, 'Isn't the dune? (On Tatooine.) All that desert the show's creative teams during filming. made money and played golf?'" stuff was taken right out of Dune. That's For instance, one entire sequence that Gerard spurned his laboratory and what gets me. After lifting all of that, takes place 500 years in the future was ac- moved to New York where, after a stint ." Star Wars now has the b . . tually filmed in the lobby of the Los as a cab driver, he landed the Dr. Alan 24 Left: hapless Buck (Gil Gerard) is in the hands of the glamorous but decidedly evil Princess Ardala (Pamela Hensley) and the quintessentially mean "Killer" Kane (Henry Silva). Above: relaxing in her sleeping chamber, Princess Ardala strikes a pensive - pose. In this television update, the Princess lapses into a love-hate relationship with Buck. He's handsome. She's beautiful. He represents truth and justice.

"Audacity," Erin injects. "Today, so many movies say, 'You faith.' That's part of the problem with "Thanks," Gerard grins. "You know can't do anything about it anyway, so to them. Buck comes in and sees that these

all the long words . . . The audacity to hell with it. Go out there and break your good people are about to get the shaft sue Galatica for stealing Star Wars. Fox butt against the wall, and you'll only fall because of their excessive good faith. acts like it did the ultimate science-fiction into pieces at the bottom of the wall, They're so trusting that they want to take film and no one has the right to do broken." the Draconians' word for things. But the another one. $300 million isn't enough." Gerard believes that the high-spirited Draconians don't have good faith; they Erin attempts to change the subject. films such as Heaven Can Wait, Close don't play by the same rules." "Have you seen Capricorn OneV Encounters of the Third Kind and, yes, As the cameras roll and Gil Gerard "I don't like the idea behind it," Buck Rogers can reverse the trend. "In and Erin Gray battle valiantly against the Gerard answers. "That cynical view of Buck Rogers, we have people's invading Draconian hordes, it is clear the world has gone too far." He believes imaginations telling us what the world that, both visually and philosophically, that there's no excuse for a movie to be will be like 500 years in the future. It's a Buck Rogers indeed flies again. * anything less than entertaining or in- realistic idea, Glen Larson's idea, about spiring. "Movies keep going into the the hopes of the world. That's in- FLASH: Glen Larson, producer of seamy side of life in such detail. If I credible!" Rogers, has announced that Buck wanted to study that, I'd go out and be- "But aren't you saying, then," says Buck will appear as original- come a psychiatrist or work in an insane Erin, playing the devil's advocate, "that a NOT on NBC-TV ly planned. Larson, speaking just as asylum. We have gotten so much into holocaust is inevitable. Remember, Buck realism today that nothing ends with an comes back to Earth after the world has starlog goes to press, stated that the uplifting note. I'm not necessarily been destroyed by war." movie will be released theatrically around April looking for a happy ending. In the movies "It could happen," Gerard admits. throughout the nation. Parts two and three of the mini-series have been of the 40s and the 50s .. . yeah, the cops "But instead of saying that's the end of shelved indefinitely. will were crooked, the politicians were beat- everything, Buck comes back to a planet The show be pitched to again after the telefilm's ing hell out of us. But along comes Joe where there are still people, people who TV theatrical run. Hero and fights against it. Maybe he still have hope. People who say, 'Yes, we loses, but you always knew that he, or have made tragic mistakes, but now we someone like him, would keep on trying. want to see a new world built on good 25 — imwuwCTW

ancient, molten flow cooled in the frigid atmosphere, leaving the inner portion to Port of Coll descend from beneath it. (If you're mak- ing the ascent by flier, I.E.I, suggests keeping your hands off the TFR. Ter- rain-Following Radar in a tight control Olympus Mons system at low altitude might get you feel- ing a little queasy as it tracks the craggy

terrain, even if you're already used to life at about 0.4 g's.) It may look smooth You'll see that the forming of the bulge may have from orbit, but it's not. By JONATHAN EBERHART redistributed so much of the planet's numerous impact craters, large and small is about 14 across, on mass that it actually changed the tilt (the biggest km the eastern slope, although if you're high First appeared the Dark Ring. possibly by as much as seven degrees volcano it will Eerie, a near-perfect circle some 80 at which the ruddy world turns on its enough to see the whole like slightly aggravated pin- kilometers across, it seemed on the axis. Nor is the great volcano alone look about a viewscreens of the distant watchers sim- atop the rocky dome: Ascraeus, Pavonis prick), most of them caused by meteor- hammered out by ply to solidify into being, as though from and Arisa Mons form a volcanic line ites, a few perhaps nowhere, floating disembodied atop the across the bulge, deferring only to the material vomited forth during an erup- the probably maddening fluff of the mother of all one great peak while still dwarfing their tion. Then there are domes, the bot- dust storms. Beneath the storm, hidden diminutive terrestrial counterparts. So caused when the lava reaching burst through the more completely than by any night from imposing is their 1,800-km row that tom of a tube out the watchers and the electronic eye they geologists have wondered if they echo tube's top, spilling over the still-closed course, the strangely cut had sent so far to see it, lay the planet conditions that led to Earth's African end. And of rocks that have been eroded into phan- Mars. It was November of 1971, and rift zone—precursors, in other words, to there was only the ring. a great crack that somehow did not tasmagorical shapes by the cutting, dust- Presently, the ring became a spot. As (might yet?) happen. And all this im- laden Martian winds. begin to show the dust began to settle, the Mariner 9 mensity exists on a world that is scarce- Farther up, the slopes plateaus spacecraft, circling the planet, began to ly half the diameter and a tenth the mass terracing—vast, concentric reveal the spot's details to astounded of Earth. whose edges are often at least 15 km watchers on far-away Earth. For the Of course, you wouldn't attempt to apart, sometimes as much as 50—on even be spot was a caldera—the summit depres- see all of, say, Asia in a single visit, and such a scale that you may not from anywhere close to sion of a volcano—yet the volcano I.E.I, recommends the same restraint for able to see them origin is alone, its supporting peak still masked Tharsis. Concentrate instead on Olym- ground level. Their unknown. individual lava flows, by the storm, could have contained al- pus Mons—a single volcano that is, Each shows many successive layers, most any of Earth's largest cities. The after all, nearly as big as France. so they're not simply caldera of Hawaii's spectacular Mauna Starting at the base, you'll have to like a stack of pancakes. They may be strange, sub-sur- Kea would fit hundreds of times over in- pick your spot, even though the mean related to some kind of to the mighty pit—a mere impudent slope from plain to peak only rises about face fracturing or faulting, but as one smudgepot by comparison. What in two one meter to 10. The ideal vehicle, in fact, geologist from the Viking project says, worlds would the at-last departing dust ought to have some vertical-lift capa- "We have no Earthly analogy." For vol- reveal? bility, since much of the skirt's circum- now, they must remain one of the mysteries Its name is Olympus Mons. Mount ference ends abruptly in a sheer cliff as cano's Brobdingnagian ... on Olympus indeed! much as six km high. Another way to the way to the summit. oft-fictionalized spectacu- It towers three times the height of begin the ascent is simply to cruise There's one ex- Everest. Its base spans some 550 km. If around the base for 50 or 100 km, until lar you'll have to do without. Don't Even a somehow transported to Earth, its flanks you come to one of the huge landslides pect the mountain to be hollow. Earth's would touch all four sides of the state of or lava flows that have broken down the blow-its-top volcano like Kraka- hardened New Mexico. The spilled lava of its an- escarpment, offering a slightly less tor- toa would be filled with the its peak in the cient eruptions is smeared out across the tuous way up the flanks that recede into magma that had thrust up adjacent plains for as much as another the pale salmon sky. first place. Olympus Mons is almost 150 km. Strange pits, grooves and Once up on the slopes, look back and surely what's known as a basaltic shield, the lava itself as it boiled out ridges—some of them still a bafflement down at the Tharsis plain, overlain here built up by layer to scientists trained on Earth's puny and there with city-sized splashes of of the ground, leaving layer upon as later eruptions peaks—bedeck its far-flung slopes. hardened lava. On the scale of Olympus and then adding more various levels Even the ground whereon it stands Mons, little flow-streaks and channels emerged from vents at strains the Earthbound mind. Olympus might remind you of a lasered-off ver- along the growing flanks. But approach (either foot or in your Mons is perched atop the vast uplift sion of the Dakota badlands—but mag- the caldera on known as the Tharsis bulge, a rise, born nified a hundred times. As you ascend, flier)—and take a look. of inconceivable internal pressures, that you'll encounter such features close-up, The sheer drop—in places nearly three covers fully a sixth of the Martian sur- along with vast, hollow "lava tubes," km—may be less than you expected to face. Some researchers have calculated formed when the exposed top of some the caldera floor, but you'll feel its ef- 26 I Chesley Bonestell's painting of Olympus Mons, the massive Martian volcano which is three times the height of Mount Everest.

If transported to Earth, the base of Olympus Mons would touch all four sides of the state of New Mexico and spill over.

feet. Particularly when you remember only way to tell is to bring back a sam- recently as 100 million years ago, within that the grooved, cracked, multi-layered ple, an idea which NASA is studying but the last two or three percent of the floor spreading out before you for some which may be a decade or more in the planet's lifetime. 80 km was once a seething, roaring pit future. For the present, they are stuck Olympus Mons. There is nothing else of fire and brimstone, a steaming hell of primarily with the uncertain technique of like it in the Solar System—or is there? liquid rock, gases and raging torrents of "crater counting," which relies on the Stay tuned. * light and sound. The hardened surfaces relative numbers of meteorite craters as of some half a dozen separate episodes an indicator of how long each section of can readily be seen—the remains of what surface has been exposed. This seems to once were literally lakes of lava, ranging work at arranging portions of the sur- The wonders of "real" spine arc at up to 25 km in diameter. Patterns of face in sequence. But figuring out actual least as. remarkable as any environ- flow and faulting evoke images of each ages depends upon knowing whether the ments dreamed tip for novels, mov- eruption rending and thrashing the crusts numbers of meteorites hitting the planets ies or television: hence this column of those that came before. in recent epochs is what it was billions of —a regular travel guide for the When did Olympus Mons last erupt, years ago. Several Viking geologists, spaccjarer. Jonathan Kherharl is spilling out onto the plain like the over- however, have said that the latest flows Space Sciences editor for Science flow from some fantastic witches' caul- of Olympus Mons may have hissed and News. dron? Frustrated geologists say that the rumbled out onto the Martian surface as 27 STARLOG INTERVIEW

Galactica's female star finds

her first regular TV role a challenge in more ways

than one. In deep space, if the Cylons don't get you will! . . . the stereotypes MAREN

Adama's Daughter Grows Up

really just in, do my job and go home." com where some of the situations are By ED NAHA go Jensen breaks into a slight smile. Her unrealistic. I think we're much more be- days gone by, women in science- current "job" is the envy of coundess sci- lieveable than that." twelve hours a day, Jensen Infiction films were usually portrayed as a ence-fiction fanatics and fellow actors Working show's more valiant but vulnerable lot — the daugh- alike. As Athena, the female lead in also manages to ignore the space element. "When we ters of brilliant scientists (or friendly alien ABC's multi-million dollar Battlestar Ga- overwhelming says, "I really rulers) who registered fear with marked lactica, she holds the plum women's role started the show," she with of the regularity and wound up being rescued by in this Quo Vadis of video science fiction. didn't come into contact any I I work is a the spacefaring hero during the film's final A role that, one year ago, then fashion special effects. What see when constructed ten minutes. The women carried spears, model Maren Jensen never dreamed of. big sound stage with some sets They're very realistic; the toted ray guns, stifled steno pads and "I got the part by showing up at the in the middle. pushed buttons while the men subdued casting director's office," she recalls. "I bridge is certainly phenomenal. But the really didn't hit me until alien terrors galore. Time and time again, was sent by my agent and I read and screen scope of the show

I the first bit of film with the special screenwriters made it clear: space is no tested in November and again in February. saw place for a woman! I got the part. My first professional ex- effects." of Galactica's visual If Battlestar Galactica's Maren (Athena) perience came right after my first screen As the opulence entire cast and they Jensen has her way, that sort of thinking test for the role. Glen Larson also pro- clout dawned on the their different will be considered passe by this TV duces The Hardy Boys and wanted me to struggled to develop season's end. In her eyes, TV science get some on-the-air experience. So, right characters, the show's financial import both Universal fiction doesn't have to rely on cliches to before I started shooting Galactica, I did a began to hit the heads of lot was hold the viewers' attention. "Galactica has role on The Hardy Boys" Her perfor- Studios and ABC-TV. Clearly, a ship infinite possibilities. In fact, my character mance in the hour-long mystery assured riding on the success of the good may be abnormal in the sense that she may her a berth on the Galactica. Galactica. So, in a flurry of activity that be more independent than most of the Following her screen debut, Jensen would have amazed even the most sea- heads women in classic space adventures." plunged headfirst into the rigors of Galac- soned of actors, the studio began of the Lounging in her West Coast home, the tica. Surrounded by Cylons, daggits, laser tinkering with the original concept outspoken young actress reflects on her pistols and insect-men, the neophyte ac- series. Scripts were reworked. Characters' highly touted involvement with screen SF. tress found herself surprisingly unper- roles expanded and diminished. Even the really first three-hour episode was "I think it would be kind of nice to be con- turbed by the show's ambience, "I finale of the sidered a science-fiction heroine," she didn't think of Galactica as being that off- scratched. It was, in effect, the most hectic for all muses. "But I just can't relate to all that the-wall. It didn't seem all that out of the of times concerned. face the set, yet because everything is so new to me. I ordinary. No more so than acting in a sit- Hard as it was for a new on 28 3* h s 'II.

Jensen managed to weather the whirlwind that bit down." and now reflects upon those initial weeks Some of the more spontaneous changes with a dose of earthbound philosophy. "A in the show's plotlines, however, came as a lot of good scenes in terms of character result of some on-the-set fluffs; goofs that development were trimmed," she admits. served to lighten the atmosphere on the lot

"But I think that's the actor's classic com- and strengthen the cast's sense of in- plaint. There's nothing at all you can do tergalactic comaraderie. "In terms of out-

about that. All you can do is learn to work takes, most of our cast is pretty funny," within the framework of knowing that Jensen laughs. "Once Dirk (Starbuck) much of what you do may be cut. You Benedict and Richard (Apollo) Hatch were have to remember that we are shooting for doing this really heavy scene and they were

a TV audience. There are a lot of rules and both getting into it. At the very end, regulations. We may do a scene one way Apollo got excited and said to Starbuck,

and then have to go back and reshoot it 'Awwww, c'mon DirkV The whole place because it's just too racy. cracked up. On another show, a lineup of

"In the beginning, that happened a lot. those Cylons, the basketball players in the Mostly it concerned Starbuck's stuff. He's shiny suits, was leaving a scene and the the great womanizer and he was saying a first one happened to trip. Like tin lot of things that, frankly, could have been soldiers, they all toppled in a row." taken two ways. It was all very funny and But the champion scene stealer, accor-

would have worked if it was played to an ding to Jensen, is the show's resident droid adult audience. But I think the network daggit, Muffit. "Our daggit is the cutest took a little bit of offense because Galac- little chimp named Evie. And since Evie is tica is now being slated as a family show. a real monkey dressed up in a suit, she is So a lot of funny lines had to be cut, as prone to talk monkey talk. Ocasionally, well as some scenes. we'll be in the middle of a serious scene Top of page: says Jensen, "It was great to "For instance, in the first episode, and all of a sudden you'll hear all these meet Lome Greene—the ultimate father where I steam Starbuck and Cassiopia jungle noises coming out of this suit. It

figure. I loved him on Bonanza." Above: while they're kissing away in the launching never fails to break us up." Jensen relaxes off camera. "I just go in and area. Well, originally, they were writhing With ten hours of filming complete, do my job and go home," she comments. away on the floor and all you saw was Galactica has proven to be a visual delight Starbuck's bare back. They really toned and a ratings winner. Yet the actress feels 29 Below: Jensen in a very un-Galactica pose. Left and on opposite page: Athena. Says Jensen of her role: "The character isn't all left up to me. As with any new series, they come in with certain ideas and they see how the performer does and what traits they like about them. They then stress those facets of their personality." At present, the actress feels that Athena is still developing.

that, in terms of priorities, it's time for the ing areas that could be explored in that." production to shift gears and get into the Jensen is most concerned about her por- human element a bit more. "The show is trayal of Athena. The only daughter of still establishing itself," she stresses. "But I Commander Adama (Lome Greene), think that the series is going to have to ap- Athena has her work cut out for her, peal to viewers because of both its special stressing her feminine persona aboard a effects and its characterizations. I know starshipful of blatantly macho types. right now that it's the special effects that Although Athena is outnumbered by her dominate it and people are watching male peer group, she has enough per- primarily for that great look. Eventually, I sonality traits to give actress Jensen a firm feel that the accent will have to be put on foundation upon which to build a solid is about my age human relationships . . . and viewers will characterization. "Athena start identifying with the regular and very much like me in certain ways," characters. I know that the show couldn't Jensen says. "She's smart, courageous, hold my attention after a certain amount emotional, sensitive but still young. of time if I didn't identify with any of the Athena today isn't that dissimilar to the characters and all I could do was watch a way I first thought about her months ago. planet being blown up." I do think that she's a little more sassy As an energetic, aspiring performer on a now. I first thought of her as being a bit one-of-a-kind show, Jensen finds the straight, but as the show got going and she future development of Calactica's interacted with some of the other characters an engrossing topic. "There's a characters, she got spunkier. She's more lot of potential there," she beams. "I willing to take chances now. And if some- think Starbuck's character, for the bum one does something nasty to her, she's that he is, is very interesting. There usually willing to pay them back." aren't good guys on TV that are such The actress realizes that science fiction philanderers. I kind of like that, as well as has long been considered a man's domain his being so serious and just a tad on the and that, in TV and movies at any rate, pompous side. And what makes Athena so most women have been viewed as nothing interesting for me is that she does have a more than an extension of the male space

few faults. She is, at times, daddy's little hero. Jensen is determiend to place Athena girl and yet she chases around after this above all that but finds that she has her guy who really is a bum. There are interest- hands full. She must strike a balance be- tween starstruck kid and fighter pilot. a lot of things, but maybe emotionally could say that's a little sexist. But I think "My character's development varies she's not all grown up." that Galactica has come a long way in

from show to show since there is such a It's Athena's current status as terms of science fiction. There are things

large regular cast," she explains. "And Starbuck's unrequited paramount that irks about it that aren't at all sexist as they there might be a little bit of sexism at work Jensen most. "I don't think it's the ideal have been in the past on other shows." She

as well. The guys are really the featured match right now. I think it could be some- pauses for a moment. "Hmmm, you players on the show. Athena is very promi- day because he is a bright and courageous know, I've never mentioned any of this nent in some episodes and, in others, not character. I just think he should be before." there at all. For instance, in the Britt developed. Obviously, the show would be Jensen briefly considers what changes Ekland story, they have her on for the en- less interesting if we were lovey-dovey. she would like to bring to Athena's future tire episode. So the focus is, 'Wow, here's "There are some loose ends that do lifestyle aboard the Battlestar Galactica. "I a known lady. Let's spotlight her.' disturb me. I don't think they came in with would like to see her fitting into the "There's some macho stuff going on. It my character as strongly defined as were framework of the show as an independent

doesn't disturb me most of the time, but some of the others. I don't feel that woman with a lot of brains, which I think

occasionally ..." Blue-eyed Jensen knits Athena's on completely equal footing with she already has. I don't mind showing

her brows into an almost feline squint. "I Starbuck and Apollo at this point. I'd like people's weaknesses, either. I think it's im- don't think of my role as being especially to say that Athena will develop to the portant to show weakness so that people

subservient, but I do think there are over- point where things are completely equal, can identify with the character. They look tones of that. I'm continually chasing Star- but that's dependent on the writers and the at Athena and say, 'OK, she's stuck on buck and he's always womanizing. For ex- producer. Although I'd personally like to this guy. I can relate to that. I've been in ample, he ran around with Britt Ekland see it go that way, I give it my best effort to that situation, too. A guy has stepped all

the entire time she was on the show and, not subordinate myself and to not put over me and I'm still madly in love with since she played a clone, there were plenty myself in a sexist position." him.' That part of Athena doesn't bother of her to run around with." Some of the more sexist positions me, but I'd like to show a little more Mentally surveying the Galactica's do- Jensen has found herself in have wound strength in that relationship. At present, main, she continues. "That aspect of my up on the cutting-room floor. "In the sec- she is more subordinate than not. role disturbs me. Starbuck's is the classic ond episode, the one with all the women "In the past few years there have been male role. And I'm always over there pilots, the televised show was greatly toned so many good women's parts in films and mooning and pining for him. Some of the down. The way it was originally shot, there on TV. There have been some real strides aspects of Athena's character are fine. I've was a lot more footage of all of us in those made. My role is not a groundbreaker in been daddy's little girl a lot but that 'g-suits,' those little underwear outfits. that sense, but I like to think I'm bringing doesn't bother me too much because And, of course, they cast women who certain degrees of sensitivity to the part Athena is a young girl. She's proficient in were very, very beautiful. I guess you that makes Athena unstereotyped." *

31 jrmofmmfiir

for the human run in less than twelve parsecs." A par- But it's a difficult thing grasp the emptiness of A Parsec in a Pear sec, as we all know, is not a measure of mind to attempt to dragon- time, but of distance; Solo's remark the Universe. Try this: think of a Angeles to Tree -or -What appears on the surface to be hopelessly fly that has to go from Los ability to ignorant — like boasting of being able to New York. Let's give him the run a four-minute mile in less than two travel at Mach 5, so he can do it in less Makes Kessel Run? avoid a low- kilometers. But — on the other hand — than an hour; but he has to another one in maybe there's a reason for Han Solo to flying golf ball in Peking, in Sydney, such a statement — maybe it wasn't Warsaw and a third one this issue, I had planned to write make — and we asked you what your Australia. Now, remove the planet and Inabout Capricorn One and Heaven a mistake were on the matter. just leave the golf balls and the Mach V Can Wait — that's discuss, not criti- thoughts responded. Goodness! Did dragonfly. That's the scale of distance — but we received so much mail on And you cize talking respond! Letters, post cards, a couple and position relationships we're the column in issue #16 about the implica- you at all. telephone calls and one simply in- about. No "swerves" are necessary tions in Star Wars that it seemed a more of fanzine called You just look out the window and point concern to do a follow-up on credible 120-page immediate your Skywalker (thank you, Bev Clark and yourself at the place where subject first. that when you get Pam Kowalski!) — a labor of love that destination is going to be If you'll remember, I said that I liked space travel works calls to mind the best of the early Star there. That's the way Star Wars because it was fun, but that fancier for Trek-zines, like the legendary Grup (Hi, — the math may be a little there were a few details in it that I had NASA perhaps, but the principle is the questions about and I offered some same. speculations as to the possible answers. Moving right along ... a couple of Nowhere did I suggest that my answers other fans suggested that maybe 'the were the official ones or even the only meaning of the word parsec has changed possible ones; they were just some possi- in the future. (Except that Star Wars bilities that had occurred to me and I happened "a long time ago in a galaxy thought it might be fun to share them, a far, far away.") But redefining the word point which most readers understood. is cheating on the original question. The (A couple of people who misunder- audience knows what a parsec is — most stood seemed to think that I was pointing of them — otherwise they wouldn't be out flaws in Star Wars and trying to tear groaning. Diane Hardison of Houston, the picture apart. Their letters were very Solo makes his famous Kessel Run boast. Texas, wrote in to say, "Those who were I suppose that's indicative of the hostile. original ver- Spockanalia (Hi, Debra!) or T- fortunate enough to find the great depth of feeling that fans have for Steve!), will recall that it was written as 'para- Negative (which is still being published, sion the stories they like, but it also caused me secs,' apparently some sort of colloqui- for a person to by the way. Hi, Ruth!). to wonder if it is possible changed, you thought that S>olo'-s alism, and subsequently be seduced by the dark side of The Force Quite a few of printer or typist. Blame indicated that hyperspace travel is probably by the and not know it? Let's get something un- boast rather than them, not Lucas." But Lucas was direc- science fiction measured in realized distances derstood, gang — I love the equations tor. He was there when they shot fan just like most of time. Several even extrapolated too, I am a big erazy Lucas didn't diagrams. Some correspon- scene, wasn't he? If George are — and that's why I write these and included you why did he let that traveling through hy- intend parsec, then columns, to share the fun of SF with dents suggested through Harrison Ford say parsec . . . ? Part of the fun of perspace is like steering a Datsun fellow "crazies." question to those speeds, We gave high marks on the thinking about the many a set of plastic pylons — at science fiction is of Central City, Pa.; swerve to avoid all the stars William Swallow implications that a single unusual fact you have to Jr. of Pleasanton, planets in your way, and at those John J. Hagerty suggests. Discussing alternate ways a pic- and longer. Calif.; David Carleton of Winter Haven, or a book speeds, that makes your journey ture might have been made Brooklyn, these theorists, Fla.; and Allen L. Parker of been written doesn't mean Han Solo, according to might have suggested that because merely found a way to shortcut straight N.Y.; all of whom that you didn't like the original or even space as we know it is past some the "pylons," thus cutting the three-dimensional that there was anything necessarily wrong travel through hyperspace must distance he has to travel down to twelve curved, with it — it's just a discussion of possibil- different set of geometric con- gave this answer an E for ef- involve a for the fun of considering the variety parsecs. We ities traveling through hyper- friendly neighborhood astro- ditions. Ships diverse alternatives. We in the trade fort, but my of traveling through a narrower says that even at "point five past space are a technical term for people who physicist have they would through normal light-speed" (whatever that means) there curve than specialize in extrapolating alternatives — space; hence Solo's remark that he sometimes just isn't enough matter in the vastness of we call them writers. Or than twelve make a difference to a "made the Kessel run in less dreamers.) instellar space to special bragging that he had and stars just aren't parsecs." He was The one point which inspired the most starship. The planets As Solomon found a shallower (and perhaps much was, of course, the question packed that closely together. response dangerous) arc through hyperspace. "There is nothing for light- more Han Solo's notorious boast that Short says, about — but a little too compli- years in any direction, but light-years." A nice answer the Millennium Falcon "made the Kessel

32 A Column by David Gerrold

cated. A movie shouldn't have to be an- "Letters" page of Marvel Comics' Star that does seem to be the general consen- notated with explanations of the hard- Wars #6, where editor Roy Thomas says, sus of opinion in science-fiction circles

ware. In a novel, though, where you "... we asked George about it, and he too. Even those who have suggested other have the time to explain these things, it says he wrote that line for the movie on explanations for the line have admitted would be a perfectly rational answer. purpose, partly as an in-joke and partly that it's more likely that the line was an And two of the very best answers came to show that Han Solo was something of error. from Jamie Hanrahan of Covina, Calif, a bull artist who didn't always know pre- As a matter of personal preference, and Leonard H. Anderson of Sun Valley, cisely what he was talking about." I've developed quite a fondness for the

Calif. Hanrahan suggests that, "Saying An interstellar pilot who's confused error theory. Somehow, it makes the

that a ship can make a certain run in n about what a parsec is? ! ! Would you get whole thing seem just a little more . . .

parsecs is a slang expression — much as into a starship with a man like that? I well, human.

we say 'that town is 3 tanks of gas wouldn't, and I don't think Luke Sky- (C'mon, George, Gary, Charlie — away.' " Along the same lines, Anderson walker or Obi-Wan Kenobi would either. you're among friends. You can admit an says, "Perchance it is a form of 'short- Lisa M.A. Winters of Miami, Fla., error if you really made it. And your fans hand' speech? Solo might have meant '12 says that Gary Kurtz, the producer, has will love you all the more for being honest parsecs (per unit of time)' and omitted said that Han Solo made the "Kessel with them. It'll prove that even the very the parenthesis. For example, 'But of- run" remark to test Obi-Wan and Luke best of filmmakers can make mistakes ficer, I was only doing thirty-five!' Thir- to see how much they knew in order to set sometimes too. And then we'll all have a ty-five what? MPH of course, a complete his price accordingly. good laugh together, OK? starlog has form of 'shorthand' speech. A Gemini Lisa Nagai of Rolling Hills Estates, more than one million loyal readers who astronaut in a docking maneuver might Calif., says that on the Hour 25 radio are waiting to hear from you.) report, 'We have a forty delta-vee.' Forty program in Los Angeles, Charlie Lippin- So, there you have it. There is no single what? Feet per second differential cott, advertising/publicity supervisor for answer to the question, and you can velocity. Both ends of the communication Star Wars, said that George Lucas meant make up your own mind as to why you link know perfectly well what he is the line as a joke. He wanted to show think that line is in Star Wars. I suppose saying." that Han Solo, in his cocky manner, has that's the stuff out of which fistfights and By that explanation, maybe Han Solo used the wrong terms. horse races are made.

really did make the Kessel run in less than But if it's a joke — why does it cause There isn't enough space left to discuss

twelve parsecs. But twelve parsecs per groans instead of laughs? George Lucas is the rest of the mail in detail, but just to what? Per hour? Per jump? Per realized too good a filmmaker to have made such quickly note the range of your comments, distance though normal space? Or maybe a misjudgment of audience reaction. quite a few of you wrote in with your it's not even per, but some other kind of People groan because the line feels like a thoughts about some of the other aspects relationship. Who knows? Right now, mistake. of Star Wars: protocol droids, Obi-Wan

hyperspace is only a theory. We might All those various "explanations" just Kenobi (and whether he was real or not),

not even have the vocabulary to discuss aren't convincing. But then, I am a natu- the Dia Noghu (also spelled Dia Nogu),

the concepts. (Could you explain how a ral-born skeptic and when there are still a the lack of visible propulsion systems on pocket calculator works to someone couple of little points that still nag at my •the Death Star, the fact that Imperial who's never heard of electricity?) mind, I remain unsatisfied with the easy Storm Troopers seem to be such lousy

Another whole school of thought is answers. shots — no wonder the Empire is that Han Solo made that incorrect state- Nowhere have I seen a direct quote by doomed! — and so on. One correspon- ment deliberately. In a recent issue of his George Lucas himself that that is what he dent even pointed out that Star Wars excellent (and highly recommended fan- intended. Gary Kurtz, the producer, may seems to have taken place all in the space zine, Thrust, Doug Fratz suggested that have said that George Lucas intended it; of two days of Luke Skywalker's life — Solo was testing Luke and Obi-wan — Roy Thomas, editor at Marvel Comics, can you imagine what one of his weeks who look like hicks to him — to see if may have said that George Lucas inten- would be like? they will catch this deliberate error. Of ded it; Charlie Lippincott, in charge of We want to thank all of you who course, Obi-Wan is not fooled but, rather publicity, may have said that George wrote in. We enjoyed receiving your let- is unimpressed with Han Solo's style. He Lucas intended it — but nowhere have I ters and seeing your comments. I has more serious business to transact. (J. seen a direct quote from George Lucas especially want to thank all of you who Owen Hanner of Island Lake, 111., also himself. mentioned how much you like this pointed this out.) I am skeptical of people who speak for column. (It's always fun to hear, but if Several other people echoed this other people — it is a skepticism that goes you don't tell us, we don't know.) thought, and we received letters from back a long way — I cannot help but feel I leave you with this thought to ponder Scott Redd of Louisville, Ky.; Ted Harris that perhaps, just perhaps, this ex- — and it's another one of those things of New Carrollton, Md.; Donna Tenney planation may be something of a that only George Lucas knows the answer of Paso Robles, Calif.; Jeff Damron of publicity "snow job" — an after-the-fact to — but it's a question that deserves an Weeksbury, Ky.; Brian Clayton of coverup. answer, and we'd like to hear your Freson, Calif.; Bruce Nugent of Man- Here at starlog, we heard from opinions on the matter: chester, Conn.; and Carol Springs of quite a few of you who feel that the Why didn't the Wookie get a medal Monroe, N.C., telling us to look on the "Kessel Run" line was a mistake, and too?!! + 33 . STARLOG INTERVIEW

The Body Snotchers Return

Here is yet another SF film featuring Hfeforms from space. But you will not cheer for these aliens.

They are neither friendly, furry nor harmless . . . and they've been here before.

By RICHARD MEYERS and creatures that took the place of real Earth- CHARLES BOGLE lings after the originals had been . . eliminated. In 1956, the world was faced decades ago they came from with a chilling Invasion of the Body Snat- Twoouter space. But unlike the goggle- chers. This Christmas, thanks to director eyed army of Mars-borne monstrosi- Phil Kaufman and producer Robert Solo, ties audiences had become accustomed to, history will repeat itself. of they came secretly. Insidiously. These were United Artists' forthcoming remake over-sized, intergalactic plant pods — the Allied Artists science-fiction classic is aliens possessed of the ability to transform essentially a labor of love. Starring Leon- themselves into pseudo-humans; manlike ard Nimoy, Brooke Adams and Donald

Top: the stars: Leonard Nimoy, Donald Sutherland and Brooke Adams. Above: Sutherland, Adams, Jeff Goldblum and Veronica Cartwright run from the Invasion. But they must conserve their energy—the alien pods attack their human victims while they sleep. Right: a moment from the movie's chilling prologue: the alien life forms take shape to begin their intergalactic journey.

34 Sutherland, the new Body Snatchers is a Evidently they decided they could. Solo on film." tribute to the men behind the cameras: di- spent three years and over $10,000 of his With a cityful of alien pods in mind, rector Kaufman, producer Solo and own money to secure the rights to both the producer Solo then began to finalize the screenwriter W. D. "Rick" Richter. initial film and the original Jack Finney In- film's negotiations and distribution deals. Against tremendous odds, the trio deter- vasion story. He then spent 1976 holed up But the resulting nightmare of his work mined to secure their vision as a classic in with writer Richter to shape the new ver- nearly rivals the screenplay's. By the time its own right — the ultimate SF thriller. sion. All three men saw infinite possi- the script was ready, the studio wasn't. "I respect the original and think of it as bilities inherent in the raw material. The Warner Communications, who had hired one of the best science-fiction films ever first major change had the alien force de- Solo and given him the green light, had made," says Kaufman in his New York scending on a major city rather than a suffered a staff shake-up in the interim production office. The soft-spoken cinema small California town as in the original. and the new powers-that-be scuttled the veteran had taken time from his casting "Then we had to deal with how this project. At that point, the valiant Solo was chores on his new non-SF picture, The takeover was possible in the urban ready to throw his hands up in exaspera- Wanderers, for the second of three exclu- setting," Kaufman remembers. "In a tion, but Kaufman, sharing the producer's sive interviews (see starlog #16 and small town it's easy to close off a road and determination, pushed the "pod people" future #8). "I respect it because it was a cut the phone wires, but in a big city to the blossoming stage. He presented the totality," he continues, "but I felt that there're lots of ways out. We had to show script to his own agent, Mike Medavoy, that kind of terror and fear could be the plausibility of the invasion — how did who also happened to be United Artists' translated into a contemporary urban en- all this grow? We had to work it so that by vice-president in charge of production. vironment set in the late 1970s. The ques- the time you realize what's going on, Within 36 hours Medavoy committed UA tion that Bob Solo, Rick Richter and I there is no exit. It took more than logic. to the picture. kept asking ourselves was, 'Can we up- It was a question of creating an emotional The new Body Snatchers follows much date the theme?'" feeling of claustrophobia on paper, then of the original film's structure, but all that some executive will say, those involved with the remake agree that turning into human beings and chasing possibility 'Well, let's see what it can do,' and if the the essential details, background and over- people down the street, but we have done the audience doesn't show up immediately it all texture of the Kaufman version is total- something to all the 'moments' of in goes nowhere." ly unique. In fact, one of the revised Inva- original. People are becoming creatures United Artists is betting a lot of public- sion's biggest boosters is the original film's this picture. They look like us in every way that Kaufman's paranoid vision director, Don Seigel, who not only gave but there's something missing. And they'll ity money extend to ticket sales. Although the new script his blessing, but agreed to fool you. They'll act as if they are normal. does not director has no set criterion of success play a minor role himself. The pods aren't necessarily out to kill the have a very definite "In many cases we went back to the you — they just want to make you like for his film, he does what he would like to have original Jack Finney story rather than the themselves. And that's the 'fun' of this opinion of ..." happen. other movie," Kaufman reveals. "We movie . . . and the terror. is not the kind of film, I hope, haven't added that much to the theme of Apparently, United Artists and their ex- "This that people leave yocking it up. I want this the original. You pretty much know what hibitors agree. Earlier this year the studio film to be an experience — not just an in- effects we'll be dealing with if you saw the screened the film for theater owners in San tellectual experience or a shocker, which is earlier version. The question is, 'How have Francisco, Chicago, Atlanta, Dallas and the theme, but an emotional we changed those things people said you New York. The results were so over- inherent to well. The purpose of the sound- could never do better?' We have some sur- whelming that UA rearranged their sched- one as track and the visuals and the secrets we've prises, but we feel that if you knew about ule so that Invasion would be their only been keeping is that all of it is planned to them they wouldn't be surprises, right?" Christmas feature. Shortly thereafter the gradually build and build until it's an en- Both the director and his producer stress movie was booked into almost 600 cine- experience that has grown. It's not just that the new Body Snatchers bucks the mas nationwide. tire taking a ride through a tunnel of hor- current multi-million dollar SF glamor Suddenly Kaufman finds himself poised like rors where things pop out and you hug films, concentrating instead on character on the edge of a success that had eluded each other. It's a carefully choreographed and the tragic consequences of an organic him throughout his fifteen-year career. set of situations. invasion of planet Earth. This pressure has not been lost on the "And we don't want to spill the beans "It's almost a tragic love story," Kauf- director, but he does not overly concern on those situations because we feel that man adds. "The witnessing of the take- himself with it either. might blow the impact of the movie. It over serves as a metaphor for the cold effi- "I don't know why I chose to make In- would be just like telling the punch line of ciency of everyday modern life. The inva- vasion" he muses. "I never got involved a joke first. The story is ruined. Well, I've sion presents the death of not only love, with the 'this-has-got-to-make-money' spent two years, day and night, with this but of all spontaneous human emotions. school of filmmaking. I try to make movie and now I just want to move on. "The world is becoming so bureaucratic movies that interest me deeply. I want the Whatever happens, happens. We'll see." that every night it seems that a little of our filmmaking process to get something back The final result of Kaufman's talents souls is lost. Now who's to say that in our from audiences in a way that I would be will be on display next month. While Su- world it might not be better not to have stimulated in return, rather than just to be saves, The Wiz struts and Santa love or feeling? I'm not making that moral a vehicle toward my — quote — success. I perman the skies, the pod people from outer judgment necessarily, but in my movie it's want to entertain on my own level. It's a sails space will be wielding an entirely different clear that we should have emotions and the tricky line.

in kind of season's greeting . . . surrender loss of them is something to concern our- "There is a certain shamelessness your planet and prepare to die. • selves with. I use the film's fear to stimu- making a movie like Invasion of the Body late people. Keep running, man, don't Snatchers. The audience has to be guided stop now." toward your feelings of good and evil; the And keep running they'll have to, for camera and the sound and the colors and when Invasion of the Body Snatchers the acting all have to lead the audience. in opens next month, it will find itself up We thought a lot about those things against 25-odd colorful Christmas movies, terms of their effect. I liked the paranoia including the ultra-million-dollar produc- of the original film. We all fear urban tions of Superman and The Wiz, almost paranoia. There's always that fear of those there' all geared for family entertainment and neighborhoods or those 'forces out

almost all being hyped to the heavens. — the wolves at your door. But it's not Kaufman's film bears the slightly uncom- enough just to say that. You have to make fortable distinction of costing only six the paranoia real and frightening. You million dollars and having its most spec- have to demonstrate that this fear is tacular ingredients shrouded in secrecy. valid." "It's not a big effects movie in a time of Another valid fear, largely unspoken, is big effects movies," Kaufman admits. whether Kaufman's vision, quality aside, r M "We do have some major effects, but will be able to attract the holiday crowds. they're being kept under wraps. We're not The question which will have to be an- even sure if the decision to be secretive is swered next month is whether the great the right one — we just made up our moviegoing public is ready for a serious minds. We have a small movie here. Su- science-fiction epic. Solo, Richter and perman is in the $30 to $50 million region Kaufman certainly hope so, but in the so they must try everything they can to sell director's case, he admits that his opinions

it. But we can't afford to give away too are not exactly objective. much of the plot. It's a shock film. It has "I've gone beyond the point where I can impact. It's not based on SFX. They're judge anything," Kaufman laughs. "I'm just a part of the story. just glad Invasion is being released at a "It's not as if the climax has some in- time when it can get the proper amount of credible effect, like 5000 pods suddenly promotion. In any other season there's the 36 Left: the first pod takes shape on Earth. The doom doesn't come in the

form of a holocaust, it comes with the birth of a spore. Below: a mo-

ment of destiny in the new version of the 1958 classic. Donald Suther- land falls asleep, leaving himself a helpless victim of the preying pods. For the first time, director Phil Kaufman promises, audiences will be ablffto see the entire genesis of a "pod person."

Left: a fully matured pod is destroyed in a warehouse fire set by one of the last remaining human beings in San Francisco. Above: Leonard Nimoy was tapped for his role before beginning work on the Trek film. 37 By ED NAHA

STARLOG INTERVIEW alph Bakshi slouches behind a large his office ' desk and glances around :l is being inter- l uncomfortably. He perfect host, the I. i viewed and, although a kinetic animator gives the subtle impres- sion that he'd much rather be doing 3 be- something else. . .anything else. In r^ tween sudden bursts of doodling, he in- ^1 terrupts his trains of thought with i *' occasional, "So how are things back an ' York? Hey, when we're done with all Jr.-- Ur .* w a. I New « this; I'll give you a tour of the studio, ^*" OK? There's a guy here you have to meet." Bakshi, the head of Los Angeles' WJ Bakshi Studios, does not look like your quintessential rebel. He is a large, bear of York f a man with a brusque New mm demeanor and an ever-present laugh. Yet, for the umpteenth time, filmmaker

Bakshi is at the center of a critical con- versy. He has done the unthinkable

"The Lord of the Rings; , Bakshi in the Land "of the H I oo Animator Ralph Bakshi f%> never avoided controversy).

m

"X. well. about this, the unspeakable, the impossible. . .he has early 50s and becoming solid cult items a We had $6 million for as dared to film J.R.R. Tolkien's The Lord decade later, the books are regarded as opposed to all my other films where we of the Rings. "I've been out on a limb everything from top-notch excursions in- had a little over a million. It was nice to before," he shrugs, referring to his to epic mythos to transcendental alle- have more money but, on the other present predicament. "So?" gories of mystical proportions. As hob- hand, for The Lord of the Rings, you can Indeed, Bakshi's uninhibited approach bit Frodo and his peers battled evil use as much money as you can get." to feature-length animation has been the Sauron's forces for the possession of a Although Bakshi announced plans to source of constant controversy for over a magic ring for the past two decades, film Rings three years ago, he has been decade. The X-rated antics found in Fritz their actions became legends. . .market- tracking down the film rights since the the Cat, Heavy Traffic and Coonskin able legends thanks to an avalanche of 1960s. "It's a movie I've been trying to earned him as much disdain as praise, buttons, bumper stickers, posters, T- do for ten and a half years," he explains. and his only previous excursion into shirts and maps. "A lot of people touched it before me. traditional fantasy, Wizards, successfully With the Rings such an established Disney Studios had it first and they offended the more puritanical element of piece of contemporary folklore, why did couldn't pull it off. It was a problem for screen sorcery buffs. Bakshi's been Bakshi bother to get involved in it at all? them. To be true to Tolkien was not to labeled both a genius and a hack, a savior "I'm a Tolkien fan," he says simply. "I be true to Disney. I think that the Disney and a muckraker. And now he finds him- read the books in 1956 and I've wanted to people realized this right away. Tolkien is self bringing to the screen what is do it since then. Thank God I didn't do it not in the Disney tradition. They could probably the most controversial fantasy back then because I probably would have have watered it down and filmed it, but production in the history of motion pic- massacred it. I don't think I was ready to so what? With all the battle sequences tures. . . The Lord of the Rings. do it until now. I now have several and the death of the ores and the kind of In its many fan circles, Tolkien's feature films under me and, obviously, drama and fatality that's in The Lord of

is considered nothing short of this is my biggest. Biggest in terms of art- the Rings, you just can't approach it in

. First published stateside in the istry, but biggest in terms of budget as the tradition of youth films. Left: animation wizard Ralph Bakshi. Below: Tolkein mainstays ;rry and Pippin re kidnapped by

vil Ores.

m^'---''(E&~y .

"Another discouraging factor must have been cost. You look at The Lord of the Rings and you're looking at tremen- dous animation costs. You're talking about thousands of ores running around in battle sequences with a horde of characters on horseback. You're talking about technical things which, in terms of animation, have never been done before. When you think back, you've had your truly fantastic moments in animated films, you've had your 'Night on Bald Mountain.' But how many animated films have ever done massive battle scenes such as the ones at Helm's Deep where,

as Tolkien described it, you have thou- sands upon thousands of ores pouring over walls, fighting hand-to-hand. Plus, you have nine main characters who have to be animated realistically. They aren't deformed people. They aren't cartoon characters. They are heroes in the tradi- tional sense and should be animated as heroes. You have a tremendous anima- tion problem "I think that's probably what Disney

came up against and dropped it. United

Artists picked it up and spent over

$800,000 in development before I finally

got to it. Stanley Kubrick and John

Boorman were supposed to try it along the way. But can you imagine what it would be like to try to bring Tolkien to the screen in live action? Also, they ap- parently tried to take the three books and

make one big movie out of it, and that's- an impossibility. You can't break Tol- kien's sprawling storyline down into one picture without being convoluted. I've made one picture out of the first book and a little bit of the second. I'm going to do a part two film picking up where this leaves off." Once Bakshi announced his plans for filming, he was greeted with a critical reaction that left him dumbfounded. "There's no question about it," he mar- vels. "I felt real pressure from the first

day I made it known that I was going to

make this movie because I knew everyone

was waiting to see what I was going to do

with it. It made it tougher to do the film.

Being a Tolkien fan is one thing, but realizing that there are millions of other Tolkien fans out there was a feeling to- tally new to me. "All of us go through this thing, and rightly so, that when we find something,

we consider it ours. I've always ap- proached everything as me, Ralph Bak- shi the filmmaker. Well, thousands of letters started pouring in; hundreds of thousands of people who thought Tol- kien was theirs. Everyone out there has their own vision of Tolkien. I would sit at this desk and really want to please every one of them, wanting everyone to be happy. "My other films were my own ideas, ex- cept for Fritz. Everything else I've done

(Continued on page 74)

41 . ' 1 Have Reserved A Come up with the best idea

We've put money down on a able reality for many more Getaway Special, a bargain- people. In the 1980s, shuttles priced (at $1 0,000) passage for will be blasting off on regular an experimental package into flights to orbit. On nearly every space and back— aboard the flight, one or more Getaway space shuttle. Specials will be stashed in the And we're giving it away-r-to shuttle cargo bay— space avail- the person (or people) who able, roughly first come, first comefs) up with the most in- served. teresting proposal for what to STARLOG/FUTURE's Getaway * do with it. Special could fly as early as

What pet theory, bright idea or 1982, maybe not until 1984 . . burning question would you like, depending on how flight sched- to-test in space? Here's your ules.shape up once the shuttle's chance for a free'ride on the in operation. space shuttie to the ideal lab- We want the experiment to be oratory for testing out ingenious ready in 1982— to take advan- ideas about what can be done ' tage of the earliest possible in the unique environment of flight opportunity. space. Now—how are you going to Make an amazing breakthrough take advantage of this once-ip- trie a-lifetime opportunity for a free discovery— patent's yours! , We'll pay the bill for your experi- ride into space? ment's trip into space. Turn on your imagination and The Getaway Speciaf is NASA's think about how to take advan- ' way of demonstrating how'the tage of the unique environment really space.shuttle, with its cost- " . of space to do something cutting-features, will make do-'- '• out of this world, something ipg things in space an afford- that can't be-done on Earth.

Some things about the GETAWAY SPECIAL.

It can weigh up to 200 pounds.

It can have a volume of up to 5 . cubic feet

It must fit into a cylindrical container less than 20" in diameter, just over 28" long.*

It must not fall apart when sub- jected to launch vibration or bumpy, high-speed landing.

It must be completely self- contained. That means: Space Shuttle, an informative It must have its own power supply (none available from NASA book about the shuttle .- the shuttle). and an overview of the uses of space technology, is available It must be automated, able to .from Government Printing do whatever it will do with the help of 3 on-off signals from Office, Washington, D.C. 20402. the shuttle crew. Stock Number 033-000-00651-9.

it be cared . Price. $3.40. .[.'. : It must have its own data-collec- and plants), must How to get started: tion system, if it needs to for according to National collect data in space. (Some Science Foundation guide- NASA Office of Education, Dr. experiments might simply re~ lines on experimental If the opportunity appeals to Fred Tuttle, NASA Head- quire inspection on return to animals. you, but you a) don't know quarters, Washington; D.C. shuttle, 20546. for list Earth.) It may have a lid to open to much about the space Ask a of'NASA

' ' ' and Government publications- It must be able to withstand space, or b) don't know much about in temperature extremes from It may .haye a vent to admit what's been done with zero- about what's been learned # -.-',': .-50° 200°, or • vacuum/or gravity, vacuum and the space space. . to before, c)-aren't .If it needs Jo maintain a constant It may be perfectly sealed. environment insti- temperatufe,.it must have its It may be in space anywhere immediately seized with the per- Libraries, local scientific own thermal control system. from 24 hogrs to one week. fect ideaor d) all of the above, tutions', etc. Use your ingenuity,

for a little research . . . see what If it's alive (that-is, any life form It will stay in the shuttle cargo here are a few places to look do higher than molds, insects- bay and be returned to Earth. general information: you learn along the way. How to enter

columnist in FUTURE, has Send us a one-page typed pro- Entries must be postmarked no been involved in space in- spectus on whaf you want to do later than July 20, 1979, the dustrialization studies with with the Getaway Special. tenth anniversary of the first NASA for years. His know- Make it a brief, clear statement Moon landing. STARLOG/ FUTURE'S ledge of space science is of your experiment idea— what Prospectuses will be reviewed Getaway Special Advisors well-known to readers of you hope to accomplish, test, by STARLOG/FUTURE's panel "Science Notebook" in demonstrate and/or find out in of Getaway Special Advisors. CL Harry Stine, author of the\ •FUTURE. - space, and how you plan to do Before a winner is chosen, a

it. number of contestants may be Third Industrial Revolution m and NASA consultant on |n addition, several more ad- The prospectus must include asked to submit more detailed space industrialization visors who are experts in vari- the following information typed proposals.for final judging. will studies, is an expert on the ous space-related field's will be on the back side of the same Getaway Special winner be announced in December, 1979. • • sp'ace shuttle— and on the s'elected to assist with final page: Your (or if it . potential uses of the "naturaj selection of STARLOG/FUJURE 1) name isagroJp

.'. • resources" pfSpace. Getaway" Special Winner. • entry, the name of the group plus the name of one person Leonard Davie], program djrec* who will serve as contact for " - STARLOG/FUTURE can assume tor for the Forum for the Who can enter. . , the group). Advancement of Students in 2) Address (street, city, state, no responsibility for material Science and Technology,.nas -Anybody: students, nuclear zipj;ode). submitted. Keep copies for fielded hundreds of requests physicis.ts, high-energy astron- 3) Phone number. yourself. We can acknowledge for information on student- • omers, biologists, metallur- 4) Your age (or,"for group receiving your prospectus only experiments oathe shuttle. gists, photographers, artists, entries, age range). if you enclose a self-addressed, gardeners— whatever. You may Mail your prospectus to: stamped postcard. No material STARLOG/FUTURE-Getaway will be returned. Prospectuses Jesco von Puttkamer, Senior . . enter as an individual or as a Staff Scientist in Advanced group. You may enter more than Special longer than the one-page limit Programs at NASA Head- one idea (separate prospectus, 475 Park Avenue-South will not be considered and will quarters and regular science * please). NewYotk, N.Y. 10016 not be returned. By ROBIN SNELSON When the space shuttle goes to work in the mid-1980s, astro- nauts will find themselves busy with a variety of jobs that will take them outside the orbiter and into the cold vac- uum of space. Spacesuits will protect them from the hostile environment and built-in radios will provide voice contact with crewmembers on the shuttle. But how will astronauts travel from the or- biter's cargo bay to outside destinations? When Extra-Vehicular Activities (EVAs) are on the schedule, NASA will stow one or two individual space transportation systems right in the shuttle's cargo bay. Called Manned Maneuvering Units (al- though we assume female astronauts will Anticipating the stepped-up pace the space of use them, too), the new rocketpaks will shuttle era, NASA engineers are busy perfecting allow astronauts to fly free in space, un- encumbered by tethers and umbilicals a versatile new rocketpak which will enable stretching back to the mothership. The astronaut will climb out of astronauts to cut loose from the orbiter and space-suited the shuttle's cabin and pull him/herself perform a variety of tasks in free space. along handrails in the cargo bay to the flight-support station where the MMU is

44 .

Above right: Astronaut Jack Lousma flies MMU prototype on Skylab. Above left:-MMU will be stored in cargo bay. Above: MMU will help to service the space telescope. stored. After strapping in, the astronaut Four cold nitrogen gas jets provide tract going next year, so they'll be ready is ready to leave the cargo bay and fly out the thrust for MMU, which flies similar for EVAs in the mid-80s." to the task at hand—rescuing a crippled to the way a spacecraft flies. The left hand But while the MMU is still in the mock- satellite, checking out the operation of the controls translation (movement in one up and component prototype stage, robot beam builder, changing film in the direction), while the right hand controls NASA's Whitsett is already thinking about space telescope, performing minor repairs rotation. NASA engineers figured that the next generation of personal space and maintenance and a host of other soon- space pilots could transfer their flying transportation. "The first stage will prob- to-be-routine jobs in the era of space in- skills more easily if the MMU was pat- ably involve strap-on kits which can be dustrialization. The MMU will be an in- terned after spacecraft controls. For the added to the basic MMU to increase its valuable tool for construction projects in Skylab experiments, some of the astro- range." Whitsett's plans for souping up space, greatly reducing the need for auto- nauts had training with the MMU. Unex- the MMU include adding a navigation sys- mation on a highly sophisticated level. pectedly, even the astronauts who hadn't tem, so the astronaut can safely travel Large antennae designed on the ground had any training with the unit—but had longer distances from the shuttle, and could be folded out like giant umbrellas, working knowledge of how a spacecraft strap-on hot gas jets, which will turn the then space workers could be dispatched to flies—were able to catch on to the MMU rocketpak into a virtual hot rod. will attach braces to lock it into place. and fly it with great precision. "The next stage probably be some- NASA engineers have been hard at At the moment, NASA doesn't actually thing like a 'space scooter'," Whitsett work on designs for the MMU for sev- have any MMUs ready to go. Ed Whit- speculates. "We have a design for a hot eral years now. A preliminary design was sett, MMU subsystems manager at John- gas-powered, open two-person transport. tested out on Skylab with great success. son Space Center, has been working on You'd still wear MMUs for maneuvering (Astronaut Jack Lousma established him- the design concepts since before Skylab. in the local vicinity, but the scooter could self as the Howard Cosell of space with "We originally planned to have an MMU take you the distance, say to the end of a his play-by-play narration of Alan Bean's on the first orbital test flight of shuttle," solar power satellite ten miles long." rocketpak flights around Skylab's upper Whitsett says, "but because of the budget After that, Whitsett predicts space decks: "Okay, space fans, he's at the problems with getting shuttle ready on workers will use small free-flyers with en- time, we're still in the research stage with closed cabins for lengthier jaunts .Can the dome lockers. Now he's rotating . . MMU. We hope to get the building con- first drag race in space be far off? • nothing to it. . .Ooooh, he blasted me!") 45 .

was not an overnight By JOE BONHAM been in for many years, I must also raise films, however, my budget. And Battle Beyond the Stars process. After an aborted career in en- gineering, Corman began writing and Roger Corman is back! is an attempt to do a space-action pic- Corman, American International's ture on a large scale. It'll be very diffi- selling freelance articles while still a stu- SF-fantasy wunderkind of the 50s cult for us from a production standpoint dent at Stanford College. "I sold a few Science and 60s, is once again diving into the because I don't have all that much pieces to Popular Mechanics and I I'd realm of science fiction after an absence money. I don't have anywhere near the and Mechanics. After that, thought of nearly a decade. World renowned as money to spend that Star Wars or Close like to be a writer." the producer/director of some of AIP's Encounters of the Third Kind did. But I Upon graduation, Corman traveled to career biggest (albeit low-budgeted) money- feel I can get the kind of film I want with the West Coast seeking a as a makers, from War of the Satellites to the financial resources at my disposal." screenplay writer. "I wound up getting a The Masque of the Red Death, Corman Corman's proposed epic is the quin- job at (20th Century-) Fox as a messen- "I worked is making plans to re-take the SF film tessential cliff-hanger, sort of a Mag- ger instead," he says. my world by storm, this time with a multi- nificent Seven in space. "It's the story way up to the story department where I

. . is million-dollar space adventure to be re- of a trek," he reveals, "a trek from became a story analyst . which a fan- planet, from solar system to cy name for a 'reader.' I read all the leased by his own New World Films . . planet to Battle Beyond the Stars. solar system. A young boy from a peace- scripts that were submitted. I then went Battle promises to be quite a departure loving, almost backwater, planet must to England and studied literature at Ox- from the modest SF "B" pictures Cor- recruit mercenaries to help his planet on ford on the GI Bill and came back and man once churned out for AIP, and the the eve of an invasion. It's a story about tried writing. My first script was The

talented producer is relishing the chance his travels and what happens when he House by the Sea. Allied bought it and to tackle SF swashbuckling on a big returns." retitled it Highway Dragnet. They would budget. "It's a very ambitious science- Battle Beyond the Stars appears to be have stuck Dragnet on Shakespeare back fiction picture for us," he smiles, seated Corman's most exciting SF film venture then to get the mileage off the hit TV in his Los Angeles headquarters. "As to date, the culmination of a love for show." you may or may not know, I've been science fiction that began during his Encouraged by his first sale, Corman making science-fiction pictures for over youth. "Things to Come was the first decided to make a movie of his own. In twenty years, primarily low budget. movie that really impressed me greatly," 1954, armed with $11,000 and a lot of Productions However, it seems to me that the grandi- he states. "I started to think in terms of guts, he formed Palo Alto ose type of science-fiction adventure science fiction. I can remember reading and produced his first SF movie, The Floor. film that is being done today is not all Astounding Science Fiction during the Monster from the Ocean The squid, that dissimilar to the type of film I made 40s as well. Those two influences really movie, featuring an oversized years ago. It's just being done bigger. kindled my interest in science fiction." made a tidy $110,000 profit. Corman "So, to compete in the field that I've Corman's career in science-fiction was hooked: the "King of the Bs" was 46 The legendary "King of the Bs' returns to the SFfold with a multi- million-dollar space adventure, Battle Beyond the

Stars. . . a movie he describes as the "ultimate trek film."

The Killer Ds has since won an Academy Award for Chinatown, was the writer. I think it was During a recent STARLOG interview, his first script. We were going to go to Roger Corman took the time to re- Puerto Rico to shoot this back to back call some of his more amazing SF pro- with another film. Bob didn't have the ductions of the 50s and 60s... films script finished. The budget was so low wherein some of the best scenes occurred that I couldn't afford to bring him along behind the camera. Here are some of his as a writer so I decided to make him an fond recollections, film by film. actor. I made him the juvenile lead be-

THE LITTLE SHOP OF HORRORS. I cause I did have it in the budget to take liked this film very much. It was a com- my actors along. He wrote the script as bination of SF and horror and comedy. we filmed. Essentially, there never was a

We shot it in two days with a budget of finished script. We got pages day by day. born. He then joined forces with James $100,000. The movie was fun. Everyone We never knew what we were going to Nicholson and Samuel Z. Arkoff in took it pretty much as a joke and, as a do next. We shot it in two weeks. their embryonic American Releasing out- result, they worked very well. You could TEENAGE CAVEMEN. The best thing I fit which, within a year's time, would come into work and know that you were remember about this was the review in mutate into AIP. going to work like mad all day but that, the L.A. Times which said, "Despite its After a couple of non-SF fantasy in one more day, the picture would be ten-cent title, it's a surprisingly good pic- flicks, Corman returned to the genre, over. So, although we shot it in two ture." The movie was shot under the_ unleashing a horde of imaginative low- days, we really got more than two days title Prehistoric World. I was truly" budget movies. Alternately functioning worth of work. You could not have shocked when it emerged as Teenage as producer and/or director, Corman worked, at that frantic a pace for three Cavemen. I cannot tell you how horri- made 30 films between 1955 and 1960, weeks steady without dropping dead. fied I was at that title. It was a very suc- 14 being of the SF-horror mold. Al- DUCKET OF BLOOD. It was part of an cessful film but I've always thought of it though the movies ranged in quality experiment. I wanted to see if we could as a misused opportunity. With a few from the sublime (The Fall of the House do some comedy-horror for a low bud- more days and a little bit more money of Usher) to the near-ridiculous (It Con- get. This film and The Little Shop of we could have made a genuinely good quered the World), the ultimate goal be- Horrors were made partially to make film instead of a pretty good one. hind the productions remained constant. money but partially just to have fun. CREATURE FROM THE HAUNTED SEA.

"My chief objective was to get the Bucket was made to see if I could do a Hardly anyone has ever seen this or picture finished and have fun," Corman film in just five days. My previous rec- knows that it exists. Tony Carbone and smiles. "The biggest challenge back then ord was six. Little Shop was made to see Bob Towne were in it. We were in Puerto was the budget and the shooting sched- if I could break Bucket's record and Rico doing two pictures. We had done ule. Both were incredibly nonexistent'. shoot a film in two days. Battle of Blood Island and then The

Science fiction is a literature of ideas THE UNDEAD. This was a ten-day, Last Woman on Earth. So, I thought, and very often the idea is difficult to seventy-grand job. I seemed to have a why not stay here one more week and project visually. The writer, in one para- little more control on this because we shoot another picture? Towne wrote the graph, can give you $2,000 worth of were working inside a studio. We didn't script in a week and we shot it in a production problems. We used to have a have the money to rent a real studio so week. A lot of people see these films shooting schedule of anywhere from five we used a converted supermarket. now and ask me if I knew I was being* to ten days and a budget ranging from THE LAST WOMAN ON EARTH. This existential. No. I was primarily aware $50,000 to $100,000. To try to do a cred- was an interesting movie in that we never that I was in trouble. I was shooting ible production with a certain amount of had a finished script. Bob Towne, who with hardly any money and less time. special effects under those conditions was very, very difficult. It was all a mat- ter of extremely careful planning. If I tations. From time to time, however, see doing the film on a three-week, had to build a city of the future, I would Corman did return to his first love, SF. $300,000 basis because the main charac- build it from point A to point B and no "One of the most challenging and ter had to see through things. Pro- more. I'd only build what was going to difficult films ever for me was The gressively, his ability to see through ob-

be seen on camera. I didn't have the Man with X-Ray Eyes," he states. "I al- jects increased until, finally, he saw budget to construct a foot more." most didn't make that picture. I de- through the center of the universe. I told After successfully mastering the 50's veloped the script and, after I began AIP, 'I cannot build those special ef- SF film, Corman turned from SF proper studying the production problems, I told fects on this budget and the audience is to gothic horror in the 60s, spawning the AIP that I would give them my script going to feel cheated if we do it any way series of Edgar Allan Poe screen adap- and my time for nothing. I just couldn't less than brilliantly.' 47 w

Hi * V r~

^m

Above: Don Rickles, in one of his first "straight" screen roles, taunts Ray Milland, an unfortunate scientist who probes the limits of vision to the point of monomania and suffers the consequences. Right: as The Man with the X-Ray Eyes, Ray Milland eventually sees into the core of the Universe itself.

actors such as Jack Nicholson, Ellen Burstyn, De Niro, Bruce Dern, THE SF-HORROR FILMS Creature from the Haunted Sea Robert (AIP 1960) Diana Ladd, Talia Shire and Peter OF ROGER CORMAN The Fall of the House of Usher Fonda. (AIP 1960) With success after success, Corman The Last Woman on Earth (AIP 1960) became the cause celebre of AIP and, Monster from the Ocean Floor The Pit and the Pendulum (AIP 1961) indeed, the movie industry in general. to an (Lippert 1954) Premature Burial (AIP 1961) His love affair with AIP came 1970 after a particularly The Day the World Ended (AIP 1955) Tales of Terror (AIP 1962) abrupt halt in favorite film of his, Gas-s-s, was re-cut It Conquered the World (AIP 1956) Tower of London (AIP 1962) knowledge; Attack of the Crab Monsters The Terror (AIP 1962) by the studio without his an still resents today. (Allied Artists 1956) The Raven (AIP 1963) editing job he "AIP it he recalls, "which Not of This Earth (Allied Artists 1956) The Man with the X-Ray Eyes all but cut apart," The Undead (AIP 1956) (AIP 1963) is one of the reasons I left there to start World. Gas-s-s was a brazen film, War of the Satellites (AIP 1957) The Masque of the Red Death New The Viking Women and the Sea Serpent (AIP 1964) an SF fantasy. God was a main charac- of the pic- (AIP 1957) The Tomb of Ligea (AIP 1964) ter. They cut God totally out Teenage Caveman (AIP 1958) The Trip (AIP 1966) ture. He was crucial to the plot so their A Bucket of Blood (AIP 1959) Gas-s-s (AIP 1969) film didn't work." World, The Wasp Woman (AIP 1959) Death Race 2000 (New World 1975) Since founding New Corman has dabbled in SF, producing Death The Little Shop of Horrors (AIP 1960) Deathsport (New World 1978) Race 2000 and Deathsport, as well as importing Fantastic Planet. But, with hopes "Finally, Jim Nicholson talked me Gorman's effective corner-cutting led Battle Beyond the Stars, Corman spirit days into making the movie. He loved science to the film being awarded the Triest film to return to the halcyon of SF fiction. We were able to build some spe- festival's SF achievement award. Cor- gone by—days that earned Corman sides of the cial effects but we resorted to some out- man's constant chore of creating SF on numerous accolades on both a preliminary script landish tricks to pull the rest of the a tight budget led him, over the years, to Atlantic. "We have Sayles, who did Piranha," the movie off. For instance, at times Ray the practice of using new talent con- by John a lot of really Milland was called upon to see through stantly. . .talent that would later blossom producer beams, "and and grow. the graduates from nice pre-production work by Don Dixon. buildings, to see just the interiors. So I Among It's nice to be photographed buildings under construc- the Corman school of movies-on-a-shoe- Everything looks great. I've done it for years tion where we could just see the skeletal string were filmmakers Francis Ford doing SF again. girder frame and that would be Ray's X- Coppola, Peter Bogdanovich, Martin and I'd really like to be doing it for ray perspective." Scorsese and Robert Towne, as well as years to come." • 48 A horrific version of a cross-country race filled Death Race 2000 with visions of futuristic gore. David Carra- dine starred as the enigmatic racer named Frankenstein. The prevailing mood was satirical.

Right: two frustrated scientists battle over a hastily constructed laboratory set in War of the

Satellites. Right: a tell- tale clue from Not of this Earth. Below: a hungry radioactive crustacean from Attack of the Crab Monsters.

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"Star Wars" Invades TV

A behind-the-scenes look at the CBS Star Wars TV

special, a star-studded affair that broke all the rules regarding the dos and don'ts of television.

By NATALIE MILLAR added two new faces to the crowd: the Lion Man and the Baboon Man. These Last month CBS aired one of the most makeups were fairly complicated, taking ambitious television spectaculars ever two and one half hours to apply (as op- attempted by an American network, posed to the rest of the Cantina cutups The Star Wars Holiday Special. The orig- who sported slip-on masks). inal Star Wars scenario, penned by Rod The taping of the scene took from six Warren, Bruce Vilanch, Leonard Ripps one morning until six the next, with the and Pat Proft, ran for two hours, cost creature actors suffering from heat and over a million dollars to produce and had a claustrophobia through take after seem- taping schedule of an entire month . . ingly endless take. Makeup man Baker was rather unheard of in the TV business. astonished to see the Cantina band mem- Because of its totally unique approach to bers squeezing their masks in order to in- television, the Star Wars special presented crease their oxygen flow. As a result of its makers with some equally unique prob- -their prodding, at least one band member lems as well. had a dent in his head throughout the fin- The plot, for instance, was long in com- ished sequence. Having much more of a ing. Some sort of format had to be con- difficult time with oxygen intake were the structed that would allow the re-uniting of Lion and Baboon actors, who suffered Star Wars' stars Peter Mayhew (Chewbac- under their heavy appliances for 24 hours. ca), Mark Hamill (Luke), Carrie Fisher Even stalwart R2-D2 presented prob- (Princess Leia), Harrison Ford (Han So- lems during the show. Artoo (not por- lo) and Tony Daniels (C-3PO). Finally, a trayed by Kenny Baker, but rather by a storyline was conceived in which Chew- remote-controlled model, a hollow shell bacca would attempt a visit to his home and an unnamed actor) was scheduled to planet and his family (wife Malla, Grand- sign autographs at a special photo session pa Itchy and son Lumpy) in time for the following the completion of the Cantina celebration of Life Day. The plot paired sequence. Unfortunately, his robotics were the Star Wars cast with guest stars Beatrice a bit off that day and the remote-control Arthur, Harvey Korman, Diahann Car- model failed to respond to controller Mick roll, Art Carney, The Jefferson Starship Garris' frantic machinations. The little and a horde of new alien characters. robot was saved from public embarrass- The elements called for in the script ment, however, when the entire press af- presented the show's creative team with a fair was cancelled due to the marathon sometimes sticky situation. The special, Cantina caper's overtime. geared for a family audience, had to pre- Adding a light note during the lengthy sent its alien horde as realistically as possi- taping was Harvey Korman who, in por- ble, and dramatically as well. The show's traying a multitude of alien roles, suc- first director, David Acomba, left in the ceeded in keeping cast and crew members middle of production because of "artistic in stitches. After a solid month of patience differences." He was replaced by veteran and puns, the show was finally wrapped TV director Steve Binder. Under Binder's up and delivered to the network. But the guidance, the aliens paraded before the Star Wars video invasion isn't over. Artoo camera in an orderly fashion . . with quite and Chewbacca are slated to appear in a few surprises. For instance, although cameo roles in this month's Mickey Mouse Darth Vader didn't make the show (he ap- Birthday Special and both Artoo and pears in voice only), intergalactic bounty C-3PO are currently hawking Kenner hunter, Boba Ftt, a villain from the up- 5 W toys on a series of TV commercials. coming Star Wars sequel film, did. These appearances will have to keep SW Binder's creature complications were fans happy until the appearance of The manifold. For Bea Arthur's Cantina se- Empire Strikes Back in 1980 (see starlog quence, all of the original film's alien #18) ... or until Chewbacca decides to barflies were resurrected under the super- take another video vacation * vision of makeup whiz Rick Baker, who (More photos on following pages.) .'.... : -vW"".- V-'"'^'- ; ->'---"rt-.*f:-

The family of the future? No, it's the Chewbacca clan. From left to right, that's Lumpy, Itchy and Malla. On the set of the Star Wars TV special, there were always space oddities brewing. Below: Harvey Korman cooks up a storm as Gormaanda, an exceedingly well-equipped TV cooking instructor. Right: the pride of Papa Chewbacca's eyes, hairy son Lumpy, takes a toy break in between reunion scenes. Bottom of the page: a Wookie reunion to end all reunions, as dozens of long-maned aliens greet each other before the startled eyes of C-3PO and R2-D2. Anthony Daniels returned for his C-3PO role, but Kenny Baker was absent from the cast.

52 Top: Harvey Korman as woebegone bar patron, Krelman, a romantic alien who has fallen in love with cantina manager Beatrice Arthur. Left: Art Carney gives some humanistic advice to Lumpy, known in some circles as Chewbacca Jr. Above: Anthony Daniels takes a breath of much- needed fresh air before donning his headgear for a C-3PO sequence. The entire TV special is a Star Wars original, penned by Rod Warren, Bruce Vilanch, Leonard Ripps and Pat Proft. New Wookies Malla, Lumpy and Itchy were constructed by Stan Winston especially for the TV show. Gerry Anderson's

Edited By DAVID HIRSCH

cone from plexiglass and the engines were . SPECIAL ANNOUNCEMENT From the Mailbag, turned from aluminum.

Thunderbirds, Stingray, Joe 90 and Cap- is . . . The alien character Maya the most tain Scarlet & the Mysterons are now his issue we dip into the mailbag to beautiful alien to ever hit science fiction. available once more from ITC Entertain- answer some of your questions about Catherine Schell is an excellent actress for ment for re-syndication. You can help by T my productions. the part. Who is credited with the creation writing your local television station and urging them to pick up these series.

... In your series Captain Scarlet and the

Mysterons there is just one thing that real- ly bugs me. What does "S.I.G." and "S.I.R." stand for? This is a question that has stumped all my friends. Could you also explain why the Mysterons waged a

war of nerves with Earth and why it was called a "War of Nerves?" Tim Cardoza 2% Crystal Sp. Rd. St. Helena, CA 94574

You will recall, Tim, that the Organiza- tion was called "Spectrum" and that the names of the lead characters were colors,

i.e. Captain Scarlet, Captain Blue, Colonel White, etc. Bearing this in mind, if all was well, the code word was S.I.G. — Spec-

In the Space: 1999 episode "Seance Spectre," two little girls were hired to play trum is Green. If there was trouble, then Maya as a child. Both girls were filmed, but the one on the left got the part. the code was S.I.R., which of course stands for Spectrum is Red. As to your of Maya, and how did they come up with second question, the Earth is a big place . . . Could you please tell me the reason Mysterons were short on numbers, why the Eagle spacecraft seen in Space: the metamorph idea and her fabulous and the mystery powers 1999 were designed to look as they are? appearance? so they exploited their to unnerve the population of Earth Also, who built the Eagles and what were Alan Andrews hoping about a capitulation. they made of? 1469 Arcadia Rd. and bring Fred King Kent, OH 44240 23318 Lawrence Rd. Warrensville, OH 44128 Well, Alan, the idea of Maya being a

Since vertical takeoff is now a reality, metamorph came from Producer Fred Fred, one can assume that by 1999 engines Frieberger. That part of the question is will have enormous thrust. We decided easy, but if we are to deal with her that the Eagle craft would leave Earth us- fabulous appearance then the first answer

ing its vertical thrusters until it reached the is that Catherine Schell is a very beautiful edge of space, where it would then set girl and the makeup people therefore had a course and accelerate toward the Moon. marvelous headstart. However, it is fair to

For the bulk of its journey it would be say that the makeup was changed no less traveling in space and so the design did not than four times per day, for some ten in any way have to be aerodynamic. days, in order to create an acceptable and Basically, we required a structure that attractive alien look. Frieberger and I would hold the command module on the finally approved the look that we thought front, the engines on the back and the pod was right, but I can tell you that there were below. We also had to ensure that the ship many people associated with the produc- stayed in one piece when the pod was left tion that hated it. My reasoning on this behind, and so a girder-work construction was that if a look is immediately accep- seemed to make sense. table then it cannot be alien. I believe that Some of the Eagles were built by Martin most people took a little while to get used Bower. The superstructure was made from to the makeup and, as with Mr. Spock, Fireball XL-5's resident robot, Robert, brass tubing, the landing gear from wood, eventually came to accept the strange look who copiloted XL-5. vacuum-coated with plastic sheet, the nose as being the right look. 54 FUTURE CONVENTIONS

Here is the latest listing of the upcoming con-

ventions. If you have any questions about the cons listed, ptease send a self-addressed, stamped envelope to the address below the name of the con. As always, guests and features are subject to last-minute changes. Conventioneers,

please note: to insure that your con is listed on

our calendar, please send all pertinent informa-

tion no later than 15 weeks prior to the event to: STARLOG Convention Calendar, 475 Park Ave. South, New York, NY 10016.

SCIENCE FICTION, HORROR, & FANTASY CON Los Angeles, CA Nov. 24-26 1978 Science Fiction, Horror, & Fantasy Con P.O. Box 69157 Los Angeles, CA 90069

PHILCON 78 (SF)

Philadelphia, PA Dec. 8-10, 1978 Meg Phillips 210 Londonderry Lane Darby, PA 19023

SCIENCE FICTION SPACE FANTASY CON

New York City, NY Dec. 16 & 17, 1978 The National Star Wars Association Captain Scarlet and Lt. Green emerge from their SPV (Spectrum Persuit Vehicle) P.O. Box Q in a scene from Captain Scarlet and the Mysterons. Stony Brook, NY 11790

. . . Your Fireball XL-5 series is the one of Star Trek/Space: 1999 feud. I met Gene CENTRAL COAST GALACTICON (ST, SF) my all-time favorite television shows. I Roddenberry some time ago at Pinewood Pismo Beach, CA Dec. 17, 1978 loved it: Could you please answer the Studios and we spent a couple of hours S.T.F.A.

following question? I remember Steve together chatting amicably. The only nasty P.O. Box 226 Avila Beach, Zodiac, but I can't remember the rest of thing that he did to me was to drink all my CA 93424 the regular cast. Who were they? Scotch . . . well, half my Scotch . . . and in SHUTTLEC0N COLUMBUS (ST) Larry G. Coulter fact we got on extremely well together. I Columbus, OH Dec. 29-31, 1978 P.O. Box 88 have heard about hostility from certain Shuttlecon Columbus Mt. Sterling, IL 62353 Trekkies ... on the other hand when 3740 Atkinson Road many Trekkies had the opportunity of Columbus, OH 43227 Fireball XL-5 — Larry, that is a long meeting Nick Tate at a Star Trek Conven- time ago. I can remember beautiful Venus, tion and heard what he had to say, Nick CHATTACON 4 (SF) the ship's doctor. Steve Zodiac, Fireball's told me that most of them became very Chattanooga, TN Jan. 5-.7, 1979 commander, had a crush on her. Then friendly, and he was well received. Cer- Chattacon 4 there was the space creature, Prof. tainly I have no fued with Roddenberry or Zoony P.O. Box 21173 Matthew Matic and Commander Zero, the Trekkies. I think that Star Trek was a Chattanooga, TN 37421 who was in charge of mission control. very fine show and deserves the success

Zero had an assistant and his name was Lt. that it has been enjoying. QUAKEC0N 1

90. For a little bit of history, I recorded the San Francisco, CA Feb. 16-18, 1979 1999 voice for Fireball XL-5's co-pilot, Robert Next Issue: All about the Space: Quakecon the Robot, though it is not strictly correct Movie! Box 9990 537 Jones to say that. In fact, I used my mouth to San Francisco, CA 94102 modulate a constant tone emitted by a vibrator pack which was pushed up against Readers are invited to send STAR TREK SPACE EXPO my throat. The device came from Edin- their quesitons and topic ideas to New York, NY Feb, 17-19, 1979 burgh University and at the time was used Gerry in care of starlog. Star Trek Space Expo by people who had been unfortunate Although personal replies, re- 88 New Dorp Plaza Staten Island, NY 10306 enough to have their larynx removed as a quests for materials, etc., are im- result of cancer. possible, letters of general in-

terest will be selected for printing The STARLOG/FUTURE space art slide show,

. . . What are your impressions of the Star in future issues. "Reaching For ihe Stars," is available to ail con- Trek and Space: 1999 feud? ventions. Featuring a music score by Eric Wolf- Terry Lemons Gerry Anderson's Space Report gang Korngold, the show generally accompanies a guest appearance by members of the staff. Con- 129 Cardinal PI. STARLOG Magazine vention organizers should contact Tom 0'Steen to St. Louis, MO 63103 475 Park Avenue South, 8th Floor make arrangements. New York, NY 10016

I must confess that I was not aware of a 55 . —, A Fan News Column by Susan Sackett

is Familiar The Setting I MEED YOU

But . .

soon as Robert Wise and Gene AsRoddenberry are seated, the lights in the Studio Main Theatre dim, the curtain parts and the images of the latest "dailies" fill the screen—Cap- tain Kirk, his grey and white uniform re- inforcing his look of authority; Mr. Spock, logically cool as ever; Dr. McCoy, ready to dispense advice with his pills- familiar faces, somehow frozen in time, subtly changed in the last nine years. The setting is familiar—it's definitely the Enterprise, but there's a slight differ- ence here too, like comparing an old DC-8 jet with one of today's sleek 747s. The scenes are viewed critically by Wise and Roddenberry. Is it a little soft (out of focus) on the right? Was that a small scratch on the film? Which "take" looks best? But the room is also packed with production crew and staff who applaud the day's scenes when the lights come up. All agree on one thing: it's looking great! Viewing dailies is just a part of each production day, but in a way it is the highlight. For those of us here it's a promise of how incredible this motion

picture is going to be. Principal photo-

graphy is scheduled to continue until mid- December. Now that things are moving along well, there has been time for oc- casional relaxation, for old friends to re- new the friendships made back in the 60s during the original television show and for new friendships to form. Star Trek— The Motion Picture is not just an- other company making another movie

it's a family, with some newly welcomed relatives. As with any family, there have been parties on important occasions. August Above: James Doohan as Scotty, Steve and September saw birthdays for Gene Collins as new character, Decker, and Wise, Povill Roddenberry, Robert Jon DeForest Kelley as Bones surround (associate producer), Harold Livingston northern California Muscular Dystrophy (writer) and John Rothwell (publicist). poster boy, Tom Lee, on the set of Trek One of the largest parties was for Gene, movie. Right: the cast and crew take with about 100 people crammed into our time out from filming to celebrate the offices munching a birthday cake deco- birthday of director Robert Wise. Both Wise and producer Gene Roddenberry had rated with spaceships and sampling hors birthday bashes on the Paramount lot. d'oeuvres prepared by Gene's wife, Majel Barrett (Dr. Chapel). A couple of weeks later another large party was held, this

time on Stage 9, with Robert Wise hosting 56 —

The FORCE can Kill

And it can cure.

while everyone helped themselves to the company is allowed onstage without two birthday cakes. And of course, there being screened, issued a special identifi- are the traditional parties each Friday cation badge and personally escorted by after the week's shooting. someone from the crew or staff. And Shooting has not been limited to Stage the guards are strict. In fact, during the The 9, and at the moment, Star Trek is Para- first week of production, I was asked to mount's largest film project in several leave the set twice—until they came to years, occupying five soundstages. Stage recognize my face. (I understand the 9 houses the Enterprise bridge, similar problems, FORCE sets—the head of the studio had the engine room, sickbay, Kirk's quar- so I didn't mind!) is called Kl in Japanese ters, the transporter room and many Although Star Trek is a closed set, Martial Arts. corridors. Stage 10 is used primarily for there have been a few VIP guests. Ven- storage, makeup (Fred Phillips' head- erated science-fiction writer A. E. Van quarters his workshop here) and dress- Vogt toured the sets, accompanied by ing rooms for Leonard Nimoy and our NASA technical advisor, Jesco von DeForest Kelley. Stage 8, still under con- Puttkamer and Gene Roddenberry. struction, will be our biggest single set Famous old-time Hollywood director The the Rec Deck—which occupies the entire Henry Hathaway, a close personal friend stage. Stage 17 sets include the travel of Roddenberry, also paid us a visit. pod and office complex; stage 18 houses Two young ladies traveled all the way

It is FORCE another large set, the cargo deck. from Japan and were especially delighted on this stage that Robert Wise uses a when they met George Takei, who con- is called Kl in Japanese crane to hoist him to his directing plat- versed with them in fluent Japanese. Healing Arts. form 20 feet above the floor. From this One very special guest was the north- vantage point he must use a microphone ern California Muscular Dystrophy post- The FORCE is symbolized in order to be heard, and has occasional- er boy, Tom Lee, who was thrilled to ly used that Hollywood trademark of all meet the Enterprise crew. All through by this Kl medallion. directors—a hand-held bullhorn. the month of August, after we began The perfect gift for Security has been extremely tight, with production, donations were collected on- two guards on the stages being filmed stage for the Jerry Lewis Muscular Dys- the SciFi fan. that day (the others are locked tight up trophy Telethon during Labor Day ACTUAL SIZE when not in use). No one from outside Weekend. Jimmy Chirco, who is respon- sible for craft services (keeping the cast and crew supplied with coffee and other requests), took a personal interest in the collection, and over $500 was donated by carpenters, technicians, actors and others on the set. Jimmy, who has known Jerry Lewis for many years and

worked with him on several pictures, is continuing to collect for this worthy Large 24K Gold "Karatclad™" $18.95

cause, and has begun organizing the Star Smal I 24K Gold "KaratcladTM" $14.95 Large 14 K Gold plated bronze S 9.95 Trek softball team, with money donated Smal 1 14 K Gold plated bronze S 7.95 for tickets going to MD. THE PRICE INCLUDES CHAIN, POSTAGE AND SALES Tryouts for the Star Trek softball TAX. SEND CHECK OR MONEY ORDER. PERSONAL CHECKS WILL CLEAR THE BANK BEFORE MEDAL- team are being held shortly, and William LIONS ARE SENT. Shatner, Stephen Collins (Decker), Wal- JEBAS ENTERPRISES, DEPT. S, ter Koenig and others are planning to P.O. BOX 7609 of the ladies will offer participate. Most NEWPORT BEACH, CA. 92660 their services as cheerleaders, although Large 24K Large 14K several (not this writer!) hope to make Small24KQ Small 14K Q the team. Our first game may have for- midable opponents: we're hoping to play Name the gang from Happy Days, television's Street. number-one show, also produced here at Paramount. They have several years of City- practice, so it should be a good game. Captain Kirk vs. The Fonz? That's State. Zip. Hollywood! * Ready for Takeoff

In a few weeks, Superman—The Movie will leap onto movie screens across the country with a $50-million budget. What can moviegoers expect from the celluloid Man of Steel? Everything.

(or lack of same), for instance, actually adds Donner, "but he's not that kind of By KENT DORFMAN postponed the release of the film from guy." December 10, 1978, the world June of 1978 to December. "Our Super- Dormer's kind of guy will soar onto the Donner during silver screen in less than a month, Onwill witness the arrival of motion man has to fly," explained pictures' most expensive screen a production snag, "He saves the world!" unleashing a torrent of SFX-laden After months of designing and redesigning superheroics. Among the more spectacular creation to date . . . Superman— The master forthcoming Movie! After nearly five years of planning, different types of flying shots, SFX images to be found in the with new pro- production: 3-year-old Superboy's first two years of filming, countless SFX prob- Chilvers finally came up a unparalleled from a lems and more than a $50 million budget, cess which is being touted as lifesaving feat—saving Pa Kent auto; the destruction of the Superman will premiere at a charity in its realism. speeding film- of benefit, which will host such notables as Still, over the two-year period of planet of Krypton; the construction The President Jimmy Carter. ing, the updating of the legend triggered an Fortress of Solitude; the exploration of an Probably the most talked about movie avalanche of headaches. "We had prob- Lex Luthor's underground hideout; Zone; a super- to come along in years, Superman has lems with his cape," recalls Yvonne escape from The Phantom been keeping both media writers and Blake, the costume designer. "It needed to attack on Mount Rushmore and some Warner Communications publicists hard at work for months. With a cast including Marlon Brando (Jor-El), Susannah York (Lara), Glenn Ford (Jonathan Kent), Gene Hackman (Lex Luthor), Margot Kidder (Lois Lane), Terrance Stamp (General Zod) and Chris Reeve (Superman/Clark Kent), the opulent production has in- trigued every comic book enthusiast in the world since producer Ilya Salkind an- nounced the project over two years ago. According to the Superman cast and crew, comic lovers will not be disappointed. Krypton, The Phantom Zone, The For- tress of Solitude and other Superman com- ic book staples will all be present on the widescreen, and the special effects helmed by Roy Fields, Colin Chilvers, John Richardson, Wally Veevers and Les Bowie are guaranteed to please. "I'm having a hard time containing my enthusiasm for Above: Marlon Brando as Jor-el and Susannah York as Lara with the child hero. this magical picture," beams Warner chairman Ted Ashley when asked about billow in flight yet go through fire." breathtaking, in-flight superheroics. wait to see The Man the film's potential. Superman's relationship with Lois Lane As millions of fans widescreen action, pro- For the Superman cast and crew, was also a ticklish situation, worthy of a of Steel vault into titanic SF however, the magic was long and hard in solid screen update, but not too modern- ducer Ilya Salkind reflects on his he smiles, "I'll coming. "For my next picture," says istic an update. "There are a lot of funny adventure. "If it works," I never director Richard Dormer with mock severi- bits in the movie," Margot (Lois Lane) be wealthy to the point where need If it doesn't, I'll be ruined." ty, "I want a script about two old ladies in Kidder reveals. "Lois prepares an omelette work again. or flop? wheelchairs." Dormer's challenges while but Superman cooks it with his X-ray eyes. Will Superman fly find happiness with filming the saga of The Man of Steel were Lois chain-smokes too, and Superman Will Lois Lane

. omelettes? staggering. The movie, carved roughly into nags her to give it up. We make love . . X-rayed enslave Earth? two sections, the origins of Superman but it's tasteful." Will Lex Luthor (from Krypton on) and his adventures in Everything about the new Superman is Will Ilya Salkind lose his shirt? #20 for the ex- Metropolis, presented constant problems tasteful and quite honorable as well. "Of Tune in to starlog of an unheard of nature. course, he could see through Lois' clothes clusive, behind-the-scenes,— full-color story Superman's on-screen flying prowess with his X-ray vision if he wanted to," of Superman The Motion Picture! * 58 Top: Christopher Reeve as Superman in his first eventful meeting with Margot Kidder as Lois Lane. This scene takes place im- mediately before he takes her on an around-the-world flight. Above: The Man of Steel faces his foe in a reconverted version of Grand Central Station. Witnessing the climatic confrontation is Ned Beatty as Luthor's clumsy right-hand-man, Otis.

59 /// / # >

**\

THE MAGICAL TECHNIQUES OF MOVIE & TV By PAUL MANDELL

Close Encounters Mothership, a Thestartling phantasmagoria of light and color, represents a grand effort of

artistic talent and modern technology in the field of motion picture special effects. So compelling is the illusion of the

Mothership landing, it undoubtedly would have left Klaatu breathless had he decided to book a return trip to Earth twenty-seven years later. Universally, audiences were struck by the reality of the craft from its

first jaw-dropping appearance to its glorious final ascent into the heavens. How did such a unique concept come about? Some ideas are easily translated PART XIV: THE MOTHERSHIP from thought to finished art with few Series Edited by DAVID HUTCHISON changes along the way. The design of the Mothership grew from Steven Spielberg's determination that the interstellar craft had to stagger the audience. A number of ideas were tried and discarded over many months. "Originally we had a Mothership that looked like half of an ice-cream cone," 60 PHOTO: © 1978 COLUMBIA

: .*~J.U : t

^JKI^ — ^. ;3B£S-, ^^-,-.. .J^SI

Top: an enlargement of one of the 70mm frames of the Mothership sequences from CE3K. Above: an early rendering suggesting the scale and impact that Spielberg sought. The design of the Mothership grew from Steven Spielberg's determination to stagger the audience with its scope, and enrapture them with its cosmic beauty.

61 «6M

\ £>^ST 3.(4

Top: the "First Lady of Spaceships" in rotation at Devil's Tower. Above: with Spielberg's image

of an oil refinery at night, a conglomerate of superstructures dotted with thousands of lights, Trumbull devised what he called a ' 'City of Light." The above Future General sketch of the light and power levels with their New York City

appellations fulfills the image of the Great White Way. Left: Cameraman Dennis Muren and assistant Scotty Squires prepare to slate the beginning of a take. The 65mm camera rigged with an animation motor is mounted on its side, as is the model, to facilitate movement of the camera under the model. Construction of the support structure was under the supervision of Bob Shepherd. There was only one rotation

motion on it and an additional side support to

enable it to flip over for one shot. "Originally we had a Mothership that looked like

half an ice-cream cone. It was built and then shelved ... in January of 1977. Steven said he wanted to change the design!"

recalls chief modelmaker Gregory Jein. "It refinery. Spielberg and Trumbull made changed after he had seen the dailies," was built and then shelved; that must've suggestions and revisions. Then McQuar- says Jein. "He'd say, 'Let's put some been in January of 1977. It was a very rie did a series of beautiful color render- more stuff here' and we'd add more lights. simple shape — it had a disc on the bot- ings (see the article on McQuarrie and the So the control box almost doubled in size

tom, and the images that were to be pro- CE3K painting in STARLOG #17) and the — it almost looked like a robot in the jected onto it were being photographed. final design reached the model stage. end!" Then Steven said that he wanted to change Enter Greg Jein and his skillful en- Packed with electronic gear, repairs on the design." tourage of miniatures experts who, after the model would be time consuming and And so began the evolutionary process. months of dealing with the craft's disem- difficult. "Fortunately," sighs Jein, "only At the early stages it was thought that the bodied underbelly, were finally able to one neon unit broke during the entire Mothership should be a dark looming tackle something tangible. The image in photographic process." Repair was a mass seen only as a shadow hanging over Steven Spielberg's imagination had started delicate operation. "The whole 'Manhat- the throng of startled faces during the to become a reality. tan' upperstructure was attached with six climactic scene, for which the live action The name Greg Jein (pronounced little inset screws. It took one guy to

was filmed in Mobile, Alabama. This led "Gene") is certainly not alien to the fan- unscrew it and pull it out, while somebody to the construction of the giant ice-cream tasy film genre. Jein, a young Chinese- else reached inside to disconnect the tangle

cone which was then dropped in favor of a American expert on model spacecraft, had of 'umbilicals.' Looking inside it was like more potent effect. established quite a reputation for himself looking into a can of worms!" Another early concept attempted an ex- in Hollywood. He built the ships seen in Other Mothership crew members includ- planation of the maternal attachment Flesh Gordon, Dark Star, the plane for the ed some Star Wars alumni — Dave Jones, given to the mother ship. In an early ver- second Wonder Woman TV show, the a talented artist, who was not only respon- sion of the shooting script, Spielberg saucer for the TV movies The UFO Inci- sible for the fine detailing of the miniatures hinted that the aliens struck an "instinc- dent and Spacewatch Murders (in con- in that film, but also for the model work in tive" chord in humans as the "Mother of junction with Paramount's Magicam pro- TV's Space Academy. Paul Huston, also

Mankind." As a visual clue, it was cess), the rocket for Laserblast and crafts of Star Wars, Space Academy, Jason of thought to have the ship resemble a female for several Trumbull tests (pilots for War Star Command and the forthcoming Has}} breast, a design SFX chief Doug Trumbull of the Worlds and Journey of the Gordon, worked on the Mothership for devised from Spielberg's implied theme. Oceanauts, to name a few). about three days and basically tended to

The essence of the idea was that sex is Though the working atmosphere during the holes that were drilled. Jones worked more than just a procreative capacity, that the Mothership construction was relaxed, closely with Jein in fitting some of the humanity is reaching out towards a it took someone with a lot of know-how to pieces together. primal God-image. The aliens themselves oversee it and pull it all together. "We Originally slated for an April deadline, were to be in some way representative of started working on a four-foot it wasn't until late May of '77 that the this, as was the shape of the mountain — hemisphere," recounts Jein. "I sculpted Mothership was ready to go before the Devil's Tower. Perhaps this concept was some tiers out, approximating the color camera — at about the same time that Star dropped not so much because of the con- drawing layer for layer. The main bulk of Wars was released. The final miniature troversy it would stir, but rather the sheer it was done by myself, Peter Anderson and was a four-foot high, six-foot wide plexi- difficulty of presenting this theme in Larry Albright. Jim Dow and Ken Swen- glass-aluminum-steel-plywood monster cinematic terms within the context of the son built the bottom part of it and then weighing somewhere between 150 and 200 story. they got pulled off to do the UFOs. Other pounds and covered with literally Still, in searching for something daz- people were there, on and off. In drilling thousands of tiny holes. Imagine the mo- zling, Spielberg wanted to enrapture the holes in the Mothership for the light col- ment of anticipation in the studio when, audience with an object almost beyond umns, anyone who didn't have anything in for the first time, it was "plugged in" shin- belief. their hands was usually thrown on a drill ing in all its glory. While in India, a new image captured press. Even Steven and some of our The job of getting the Mothership his mind — an oil refinery at night, a con- secretaries were drilling holes!" scenes on film was given to Dennis Muren, glomerate of superstructures dotted with Transforming this strange mass of a tall, lanky, thirty-one-year-old effects thousands of lights. As far as he was con- fiberglass and plywood into a neon cameraman with a forthright personality cerned, that was it — the refinery became wonder was no easy matter. The versatile and a valuable backlog of technical exper- the core of Spielberg's Flying Dutchman, a Bob Shepherd, production manager on tise. During his college years Muren pro- light-studded crown atop a floating musi- Star Wars, organized the complex maze of duced and directed the original 16mm ver- cal macrocosm of staggering dimensions. electrical systems. Dimensional artist Larry sion of Equinox (not the hybrid version Using an oil refinery in El Segundo, Albright was primarily responsible for the put together by Jack H. Harris), which California, as a reference image, Trumbull incredible network of neon tubing. "Peter was conceived as a visual-effects showcase envisioned a marriage of the skyline and Larry put most of the final wiring for himself and stop-motion animator tableau with a swirling array of moire pat- together," recalls Jein. "I think they David Allen. terns and, in collaboration with Spielberg, ended up using 17,000 volts on the After paying his dues at Cascade Pic- devised what he called a "City of Light." thing." Spielberg, of course, was con- tures, where he photographed everything The first step was taken by production tinuously on hand, monitoring the pro- from the Jolly Green Giant to the illustrator Ralph McQuarrie, who created gress and making suggestions that he Pillsbury Doughboy, Muren went on to a composite painting based on a night view hoped would heighten the impact. film the high-speed miniatures in Flesh of the San Fernando Valley with an oil "Steven would always want something Gordon and assisted Jim Danforth on 63 The Mothership—a City of Light. Covered with literally thousands of tiny holes, the Mothership required the personal attention of thousands of man hours. Much of the time was spent drilling the tiny holes. Anyone who didn't have anything in their hands was put behind a drill press. Even Steven Spielberg and some of the secretaries were drilling holes!

Willie Wonka and the Chocolate Factory. His career took a giant leap forward when John Dykstra selected him to assist Richard Edlund in the blue-screen photography of ship miniatures and star backgrounds in Star Wars. Muren filmed about half of the effects scenes and literal- ly choreographed the rockets in flight via the use of the motion control Dykstraflex camera, (starlog is currently planning an SFX article on motion-control systems.) Dennis Muren's experience with motion-control equipment proved in- valuable, enabling him to land his position on CE3K. "I was just wrapping up Star Wars at ILM (Industrial Light and Magic)," remembers Muren. "John Dykstra mentioned sort of jokingly that when Star Wars is completed I could prob- ably get some work with Doug Trumbull on CE3K. Doug and Richard Yuricich had laid the groundwork for all the effects photography on the show. What they needed was somebody to operate the motion-control camera, to shoot some sort of sequence. I had no idea what it was! I contacted Bob Shepherd and eventually got on CE3K, not knowing what my job was going to be. That happened on the middle of February 1977; I left Star Wars and went right into Close Encounters. I believe there was only a four-day period that I had off between pictures!" Trumbull's company, Future General, drous landing of the Mothership, they are been filmed in the Mobile hangar. The is where all the magic occurred. Here, really seeing two major sequences live-action setups were under Steven's Dennis found himself mingling with a photographed many months apart. Much supervision." small corps of technicians and model- to the credit of all concerned, they blend If these great fluctuations in pre- makers busily engaged in designing beautifully. The first is the footage of the production and coordination of the mysterious-looking setups. aforementioned underbelly (a four-foot Mothership sequence seem strange, wait Spielberg's clandestine cover-up was no hemisphere) which incorporated the use of — there is more. Much to his surprise, the mere rumor! Even at this stage of the game geometric patterns and glowing colors. equipment Muren had to use to film the sophisticated than the an air of secrecy seemed to hover over the The second is the entire ship floating as ship was far less Mothership operation, perhaps largely due seen from a distance, whether it's coming hardware used to film the supporting ef- primitive to all the hectic activity that allowed no over the mountain or going up and drifting fects scenes. "I was using a very time for extraneous questions. "We were off into space. "As the underbelly scenes motion-control system. The main motion- shooting in what appeared to be an annex were being shot, which was the first thing I contol equipment was being used by Dave on building of some kind, and it seemed to photographed," says Muren, "the actual Stewart to shoot the UFOs. The one was a little more bulky me that it might be an insignificant part of design of the entire ship was being final- Close Encounters because it the movie. Much to my surprise, this ized. I must've been on Close Encounters than the one used on Star Wars turned out to be where the Mothership for two and a half months shooting the needed to carry a 65mm camera; it just photography took place! The room was underbelly stuff without knowing what the didn't have the flexibility of the only about fifteen feet wide and forty feet Mothership was going to look like! Dykstraflex. But I never used it — that I had was a long. Actually, it was the only space they Then an additional two months were re- was all Dave Stewart's. What had available to shoot this! After being quired to film the scenes of the entire ship. motor-driving system which Doug called there for a few days and trying to piece The way we worked it, Doug Trumbull the miniscan, a forerunner of the motion- together what was going on, I sort of would set up a shot, with the exposure control system built in the early 1970s by realized that this was the conclusion of the already worked out for the most part by Jerry Jeffress and Al Miller. In fact, this film. Nobody bothered to mention what it Richard Yuricich, and it was up to me to mechanism used to shoot the Mothership was — not that they didn't want to, but make sure those effects scenes were shot was originally built for some early TV they were all very busy trying to work on properly. There were about twenty cuts commercials that Doug Trumbull did other aspects of the film." of the underbelly, with the live-action when he came back from 2001. Basically, When audiences experience the won- portions of the people looking up having all it had was a four-motor drive, which 64 The towers in closeup. A good deal of detailing was applied to the ship to enrich the texture of the model. The four-foot model would be photographed to appear thousands of feet across. Spiel- berg was a fountain of suggestions; he was continuously on hand, usually pointing out places that needed more detailing or more lights to heighten the impact.

was filmed with lens openings anywhere from f/5.6 to f/16," recalls Muren. "There may have been one scene shot at f/22 for extreme depth of field, but most of the time we could not use that aperture reading, because we literally didn't have

time to do it. There were shots that would have taken perhaps twenty to thirty hours to shoot, and there were too many things that could 've gone wrong in thirty hours!" Thirty hours? Is that possible? The truth

of the matter is that certain shots did take up to thirty hours to photograph and lasted a mere six seconds on the screen! The Mothership and the smaller UFO craft were filmed in a smoked environment to create a soft, glowing, ethereal look. "This smoke," says Doug Trumbull, "created the same effect in miniature as normally contaminated air does at full scale. In order to actually see and photograph beams of light and airflow us- ing a l/20th scale miniature, our air had to be twenty times dirtier than ordinary air." But again, there were problems. "The major motion-control system was being used by Dave Stewart in an electronically controlled, smoke-regulated environ- ment," relates Dennis Muren. But once again, for the Mothership, we had to rely on more primitive circumstances. We had to use a makeshift, pieced-together system in which the smoke density had to be could run four motors at any desired speed of a silhouette of the ships repeating the monitored completely by hand during the and it could repeat the action. But it didn't same movement against white to make a shot! So we wound up using a manually have any way to vary the speed; it didn't matte — it would not match up satisfac- operated smoke-density situation for the torily have the capability of reprogramming the on the second pass. Richard wanted climax of the film. We had to monitor it various speeds during the shot as it was one image on film from which the matte about every three minutes or we'd get a with Star Wars. It had no memory func- could be pulled and the blue-screen system flickering effect during the shot. Most of tion. So all that we could do for the most would do just that. You'd pull a matte the Mothership shots took eight or nine part was the continuous motion using the from the original negative instead of rely- hours to shoot! So every three minutes it four-motor capabilities. It's interesting ing on a piece of equipment to generate the had to be checked for smoke density; if the that the primitive equipment was all that matte that may have been slightly out of smoke was too thin or too thick, we would register the was necessary to shoot the climax of the on second exposure. In Close have to take it out by hand or fill it up us- movie." Encounters, very seldom does anything go ing a Mole-Richardson smoke machine.

One major point about the effects work in front of anything else." We had a little observation booth in the in Close Encounters to consider is that When mattes were required, a system corner where we could look into the most of those shots were designed to work was set up by Don Jarel and Bobby Hall smoke-filled room through a sheet of with simple super-impositions rather than using an animation stand as a light source glass. It's interesting to point out that the with traditional traveling mattes. And which would enable objects to pass in still (photograph) in American Cinemato- unlike Star Wars, the blue-screen matting front of other objects on a limited basis.. grapher is not the electronically regulated system was never used — by and large, That procedure was done only on very smoke room as described." what you saw were mainly double ex- special occasions. Interestingly enough, Now about those thirty-hour visuals posures. the Mothership matte was generated by the that lasted but for a few seconds of screen- "In Star Wars," observes Muren, method that Richard Edlund shied away time. The reason: extremely long time ex- "ships had to travel over the surface of the from on Star Wars — the six-foot model posures which gave the Mothership land- Death Star and they had to appear solid was filmed once against a black drape, ing its breathtaking grandeur. All of this when traveling in front of other ships. then filmed again against a white occurred in the underbelly scenes, long Richard Edlund and the others felt very background. The movements of the two before the final ship was realized. Actual- strongly that by 'double-passing' the ships passes weren't perfect but were close ly, this is simply the same technique one that is, shooting one take of the ships enough to produce the required effect. Ex- would use to photograph stars at night against black, then shooting a second take posures varied greatly. "The Mothership with a still camera or to obtain an eerie pic- 65 "As the underbelly scenes were being shot, the actual design of the entire ship was being finalized.

I must have shot 2V2 months of underbelly sequences without knowing what the Mothership would look like."

position so ture of headlights forming a streaked path brought in for a mere fragment of Doug the image of the ship in that on a highway. By keeping the lens open Trumbull's $3.5 million effects budget much that he decided to back the end titles Mothership for an extended period of time, visual data despite the long manhours, due largely to with it. Here we thought the was all over and suddenly is accumulated on the same negative. "If the tiny crew shepherding the operation. photography idea which meant you look at the underbelly," explains Most of the money went into the Mobile Steven came in with this it was worth Muren, "you'll see yellows and oranges footage, where huge front-projection another month's work! But set of thumbnail and blues, and a white scanning line screens had to be erected and actors had to it. I made up a quick took it from there." around the base of it. The bright yellows be transported, sheltered and fed. sketches and required as much as three minutes of ex- The Mothership itself presented a major With many tedious hours necessary for posure per frame. We would have to re- rigging problem. It took five or six people the Mothership sequences, occasionally invent to break the wind and shoot the scanner (the white to lift it safely. While Greg Jein supervised someone would a way band). That was a form of streak the construction of the ship, Bob boredom. "One Saturday it rained," photography requiring a minute per Shepherd supervised the construction of recalls Jein, "while we were working on frame. Another exposure, the blue-white the support. There was only one rotation the wiring, a rather boring job. We sent taco chips. pattern, required three and one -half motion on it and an additional side sup- out for some guacamoles and myself minutes per frame, and there was another port enabled it to flip over for one shot. Peter Anderson, Dave Jones and exposure in there made at about fifteen The supports were all pipe rigged and wound up in a taco-guacamole fight. You seconds per frame. Interestingly, there was counterbalanced. Most of the sequence could hear taco chips in the Mothership one shot in the underbelly stuff that had was shot with the ship on its side and the during rotation for weeks afterward. I seven minutes of exposure per frame! camera on its side, as well, in order for the think they're still in there!" When the underbelly descends, a hot ring camera to be able to move freely under the Paying homage to George Lucas and of bright yellow light starts to open up. It's model. Star Wars on screen in a discreet manner cut before the ring completely envelops the "One of the biggest problems in filming was just another way of livening up the ex- underbelly, but that entire ring was a the Mothership was trying to keep the light perience. "Dave Jones made a small R2D2 seven-minute pass. Therefore, the total ex- off the model when filming its matte, since that was stuck in as a joke. That one was posure on a single frame of film for the the room was so small," recalls Muren. just buried in the myriad of columns in the underbelly would be somewhere around "The model itself was about twelve inches back of the ship. It was Doug's idea to do twelve minutes per frame. So we're talking away from the support, so there was no this during the first appearance of the about maybe a thirty-hour pass; one shot problem in blocking out the support when Mothership, so he suggested that we put made up of 150 frames! we shot the ship exposure. When we had the R2 in a fairly visible spot. We later "Now we needed to set up a system in to do the silhouette pass against the white took it off and I made one that had a order to do this," Muren elaborates. "I background, we backed up the support, fiber-optic light in its head and placed it lights. It's was fortunate to have as my assistant Scott covered it with a giant white cloth and right in front of four banks of actually see in the Squires, a young dedicated filmmaker who carefully lit the cloth so that it was as flat a the only in-joke you can had been with CE3K since the beginning. white as we could get. When the high-con- film!" Scott had earlier developed the cloud trast matte was printed, the white-covered Underlying this mini-saga of the techniques to be used in the film before support would be rendered clear on film Mothership from conception to realization going on to the Mothership sequence. His and the ship would go dead black. We also is an appreciation of a simple fact that familiarity with the equipment and person- had garbage mattes made to opaque out tends to be obscured when looking at the nel at Future General helped me to quickly the peripheral areas of the shot. As long as technical details. To create something that move into their mode of operation, which we had the ship backed up, that's all that doesn't exist, and to make it appear ab- was much more rigid than Star Wars. mattered, and the rest of the room could solutely real on film, requires more than a drill press. "Scott and I would set the shots up and be eliminated by an additional garbage sculptor's tool or a well-used sit through the major daytime pass. Then matte hand-generated by rotoscope in The pieces of neon tubing, plywood and another young filmmaker, Hoyt Yeatman Bob Swarthe's animation department." wire that are used do not make the illu- came in during the night and 'babysat' the Says Greg Jein: "We even put a neon ring sion. There is a kind of creative cement shot's longest pass for us. If anything went around the support to produce a diffused that brings it all together — a cement, wrong, Hoyt would either call me up or white glow to match the white back- specially formulated in Hollywood, of ex- shut the unit down and leave a note of ex- ground. They're using that system on perieri.ce, know-how and an intuitive force planation. The next morning we'd correct Buck Rogers, too." capable of freeing the imagination. We all the breakdown and start the shot all over One final contribution of Dennis love to be tricked, but we hate to see the again. We would always do the hardest Muren to CE3K involved the end title se- seams. In the case of the Mothership and passes first, the ones with the most chance quence. "Most of the flying scenes were its sister UFOs, it is difficult to believe that for error. So what was being built up was set up by Doug Trumbull," Muren says, Spielberg didn't just go out and hire a few essentially a finished multi-pass Mother- "but Steven and I designed the last few passing flying saucers for his film. ship shot. And we really did well! We shots of the film, the actual placement of Seeing an illusion is one thing; feeling it hardly had any retakes. Scott and I paid a the Mothership. This dictated where the is another. There can be no greater monu- lot of attention to trying to get everything title credits would appear in the frame." ment to the artists who toiled and tinkered right the first time." Originally, Spielberg was going to end the with this grand illusion, than those gasps

Sound complicated? It isn't, really. Just picture with Mian photographing the ship of awe and admiration emanating from time-consuming. Surprisingly, the Mother- taking off — a series of still photos — as theatergoers as the First Lady of Space- ship and underbelly sequences were was suggested in the book. "Steven liked ships takes her bow over Devil's Tower.* 66 Above: the Mothership rises majestically from behind Devil's Tower in this tamous shot enlarged from the 70mm frame. Left: a view of the

control room in which many very long hours were spent monitoring the progress of each sequence. Most of the shots took eight or nine hours to shoot. One sequence required an exposure of 12 minutes per frame.

One 1 50-frame sequence required a 30-hour pass.

67

Things That Go Dump in the Niaht

By AL FLYN Ballantine helped put together the in- spired team of Froud and Lee and editor his Christmas season, prepare to meet: David Larkin. His goal? To create a real- The phooka—a chameleon-like crea- istic excursion into fantasy that even the k ture with the ability to transform it- most orthodox of science-fiction fans

self into any beastial shape and take hap- would find captivating. "This is a very less travelers for the ride of their terrified special work," beams the ever-enthusias-

lives. tic Ballantine. "It's not at all juvenile. It The glaistig—a water nymph, half- represents the thinking of a group of woman, half-goat, who seductively lures people who have done a lot of research on

men into an earthy dance before disposing faeries; serious research. It contains a lot of them vampire style. of marvelous fantasy material, material The spriggans—a race of ugly, magi- that a reader can take and conjure with, cal creatures who can grow to titanic elaborate upon and enjoy the proportions at will. creation of a very special world." The jack-in-irons—a Yorkshire giant Seated in Stewart's New who haunts lonely roads late at night, York City base of operations, the science- seeking out stray hitchhikers. fiction publisher relishes the thought for a All of these wondrous (and slightly moment. "You know, at one time, a book dangerous) beings and others grace the like this wouldn't have been possible. pages of Faeries, an eye-boggling book Science-fiction people used to think that tracing the life and times of Britain's fantasy was not the proper material for

most magical denizens. Written and il- a dyed-in-the-wool SF reader. They re- lustrated by fantasy masters Brian Froud jected it. But I think that Tolkien broke and Alan Lee, Faeries is the big Christ- that barrier completely. The joy of par- mas book being offered this year by ticipating in a fantasy really utilizes the Harry Abrams Publishers, the company same imaginative muscles that are used that brought the world Gnomes in 1977. when you are enjoying science fiction. Faeries is the brainchild of two pub- You experience that same sense of lishing talents, the legendary Ian Ballan- wonder." tine and Andy Stewart, president of And wonder, according to Stewart, is

Abrams. It was Ballantine, a long-time what Faeries is all about. "This SF supporter (in fact, together with wife is a trip into a very strange Betty, the first publisher to actually re- realm. There are no stereo- lease science fiction in paperback form types allowed. As a result, on a regular basis during the 1950s) who it's more interesting than those first suggested the project to Stewart. endless conjectures on sweet little "Ian had brought us the Gnomes wood nymphs. You can only take ten book from Europe," Stewart recalls, or twelve pages of that fairy-tale stuff "and people loved it. It was an uplifting before you pass out. Our book has book and it appealed to a great many things in it that are a little shocking, a little people, both literarily and visually. We spooky, a little dangerous. It's a mysterious were looking for a logical follow-up. He journey, with hints of evil running all

suggested Faeries it and turned out to be through it. That's what makes it work. perfect." There's adventure. Visually, there's a great Working in conjunction with Betty, beauty in all this but there's menace

Left: there are many folktales and songs linking the magical people of the hills with toadstools whose sudden appearance and rapid growth have always seemed uncanny to us. The toadstool most associated with faeries is the red Fly Agaric, a toadstool with poisonous hallucinogenic properties. Right: a tiny leprechaun shows off a natty outfit for a pointy-hatted pixie. present as well." Ballantine seconds the emotion. "The book let's you know that those faeries at the bottom of your garden well are not what you think they are. The sooner you realize that, the safer you'll be. Peter Pan would not feel comfortable reading this book. He would probably head for the hills." To prove his point, Ballantine opens a copy of the work and flips to a page showing a particularly hideous, green female thing, wallowing in a stag- nant pond. "This is Jenny Greenteeth," Ballantine chuckles by way of introduc- tion. "Jenny lives in slimy ponds. When

little girls turn their backs on the slimy ponds, Jenny comes a-calling. The little

girls are never seen again." Ballantine puts the book down gently. "All the faeries in this book are based on actual legends," he stresses. "And the book is both a field guide and a his- tory. It identifies faeries and tells you .

what to do if you have a faerie encoun- The many faces of ter. There are also stories in the book, pixies: the mis- detailing the history of faerie folk." chievous pixies "And faeries really do figure into the delight in steal- real-life history of England," Stewart ing horses and adds. "Britain is a very strange place in ponies at night that we know what happened there from and riding them wildly across the the time of Christ until about 300 AD. moors. They also But there's practically nothing known enjoy playing about the country from 300 until AD practical jokes, about 1000 AD. There're six hundred like throwing pots years that are practically unaccounted and pans at kitchen for. It was during that period that the help. Although they mythological tales concerning King Ar- enjoy their fun, thur, Merlin and the various faeries they are also hard came about. By the time 1066 came workers. around and England reentered the his- tory books, all these legends had already flourished. Nobody is exactly sure where they came from," he finishes, choosing his ". words carefully, . .or why." "And it's very important for modern man to know about their world," Bal- lantine states. "People today are in- terested in nature and in natural things, correct? Well, it's frequently the case that faeries are on the side of nature. Man continually gets in trouble when he attacks nature, and what really happens is that he runs across a particular faerie who is defending that part of the realm of nature. Part of this book teaches you how to defend yourself against a faerie's power, how to recognize different types. There are over 200 kinds of faeries accounted for in the book." Included in Faeries are tales and de- scriptions of various dwarfs, goblins, pixies, brownies and nymphs with stun- ning visual portrayals offered by Froud and Lee. "Those two men captured everything there is to capture about faer- ies," Ballantine marvels. "They worked together out of the same house for over a year. Betty and I would fly over to England from time to time and check on their progress. Their finished artwork is, well, fantastic." The two publishers begin to compare about the fact that there are faeries out notes about their favorite creatures cap- there, but to meet one you have to know tured on paper, flipping through the what they look like, know where they hardcover with wild abandon. One likes live.. If you're ever going to have a faerie the bwca (booka), a butter-churning brownie experience, this book will lead you to it of the Welsh variety. Another prefers the better than any other ever printed." gentle selkie, a seal creature capable of The two men return their proud gaze becoming a beautiful girl. But what to their phantasmagoric field guide and about the leprechauns, those rakish Irish- behold the image of a twisted, cyclopian men with tales of gold? terror known as the fachan. Both pub- In the midst of this magical revelry, lishers smile at the creature's snarl. Bal- Stewart looks up from Froud and Lee's lantine was right. Peter Pan would not captivating portraits. "The thing to re- feel comfortable reading this book . . member," he says, "is that, in a sense, but "It, the Terror from Beyond Space" this book is factual.' You have to think probably would. * : 1 Ohm

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Bakshi

turned into walk through this thing. (Continuedfrom page 41) the motions. The actor is then didn't animators a cartoon figure by artists who carefully "Here at the studio, I had 95 by frame, the outline of at various levels working on the film. has been personal and quiet. I did what I ink over, frame involved at live figure's smooth motions. Max There were about 500 people felt was right on every film whether I won the pioneered this technique in his various points." Under Bakshi's expert or lost. I tried to move the boundaries of Fleischer portray direction, the animators swung pendu- animation within the budgets given me. 1939 Gulliver's Travels in order to Disney studios lumlike from outright fantasy scenes to What some of my harshest critics don't his realistic hero, and the the production, used it for their "human" car- startling realism. During realize is that we've been putting out a have often never before in the Bakshi discovered that the style of paint- full-length animated feature a year with a toon characters. But animation has an entire film ing developed by the Dutch masters budget of a little more than a million history of would serve as the perfect cinematic dollars. What we've accomplished for been rotoscoped. has used live-action in con- backdrop for Tolkien's tale, so art enthu- that little money has, at times, been "Everyone with animation before," says siasts will notice traces of Rembrandt and amazing. I mean, I'm used to getting junction "It's how you use it Brueghel the Elder in the film's scenery. strong responses from people over my Bakshi proudly. directorial. It's how Rings' main characters are totally realistic work but these letters... I had kids, that's important. It's camera at something that in manner and appearance, while some of students, housewives, teachers ... some you point the whether it's going to be new the villainy concocted in the evil land of wanted to help me, some wanted to kill determines nightmarish. Real- not. I've used rotoscoping in Rings in a Morder is downright me. It knocked me outta my chair." or use it to carica- ism melds with dreamlike imagery and "Everyone assumed that designing the very special way. I don't movie is not a cartoon. flights of fancy often run head-on into Tolkien characters would be my biggest ture from. The en- authenticity. "The real fear It's a realistic animated film. I shot an sombering problem. It wasn't. I realized early on hobbits face makes the tire live-action movie first for The Lord of death that the that nothing I would do or that Frazetta a totally rotoscoped movie work," Bakshi comments. "Where would do or that the Hildebrandts or of the Rings. It's of film, every scene evil is present, I show it in its fullest." Rackham would do would satisfy every movie. Every frame the ani- shot live-action before it was Following the completion of Tolkien fan. What I think Frodo or was mation, Bakshi began over-dubbing Samwise (Frodo's sidekick) should look animated. intended to go out and shoot a voices. "We didn't use any stars," he different than Frazetta's viewpoint "I never like is the picture. But as I started to do says. "I'm not selling Tolkien on Hildebrandts'. That's artistic li- live-action or the impor- 'Wow! This is it!' It took me voices or the star value. What's cense or interpretation. You can't please it, I said, a half to shoot the live- tant is the quality of the voice. When it everyone. As a matter of fact, Tolkien's about a year and I got really competent action. We didn't use any well-known ac- came to dubbing, daughter told me when I was in England, wasn't necessary. actors to come in and do it. No resumes matter what you do with the film, tors because it 'No their the live film was difficult. were needed. All I wanted was least percent of the "Directing Mr. Bakshi, at 10 Oscar winner and Thousands of extras were running around voice." Two-time Tolkien fans won't agree with your visual " Making the ac- Emmy recipient (Barry Lyndon, Bound characters.' the battlefields in Spain. interpretation of the Leonard Rosenman what I was trying to do for Glory and Sybil) Bakshi dismisses the thought with a tors understand compre- was then called upon to create a score "You always worry about was hard. They couldn't quite faint smile. Bakshi describes as hend that they would not actually end up for the film that critical response. I'd like everybody to the finished film, yet, in a sense they "majestic, very classical." love film but, obviously, I have to in my of the controversy would be there on the screen. They all And so, regardless start with myself first." crew, in a little lines but they weren't used in and criticism, Bakshi and Traveling to England at the beginning spoke their years, have ac- film. less than two and a half of the project, the animator visited the final was difficult but we complished what no filmmaker has been Tolkien's daughter, lawyer and biog- "The live-action take some shortcuts. We able to tackle successfully for nearly rapher to get as much insight into the did manage to during the three decades. "I'm staggered with some realm as pos- didn't have arrows in the bows man and his mythological down," scenes, for instance. That was OK of the things that have come sible. Returning home, he commissioned battle later. Bakshi says. "I'm deliriously happy with I was going to draw them in a script by Chris Conkling and Peter S. because If a wig some of the things we have done in terms was begun in earnest... No sense worrying about it. Beagle. Work have scene, that was OK too. of the art of animation. I think we work on a film that many animation fans slipped during a detail that definitely extended animation into a new smugly announced would never be com- There wasn't the attention to totally realistic in a regular movie. You area. We have done a pleted; a view that Bakshi found himself, there would be two different swords animated feature. It's not a cartoon. on occasion, sharing. know, if a guy used want anyone to I would just draw That's important. I don't "Oh, there were problems," he gasps on two different days, sword anyway. There were overlook what I think is important to the in mock seriousness. "My biggest prob- in the same live that were really world of animation. . .this is realism." lem was bringing everything I had emo- some scenes done the Rings is now playing I think any of the ac- The Lord of tionally and physically to the project. nice. . .but don't country to movie houses ani- tors were really sure about what we were across the But I guess my biggest problem was packed with Tolkien fans. Some will love I was animating some- doing. mating because To The movie it. Some will regard it as blasphemy. thing that had never been animated be- "Still, the acting was vital. all timid Tolkien readers who have not as artists was shot so that if it wasn't animated, it fore. . .realism. I was asking my a live drama. yet seen the film and are nervous about for things that no director had ever could have been released as looked pretty strange, doing so, Bakshi smiles warmly as he ad- asked for before. I was asking for a kind It would have costume vises, "You should go in and expect to see of choreography that was incredible." though, not only because of the just mentioned, a film that a lot of love and care has gone In order to convey this desired sense of and prop allowances I or bad that film is, you I sometimes shot scenes in into. How good realism to the screen, Bakshi resorted to but because weren't of will determine. Hopefully, as you watch an animation technique not often used blank rooms. Backgrounds favorite little me. The important thing it, you'll remember your . . any interest to in contemporary cartooning . rotoscop- in the book. out and get a drama going in sequence that you read ing. Rotoscoping is a process wherein an was to go movie will make the magic first then come back and Hopefully, the character is first filmed "live- live action and animated ' * detail. I just and the fantasy real. action," with a real actor going through animate it in painstaking 74 Future FUTURE BACK ISSUES

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NAME

$2.50 $2.50 $2.50 Interview: William F. Interview: Steven "Galactica": Behind the Nolan. Spielberg. Scenes. CITY Toffler Future Shock Art Poster. "Brave New World." Galactic Art of Bob Collier's Space Art. O'Neill's Mass-Driver. McCall. Tomorrow: William F. Tomorrow: Robert Anton STATE ZIP Tomorrow: Ben Bova. Nolan Wilson.

A New Space Fable by "B.C$RI<3 THE BOY WHO SAVED THE STARS Written by Doris Vallejo

Historic in several ways, this is the first book Boris has illustrated

for children, as well as his first published collaboration with his writer/wife, Doris. Done especially for STARLOG/FUTURE, this imaginative fable of space is destined to become a modern classic in youth literature.

Beautifully printed in vivid full color on every page, this horizontal-format, hardbound book (complete with dust jacket) can be found in select book store outlets or can be ordered

directly from the publishers. It will make a wonderful holiday present that will be re-read and treasured for years to come.

Mail order to: O'Quinn Studios, Inc. DEPT. S19 "The Boy Who Saved The Stan" 475 Park Avenue South New York, NY 10016

Enclose cash, check or money order d rawn to O'Quinn Studios. "The Boy Who Saved The Stare"

copies at $5.95 each (plus $2.00 postage & packing per copy)

NOTE: Send order on separate paper if you do not want to cut this coupon.

FULL-COLOR ART: NAME 32 pages of Boris' detailed, skillful renderings, but in a charming youthful style you've never seen before. COLLECTORS:

Boris' only children's book, a unique, limited-run publication, is CITY bound to become a rare addition to any collection. STATE TEACHERS, PARENTS: ZIP An exciting, inspiring story, which we recommend for children of :ALERS: Write for wholesale rates on this book and other all ages who enjoy heroes. I exciting STARLOG/FUTURE publications. Researched and written by West Coast Editor DAVID HOUSTON

prisingly passionate, if often contradictory, SF Currents in the Mainstream mengage a trois. Jules Verne, Arthur Con- an Doyle and H. G. Wells turned out Port I — From the Beginning thrilling science fiction at a goodly clip. But they weren't alone. Mary Shelley, daughter of Utopian theorist William Godwin and wife of fam- There is a debatable and practically undefinable thing in literature called ed atheist poet Percy Bysshe Shelley, gave but other the mainstream. It includes all those us not only Frankenstein (1818) Last classics in college "Lit" curricula and extrapolations including The Man contemporary works that make the best- (1827), about a glittering automated 21st machine has seller lists — whether they're brilliant or century in which the perfected society and utter tripe. The mainstream excludes liberated a morally science fiction, fantasy, westerns, The Mortal Immortal (1834), which con- thought mysteries and other types easily enough tinued her Frankenstein line of ad- pigeonholed into genres. but this time led to general medical offer immortality. But no principle of pigeonholing is as vances that could Edgar Allen Poe took his readers to the neat as its definers would like. Some to magnetic science fiction — like Ray Bradbury's The as-yet-unexplored Antarctic, a Martian Chronicles, Robert A. Heinlein's Frankenstein, based on the classic book, mountain and a tribe of weird aliens, in immortality. Narrative Arthur Gordon Pym Stranger in a Strange Land and Frank showed medicine's approach to The of died before an Herbert's Dune — become so indisputably (written around 1840). Poe popular among such a diverse readership early SF works — with its descent into the obligatory sequel could be written, so Jules his stead, called The that they are grudgingly admitted into the bowels of the Earth. (When Jules Verne Veme wrote one in mainstream. Some mainstream fiction — made a similar trip, in Journey to the Mystery of Arthur Gordon Pym (1897). never considered a science- like Nevil Shute's On the Beach, Michael Center of the Earth, he found not Satan While almost Facts in Crichton's Andromeda Strain and Aldus but Darwin.) fiction author, Poe also wrote The Huxley's Brave New World — balance Surely the most darkly influential of the the Case of M. Valdemar (1845), in which themselves precariously on the rim of the early mainstream SF novels was one the mind of a man is kept alive after his in Latin died, and Tale the Ragged SF slot, maintaining dual identities. And published in 1513. It was written body has A of other mainstream works are denied SF so as to be readable to all Europeans Mountains (1843), in which a man is 1780. recognition (often by their authors or without need for translation. It criticized transported back to the year novels about time publicists) even though they conspicuously the English government by comparing it to Undistinguished popular in the mid-1800s, and rely upon imaginative SF elements — like an "ideal" society set up on a mythical travel were They Ayn Rand's Atlas Shrugged and Allen island. The author, Sir (or Saint) Thomas even fine novelists read them. Drary's The Throne of Saturn. More, extrapolated from the Christian fascinated Charles Dickens, who fanta- and Mark Now we turn to the species of science ethic to devise a secular politics which sized A Christmas Carol (1843), suspended anima- fiction which swim in and around the he applied systematically. The name Twain, who hinted at mainstream. of his island, and the name of the book, tion as a method for returning to the pres- in Ar- From the mainstream point of view, was Utopia — and thus the word entered ent in A Connecticutt Yankee King thur's Court (1889). science fiction is nothing special and has the languages of the civilized world. The SF's "noble no beginning. Icarus, when he fastened book strongly influenced many of the Rudyard Kipling advanced of Mowgli in The feathers to his mechanical wings with wax, Romantics of the 18th and 19th centuries, savage" in the person soon to was extrapolating from the methods and some of whom up-ended the concept to Jungle Book (1890) — a concept further materials of his day. Many say the Bible write of "dystopias" — doomed cultures be taken an important step by in Tarzan the contains the first science fiction; consider not based on the Christian ethic. One such Edgar Rice Burroughs of Noah's extraordinary technological ac- was Jules Verne's City in the Sahara. Apes (1912). Stevenson wrote one complishment and the "UFO" Ezekiel Utopia reached its ultimate expression in a And Robert Lewis saw. Around 180 AD, Lucian of Samosata non-fiction book published in 1848; the of the truly great prototype science-fiction Dr. Jekyll and took his readers walking on the surface of book, by Karl Marx, linked More's ideas tales, The Strange Case of the Moon in his True History; and to "historical imperative" that proclaimed Mr. Hyde (1886). Aristophanes was a science-fiction author the coming of Utopia through revolution. The 19th was a very good century for on several counts when he invented a The book was The Communist Manifesto. imagination! * satirical "ideal" society, Cloud-Cuckoo- The 19th century contained both the r20with Land, with which he made hash of the ram- climax of the Industrial Revolution (and its To be continued in starlog pant belief in a multiplicity of gods. That political expression, capitalism) and the mainstream SF of the 20th century. was for his play, The Birds, written in 414 peak of the Romantic school of literature AD. (which was dominated by socialists-Utopian The Visual Encyclopedia of Science Fic- tion, Harmony Books, 1977, was especial- It's not unusual to find Dante's Divine naturalistic ideals). In that climate, technol- helpful in the preparation of this article. Comedy (dated around 1300) listed among ogy, fantasy and adventure merged in a sur- ly

76 Tarzan triumphant. Although commonly thought of strictly as jungle adventure, Burroughs used many SF concepts in the series.

77 EXCLUSIVE! Available only through this ad . LAm»P

t's hard to decide whether my basic reaction to ABC's Battlestar Calactica is anger or incredulity; I guess it's about equal parts of both. At the time I write this, the first six hours of the show have aired: the initial three-hour movie, a two-hour film broken into two parts, and one hour-long episode. I've seen more than enough. The three-hour premiere suffered severely from script and film editing problems and an overall sense of confusion. So many lines and scenes raised my hackles that I can't go

into them all, but I will point out a few of the more incredible ones. "Reaching For The Stars" For instance, how could the leaders of humanity not expect treachery from a merciless (cover of FUTURE #3) Painted by BORIS alien race whom they have been fighting for thousands of years? Why would they pos- Reproduced in FULL COLOR on high- sibly leave their home planets unguarded? When Apollo and Starbuck find the hidden quality glossy paper, rolled (unfolded) in Cylon attack force they do not immediately attempt to radio this information back to mailing tube, giant size: approximately the Galactica. Instead, they wait until after the enemy has spotted them and jammed 30" x 40* with white border, suitable for their broadcast frequencies. This is no minor boo-boo on the part of our dashing framing. only $6.00 each heroes—it allows the Cylons to maintain the element of surprise and wipe out the hu- (plus $1.00 each for these two postage ) man fleet. With so much at Stake, you would expect sharper reactions from Send to: BORIS Poster battle-hardened warriors. FUTURE Magazine Oept. S19 Then, in the following two-parter, the Viper pilots contract an unknown disease. 475 Park Ave. South Adama orders all able-bodied personnel to be immediately impressed into service as New York, NY 10016 fighter pilots. Apollo protests that the Viper is the most sophisticated craft ever built and that shuttle pilots just can't be made into Viper pilots that easily. And yet, after a NAME short session with a simulator training device, a new Blue Squadron is sent into action and demolishes a superior Cylon force. Of course they have some help from the orig- ADDRESS inal Blue Squadron—those pilots who are stricken with the deadly and highly contagious mystery disease and have been placed in cryo-suspension until a cure can be found. CiTY They have somehow staggered their way up to the Galactica's bridge and reported for duty. They are not cured, mind you, nor is there any indication that the spread of STATE ZIP the crippling disease has been brought under control. Yet they fly their rescue mission Enclosed: and return to the ship. How did they get to the bridge in the first place? Why didn't for BORIS Poster(s), including postage. they infect the whole ship? Were they ever cured? Could this be called nit-picking? The sad truth is that the plot inconsistencies are only part of the problem. There is ATTENTION SF FANS! no science background in the show whatsoever. Why don't Viper pilots wear pres- surized suits when they fly? What good are those stupid-looking Egyptian helmets? What powers the Battlestar and its Viper craft? (If they possess faster-than-light drive,

it has never been mentioned.) How come they keep running into Earthlike planets out there in the vastness of galactic space? (Shades of Space: 1999.)

It is true that the show was never misrepresented. Both John Dykstra and Glen Larson said that Galactica would be a space fantasy and not science fiction. But re- Only gardless of those announced intentions, if the producers wanted a show featuring space $2.40 travel, intergalactic warfare, alien civilizations and a totally advanced technology, it pseudo-scientific + postage was incumbent upon them to give the series some kind of at least & handling grounding. " An extra-value import! We all know that Gene Roddenberry's original concept for Star Trek was a Wagon The all NEW War of the Worlds posierbook! Train to the stars." The show evolved way beyond that, but it took off only when the Every SF lover will relish this full-color British role of the science officer was expanded. Trek was a groundbreaking show in terms of posterbook based on H.G. Wells' classic tale! Each the concepts it used and explored. This was primarily due to the scripts provided by copy includes: SF Matheson, George A full-sized, foldout Martian war machine poster! legitimate science-fiction screenwriters—Robert Bloch, Richard Exclusive blueprints of the Martian machines! Clayton Johnson and Ted Sturgeon to name but a few. The behind-the-scenes story of the new War of I have not given up on Battlestar Galactica. It may still turn out to be the best SF the Worlds LP! show ever presented on television, given time for development and the right scripts. At Tales of Martian menace from Wells to NASA! the moment, however, it is only a million-dollar-an-hour disappointment. Order today! This is a special limited edition, im- ported from England exclusively for STARLOG Howard Zimmerman/Editor readers. A collectors item.

Only $2.40 phis «K for postage & handling; U.S. funds only. Stariog Magazine DEPT. S19 NEXT ISSUE: 475 Park Ave. South to give you the ultimate be- N.Y.C., N.Y. 10016 In STARLOG No. 20 we pull out all the stops hind-the-scenes story of the making of Superman—The Movie. Plus: an ex- Name clusive interview with half of TV's newest SF-comedy team, Pam Dawber, as "Mindy Talks About Mork." Address _ STARLOG No. 20 City-

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78 . NOW For the first time A Model Kit of the Great Space Cruiser C-570 — plus my greatest hits in the forbidden planet sound -- ' track album * And now Bernard itf*] Herrmann's great themes including—Seventh Voyage of Sinbad, Day the Earth Stood Still, and many more

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Travel to Altair IV and back, courtesy of award-winning science CINEFANTASTIQUE (say sin-eh-fawn-toss-teek) is the review fiction illustrator Vincent Di Fate, and writer Steve Rubin, who of horror, fantasy and science fiction films, a glossy, large size, present the behind-the-scenes story of the production of 48-page magazine now in its eighth year of publication. Also get FORBIDDEN PLANET, one of the most beloved science fiction our spectacular 96-page double issue on CLOSE ENCOUNTERS films of all time. It's another spectacular, 96-page, double issue OF THE THIRD KIND, dubbed by director Steven Spielberg "a of CINEFANTASTIQUE, with 24 pages in full color, in the monumental tribute to the craftsmen and technicians who tradition of our acclaimed issues devoted to STAR WARS and collaborated to make CE3K the success that it is," illustrated CLOSE ENCOUNTERS OF THE THIRD KIND, illustrated with with 24 full color pages of the film's amazing makeup and full color and behind-the-scenes production photos never before special effects, many never before published. Just check box FP published! Subscribe today, and get the large, 17x22, full color + CE3K below. Or receive FORBIDDEN PLANET plus our next Vincent Di Fate poster shown above absolutely free! This poster two single issues by checking box FP + 2 issues. The full color will not be available with newstand copies. So send a Christmas 17x22 Vincent Di Fate poster shown above is free with either greeting to yourself and your friends from Robby, the robot, subscription. And we'll also send you a free full color brochure the original "droid." A gift card will be enclosed at your request. illustrating the contents of 25 other back issues still available.

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