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17.7// J. J. Urns directs the IMPOSSIBLE! STARLOG Movie Magic presents

9 years later... X-MEN Meet & the Beast OVER THE HEDGE :G shenanigans ERAGON POSEIDON &

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From our good friends at Decca Now available for the first time is The best music from the 1st1 st sea- Featuring marvelous vocals by Records comes the hit UPN series star- the wonderful music from the son of the incredible sci-fi series ring Scott Bacula. Enhanced portion Scott (Jonathan Archer) Bakula, long-running acclaimed TV series starring Richard Dean Anderson. includes cast bios and Russell Watsons art Paul Thic #~n Inrlnrfpc riaviri Arnrtlrl'c feature star of the new UPN TV series "Where My Heart Will Take Me." includes several Celtic favorites. main title! ENTERPRISE!

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Don't want to cut magazine? Write order on any plain piece of paper. m 14 DRAGON DREAMS mmiMmim"speaks Christopher Paolini weaves tales of Eragon His claws are unsheathed! You better listen, bub! 18 ON THE CUTTING HEDGE 60 THEIR LAST STAND. Animated animals invade suburbia! at 11! Making another X-Men movie is serious business 24 WILD THINGS 65 THE BEAST BLUES CG Big Apple zoo beasts go back to nature Everyone still knows Kelsey Crammer's name 28 A GALLIFREYAN GALLERY 68 FLIGHT OF THE ANGEL Here's a colorful look at the art of Doctor Who is on the wing as an original X-Man 32 LOST SOUL 73 HER COSMIC REIGN For , island life can be torture Laurie Mitchell rules as Queen of Outer Space 36 HIS MISSION: IMPOSSIBLE 78 ARTISTIC CREATURES STARLOC reader J.J. Abrams helmed this epic Basil Cogos painted filmland's Famous Monsters 40 DIRECTOR OF STEEL 80 THE ANARCHIST REVEALED X-moviemaker faces a challenge Beneath V's mask, it's 46 UP, UP & AWAY! 84 PASSAGE ON THE POSEIDON Meet , Earth's latest Superman A new ship of fools sets sail for watery doom 52 WHEN THE MAGIC WORKS 86 AEON IN FLUX Christopher Priest conjures The Prestige Co-writer Phil Hay addresses the adaptation 0*ns All Art: Bob Muleady - CLII^HOWARD WAS NOT THE FIRST CHOICE RDRCHEWEWCCA.

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Writers Naren Shankar & Peter Allan i/vn I menexrcenEmrmn Fields. $7. r>o ISSUE! #22 All-writers issue: 15 interviews. S7. Official #7 Dorn. Next Gen art. Weapon & uniform The Magazines designs. $7. Journeys These classic editions include pasts #23 Director Timothy Bond. Writers. $7. present: #8 Diana Muldaur. Posters. exclusive interviews, detailed $7. they How #24 Writer David Kemper. Directors. S7. episode synopses & amazing pho- made the #9 Trek comics. Posters. S1 5. series' tos! Some issues also feature most #25 100-page issue. Brent Spiner. Sirtis. Frakes. Burton. McFadden. 15 synopses. posters, designs & blueprints. #10 Directors Rob Bowman & Corey Allen. acclaimed episodes 31 0. Complete your collection now Next Gen art. S7. while limited supplies last! #26 Spiner. Directors Alex Singer #11 Frakes. Nine gatefold posters. 37. & Gabrielle Beaumont. Writers. S7.

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Executive Art Director W.R. MOHALLEY Editor QUOTE OF THE MONTH DAVID MCDONNELL "Dr. Jekyll, I presume? They found a half-eaten Art Director sheep in the zoo. The police want to ask you a few HEINER FEIL questions." Managing Editor —Dr. Wilson, House ALLAN DART Contributing Editors SMART DECISION ANTHONY TIMPONE MICHAEL CINCOLD OF THE MONTH TOM WEAVER The SCI FI Channel: For renewing Battlestar IAN SPELLING Galactica. Not that we've forgotten that JOE NAZZARO series stuff. We're still annoyed at NBC, CBS, ABC WILL MURRAY Take a ride to your nearest bookstore and drive and Fox for past axings, but—now that they no Financial Director off with The Art of Cars. DEB IRWIN longer (more or less) exist—we're forgiving the Dumont Network, UPN and the WB. Hey, CW, the-road snapshots and hundreds of character sketch- STARLOC CROUP, A CREATIVE CROUP Company watch your step! es. Cars director Lasseter did the foreword. THOMAS DeFEO Dude, where's my car(toon)? Well, if you're a JOSEPH V. AVALLONE STUPID DECISION Doonesbury fan, it's in this compilation focusing on Erwine Executive Assistants: Dee OF THE MONTH the life and times of the comic strip's career colle- Audrey Quaranta. tanner, skilled nanny and Correspondents: (LA) Pat Well, persuaded by the connection, gian, professional Janklewicz, Bob Miller, Marc STARLOG visited the Posei- Shapiro, Bill Warren, Dan Yakir; but (NYC) Dan Dickholtz, Mike McAven- don set (see page 84), we IF ONLY WE MADE 'EM DEPT. nie, Maureen McTigue, keith Olexa; probably shouldn't have both- () Kim Howard Johnson; ered. We promise to simply (Phoenix) Bill Florence; (D.C) Rhon- da Krafchin; (Orlando) Bill Wilson; ignore the inevitable remake (Canada) Mark Phillips; (Booklog) of Allen's killer-bee opus The THE penny Kenny, jean-Marc & Randy Lofficier, Michael Wolff; (Toons) Swarm. Even ;/ it boasts an Alain "Big Bad Bubba" Chaperon, all-star victims that OMEN cast of Mike Fisher, Tom Holtkamp, Bob Muleady; (Photos) Donn iMottage, includes Dean Cain, Henry MORE FAMILY TIME BETWEEN FATHER AND SON, Albert Ortega. (E.T.) Thomas and Lynda THERE'S NOTHING QUITE LIKE MALE BONDING. special Thanks to: J.J. Abrams, Carter. Naveen Andrews, Halle Berry, Michael Broidy, John Bruno, Risa MPT that you arsmt Chapnick, Nicki Clyne, Doug Cole- WHERE TO BE... man, Amanda Cramer, Simon crane, carol cundieff, Gloria Davies, Beth May 26? In a theater near son, <3t/r we wm Foster, w DuMont, Jeffrey Fordis, Ben you to see X-Men: The Last Kerry Gammill, Carol Marks George, to w out AS tHe Stand. June 9? Same place for Basil Gogos, Clint Goldman, Omar sANie thing ^sey Gonzales, David Gorder, Kelsey 's Cars. Crammer, Howard Green, Judith yeAR? Haut, Phil Hay, Laura Howe, , Famke Janssen, Tim John- BOOKS OF NOTE son, Patrick Keegan, Michelle Keller, where's my Cars! Lana Kim, Fumi Kitahara, Dot Lin, Dude, Jesse Mesa, Laurie Mitchell, Nicole Well, if you're a fan, Nasser, Steve Newman, Christopher it's in The Art of Cars by Paolini, Wolfgang Petersen, Wallis with Suzanne Christopher Priest, , Michael Jeff Renaud, Brandon Routh, Lau- Fitzgerald Wallis (Chronicle, ren scala, Bryan singer, GIna Soliz, he, $40). The CG-animated Lisa Stone, Jeff Walker, Hugo Weav- ing, Karl Williams, Steve Williams, film follows a rookie racecar Ralph Winter. journeying cross-country to Cover Images: x-Men: Trademark & ©2006 20th century Fox. All Rights take part in the Piston Cup Reserved. X-Men Character Like- Championship in . ness: Trademark & ©2006 Marvel Offering a detailed view into Characters, Inc. All Rights Reserved; Superman: David James/Trademark its artistic development, The & ©2006 Warner Bros. Entertain- Art of Cars showcases story- ment, inc.—U.S., Canada, Bahamas & Bermuda. All Rights Reserved. boards, full-color pastels, on- Superman Character: Trademark & ©2006 DC Comics, inc. All Rights Reserved; Lost: Art Strelber/©2006 STARLOC (ISSN 0191-4626, Canadian GST number: R-124704826) is published monthly except for February & September by STAR- ABC, Inc. INC., a CREATIVE Company, 1372 Broadway, 2nd Fir, New York, NY 10018-6311. STARLOC and The Science Fic- For Advertising Information: LOC CROUP, CROUP tion Universe are registered trademarks of STARLOG GROUP, INC. This is issue Number 346, June 2006. Entire contents are (646) 649-8131; FAX (212) 889- STARLOG GROUP, INC. All rights reserved. Reprint or reproduction in part or in whole—including the 7933 copyright ©2006 by reprinting or posting of articles and graphics on any internet or computer site—without the publishers' written permission is Advertising Director: strictly forbidden. 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6 STARLOG/Jwne 2006 ! N

acclaimed political strategist. ..Zonker! story ideas, memorable quotes, weird clues Dude: The Big Book of Zonker by Doones- and more. The foreword is by Monk creator . Green bury creator G.B. Trudeau chronicles the Andy Breckman; the afterword's by Monk crazy and hilarious development of the star Tony () Shalhoub (as we . . "Duke of Malibu" over the years. It's a like to call him). Both books—and the new $19.95 tpb from Andrews McMeel. season of Monk on USA Network—debut in July. . Arsenal. KUDOS TO... Tempest. Richard Taylor, , Howard FILM FANTASY CALENDAR Berger, Tami Lane, , Bob Burns, Release dates are extremely subject to Bill Warren and Tom Weaver, our award- change. Heroes unite— winning gang. See Medialog for details. May: Mission: Impossible HI (5/5), Posei- don (5/12), Over the Hedge (5/19), The Da for the most WHATEVER Vinci Code (5/19), X-Men: The Last Stand deadly mission HAPPENED TO... (5/26). The S.S. Poseidon? Seems like perfect June: Cars (6/9), Click (6/23), Superman of their lives! weather for a dinner cruise. Returns (6/30). July: Pirates of the Caribbean: Dead Man's BY OUR CONTRIBUTORS Chest (111), A Scanner Darkly (111), Pulse STARLOG's Lee Goldberg is now a TV (7/14), Pathfinder (7/14), My Super Ex-Girl- specializing writer-producer in myster- friend (7/2 1 ), Monster House (7/2 1 ), Lady in ies. He's also a novelist who's doing a series the Water (7/21). of original paperbacks based on Diagnosis August: The Ant Bully (8/4), The Return of (a Murder show he co-produced with STAR- Zoom (8/1 1 ), Pan 's Labyrinth (8/25). LOG veteran William Rabkin for several September: The Covenant (9/8), Open Sea- years). Goldberg's also writing a sister series son (9/29). of Monk mystery novels. The second one, October: Barnyard (10/6), The Prestige Mr. Monk Goes to Hawaii (Signet, pb, (10/20).

$6.99), is great quirky fun! And here's the November: Flushed Away (1 1/3), The Santa most unlikely part: Goldberg's first volume Clause 3 (11/3), Casino Royale (11/17), (Mr. Monk Goes to the Firehouse, out Janu- (11/17), Deja Vu (1 1/22). December: Next (12/8),

i tmi i torn Cw«tt»n a« Eragon (12/15), Char- lotte's Web. 2007: Ghost Rider (2/6), MCr.ti Ai.L-N('w Mwttsr mi Superhero (2/9), Meet the 1 _ k "1 Robinsons (3/30), Teenage Mutant Ninja Turtles

(3/30), Spider-Man 3 (5/4), Inheritance WIN BRAYS 3 (5/18), Pirates of D the Caribbean 3 (5/25), Ratatouille (6/29), Evan Almighty (6/29), 2 (7/4), Transformers Three legendary crime (7/4), Harry Potter and the fighters— and the three Add these latest entries to Order the Phoenix of conflicted heroes who your STARLOG (7/13), Underdog (8/3), Contributors Library. Surf's Up, Bee Movie were once their loyal side- Collect 'em all! (11/2), Enchanted (11/2), kicks—join forces in ary 2006) is now the basis for an actual Beowulf (11/21), The Golden Compass

Monk episode. Goldberg and Rabkin (who (12/7), The Chronicles of Narnia: Prince a desperate struggle to . collaborated on two previous Monk TV Caspian (12/14). stop the superhuman scripts) have loosely adapted it for a Monk 2008: American Dog. episode killer-for-hire . airing this summer. That seems truly " unprecedented—an original tie-in novel But is the assassin just transforming into a TV entry iuBSCRIBEER SERVICES one player in a much But that's not all! Two Friends of STAR- Missing copies? Moving? Renewals? LOG— genre marketeer Terry J. Erd- Receiving duplicates? Subscription ques- larger game? mann and our Star Trek licensing liaison tions? Paula M. Block—have produced Monk: The Write to: STARLOG Available in paperback Official Episode Guide (St. Martin's Griffin, Subscriber Services, P.O. Box 430 tpb, $ 19.95). It's in the tradition of their pre- Mt. Morris, IL 61054-0430 Read an Excerpt Online at Inquiries to editorial offices only delay matters. vious volumes (Star Trek: Action! and the www.twbookmark.com beyond-definitive Star Trek: Deep Space NEW SUBSCRIBERS: See subscription ad in this issue. Do NOT send money to above address. Nine Companion), and it's just a quirky Attach Mailing Label Here ©Warner Books delight! We read it over a weekend and found it just as much fun as the show! If you're a fan of the obsessive-yet-compulsive NAME www.dccomics.com detective Adrian Monk, you'll love this book! It includes revealing interviews with All characters, their distinctive likenesses, the DC ADDRESS Logo all the writers, producers and , discarded and related elements are trademarks of DC Comics ©2006. All rights reserved.

CITY STATE ZIP — —

UPDATES Guin's A Wizard of Earthsea (also the basis Just after STARLOG #345 went to press, of the SCI FI Channel's live-action mini- three of its interviewees won Oscars. series, which displeased Le Guin). That's

King Kong's Richard Taylor and Joe Letteri what it'll be titled for its Japanese release in earned the Best Achievement in Visual FX July; the eventual American version will be nod. and Tami Lane (who miULOG known as Tales from Earthsea. was not interviewed) took home the Best Makeup Oscar for The Chronicles ofNarnia: By DAVID MCDONNELL CHARACTER CASTINGS The Lion, the Witch and the Wardrobe. (as Captain Shakespeare), Check out last issue to read their pre-Oscar Michelle Pfeiffer, Claire Danes and thoughts on the winning works. Sienna Miller are starring in the film version Speaking of awards, the Classic Horror mated show is planned, with a new 26- of Neil Gaiman's Stardust.

Film Board has given its Fourth Annual Ron- episode series to hit the road in late and Jessica Biel have dos (named after Rondo Hatton, natch!). this year. joined the cast of Next, the Philip K. Dick Honored for the fourth consecutive year as rule! is adaptation starring .

Best Writer is none other than STARLOG's planning a TV movie of Titans. Angel's and

Tom Weaver (and making it even more of an 's Studio B Productions has been are guesting on the season of How I achievement, this is a write-in category; no charged with creating 26 episodes of a new Met Your Mother (which co-star's Denisof 's nominees are proffered). Weaver and STAR- version of 's George of the Jungle wife, , a.k.a. Bujfy's Wil- LOG pal Bob Burns also won the Best Arti- to air on Cartoon Network in 2007. low). cle award for "Our Skull Island Odyssey," a Cartoon Network's has memoir chronicling Burns and wife Kathy's ordered 20 more episodes of Boondocks. FANTASY cameos in 's King Kong that Disney Animation is reworking Meet the Clive Barker's The Thief of Always is Robinsons. Originally set for release heading toward the screen again. Once at year's end, the revisions are push- an animated project, this new version will be

ing it to March 30, 2007 for now. live-action (with CG FX, naturally). Meanwhile, Gnomeo and Juliet, co-director Kelly Asbury will adapt Barker's the Disney animated retelling of book and direct for 20th Century Fox and guess what, has been scrapped. It Seraphim Films. was to have boasted Elton John Walden Media, Revolution Studios and songs. Beacon Pictures are teaming to adapt The Water Horse, a kids' fantasy book by British COMICS SCENE author Dick King-Smith. Robert Nelson Witchblade returns in a new for- Jacobs is adapting. Jay Russell will direct. mat. Platinum Studios, Rela- Another British fantasy novel, The Lies tivity Media and IDG films are of Locke Lamora by Scott Lynch, is also planning to shoot two Witchblade moviebound. and Julie movies back-to-back in China. Yorn are producing for Warner Bros. That'll keep costs down. The movie adaptation of Watch- SOUND TRACKS men clocked out at Paramount (over Christopher (Hellraiser) Young—not budgetary and other issues). It's now —scores Spider-Man 3. clocked in at Warner Bros. Alan (The Little Mermaid) Menken will score for Disney's live- .pictured) stars along although without screenwriter do five songs and the with Emile Hirsch, and Sharon Stone David Hayter and director Paul action fantasy Enchanted. Menken is also in , writer-director Nick Cassavetes' Greengrass. developing The Frog Princess for Disney gritty new true-life drama about drug dealing, Animation. kidnapping and California. Foster is also flying THE REMAKE GAME in Last (see high as the Angel X-Men: The Stand I n past adventures, his GROUP NEWS the interview this issue on page 68). I CIA agent pal Felix Leiter has After almost two decades with Byron almost always been played by some- Preiss Visual Publications, former we're proud to note—was published in one different. Leiters have included Hawaii STARLOG Editor Howard Zimmerman STARLOG #343. And then Burns, STAR- Five-O's , Cec Linder, Rik Van exited the company in January. He has begun LOG's other film historian Bill Warren and Nutter, Norman Burton, John (Lost) Terry, his own book packaging firm, Z File, which director Joe Dante (another STARLOG Bernie Casey, Voyage to the Bottom of the will specialize in kids' books, graphic novels favorite) deservedly earned Best Commen- Sea's David Hedison (twice) and Joe Don and science-related projects. And, sadly, in tary for their conversation on last year's Baker (also twice). has the February, BVP closed its doors (an eventual DVD release of 's The War of the Leiter role in the Casino Royale remake. consequence of founder Preiss' death in an Worlds. Congrats to all! And for more Rondo Threshold's Peter Dinklage will play auto accident last summer). winners or just to visit a fun place, see the Simon Bar-Sinister, arch-enemy to (the live- Former STARLOG Managing Editor website (http://p075.ezboard.com/bmonster action) Underdog. Daniel Dickholtz and wife Lisa welcomed a kidclassichorrorforum). TV wunderkind David E. Kelley is new rugrat, Emily Alexandra, in November. reworking Life on Mars for American audi- She joins a brother, Benjamin. Congrats! ANIMATION SCENE ences, based on the BBC's SF drama about a Ex-STARLOG contributor Brian Lowry Brad (The Incredibles) Bird will direct 21st-century cop's detecting exploits. Kelley —now Variety's chief TV critic (after stints Ratatouille for Pixar. It's based on the will executive produce the American pilot at Advertising Age and the animated short by Jan Pinkava. Release has aimed at the 2007-8 season. Times)—will Square Off'in a new media dis- been set for June 29, 2007. Goro Miyazaki (Hayao's son and, until cussion series airing on the TV Guide Chan- Biker Mice from Mars are revving up recently, director of the Ghibli Museum) is nel. Lowry's debate opponent is The again. A makeover on the semi-obscure ani- helming an animated version of Ursula K. Le Reporter's Andrew Wallenstein.

8 STARLOG/June 2006 www.starlog.com 1 tv

ALIAS witness her Dad's death. 5/12: "The Empty reveals his secrets on page 32. Airs regularly Wednesdays, 8 p.m. This is Child." Meet Captain Jack (John its last season. 5/22: Two-hour series Barrowman). 5/19: " Dances." MASTERS OF HORROR finale (a special Monday airing). cre- The zombies of WWII are on Renewed for a second season by ator (and Lost co-creator) J.J. Abrams dis- parade! 5/26: No episode airs. 6/2: "Boom Showtime. Now shooting. The producers cusses those series and more on page 36. Town." 6/9: "Bad Wolf." 6/16: "The Parting have also sold a four-episode Masters of of the Ways." Goodbye to this Doctor. Science Fiction anthology to ABC. AMERICAN DAD American release of the show on DVD (ini- Airs Sundays on Fox. Returns to the air tially scheduled for February) has been MEDIUM 4/16. Renewed for a full 22-episode sec- delayed to 7/4. See page 28 for a look at the ,irs Mondays on NBC. Likely to be ond season. art of Doctor Who. krenewed for a third season shortly. BATTLESTAR CALACTICA PSYCH Airs Fridays on SCI FI. Renewed for a Airs Sundays on Fox. , Betty USA has ordered 11 episodes (plus the third 20-episode season, now shooting. White, Louis Gossett Jr. and already-shot pilot) of this drama revers- It'll debut in October. will be among the guest voices. ing the Dead Zone/Missing/Medium set-up. It'll debut this summer. And in this case, the "psychic" detective isn't really psychic. Airs Sundays on Fox. STARLOG reader (and Pulitzer Prize winner) Michael Chabon will guest voice. Fox has ordered two. more seasons, taking the series through 2008 (and a total of more than 400 episodes!). And the movie version of The Simpsons is a go! It bows 7/27/07! Airs Thursdays on the WB. Look for a decision this month on whether it'll become a part of the new CW network's pro- gramming this fall (it's likely to do so). STARGATE: ATLANTIS Renewed for a new 20-episode season, with filming now underway for a July premiere. STARGATE SG-1 Airs Fridays on SCI FI. Renewed for a BLADE THE 4400 new 20-episode season, with filming New 13-episode TV series spin-off of the Airs on USA. Renewed for another 13- now underway for a July premiere. Claudia movie trilogy is now in production. The episode season, shooting now for a 6/1 Black joins the regular cast as Vala then. two-hour pilot premieres 6/28 on Spike TV. premiere. Richard Dean Anderson will be back to guest star in the 200th episode and will guest CHARMED several more times this year on both SG-1 Airs Sundays on the WB. This is its last Airs Fridays on CBS. Already renewed and Atlantis. season. 5/21: Series finale. for a 22-episode second season. THE DEAD ZONE INVASION Airs Thursdays and also on Sundays (reg- New (and possibly last) season premieres Airs on ABC Wednesdays. 5/17: Season ular repeats) on the WB. 5/4: Season 6/11 on USA. finale. A decision on a possible second finale. Expect a decision this month as to season is due this month. Its chances: 50-50. whether it'll be part of the new CW net- DESPERATION work's programming this fall (maybe). This latest Stephen King TV adaptation, a three-hour movie directed by old STAR- Airs Sundays on Fox. 5/14: The series' SURFACE LOG pal Mick Garris, airs 5/1 8 on ABC. See 200th episode. Although out of produc- Season finale aired 2/6. A decision on a #252 & #253 for more details. tion for months, Fox has reignited work, second season is due this month from ordering another 20-episode season which NBC. Its chances: unlikely. DOCTOR WHO will debut in January 2007. SCI FI has acquired the American TV rights to the new Doctor Who's first sea- LOST Note: Airdates can shift without notice. son (13 episodes). It airs Fridays, 9 p.m. 5/5: Wednesdays on ABC. 5/24: Airs Two- Airtimes are EST. Series are only listed for which "Father's Day." Rose travels back in time to hour season finale. Naveen Andrews STARLOG has new info.

www.starlog.com STARLOG/Ame 2006 9 — —

FLYING ELEPHANTS Take a walk on the spooky side with Buena CROSSING Vista's Night Stalker: The Complete Series, a On June 6, Disney's perkiest pachyderm two-disc set of episodes from the recent comes to DVD in a "Big Top Edition." series—six that aired, four that didn't. Released One of the company's top classics from its on DVD just in time for the producer (Dan Cur- golden age of animation, Dumbo has been tis) and star (Darren McGavin) of the original digitally re-transferred and now sports extras 1 970s Night Stalker not to see it, the reimagined including a "Making of," concept art, an edu- show stars Stuart Townsend as Carl Kolchak, a cational DisneyPedia about circus animals, crime reporter on the trail of his wife's killer(s) matching-game learning cards, a music video, and discovering instead "the supernatural side sing-along songs, bonus animated shorts of the night." While four unaired episodes ough- ("Elmer Elephant" and "The Flying Mouse") By TOM WEAVER ta be carrot enough bonus-wise, we also get a and a bag of salted peanuts. OK, we're kid- "Making of," deleted scenes and audio com- ding about the peanuts—although we would happily mentaries for our $29.99. No peanuts. trade the sing-along songs for a bag right now. We'll Season Two of The 4400 (Paramount, $39.95), a four- even toss in the learning cards! From disc box set, hits store shelves May 23. A week later, Para- Home Entertainment, it's $29.99. Salted peanuts? mount follows up with Medium: The Complete First Season Priceless. ($63.95), starring Patricia Arquette as a gal who can communi- Much more modern animation techniques are ^ cate with the dead, and realizes she might do more good as a on display in Hoodwinked, a CG spin on "Little medium than a lawyer. There's a joke hiding in there Red Riding Hood" which tells the story from someplace. ..which is probably more than can be said the viewpoint of four different charac for The Flying Nun: The Complete First Season (Sony, ters—reframing the fairy tale as a $39.95), the never-to-be-forgotten (as hard as we might criminal investigation (!). Anne try) with Sally Field as the perky novice Hathaway, Glenn Close, M nun whose starched headdress catches the wind and James Belushi, Patrick War allows her to soar around her Puerto Rican convent. burton and David Ogden Laugh? I thought I would never start, as Stiers provide the voices she's mistaken for enemy aircraft and for this $29.95 Weinstein steals the heart of a pelican. Suddenly, a amidst talking car Knight Rider: Season Four Company release; jj the bonus material are \ (Universal, $49.95)—doesn't sound the least bit five deleted and extended far-out. scenes, a music video, a fea- Also mixing fantasy and religion is A&E's Highway to ture-length commentary with Heaven: Season Three, more feel-good fantastique with all three writer-directors and the Michael Landon as the do-gooder probationary angel. It'll featurette "How to Make an Ani- make you feel good, maybe even downright spiritual—at least mated Film." until you realize you paid $69.95 for it.. .and $79.95 for Season From the impeccable pedi- One.. .and $59.95 for Season Two. That's $210 in all, when all 1- gree of Disney's classic Lady It might have been John you had to do was wait for A&E's : Seasons and the Tramp comes the sequel Merrick's favorite flick. It's 3, priced at just $129.95. How ya feelin' nowl Dumbo, now on DVD in a Lady and the Tramp II: Scamp 's It's about time (pun intended): The second half of The Time "Big Top Edition." Adventure, purebred fun on Tunnel's first-and-only season is arriving soon from Fox, with DVD June 20 from Walt Disney Doug & Tony (Robert Colbert & James Darren) now encountering Home Entertainment ($29.99). Having a doggone good time doing such historical heavyweights as Hood, Nero, Billy the Kid the voice work are Scott Wolf, Alyssa Milano, Jodi Benson, Chazz and Merlin the Magician. The Time Tunnel: Volume Two ($39.95) Palminteri, Branson Pinchot, Cathy Moriarty and Mickey Rooney; also packs on the value-plus material: the 1976 Irwin Allen tele- the added-value features include a "Making of," bonus shorts movie Time Travelers, plus series stars Colbert, Darren and Lee ("Bone Trouble" and "Pluto's Kid Brother"), various games and Meriwether chiming in with some time-tested anecdotes. the usual "Honey, the kids have got to hear this!" audio commen- And the hits (and misses) keep comin': Alf: Season Three (Arti- taries from behind-the-scenes talent. We would trade those for a san, $39.95), MacGyver: The Complete Sixth Season (Paramount, couple of peanuts, too! $39.95), American Dad: Volume One (Fox, $39.95), South Park: The Complete Seventh Season (Paramount, $49.95), Tripping the Rift: The Complete Second Season (Anchor Bay, $29.95), 3rd Rock TV ON DVD from the Sun: Season Four (Anchor Bay, $39.95), King of the Hill: The out-of-this-world antics of outer space's most inept band of The Complete Sixth Season (Fox, $39.95), Inspector Gadget: The travelers continue in Red Dwarf: Series VIII (BBC Video, Original Animated Series (Sony, $34.95), X-Men Evolution: The

$44.98). This is the VHIth and final season of the SF sitcom, enter- Complete Third Season (Warners, $19.95), Dinosaurs: The Com- ing our atmosphere in an extras-packed three-disc set with four plete First and Second Seasons (Buena Vista, $39.95) and—Cow- hours-plus of bonus features: cast commentaries, featurettes, delet- abunga! Teenage Mutant Ninja Turtles: Volume Four (, ed scenes, raw FX footage, "smeg ups" and Easter Eggs. For $5 $14.95). : The Complete Third Season brings us color more, a limited edition Series VIII box set with model "skutter" toy episodes, our first look at Tabitha's "wishcraft" powers and Eliza-

is being released on the same date (May 2). beth Montgomery-Agnes Moorehead performances that brought Also from BBC Video comes more Doctor Who—in fact, the them Emmy nominations. It's 33 episodes on four discs for $39.95 cult series' first three stories in a three-disc box set called, appro- from Sony. priately enough, Doctor Who: The Beginning ($49.98). "An "Earth can be darker than space." We're not quite sure what that Unearthly Child," "The " and "The Edge of Destruction" ad line has to do with the plot of TV's Odyssey 5, but we like it too have been restored and also loaded with extras from the BBC much not to use it. Anyway, The Complete Series is coming to archives, perhaps most notably a documentary on the show's ori- DVD on five discs (Sony, $49.95), bringing us all the adventures of gins and an unedited 40-minute studio recording that includes out- the space shuttle crew who see Earth explode, but then are sent takes. Audio commentators are producer Verity Lambert, director back in time five years by a mysterious being, and attempt to save Waris Hussein and actors Carole Ann Ford and William Russell. the planet. Peter Weller starred (briefly!).

10 STARLOGX/ime 2006 —

DVD DATEBOOK Everything You Want (Buena Vista, $29.99): For fans of TV's Here are the DVD premiere dates for selected films, TV series Roswell and its star Shiri Appleby, a romantic in which she collections and special editions. Check this Videolog (as well plays an art student who must choose between her longtime dream as past columns) for details. guy and the quirky, fun-loving charmer she's tutoring. Streeting 5/9: Earthquake, The Poseidon Adventure, The Tow- Charlie Chan Collection: Volume One (Fox, $59.95): What a ering Inferno. coincidence—just as prepares to star in a big-screen 5/23: The 4400: The Complete Second Season, BloodRayne. Charlie Chan movie, four of the Warner Oland oldies make their

5/30: Night Stalker: The Complete Series, Medium: The Com- digital debut {Charlie Chan in London, ...in Egypt, ...in Paris, ...in plete First Season. Shanghai), plus the 1931 Eran Trece—the Spanish-language ver- 6/6: Dumbo, The : The Complete First Season. sion of the lost film Charlie Chan Carries On. In the latter, Manuel

Arbo plays Chan. (Well, is it any kookier than Swedish Oland in the role?) Speaking of great detectives, Fox has a Mr. Moto (Peter PICK OF THE MONTH Loire) collection in the works, and they've just brought us The We will make no pretense of cool critical objectivity here: The Adventure of ' Smarter Brother ($14.95), with Videolog pick of the month (and several past months, and Gene Wilder commentating. perhaps a couple offuture months) is Paramount's upcoming The The Poseidon Adventure (Fox, $19.95): What a coincidence Wild Wild West: The Complete First Season—the initial 28 black- just as the remake hits theaters, the 1972 original sails into vid- and-white episodes of the groundbreaking 1965-69 -spy- stores as a special edition with a (life)raft of extras (featurettes,

SF series with Robert Conrad and Ross Martin as Jim West and commentary, etc.). For disaster fans, Fox is turning up the heat by Artemus Gordon, U.S. Secret Service agents in the post-Civil War also reissuing another of Disaster Master Irwin Allen's seminal West. Their Bond-type weaponry, Conrad's superlative fight and '70s pictures, the all-star The Towering Inferno (same price). And stunt skills and Martin's multiple disguises provide many of the Universal shakes things up with their 1974 contribution to the highlights in this $49.95 set. demolition derby, the -starring Earthquake Memorable guest stars include Victor Buono as a Fu Manchu- ($14.95). like baddie, Burgess Meredith as an eccentric professor who trig- Going AIP!: Lionsgate unleashes four more American Interna- gers earthquakes, John Dehner as a Civil War veteran more metal tional oldies via two more $14.95 twin-bills. First, Roger than man, Leslie Nielsen, , Dana Wynter, Don Rick- Corman's after-the-Bomb monster movie Day the World Ended is les, Suzanne Pleshette, Leslie Parrish, Yvonne Craig, Keenan paired with the reincarnation chiller The She-Creature; and then Wynn, STARLOG favorite William Campbell and, in three we get a double-dose of Roger in The Saga of the Viking Women episodes, Michael Dunn as the mad dwarf genius Dr. Miguelito and Their Voyage to the Waters of the Great Sea Serpent and Loveless and as his king-sized henchman Voltaire. Teenage Caveman (with Robert Vaughn in the title bearskin). On the special features frontier, look forward to Conrad audio Event Horizon (Paramount, $19.95): The ad line: "Infinite intros; audio interviews with writer John Kneubuhl (creator of Dr. Space—Infinite Terror." The to getting through the movie: Loveless), producer Fred Freiberger, composer Richard Markowitz Infinite patience! Maybe the extras are better: Producer and direc- and casting director Ethel Winant; an interview with FX man Tim tor commentary, "Making of docs and, get this, "The Unfilmed Smyth, who provided the series with its many far-out gadgets and Rescue Scene." Huh? weapons (including Jim's sleeve-gun); and, yes, even Conrad's Attack of the Sabretooth (Lionsgate, $26.95): "Jurassic Park notorious Eveready Battery commercial ("Go ahead, knock it with tigers instead of lizards" is all anybody needs to know about off!"). As my Great-Aunt Maude used to say, this is a bona fide this SCI FI Channel B-flick. C-flick? Heck, go as far down the must-have for Baby Boomers who grew up with the show, and a alphabet as you like—noooobody's gonna argue with ya! must-see for any TV action fans who haven't yet had the pleasure. The Triangle (Artisan, $26.95): , Eric Stoltz and Catherine Bell delve into the Bermuda Triangle's mysteries, uncovering truths more bizarre than the myths concocted to con- DVDS IN BRIEF ceal them. and co-star. Frankenstein Meets the Spacemonster Equinox (Criterion, $39.95): This double-disc (MPI, $14.95): Mars needs women! And their <*S set pairs an amateur fantasy-horror film shot circa plan to snatch some of our Earth babes 1967 by future visual FX artist involves sending a Martian princess, her "".•ft (made for $6,500 and never before released in its eunuch sidekick, various henchmen and an original form) and its revamped 1970 theatrical ape-like monster to Puerto Rico. But they may incarnation, with extra scenes written and directed not have counted on the combined resistance (by others) at the distributor's behest. Oodles of of NASA's new robot astronaut and its inventor extras, including Muren on the commentrack. {' !). Great BloodRayne (Visual Entertainment, campy b&w fun, class of '65. MPI is also 19.95): Adapted from the comic book, this releasing a double-bill of 1962's The Creation of is a tale of good vs. supernatural evil in the Humanoids and 1965's War Between the Plan- 1723 with Kristanna ets, as well as... Loken, Sir , Billy The Horror of Party Beach (MPI, $14.95): By Zane and that mainstay of far the best combo beach party-monster movie ever M . ^* 18th-century adventure made in Stamford, Connecticut, producer-director movies. ..Meat Loaf! One Del Tenney's 1964 anti-classic arrives on a edition comes packaged with DVDouble-bill with his same-year chiller The Curse the complete interactive PC game of the Living Corpse, the latter starring Roy Scheider BloodRayne 2. and Candace {Carnival of Souls) Hilligoss. Both Dark Kingdom: The Dragon King movies sport Tenney commentracks. (Sony, $24.99): Recently seen on SCI FI as a mini-series, this Germany-Italian-English- Warning! Beware their stare! See American co-production is based on the Nordic love-starved creatures from another galaxy! legend of a dragon-slaying blacksmith named See the invasion of the wild beach Siegfried that also inspired Richard Wagner's party! See Frankenstein Meets the Spacemonster on DVD! operas. It stars Kristanna Loken (again) and lots of guys with names full of umlauts.

STARLOGX/wne 2006 11 a

A Shadow in Summer is vivid and breath- taking, playing like a movie in the reader's mind. The characters must work through a great deal of self-loathing, yet they're neither The Wizard Lord: Volume One of the Bakker captures the paranoia and doubts morose nor boring, but rather very much Annals of the Chosen by Lawrence Watt- of all his characters in minute detail. These alive. With its East Asia-like setting and ideas Evans (Tor, he, 336 pp, $26.95) people really do have problems. And about ideas, Abraham's debut novel offers an Breaker wants more out of life than being although it's hard to see how he could have intriguing reading experience.

a farmer. So when the opportunity arises to done justice to it otherwise, the last battle —Penny Kenny become one of the Chosen—the magically does drag on as it's described from various enhanced individuals who act as a check to viewpoints. Still, Bakker set out to write a Coyote Frontier by Allen Steele (Ace, the Wizard Lord's power—Breaker says yes. non-standardized fantasy, and in that he has he, 368 pp, $24.95) However, he doesn't expect to actually be succeeded. The third book in this series finds the

called on to fulfill his duty: to slay the Wizard —Penny Kenny human colony still surviving on the planet Lord. Coyote. But their future is in jeopardy, as

The Wizard Lord is that rare volume that Bridge of the Separator by Harry the technological remnants brought from questions the very idea of a Turtledove (Baen, he, 400 Earth are becoming all but extinct. Hope heroic quest while still remain- PP, $24) arrives in the form of a starship from the ing an absorbing fantasy. The The fourth book in the newly established European Union. archetypes—the leader, schol- Videssos series deals with The Unionists wish to establish an ar, beauty, archer, etc. —per- the history of Rhavas— interstellar "starbridge" that would allow form their plot functions and character only briefly men- instantaneous travel between Coyote and

little more, yet Watt-Evans tioned in previous entries. Earth. However, there are those on Coyote shows their humanity as well. Here, the reader follows who feel that the proposal might threaten

It will be interesting to see if he Rhavas' career in the midst their long-won freedom. And then there can continue this delicate bal- of a civil war as he goes are those who have their own agendas. ancing act in future entries. from priest to prelate to Steele has maintained an enviable level —Penny Kenny exile and, ultimately, to dis- of entertainment with this saga, partly due covering a terrible power to his skill with written prose. But he has Darkhenge by Catherine within himself that will also discovered the secret of sustaining Fisher (Eos/Greenwillow transform him into the interest in a continuing series—luring Books, tpb, 336 pp, $15.99) greatest foe the Videssos readers back to Coyote the way Anne Chloe's body is trapped in empire has ever seen. McCaffrey has with Pern and Frank Her-

a coma, but her mind is some- As usual, Turtledove's bert did with Dune. And what is that where else entirely: She has penchant for historical secret? Continually introducing fresh become a prisoner of the accuracy serves him well, characters and situations. Other writers of labyrinthine Unworld. A local m^. Mm**-- and readers will immediate- series fiction, take note. archeological dig and a mys- ly be lured into the world in —Michael Wolff terious poet are the keys to which Rhavas moves. In

her rescue, but can her brother fact, it isn't really necessary The Musashi Flex by Steve Perry (Ace, Rob save Chloe before she's to peruse the other three pb, 336 pp, $7.99) seduced by the Unworld's books. But enlightened The title refers to a martial arts game that power? readers will want to go back gives people the opportunity to move up in

Darkhenge is a com- and partake of Turtledove's the social hierarchy of the future. Three peo- pelling, disturbing young- tapestry. Bridge of the Sepa- ple—a veteran of the game who wishes to the I retire, a journalist who is trying to find adult fantasy sure to resonate CATHERINE FISHER rator is a fantasy that with anyone who has suffered I unfolds like the best histori- penultimate story on it and a billionaire who from jealousy and loss. Fisher captures the cal fiction, and it's worth every moment would risk everything to become a champi-

joy and pain of creation as her characters spent on it. on—find their lives intertwined around a spe- struggle to express the secrets of their -Michael Wolff cial drug that enhances a player's abilities.

hearts. This is a haunting, dark fairy tale The existence of that drug—and the maneu- that should appeal to fans of Neil Gaiman A Shadow in Summer: Book One of the vering to possess or suppress it—creates and Patricia McKillip. Long Price Quartet by Daniel repercussions that can only be —Penny Kenny Abraham (Tor, he, 336 pp, dealt with in the Flex arena. $24.95) The Musashi Flex is an The Thousandfold Thought: The Prince of Percy Bysshe Shelley said, interesting story that exam- Nothing Book Three by R. Scott Bakker "Poets are the unacknowl- ines the future extrapolation (Overlook Press, he, 544 pp, $26.95) edged legislators of the world." of the near-religious impor- When the "What has come before" pre- In the Khaiem Empire, poets tance of sports, as well as the

lude is 23 densely written pages covering his- are that and more. They're the lengths people will go through tory, politics, sorcery and main characters, driving economic and political to excel at them. Rather than

it's obvious The Thousandfold Thought isn't force. They give a literal—and moralizing, Perry establishes meant for casual fantasy readers. Those who human—form to ideas, then a chillingly realistic situation follow through, however, will enjoy this tale command the bound andats' and full-bodied characters, of the warrior-prophet Kelhus drawing closer obedience to make the wheels and then allows the reader to to the truth about himself and his destiny, of commerce run smoothly. arrive at whatever conclusions even as the final battle of the Holy War But what happens when an may emerge.

begins. idea wants its freedom? —Michael Wolff

12 STARLOG/Time 2006 www.starlog.com author who penned the Hugo F@I1L0G award-winning novels A Fire Upon the Deep and A Deepness in the Sky. His famous "The This column showcases web- Technological Singularity" ar- sites for SF, fantasy, comics & gued that technology's growth animation creators and their cre- will reach a point beyond which ations. Websites are listed for free we cannot even speculate about entirely at STARLOG's discretion. the consequences. Get Marooned Site operators may nominate their in Realtime at sites for inclusion by sending rele- mindstalk.net/vinge vant info via e-mail only to [email protected] NATALIE PORTMAN SITE The Force is strong in this Beau-

SUPERMAN RETURNS SITE tiful Girl. While her

It's a bird! It's a plane! It's a new may be over, Portman is part of a Superman film! The Man of Steel new rebellion in her latest film, V returns to (and Earth) for Vendetta. Get Closer to the in director Bryan Singer's actress by visiting revamping of the DC superhero. www.natalieportman.com You won't need X-ray vision to see JAMES CALLIS WEB PAGE www.SupermanReturns.com viewers www.overthehedgemovie.com the details about what's going on know this as the diabolical MIKE FISHER SITE in the Doctor Who star's life. Take Dr. Gaius Baltar. and STARLOG readers have enjoyed HUGH JACKMAN the time to smell the Rose at infatuated by the Cylon Number

Fisher's fabulous cartoons for WEB PAGE www.billiepiper.org Six, the brilliant scientist is the years (and at right), so check out Jackman's back in sideburns and current President of the Twelve the web page of the award-win- those nasty adamantium claws for VERNOR VINGE WEBSITE Colonies of Kobol. You can hail ning animator, news graphic another go-round as that lone wolf V is for Vinge, the mathemati- Battlestar's chief at artist, cartoonist and illustrator for Logan, but will Wolverine survive cian, computer scientist and SF jamescallis.tripod.com a larger look at his stellar work. the ' Last Standi Learn www.goofaman.com more about this amazing X-Man at ALAGAESIA WEB PAGE www.jackmanslanding.com The first two entries in Christo- pher Paolini's Inheritance Trilogy CHRISTOPHER PRIEST exploded onto the fantasy scene, SITE earning the praise of both genre Confessing to this Priest won't get and mainstream readers. Learn you salvation, but reading his more about Alagaesia and the books will deliver you from author at wearisome writing. One of the www.alagaesia.com author's best, The Prestige, is being made into a movie starring OVER THE HEDGE PAGE Hugh Jackman and Christian DreamWorks Animation dishes Bale. Discover Priest's literary

out more animal adventure in magic at Over the Hedge. After RJ. the www.christopher-priest.co.uk Raccoon incurs the of an angry bear, he cons his new forest BILLIE PIPER WEBSITE friends into helping him replace Looking for a Companion on the the junk food he stole. Go out of Web? Well, you won't find a date

the woods and Over the Hedge at at this page, but you will find all

iWVTOR SCANDAL ERUPTED WHEN IT WAS REVEALED CONVENTIONS THAT KDMfe USES A STUAJT DOUBLE/ Questions about cons? Send a self- addressed, stamped envelope to the address listed lor the con. Do NOT call STARLOG. Note: Listed guests may not always appear and cons may be cancelled without www.creationent.com Hilton Doubletree Guests: Bruce any notice. Conventioneers: Send all pertinent info (including phone number and e-mail address) no Campbell, Lance Henriksen, Tampa, FL Mick Garris, del Toro, later than three months prior to the event to STARLOG Con Calendar, 1372 Broadway, 2nd Fir, NY, Guillermo Bob Clark, Vulkon Stuart Gordon, Howard Berger, , P.O. NY 10018-61 13 or e-mail [email protected] This is a free service. STARLOG makes no Box 297122 Mercedes McNab, Niles, guarantees, due to space limitations, that your con will be listed. Sieve John & Clu Pembroke Pines, FL 33029-7122 Gulager, Tony Timpone, etc. (954)441-8735 www.vulkon.com

Heller, Kar] Urban, Julia Stiles, Dean Haglund, TREK EXPO www.bionicon I .com APRIL June 23-25 Wagner, McDonnell, etc. Guests: Lindsay Richard Anderson, STARFEST UMAC Martin Brooks April 21-23 JUNE Tulsa, OK Marriott Denver Tech Center Starbase21 JULY Denver, CO FANCORIA'S WEEKEND OF 2130 South Sheridan Starland HORRORS Tulsa, OK 74129 ELF: LORD OF THE RINGS P.O. Box 24955 June 2-4 (918) 838-3388 CON Denver, CO 80224-0955 Burbank Airport Hilton & Towers www.starbase2 lok.com July 26-28 (303) 777-6800 Burbank, CA Guests: Jonathan Frakes, Marina Sirtis, Genie Crowne Plaza Meadowlands e-mail: [email protected] Creation Francis, etc. Secaucus, NJ www.starland.com 1010 North Central, Suite 400 Creation Guests: George Takei, Denise Crosby, Dirk Glendale, CA 91202 BIONICON See earlier address Benedict, Dwight Schultz. loe Flanigan, Tricia (818)409-0960 June 23-25 Guests: , Billy Boyd

STAKLOG/June 2006 13

do you know when you've beat everyone else up, but this other player when I realized I still had a quarter of the Howbecome a household name? For logged in using the name of Eragon and the book left to write! I just had much more writer Christopher Paolini, it was horrible thing was, he was actually pretty story to get across this time around, and it getting defeated by his own literary good. He beat me two or three times, and was tough. The middle of a tale is where

creation. Author of the bestselling across the screen it flashed, 'You have been everything goes wrong, as it has to, before fantasy epic Eragon, Paolini was back in his killed by Eragon!' I thought, 'Oh, thanks a things can hopefully start to get better at the

Montana home awaiting release of the lot!' trilogy's end. I sometimes have trouble writ-

sequel when he suddenly discovered just "After something like that happens, it ing scenes where my characters are in dis-

how much his creation had become part of really starts sinking in just how big this has tress because I feel it personally, so that all popular culture. gotten," he continues. "It's more than you comes into play." "I was playing Jedi Knight Academy can comprehend as a single person. When I online" he explains. "So there I was, fight- was writing the second book, what really Taking Flight ing a bunch of other players around the drove me to try and expand the world even The author is sitting in the coffee shop of world with lightsabers. I'm up there in the more was that I knew it would be appreciat- a midtown New York hotel, where he has top few percentiles as far as players go, ed. But that's when it hit home for me." agreed to talk about the Inheritance Trilogy

which is great fun for me, because I get to The first part of the Inheritance Trilogy, over an early breakfast. It's the day before

Eragon is the story of a young farm boy who Eldest goes on sale, and Paolini is in town discovers a polished blue stone that turns out for a meeting with the folks at Knopf before to be a dragon's egg. As the fledgling drag- tomorrow's "laydown" (publishing-speak

on begins to mature, Eragon realizes that he for a high-profile book release). It's also the has inherited the mantle of the legendary last day prior to a cross-country tour, but dragon riders, who were once peacemakers Paolini is remarkably sanguine considering in the land of Alagaesia. But the riders have the thousands of frequent flier miles he'll be long since been slain, and the ruthless King logging over the coming weeks. Galbatorix doesn't want a new rider to chal- One of the biggest challenges of writing lenge his power. His dark servants murder Eldest was juggling two simultaneous story- Eragon's family, sending the would-be rider lines between Eragon and Roran, which

and his dragon Saphira on a quest for eventually crisscross near the end. "When I vengeance that has greater implications for originally plotted out the trilogy, a couple of all of Alagaesia. things went into that," notes Paolini. "I In Eldest, the second book in the trilogy, viewed them as threads in the tapestry, so Eragon and Saphira have saved the rebel Eragon's thread goes from the very begin- ning to the very end,

ll and it has certain wig- I EOVE STORIES, gles and arcs. Roran's story starts further in SO I'M JUST than Eragon's, and EUCKY I FEEE IN there are other stories that start even farther EOVE WITH in, and they all have their own arcs. FANTASY FIRST" "The idea for doing

what I did with Roran

Varden from total destruction by the King's really came about from the editing I received forces, but in order to complete his training on Eragon, which involved removing lots of

as a rider, Eragon travels to the elf land of the traveling. I had a theory when I first Ellesmera. Meanwhile, Eragon's cousin started writing Eragon that if a character was Roran is dealing with his own crisis when taking a long time to travel from point A to

his fiancee Katrina is kidnapped by point B, I should take a long time to write

Galbatorix's monstrous servants, and he about it, so that readers felt like the trip actu-

embarks on his own odyssey to rescue her. ally took a while. I was quickly disabused of The end of Eldest is packed with revelations that notion, since of course nothing interest- (including the identity of the red dragon on ing usually happens during the traveling, so the book's cover and the secret behind its the idea with Eldest was that every time a

title), and it also sets the stage for part three big chunk of traveling occurred, I would of the trilogy as well. switch the point-of-view.

Not surprisingly, packing all that materi- "That made things more complex. I al into a 700-page novel was no easy task. viewed Eldest as a chance to spread my "When I started Eldest, I told myself that I wings as an author and expand on this was going to make it shorter than Eragon, world—to stretch out the characters and because usually the middle of the story is attempt things I hadn't tried before, like where it sags," says Paolini. "So I swore to changing points-of-view. And, of course,

myself that it was going to be shorter. I told now that I've started shifting viewpoints, I my Mom and Dad, my sister, my agent, my can't very well stop, so the third book will be editor, 'It's going to be shorter than even more complex than the second one!" EragonV Well, I was saying that right up The behind-the-scenes story of how until it reached the size of Eragon, which is Eragon came to be is almost as interesting as

Christopher Paolini is only 22, but he's already the author of two bestsellers. Eldest is the second volume in his dragon fantasy epic. Planned as a trilogy, this 700-plus-page follow-up focuses on the two simultaneous storylines of Eragon and Roran.

STARLOG//w«e 2006 15 the promotional materials, posters and pre- "I was giving three to four one-hour-long

order forms and his sister Angela (after presentations every single day, but it was do whom Paolini named one of his characters) or die: sell books or don't eat. I've tried to

even hand-colorized each dragon eye on the explain it to people, because sometimes they original paperback edition. have the impression that, 'Oh, you just got Turning Eragon into a finished book was this published as a kid!' But I remember

one thing, but getting it into people's hands attending a small fantasy convention, where was another. "I will name no names," says we didn't even sell enough copies to cover Paolini, "but certain chains would not touch the traveling expenses. That was the first trip

the book, and understandably so. There's a we did with the book, and it was very dis- chain out west called Hastings Books and couraging. That's why I'm so grateful now Music which not only carried Eragon in my that Random House is taking care of all local store but throughout all of their stores that."

when it was self-published. I was told by one of their corporate headquarters people that Catching Fire Eragon—during that time—was actually in If the story behind Eragon's self-pub- their top 10 percent of book sales in SF and lished incarnation is amazing, its transition

fantasy, and that's because I was doing so to bestselling novel is even more unlikely. many signings at their stores. Without their "The book was found by Carl Hiaasen—by

support, it would have been very difficult. his stepson Ryan actually. Carl vacations in But for the most part, the majority of sales Montana, and he was fly fishing in Paradise came from visiting schools." Valley, where I live, which apparently has Christopher Paolini For the next several months, Paolini and some of the best fly fishing in the world. his family took Eragon on the road, doing Anyway, his then- 12-year-old stepson Ryan presentations at more than 100 schools, picked up a copy of Eragon at the local

libraries and fairs across America. Paolini bookstore and loved it so much that Carl rec- Eragon began the saga. Paolini started would often do several presentations in a ommended it to his editor at Knopf. penning the story when he was 15 (!); his day, eventually selling 10,000 copies of the "It bounced around at Knopf for a few parents helped him self-pubiish and self-published edition, one copy at a time. months, and then my editor-to-be, Michelle promote the novel. Knopf eventually went to a bookstore, I would Frey, decided that she would undertake this picked up the property, which now has "When we manuscript, differ- two million copies in print in 37 countries. stand by the door for eight hours straight monster which was very without leaving the table, talking to every ent from most things she handles. So Knopf the book itself. Home-schooled with his single person who came in, and on a really approached me, and we had a competing bid younger sister, Paolini earned his high good day I would sell maybe 40 books. On a at the same time from another publisher,

school diploma at age 15, but put his plans good day at a school, I could easily sell over who got wind of it through a traveling sales for college on hold in order to begin work on 300, so it became a no-brainer, deciding rep. The fact that it was doing so well as a

an epic fantasy trilogy he wanted to write. It where to go. self-published book gave us a huge amount took a year to complete Eragon's first draft,

another year to revise it—during which he basically had to learn how to write proper- TMASTORYTBUER, ly—and a third year to edit the novel and get I it ready for publication. SO GUESS I'll Till Trying to sell a book written by a first- STORIES WHETHER IT'S time author in his teens would have been next to impossible, so Paolini's parents WITH ART, MOVIES, MUSIC agreed to self-publish it, and Eragon became the family business. His father did the graph- OR NOVKLS." ic design and formatting, his mother handled

of negotiating power, and it also gave us the ability to walk away if we wanted—not that we did, but we could have. "The thing was, at that time, food on the table depended on books being sold. Prior to self-publication, my parents felt that the story was good enough to do this, so they

spent an entire year making sure it didn't look like a self-published book. For that entire year, they didn't receive any income from other sources, which was an enormous risk. If the book had taken another few months to start turning a profit, we were going to have to sell the house, move to the

city and look for regular jobs. So I really did have to go out and do presentations and whatnot." In the end, that wasn't a problem. The Knopf/Random House edition of Eragon sold more than a million copies in just six months, spending 98 weeks on the New York

Times Best Sellers list. Two million copies are now in print, in 37 countries, and within

16 STARLOG//h/k? 2006 two weeks of this interview, Eldest would me as a reader when I embarked on this tril- knock Harry Potter and the Half-Blood ogy. I had been reading a ton of epic fantasy Prince out of the number-one spot. And in at the time, and so many of the series just July, 20th Century Fox announced that pro- never wrap up. To me, a good story needs a duction was about to begin on an Eragon good ending. So this tale has a definite con-

film, starring newcomer Ed Speleers in the clusion, and it will be coming in the next lead role. The other cast members include book." Jeremy Irons, John Malkovich, Robert Paolini admits that having spent so many

Carlyle and , with award- years creating his universe, it's tempting to winning FX wizard mak- stay there a while longer. "I had some of ing his directorial debut. those thoughts while finishing the second "I had a huge amount of say when the installment," he says. "It's probably a com-

deal was made," says Paolini. "Because we bination of two things: One, some of it may had never worked with a movie studio be financial. If you have a series that sells before, the decision was based on who we really well, you have an incentive to keep

thought would hopefully do the best job. But writing it. But the other factor is that I've been working on this world since late 1998. I've put so much energy into fig- uring out the races, languages and histo- "IT DOES ry; there's such a wealth of detail now HAVE A that it wouldn 't be worth it for me to cre- ate an entirely new fantasy realm from DEFINITE scratch for a stand-alone book. It just isn't worth it, and the world of Alagaesia

END." is a valuable commodity. I created it, it's

there, so I think I will eventually return to Alagaesia, but not with the same char- it was also a business decision about who acters or story. From Harry Potter to The Lord of the felt the property was the most valuable. "One of the problems that these fantasy Rings and far beyond, FANTASY WORLDS Since then, I've provided as much input as series run into is that if your main hero explores the most astounding aspects of the fantastic. Let us amaze you! I've been able to, or has been requested by defeats the evil and you want to #1 Fellowship of the Ring. Harry Potter & the studio. tell another epic story in that land, you have the Sorcerer's Stone. Dinotopia. Interviews: "I didn't write the screenplay, a fact for to raise up another evil supervillain. That Neil Gaiman, Peter Jackson & Co., Orlando which I'm very grateful, to be honest. I tried diminishes not only the earlier triumph but Bloom, the Hobbit four, , HP to write a script for the self-published edi- also the world, because you always have producer David Heyman, HP screenwriter Steve Kloves, Elizabeth Moon. $6.99. tion of Eragon, just to have it around as a these evil popping up. So if I #2 Two Towers. Chamber of Secrets. valuable commodity, but the problem was do tell another tale in Alagaesia, it will prob- Interviews: Rings producer Barrie Osborne, that I had spent two or three years working ably be more like some of the Ursula K. Le John Rhys-Davies, Liv Tyler, Chris Columbus, Heyman, HP production designer Stuart Craig, on the book at that point, so it was torture Guin stories, where the antagonist comes Rose McGowan, Greg Keyes. $7.99. going back and taking another look at it. from something within the hero maybe a — #3 Return of the King. Peter Pan. Rrother And then, of course, I had to switch it from more personal journey. I want to write other Bear. Frank Frazetta Museum. Interviews: third-person past tense to omniscient present stuff, and not all of it will be fantasy. Science Jackson, Elijah Wood, , , Miranda Otto, Terry Pratchett, Dave tense, which is no fun, and drastically com- fiction, thriller, mystery, historical fic- McKean, David & Leigh Eddings. $7.99. press it. So I don't want to write a screenplay tion.. .anything I can get my hands on. I love #4 Prisoner ofAzkaban. Shrek 2. Wrinkle of a book of mine ever again!" stories, so I'm just lucky I fell in love with in Time. Charmed. Conan comics. Interviews: fantasy first. If it had been something else, I Hugh Jackman, Guillermo del Toro, Alfonso Cuardn, Columbus, Osborne, R.A. Salvatore, Spreading Wings would have written something else." Tracy & Laura Hickman. $7.99. Needless to say, Paolini's next project is Looking to the future, things appear #5 Lemony Snicket. Incredibles. Shrek 2. the third and final installment of the extremely bright for Paolini. He already has Polar Express. Rings Makeup. Interviews: Inheritance Trilogy. Although it is still in the two bestselling novels to his credit, with a Clive Barker, Charles Vess, Holly Marie Combs, Kristin Kreuk, Heyman. $7.99. outline stage, it's almost inevitable that big-budget feature film being made of the Book Three will be even bigger than its pre- first. And he's only 22, that magical age ^ decessors, based on the sheer amount of when most young adults are still trying to ^ FANTASY WORLDS U.S.: 1 magazine add $3, 2 to 5 add $8, 6 or more add $10. story that needs to be wrapped up. "I knew decide what they want to do with their lives. Foreign: 1 magazine add $9, 2 or more add $5 per maga- you were going to ask me about that!" So all things considered, the Inheritance zine. New York residents add 8 1/4% sales tax. groans Paolini with an expression of mock Trilogy is one hell of a head start. "When I Issoe — $ Issue $ Issue $ Issue — $ Issue $ Issue $ dread. "Well, I actually started it before this finish this last book, I'll have worked on this Method of payment: tour, because I had to hand in the proposal. series for about 10 years," he reflects. "I'm a — Check —Money Order —Cash —Visa —Discover —Mastercard It was really a formality at this point, storyteller, so I guess I'll tell stories whether

because I plotted out the main strokes before it's with art, movies, music or novels. Account number beginning the trilogy, so this was just to set- "The thing about writing is that I've Card Expiration Date: /_ (Mo./Yr.) tle Random House's heart that I actually invested so much time in learning - how to Your Daytime Phone # ( j knew what I was doing with the third book. become a good writer that I'm almost loath

I "When started mapping it out, I got the to set that aside and start from scratch Print your name as it appears on your card

same feeling going through the outline as I again," says Christopher Paolini. "But once I did when Eldest reached the size of Eragon, finish this trilogy, I'm going to take a nice Street which is that I've still got a big chunk of long break. I want to try some other things, story left! I'm notoriously bad at estimating because I've really been doing nothing but City State Zip the [page count], but there's lots to cover in writing and book tours since I was 15. So Total enclosed: Send payment with order to: STARLOG GROUP INC. Book Three. However, it does have a definite after this, I want to spread my wings a little 1372 Broadway, 2nd Fir end, because that's something that bugged bit." 4v New York, NY 10018-6113 www.starIog.com magine you're a forest animal. You've just awakened from a I long winter's hibernation. But you're in for a shock: Half of I the trees are gone. They've been replaced by blocky structures I of wood, glass and brick and paths of asphalt and cement. A I large green hedge now divides your territory, and your home I has become the backyard of a strange new animal: Man. Verne Wm the Turtle believes suburbia is something to be feared and avoided. On the other hand, RJ the Raccoon thinks it's a land of opportunity, and something to be exploited. But if you dare venture into Man's domain, what will Man do about it? Find out in Over the Hedge, the new animated comedy from DreamWorks Animation SKG, based on the newspaper strip by Michael Fry & T Lewis. Jim {FernGully: The Last Rainforest) Cox saw the strip's potential as an animated feature, and originally optioned it at another studio (Fox Family Films). "I knew about it, and I was praying that they would never make it into a movie," says co-director Tim Johnson (co-director of Antz and Sinbad: Legend of the Seven Seas). "Right from the start, I thought the strip was a great, wry, on how we look—through animals who know what's best—in our own backyard. "The property languished for five years, and I was excited to see that the other studio dropped the ball. Jeffrey Katzenberg had his eye on it as well, and we talked about it often. So as soon as the proper- ty became available, we grabbed it and pretty much winged Over the Hedge into production right away. Then we hired a screenwriter

[Len Blum] and started to develop it. That was four years ago." Other writers contributed to the project: Lome Cameron, David Hoselton and co-director Karey Kirkpatrick. "This is Karey's step into directing," Johnson explains. "His story and comic sensibilities

n r-J

S\^ J —I L-l ill LaJ Co-director Tim Johnson takes his creature commandos out of the woods & into suburbia. By BOB MILLER

Co-directors Tim Johnson (glasses) and Karey Kirkpatrick pose with producer Bonnie Arnold and four of the film's lead animals: Stella the Skunk (voiced by Wanda Sykes), Verne the Turtle (Garry Shandling). RJ the Raccoon (Bruce Willis) and Hammy the Squirrel ().

18 STARLOG//«ne 2006 are all over this movie. Karey was a writer on Chicken Run, and the sequences. It was a great trust to take their baby and guide it into a fun thing about DreamWorks is that there are a number of properties new medium. And we were honored to have their involvement along going at any given time. So creative people are called in from dif- the way." ferent shows, just to offer fresh points-of-view. As is usually the case with DreamWorks' animated features, "I had consulted on one of Karey's scripts, and he had come in celebrities provide many of the voices as a means of adding marquee on one of my other films, so we knew each other fairly well. We had value. The first to be cast was Garry Shandling as Verne. "Garry was some creative dealings with each other before we were married to hugely influential in finding a very difficult character," says this picture. The reason animated films have multiple directors is

that you become a decision-making machine at some point. I always think of that guy in Brazil who's walking down the hallway with 50 people following him. He shouts, 'Yes!' 'No!' 'Seven!' 'No!' That's

what it's like.

"Karey and I didn't divide up our duties along the lines that I've

done with past co-directors, where they take one scene and I handle another," he notes. "We stuck together, and then when the schedule

dictated otherwise, we would say, 'Well, you go to lighting and I'll go to the storyboards' or 'I'll do the animation rounds and you take a look at effects.' We let the circumstances of the scheduling pull us apart when we needed to cover things at the same time." Creature Creators According to Johnson, the comic strip's creators were involved mainly as consultants during production. "Mike and T were invalu- able during the four-year making of this picture," he praises. "They Most moviegoers don't realize how much hand-drawn consulted on script pages and story ideas, and when we could drag work goes into a CG-animated feature. Shown here is a concept them into town, we would pitch them storyboards and show them illustration of a daunted Verne dwarfed by a towering hedge. www.starlog.com STARLOG//wne 2006 19 —

!** us that one of his rules—which we absolutely respected—is, 'When $ I I'm on a movie, I can't shift characters, because I really dive into them.' So we got nailed on Jim's schedule. I think he was doing Sunshine of the Spotless Mind and Fun With Dick and Jane back-to-back, so he was going to be unavailable to us for almost six

months. It was just too much time. We talked with Jim and reluc- tantly parted ways, because his schedule—and the way he likes to work—was too intense. "Fortunately, that was more than two years ago, so it wasn't like we were far into production. When we were discussing who would be perfect as this lovable con artist, we talked about how much we loved Bruce Willis in that role. Bruce hasn't really done that in a few years, so we brought the property to him, and he saw the chance to exercise that comedy muscle and dove right in. Two days after call-

ing him, he said, 'Let's do it, and let's record it today.' We ran into the studio with him and did our first session. Based on Michael Fry &T Lewis' comic strip, were rejoicing that we had found this great new voice for Over the Hedge had been on Johnson's radar for years before "We DreamWorks acquired the property. RJ, and Bruce changed—pretty interestingly—the different ways we

Johnson. "Verne is the neurotic and over-protective father of this group of little woodland innocents, and Garry brought so much heart and irreverent comedy to the character. Verne is trying to keep the traditional way of life going as the animals are faced with the most unexpected, untraditional thing that has ever happened to them—this incursion of human suburbia into the forest. "When you work with Garry, you don't just get a voice actor you get a writer who comes up with lots of ideas for his character. He has produced, written and created his own TV shows, and he knows how to tell a story and have a character go through an arc and change. Both Karey and I would get calls from Garry at all hours through the course of the production with ideas and input. He was absolutely fundamental in crafting Verne." RJ is played by Bruce Willis, but the part originally belonged to Celebrity voiceovers lend publicity value to animated . "Jim's interesting, because he's so particular and specif- movies. Johnson credits Willis for conveying the rascally RJ's ic in defining and building his characters," Johnson relates. "He told reluctance and soulfulness.

Johnson believes the director's job is to keep the spine of the story solid. In the case of Over the Hedge, the plot centers around RJ's scheme to restore stolen food to an infuriated bear.

20 STARLOG/TK/ie 2006 www.starlog.com —

Eight of Verne's visages display the neurotic turtle's broad range of expressions. Johnson says Shandling had a major influence in the character's development.

Three stages of a squirrel: The 3-D hardware view of Hammy's fur (left), the HVD view volume of rasterized fur (center) and the polished, final result. were playing him. Bruce got used to speaking without a camera on to the scene where Heather] finally embraces the family profession. his face, and he's really good at being an awkward liar. RJ is a con "Hammy the Squirrel, with Steve Carrell's voice, had even more man, and we want you to like the , but if he's too good of a back-and-forth in terms of what you discover with the actor in the liar, you won't like him. We talked with Bruce about the fact that RJ studio. The off of the script [helped the] animators doesn't enjoy the scam. He doesn't relish taking advantage of his create things and emotions that we never thought possible. In the friends; he's just under pressure to pay back a furious bear, and if he case of Hammy, he's so fast that he leaves a heat trail behind him doesn't do it, he's a dead raccoon. Bruce was able to portray and so special effects also contributed to the character. We just kept convey RJ's reluctance and soulfulness." learning, adapting and changing him until we found what worked." Asked if the characters were developed before the stars got The vocal ensemble also includes (Lou the involved or vice versa, Johnson replies: "That's a chicken-and-egg Porcupine), Catherine O'Hara (his wife Penny), (Vincent which is surprisingly hard to answer. For example, when the Bear), (human antagonist Gladys), Thomas real possums get afraid, they go into this shock state and play dead. Haden Church ("the Verminator"), Wanda Sykes (Stella the Skunk) So we thought it would be marvelous to cast Ozzie the Possum with and Omid Djalili (as scene-stealing housecat Tiger). someone who really plays down the Shakespearian technique: Bill Shatner. In that case, the character progressed after we had a vision Animal Actors of a particular actor. Although Over the Hedge boasts strong character relationships, "Bill agreed to do the role, and then we discovered there's so all the actors recorded their lines separately. "That always surprises much more to him. He has the vocal ability to be vulnerable and real, people—and it surprises me, too," Johnson remarks. "This is my which enhanced the relationship with his daughter Heather [Avril third picture, and I can count on one hand the number of times the Lavigne] as well as Ozzie's passion for playing possum. It's an actors were in the studio at the same time. Only once during this pro- honor thing with Ozzie, and Bill brought emotion to that. We con- duction did two actors enter the room together, and that was Bruce tinued to change the character, and Bill's [performance really added and Garry for that poignant scene where RJ and Verne are defeated at the end of the second act. We wanted them to play off of each Over the Hedge's lead animators other, and they were marvelous. But except for that, every single earned Johnson's respect and actor in this picture was recorded alone in a sound booth. admiration. They took the storyboards, "This is going to sound rather manipulative coming from a direc- script and vocal tor, but individual recording sessions are actually a strength. You're performances always discovering these characters as you go along, and and created you're constantly animation with trying to be open. The director's job is to make sure the emotion, central spine of the story stays solid, but everything else should be comedy as loose and open as possible. Working with one actor at a time and heart. allows the director to play with a performance that might otherwise

be strongly guided by the other actors. You get to explore all these different things with the actor, and you can do 20 different takes of one line. That freedom makes matters much easier for the director. When you're only dealing with one actor, you get their full concen- tration and are able to manipulate and play with the lines." Over the Hedge's recordings were done early enough in the production to be included on the story reels, which let the film- makers see how the various voices matched with the storyboard actions. "Sometimes you record them well before a piece has been

boarded, and sometimes a story artist has taken a pass at it and you bring those storyboards and pitch them to the actors, showing them a drawing at a time and talking them through the dialogue," explains Johnson. "They get to see the characters talking while they're run- ning, which changes the performance; or they realize that their char-

STARLOG//;me 2006 21 acter is speaking with someone far away, which also alters the dynamic. So the actors perform to what they see on the boards and draw from that. "Sometimes you'll go back and, hav- ing done that, you still find so many dif- ferences in the acting that you re-draw the whole scene again to match the voices. And, yet again, you'll discover something else that has changed as ideas [occurred to people], so you go back and pick up on those as well. It's so recursive. You're never really done with a sequence until it's out of final lighting and on film. We were re-recording characters three weeks ago for a couple of beats where we thought of a better way to do it, a funnier line or a more interesting take. But we're finally done with that now; the last line has been recorded. And here we are, less than three months away from the movie's premiere!" The opportunity to make revisions so Animated pictures require so much preparation and so many decisions demonstrates the close to the release date that two directors are often needed. Mostly though, Johnson and Kirkpatrick tried to stick advantage that CGI has over hand-drawn together and nor divide up their duties. animation. "Re-drawing from scratch, re- If you add up these creatures' polygons, you're looking at intense computer horsepower. Now, put them in a forest—where every leaf on every tree is subtly moving in the wind—and you've got millions and millions of points. It's easily five times the number of polygons and data [than we've dealt with before]. "We wanted to have a shallow depth of field and throw things out of focus in front of and behind the characters. That sounds simple, and in the past we've blurred things using the kind of effects you might see in Photoshop. But we wanted it to look like camera blur, where things don't go fuzzy and soft, but create these 'circles of con- fusion' —those lovely dapples and circles that occur on film. Brand- new software was written for that, which required lots of brain- storming; we wanted brightly colored and clear dapples. Throughout Over the Hedge, the depth of focus is shallow and the characters are isolated and stand crisp against soft, twinkling backgrounds." literally plays possum in Over the Hedge. A good film cannot be made without a good crew, and Johnson Voicing Ozzie, the actor added more depth to the melodramatic has a few acknowledgements to make. "Jeff Snow, our Head of marsupial's relationship with his daughter. Story, has been on this picture for almost four years, and he really inking the lines and going back through final color is a slightly more crafted and wrestled with things to make the story tight, true and labor-intensive process in hand-drawn animation," admits Johnson. emotional," he begins. "Production designer Kathy Altieri worked "CGI gives you the ability to make discoveries late in the game and like crazy to give us a brand-new and fresh look; she played with rather painlessly include changes. those principles of photography like focus and contrast to create a

"For instance, it's very easy when you come up with a better line. rich appearance. And we would frequently dump on Damon And that's what happened at the end of the second act, when RJ's O'Beirne, our Head of Layout: 'Uh, we don't really know how to

plans have gone completely awry. The con is backfiring on him, and shoot this, so why don't you come up with some shots and let's he's feeling really torn up with guilt. As he's looking at what he has play!' Damon was like a second-unit director.

done, RJ sits down by himself and says, 'I am so dead.' We had it all "It's hard not to celebrate the five animation leads on the show,

animated, but after watching it with an audience, some people felt because so much of what makes Over the Hedge great was discov-

the scene wasn't landing as emotionally as it could. ered in animation. David Burgess, John Hill, Reisig, William "I think [Head of Creative Production and Development] Bill Salazar and Kristof Serrand found the emotion, comedy and heart in Damaschke pointed out, 'It's a little selfish for him to say, "I am so the animation. It wasn't in the script. It wasn't in the vocal perfor- dead." That's the problem. He's supposed to be experiencing this mances. It wasn't in the storyboards. They brought that to the film." guilt, but that's not quite the right sentiment.' So we changed the line Hoping that Over the Hedge is a success, Johnson reveals that,

to 'What have I done?' and just tweaked his lips. It took a half day "Even now, we're hammering through a fun storyline and how we

of recording and [a little] animation, but it made a huge difference at could spend another four years with them. If this film does well, a very significant moment in the picture. Still, CG is incredibly there are plenty of possibilities we could explore in a follow-up." labor-intensive. A great animator can get five feet [of footage] done Even if there isn't a sequel, a spin-off is being directed by Will in a week, which is a little over three seconds. So it's a slow process (Home on the Range) Finn. It's a three-minute, as-yet-untitled short even with all that firepower." starring Hammy the Squirrel. "He's a real breakout character," Johnson grins. The short will be a DVD bonus, and may also see the- Computer Critters atrical release. Even since last year's Madagascar, there have been advance- Over the Hedge premieres May 19 in the U.S. After that, Tim ments in CGI. "The sheer size of what we're doing in Over the Johnson's plan is to enjoy a summer vacation. "I need to take a deep Hedge is massive," Johnson says. "We have as many as 10 charac- breath, so I don't know my next project yet. I have no idea. To be ters on screen, and all of them have fur: raccoons, skunks, squirrels. continued..."

22 STARLOG//h/j

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environment. It would have dou- bled the cost, too. So we dropped that format very early on." As the pair continued to tweak the script and create designs, additional writers came in to help make changes inspired by Williams' influence on the film. (The final screenplay credits went to Ed Decter & John Strauss and Gibson & Halprin.) Not all the story changes were to Williams' liking, how-

OOO O.C C O CT DISPATCHING BIG APPLE ZOO ANIMALS TO THE AFRICAN BUSH, DIRECTOR STEVE WILLIAMS &

The Wild Geese. PRODUCER CLINT GOLDMAN HEAR THE CALL OF Benny the Squirrel (Jim Belushi) gets the ride of his life jockeying atop Nelson the Canadian Goose. Fly, Nelson, fly!

What is it with zoo animals in New been around a long time," Williams says. York these days? Seems the "When we came aboard the project in 2001, caged critters just won't stay put we had no idea about Madagascar!'

in their pens, preferring instead to try their "We" in this case is ILM veteran Wil- luck—for better or worse—in the wild. liams and producer Clint Goldman, partners We're talking about computer-generated in the production company Hoytyboy Pic- animals, of course. In Disney's CG comedy- tures. Says Goldman (who notably served as adventure The Wild, a lion named Samson the visual FX producer of ): "Our (voiced by Kiefer Sutherland) leads a gang movie started with a pitch by Mark Gibson of his fellow New York zoo denizens on a and Phil Halprin to Disney live action about dangerous mission to rescue his son Ryan 10 years ago. It was in development for quite (Greg Cipes) from the wilds of Africa. Along some time, as were other movies of a similar on the safari are Bridget the Giraffe (Janeane nature. It was going to be a CG-animal Garofalo), Benny the Squirrel (Jim Belushi), movie with live-action backgrounds when Larry the Anaconda (Richard Kind) and we were brought in." Nigel the Koala (Eddie Izzard), plus the vil- Goldman and Williams had produced and lainous wildebeest Kazar (William Shatner) directed the popular Blockbuster Video TV and even a or three. commercials that combined live-action

No, it's not a Madagascar redux, but footage with a computer-generated rabbit there are similarities between The Wild and and guinea pig (Carl the Rabbit voiced by I that 2005 CG film from Disney's arch-rival, ; Ray by Belushi). "That expe- DreamWorks Animation SKG. If nothing rience made us attractive to Disney," else, the repeated theme reminds us that Williams relates. "They liked that in addition

Hollywood is, after all, a small town where to animation, we had a knowledge of visual ideas seem to easily flow through the porous effects that would have been a good fit for walls of competing studios. the compositing needs [of a live-action ver- sion of The Wild]. But we suggested that we The Wild Kingdom go entirely with computer graphics, because According to The Wild's, director, Steve once we got into the script, we were con-

"Spaz" Williams, Madagascar may have hit stantly changing it. It would have been

theaters first, but Disney was entertaining impossible to shoot live action and add ani-

the basic idea for its film as far back as the mation to it in that environment. You have to

mid-, if not earlier. "The premise of a be very organized to make that work under a bunch of zoo animals escaping from the city production schedule." zoo and going through this adventure has Adds Goldman, "The story, and all the

24 STARLOGX/wne 2006 —

Wild Times. Bridget the Giraffe () and pals hang out just up the block from STARLOG's new Big Apple digs—in Times Square. ever. "Originally, there was a lion mom," he Samson's journey was that he wanted to go the film. Some 350 artists and technicians reveals. "She got eliminated from the movie to the wild to find himself." including more than 50 animators—gathered about a year-and-a-half ago. The character from countries all over the world to lend was in there forever; she was fully animated The Wild Bunch their talents to the project. and shot, and then she disappeared. It wasn't In 2003, animation for The Wild got "The Wild is a blend of reality and fanta- my choice to take her out, but that happens. underway at Toronto-based C.O.R.E. sy, so we wanted to infuse the movie with a There were also different reasons why [the Feature Animation, a new studio facility cre- pseudo-photorealistic fantasy feeling, which animals left the zoo]. Originally, there was ated under the guidance of C.O.R.E. Digital makes it different from other CG films," says not a son who ran away. The motivation for Pictures (co-founded by Shatner) to make Goldman. "Overall, our movie has a slightly edgier, more realistic quality to it. That's computer-generated animation, you can take movies. These guys had done some effects true of our characters—although when you extreme liberties, just as you can with eel shots for films, but this was a completely dif- really look at them, they aren't actual ani- animation. But what we tried to do is start ferent animal, so there was lots of learning mals. They have qualities that are like real with the rules of physics. You can put lips on for everybody. And then Disney was going animals, but their eyes and anthropomorphic animal characters, but you want to give the through its growing pains with the whole abilities are much more human." illusion that they could be living characters Pixar , so it was pretty insane. It real- "We went for a different art form with who can actually speak. Then, you add a lit- ly is a miracle that The Wild survived."

The Wild!' Wiliams agrees. "In the world of tle bit of cartoon to it. That's the style we In fact, the movie did more than just sur- went for. We wanted the film to have good vive. "I think the end result is entertaining; cinematography and good art. Those were the film really works," Williams remarks. two quality issues with us." "It's funny, has fantastic cinematography Attaining that quality required a and provides a nice suspension of disbelief Herculean effort to get the Canadian anima- for people. We tried to work in some come- tion studio up and running. "That was a huge dy that's different from [the other CG technical issue," explains Williams. "We had movies] out there. It's such a saturated ani- to build the facility from scratch. We were mation market— 13 films are coming out literally still putting up drywall when we this year alone. So we needed to have some-

were expected to have finals for the movie. It thing different about our movie. To watch was an unrealistic production schedule, and audiences respond to what we've done and

it nearly killed everybody. Not only did we say, 'This is new. I haven't seen this before'

have to build the facility, we also had to re- is the most satisfying thing to me." educate everyone there about the world of One sequence that has the filmmakers particularly excited is a two-and-a-half Wild at Heart. minute segment at the beginning of The Eze the Hippo (Jack De Sena) and Duke Wild, in which Samson fibs to his son about the Kangaroo (Miles his background. The sequence was produced Marsico) provide in by Reel FX Creative Studios. savage support to "Samson's tale is his fantasy of who he Samson. thinks he is," Goldman notes. "It's a great

way to open the picture. Since it's a fantasy, Wild Company. Meet we chose to tell it in an aesthetic style that's Stan (Lenny Venito) totally different from the rest of the movie, and Carmine (Joseph which surprises viewers. We gave the Siravo), freelance sequence a 3-D look in a 2-D world. It's alligator consultants almost like an illustrated children's book, with their own and it's a departure from anything you've underworld agenda. seen in any other film. A more realistic style would have been inappropriate in this case." Williams and Goldman also express sat- isfaction with the effectiveness of The Wild's emotional underpinnings. "People love the

beauty of the film. They feel that at its cen-

ter, the movie has a strong core and emo- tional arc to this story of a father and a son," reflects Goldman. "One of our challenges was interweaving the dramatic storyline with the humor throughout the picture. The

Wild is primarily a comedy, but it does fea- Wild Hearts Can't Be Broken. Samson actually has six million CG- animated hairs. And Nigel the Koala (Eddie Izzard) has counted every other one.

The Wild Card. Sometimes everybody's a comedian, err, chameleon. Benny is central to the debate between Cloak (Chris Edgerly, left) and Camo (Bob Joles).

26 STARLOGX/urae 2006 The Wild Blue . ture a significant emotional relationship Nigel's on holiday and between Samson and his son. exploring career options. "Samson basically promotes this conceit That chat show on Animal Planet is still just talk. that he's from the wild, when in fact he isn't. Eventually, he has to tell his friends and son the truth: He's a rejected circus lion. The

moral of the film is that it's not who you are

on the surface, it's what's inside you that counts. So after Samson confides in his

friends and son about who he really is, they stand beside him and support him." Williams believes that the actors who lent their voices to The Wild have much to do with the film's resonance. And he gave them considerable room to define their characters

as they saw fit. "The cast is one of the movie's strongest aspects," he extols. "Most "There's definitely a quality issue, too. remembers working on the water tentacle in of the actors—especially Belushi, Eddie and We didn't go for pop culture, like when he was a young animator at Kiefer—developed their characters as we [DreamWorks] did. Nor is our animation so ILM almost 20 years ago. "When The Abyss

went through it. That's what I wanted, as stylized. We went for something with a little was released, two other films dealing with opposed to having them read scripted lines. more depth to it," says Williams. "When underwater creatures came out at almost the They were able to bring the characters alive you're hired as a filmmaker to come in and same time, Leviathan and Deep Star Six," he with their ad-libbing. Eddie may have three make a movie, you have no idea what's recalls. "So, this crap has been going on for or four scripted lines in the entire film; the going on behind closed doors in Hollywood. years. More recently, there was Antz and A rest of his dialogue is improvised. He loved You just deal with the DNA of the movie Bug's Life, released within months of each

that. And Shatner completely invented you're given. So [the development of paral- other. It's a very strange battle." Kazar's style as a corny bad guy, rather than lel films] became a tricky issue. Williams resets his sights on the future to a scary one. He was great, too." The Tick's "As late as 2003, the name of our lion was consider the possibility of a Wild sequel. "It's

Patrick Warburton is also on hand as Kazar's the same as the lion in Madagascar" hard to say [whether I would make one]," he aide-de-camp Blag, a wildebeest more de- Williams notes. "No one really knows how hedges. "The question should be, 'Would voted to dancing than villainy. that happened. It's just crazy. They apparent- Disney want anything to do with usT Who ly found out about our movie and we found knows? Stranger things have happened." The Wild Ones out about theirs at a simultaneous point. But Clint Goldman prefers to enjoy the pre-

The Wild will have to find its audience, what are you going to do? Hollywood is a sent as The Wild makes its run in theaters. however, as its April 14 release date comes small community. It's a chessboard with only "We set out to make a major motion picture between Fox's Ice Age: The Meltdown a few people playing on it. When Mada- CG release, and we did it as a startup, which (March 31) and DreamWorks' Over the gascar came out, we didn't make any was an audacious challenge. We ended up Hedge (May 19). And the notion that The changes to The Wild; that die had already delivering a movie that stands on its own,

Wild merely copies Madagascar certainly been cast. I don't even care. I haven't even and personally I'm very proud of it. It's a won't help. "That is unfortunate," Goldman seen Madagascar. I started to watch it, but I treat to watch it with a family audience from admits. "For a filmmaker—for anyone who couldn't; it wasn't enjoyable. On the other beginning to end. The Wild is truly enjoy- worked on this movie—it's so unfortunate. hand, Over the Hedge looks pretty innova- able, and at its center there's a great heart But the beauty of it is, after you've seen The tive. They'll probably do very well with that." and message for kids." Wild, you'll know how different our film is Goldman did see Madagascar, and from that one. Yes, the basic premise of both admits to feeling a certain amount of appre- pictures is animals in a zoo hension beforehand. Afterward, however, who end up in the wild. But everything else "We didn't alter anything," the producer pro- about them is dramatically different." claims. "We were continuing to improve our movie at that point and making the changes that we wanted to make, but nothing based on the other studio's film. Nor did Disney ask us to make changes [based on Mada- gascar]!' The phenomenon of similarly themed

movies emerging around the same time is nothing new in Hollywood. Williams

Running Wild. These birds know the score. Veteran composer Alan

( Who Framed Roger Rabbit) Silvestri tuned up The Wild.

Wild in the Streets. The mutts are mean though minor players in the movie. Amazingly, the poodle boasts 14 million CG hairs. www.starlog.com STARLOGX/wree 2006 27 "Aliens of London" introduces the , who travel in this ship and land in London. A deadly criminal sect motivated by profit, the lethal extraterrestrials are awesome and adept hunters.

All Photos & Art: Copyright 2005, 2006 BBC TV

Russell T. Davies has revived Doctor Who for a new generation of SF fans. Continuing the adventures of that irrepressible , the show brings back the good Doctor's most celebrated antagonists: the Daleks. Mutated descendants of the Kaled people housed in mechanical casings, they're a ruthless race bent on world domination. And now they can even levitate!

DNA sampler pops out when in scan mode

Jabe (Yasmin Bannerman) employs this scanning device in "The End of the World," in which the Doctor (Christopher Eccleston, seen as scanned) takes Rose (Billie Piper) on her first trip through time. Going five billion years into the future, they end up on the space station Platform One.

28 STARLOG//«ne 2006 T HE A R TO P 3CT01

Study the designs & concepts that helped build the Time Lord's latest universe.

Comparing this concept art to the final version, one can see that the Slitheen have changed somewhat. Members of the Raxacoricofallap- atorian race, the Slitheen have greenish skin, grow to around eight feet tall and boast long forearms that The Doctor's sonic screwdriver opens just about any end in powerful lock. An icon of the classic series, the tool has also claws. been used for repair and as a weapon. Redesigned from the original model, this screwdriver (seen here in several different preliminary concepts) features a glowing blue light and sound effects. www.starlog.com STARLOG//«;ie 2006 29

Space travel isn't quite as spectacular as it seems. The interior of Captain Jack's ship is cramped and submarine-like, not sleek and spacious. But there is good news for the Doctor's third companion: Captain Jack is set to star in the spin-off series .

Is this Joan Rivers 20 years from now? No, it's the Lady Cassandra (voiced by Zoe Wanamaker).The Platform One resident is just a piece of stretched-out skin with eyes and a mouth, mounted on a frame and connected to a brain jar. It's the ultimate evolution of plastic surgery.

STARLOG/7«ne 2006 —

By IAN SPELLING

It's time to interrogate Naveen Andrews about life & death on the island of the Lost

When I first did the Lost pilot, there wasn't that much to go on, but the

things I did have in terms of Sayid were deeply intriguing," recalls Naveen Andrews, now deep into his second season playing the character. "The fact that he was

Iraqi, first of all, was interesting to me. You don't get an Iraqi as one of the main charac- ters on a major network show in America or just about anywhere else, for that matter.

It's a situation that's highly unusual and has not been repeated. "If a series has an Iraqi character, it's usually a peripheral person or slanted in some way to be incredibly negative. And Sayid was in the Republican Guard, which seems completely outrageous. The way Sayid was originally written, he was essen- tial to the group because of his technical abilities and skills. What I hoped to bring to the character—and what I hope I've brought to the character—is a bit of soul and some romanticism." Mission accomplished. On a TV show populated by standout characters, Sayid leaps off the screen. He's moody, complicat- ed and soulful—and sometimes he's brutal, putting to use his talents for torturing peo- ple. Yet, over time, he has also softened sig- nificantly. Fans have seen him smile and joke and, of course, fall in love with the late and lovely Shannon (). Since her cruel demise in "," Sayid has been left to mourn, cope and move on as best he can. "That was my idea," says Andrews of the unlikely Sayid-Shannon relationship. "I have to give [executive producer] Damon Lindelof credit. After we shot the pilot, we went and had breakfast before we started the

rest of the season. It was a rare situation

where I could be, to a certain extent, col-

laborative. I asked Damon, 'Wouldn't it be great if Sayid had a relationship with the most unlikely person on the island—the

32 STARLOG//««e 2006 — —

person you wouldn't expect anything to

happen with in a million years? Wouldn't it

be interesting if the Republican Guard Iraqi ended up with the Miss America blonde, just

because it's so outrageous and will bugger up middle-America?' "It just seemed like a fantastic idea something unpredictable that would come out of left field. And Damon was good

enough to say, 'Well, I think it's great too,

but it will depend on whether this show is successful, because otherwise the network

won't go for it.' And happily for everyone concerned, Lost became a huge hit."

Mysterious island Viewers know that strange things regu- larly occur on Lost's mysterious island. Let's see: There are polar bears, a black smoke monster that seems to read minds, the Others, the crazy French lady, the hatch and (). Shannon sees him

first, but Sayid very loudly doubts her story, until he sees the boy for himself. While she runs after Walt, a shot rings out—Shannon has been hit in the stomach, and dies mo- ments later in Sayid's arms. Ana-Lucia ()—a particularly in- tense "Tailie"—has mistakenly shot her. In "Collision," Sayid finds himself pressed for information—by Ana-Lucia who eventually frees rather than kills him, in the process giving Sayid the chance to kill her. But he passes on the opportunity because he has been to that place before reacting in the heat of the moment, with lives hanging in the balance—and doesn't wish to return there. As Sayid painfully remarks, "I've tortured many men; men

whose voices I still hear at night." Viewers had already seen Sayid "inter- rogate" Sawyer (), and they learned much more about his proficiency as a torturer in ""—in which flashbacks show how Sayid was compelled and American troops, by his American captors to torture his own S^WJ^™^ cQmmander. the and all that numbers weirdness. Andrews laughs out loud when asked if he ever reads a script and wonders aloud, "What the Hell?" "All the time," he grins. "All the bloody time. I usually need to understand what I'm doing before I play it, but I have to say that it depends what sort of mood I' m in. If I feel that everything is going well and there's a great plan, I'm more willing to go out there. It's a bit like life, really: If I'm feeling good, then everything's pre-ordained and every- thing is following this glorious, five-year plan and it's all working wonderfully. But if I'm not feeling too good, then the show seems like random chaos and that we're sub- ject to the whims of these writers who are chucking in whatever they bloody well feel like, and then there's no order at all. So I vacillate between those two states." During Season Two, the writers have paid tremendous attention to Sayid. In "Abandoned," Sayid and Shannon appear happy again, but their reverie is disturbed by—of all people—the long-missing Walt www.starlog.com STARLOG/W 2006 33 —

Republican Guard commander. Those scenes were juxtaposed with present-day moments where Sayid does what he must to extract information from Henry (Michael Emerson), who may be an Other. "I was very pleased with 'One of Them,' the episode with all the torture and violence," Andrews reports. "I had lots to do in that, and I had to speak Arabic. It cer- tainly wasn't the easiest thing, but I was happy that Stephen Williams directed it.

He's one of our producer-directors. I loved working with Maggie [in "Abandoned"] as well. It just seems unnecessary to me when they off people." Ambiguous islanders Looking to the rest of Season Two, Andrews sticks to the party line, which is that the show's secrets must remain secret.

Still, he offers the following enticing (albeit brief) preview: "I'm not sure how I feel about this, but it seems that things are get- ting more and more violent on the island. That's where we're heading—toward a con- frontation of some kind with those other people." As for Sayid, he has managed to resist the temptation to exact revenge and kill out of spite. More often than not, he has been a voice of reason on the island. It's pretty safe to say that Sayid is a decent—if conflicted man, and likely on the side of good. That's as opposed to, say, Locke (Terry O'Quinn), who remains an to both his fellow survivors and the audience. Andrews admits "Whenever there was a scene where he sion. You're not necessarily supposed to like that, for a while, he wondered on which side was torturing somebody, that thought would people, for Christ's sake. Humans are com- of the fence Sayid would fall. inevitably come up," he notes. "All I have to plex creatures—sometimes there are things say—and this is about any of the characters, about them that draw you in, and other times In "The Long Con" not just Sayid—is if there's a degree of there are things that repel you. As long as and other episodes ambivalence to them, that's a huge achieve- these characters keep that ambiguity, Lost year, Sayid this ment in the current climate of today's televi- will remain refreshingly different from most has chosen to stay TV series." his away from Just like as If nothing else, Lost has fellow survivors his character, already secured enough of a he continues to Andrews over fan base to ensure that its cast, grieve feels far from death. creators and guest stars will be Shannon's home. "LA is invited to conventions for the only place I've ever really years to come. In fact, An- been able to drews recently attended his all home," he first Lost con. "It was a pleas- ys. "Hawaii is ant surprise," he recounts. "I paradise, but it thought it would be like being doesn't matter William Shatner or some- where you thing, with all that entails. It shoot. Work was strange to actually inter- is work." act with people who watch the show and are genuinely

moved by it. Lost means a lot

to them, so it was nice to see them happy. "I'm a bit of a precious

actor; I just think, 'Well, you do the work and that's all

there is. That's it.' I don't go on the message boards or the

websites, and I don't read

about the show. I try to do my job and keep that sepa- rate from everything else,

because I don't believe your

34 STARLOGX/wie 2006 don't get that. For some reason, Lost has because at the moment we're the victims of struck a chord. I've never had a negative religious dogma—both from the religious response." right here in America as well as the Islamic fundamentalism in the East." Foggy isle Returning to Lost, Andrews plans to Born in London, Andrews is only now enjoy the ride for as long as it lasts. experiencing stardom in the U.S. After Characters—even popular ones—could die studying his craft at the Guildhall School of in any episode. In Andrews' opinion, Lost is

Drama, Andrews landed his first movie role similar to a star going supernova: it may in London Kills Me. Subsequent films burn bright in the sky, but only for a while. included Wild West, The English Patient, "They can do anybody in whenever they feel

Kama Sutra, Easy and Bride & Prejudice. like it," he says. "It's like crossing the street: On the genre front, he has turned up in the you could get hit by a bus. But if you worry big-screen remakes of Mighty Joe Young about that, you're going to be miserable. So

and Rollerball. I don 't worry about that. "I guess they're in the genre, but they "To be honest, in terms of keeping the never engendered a following quite like storylines as good and the quality and stan-

Lost" Andrews comments. "They were dards so high, I think Lost has another year good experiences, but they certainly or two at the most," Naveen Andrews weren't as challenging, in terms of the act- observes. "It can't go on to be like Friends;

ing. And they weren't as well-written. It's it's not that kind of show. But that's if they very rare in this profession to get good want to maintain the quality. That's my opin- writing—and that's the first thing that ion, but who knows? Lost might go on for comes to mind when I think about Lost!' another 15 years!" 0% Andrews is due next in Provoked, a drama that reunites him with one of 's biggest stars, Aishwarya Rai, whom he appeared with in Bride & Prejudice. He was most re- cently on view as Menerith in work has anything to do ABC's Ten Commandments with who you are. It's just what you do for a mini-series. "First of all, Omar job. However, it was nice to break out of that Sharif was in it," Andrews

world and see how it's appreciated by others. explains. "My Mom, who passed That's better than someone coming up to away, used to love him. The you and yelling, T hate you, and I hate the other thing was that Moses was

show that you're in.' presented as a nutcase, as one of "I love —to me, the earliest purveyors of religious that's the best show on TV—and I was talk- dogma. My character was one of

ing to Jeff Garlin about it. He told me that he the few people in the piece who was walking down the street, and somebody actually questioned the nature of just came up and said, T don't like the show that thinking and this figure

you're in very much.' As if Jeff had asked for who's ordering it. The Ten Com-

his opinion, you know what I mean?! But I mandments seemed quite timely,

Rodriguez) and Charlie Savid Ana-Lucia (Michelle lungle () go off into the Henry in . to find out the truth about happening in the world today. www.starlog.com STARLOG//wne 2006 35 Cruise wanted to reprise the charac- Finding the Tomter of Special Agent Ethan Hunt. Para- right director mount Pictures was eager to move for- for Mission: Impossible III ward with another installment in its extra- was an ordinarily lucrative franchise. And yet direc- assignment tors including Joe (Narc) Carnahan and — worthy of David (Se7eri) Fincher—seemed to come Ethan Hunt. and go with alarming frequency as the pro- But Tom ject evolved. Cruise got his Finally, J.J. Abrams signed on to helm man in J.J. the adventure. The choice was at once sensi- Abrams (left).

mm mm jga jml mm mm i^y|t jBrnrn^ Wk mm

As Alias ends & Lost astounds, J.J. Abrams takes on the Impossible. By IAN SPELLING

ble and gutsy. Abrams created Alias and film with this potential—is a thrill. And with "Oh yeah!" he declares. "I don't think you directed several episodes of the ABC spy-fi Mission: Impossible, you've got this enor- have to look much farther than Alias to see drama, so he knows a little something about mous franchise and the scope, scale and that Mission: Impossible had a huge influ- espionage, exotic locales and stunts. He also resources to really have fun. Also, Tom was ence on me as a kid. Alias was very much a co-created Lost and directed that show's open to telling a very personal, intimate and response to growing up with Mission:

costly, elaborate and feature-like pilot. Still, emotional story, which is at the center of this Impossible. I never really got into the

Mission: Impossible III is the big time: a big project. What I try to do in everything I Leonard Nimoy years as much as I did the $100 million-plus starring and work on is combine the hyper-real and larg- Martin Landau ones, but I'm a big fan of the produced by Hollywood's top gun, Tom er-than-life with the absolutely relatable and series." Cruise. intimate. So this was a dream come true for

"I can't think of a reason why I wouldn't me." impossible Missions

want to do it," Abrams begins. "The oppor- It didn't hurt any, either, that Abrams Mission: Impossible III finds Ethan Hunt tunity to direct anything good—let alone a loves the old Mission: Impossible series. knee-deep in action and personal matters. He's engaged to the love of his life (Michelle Monaghan), but (like Alias' Bristow) has withheld from her the truth about how he makes his living. Complicating matters, he has just accepted a dangerous new mission: rescue a fellow agent (Keri Russell). That isn't normally done, as IMF agents dive into every mission knowing full well they're on their own and will be disavowed should they be caught or killed. "What follows pulls Ethan deeper into a very dark place, to a point in his life where he wants nothing more than to extract him- self from that dilemma, that trouble," says

Abrams. "So at its heart, the film is a love; story about a man who's trying to balance this business that he has for so long con- cerned himself with and the love of this woman who means everything to him. "Mission III is considerably different

from the first two. I hope that doesn't turn anyone off. There are certainly elements that

The sequel's plot is top-secret. We can tell you that Ethan's orders are to rescue IMF are similar, like Tom, Ving Rhames as agent (and Abrams' Felicity star) Keri Russell, but now we have to kill you. Luther, the IMF. The fundamentals are there,

36 STARLOG//wwe 2006 www.starlog.com

—

but tonally, this movie has a very different approach. The first Mission, which I enjoyed immensely, had that strong style which Brian De Palma brings to everything he does. Mission II was John Woo at his John Woo-iest—total, classic, huge, slow-motion action and dance-like choreography. That film also has a strong sense of style and sheen to it. I feel like Mission III is a far more reality-based movie, despite its larger- than-life, preposterous storyline, which these pictures tend to have. There's an emo- tional curiosity and examination that the first two didn't concern themselves with." Abrams met with Cruise several times before the actor tapped him to helm Mission:

Impossible III. The writer-director reports that he was struck by Cruise's knowledge of and enthusiasm for both the spy genre and story structure. "Talking to him about this stuff was effortless because he has such a command of this kind of storytelling," says Abrams. "After working on Alias for a num- ber of years, it was fun to discuss the machi- Following In the footsteps of Jon Voight and Dougray Scott, nations with Tom. Then, when he asked me kills in cold blood as the movie's main villain. if I wanted to direct the movie, people warned me: 'Oh, he's the star and the pro- from one roof to another, down onto a bridge the trick is that Tom did it. Tom could have ducer. That can be real trouble.' 'It's a huge that he then sprints across. We had an elabo- easily fallen and twisted his ankle or slipped film. It's a big undertaking. Be careful. rate camera rig set up that allowed us to get and dropped into the river—and I can't

Don't do it.' this very dynamic shot, and Tom did the describe to you how filthy this river was. If "I have to say that the experience of mak- stunt without wires. the fall hadn't killed him, the germs and bac- ing this movie was the most fun I've ever "People who have seen the movie ask, teria would have! That, to me, was the most had working. It was a whirlwind challenge 'Did a stuntman do that, and then you exciting stunt to shoot, but Tom performed that was an absolute pleasure every day replaced his face with Tom's?' Everyone's so many remarkable physical feats in the creatively and otherwise. The crew was phe- trying to figure out what makes the shot, and film." nomenal, and Tom really set the tone. He's Speaking just weeks before Mission: , so everybody looked to him to Impossible 77/'s May 5 launch, Abrams is see how things were going to work. He's just pleased with the picture. "I love it," he so collaborative, professional, focused and enthuses. "I'm incredibly proud of the work dedicated. And he was deferential to me as that everyone has done. I feel like I've got the director, which—as a first-time feature this thing that I just can't wait to get out director—he really didn't have to be. The there for people to see." entire cast and crew took his lead." Then there were the stunts. On both pre- intriguing Aliases vious Mission: Impossibles, Cruise gained a Lost is about to wrap up its second sea- reputation for doing his own stunts whenev- son May 24, and as it does so, it remains one er possible. That carried over to this sequel of television's most enigmatic, compulsively as well. "Every stunt brought its own chal- watchable shows. Fans have been intrigued lenges, but the one I was the most excited by the hatch, the introduction of the Mission: Impossible III marks Abrams' about a scene shot in a 1,000-year- "Tailies" and the assorted deaths, disappear- was we debut as a film director. He's pleased with old fishing village in China," Abrams recalls. the final result and considers the ances and alliances that have occurred on the "In the sequence, Tom bursts out of a win- movie "the most expensive episode island. "The hatch and the Others have been dow and runs along this rooftop, jumping of Alias ever." paramount this season," Abrams notes. "Then there's the question of what will hap-

pen if the button doesn't get pushed. Why is this hatch down there? And how does the Dharma Initiative and all of that play into the island's history? That's really the focus toward the end of the year. And there's always the risk that not everyone will sur- vive, and certain relationships—good and bad—go through some pretty dramatic shifts. The very, very end will be infinitely more shocking, certainly, than the first sea- son's finale." There's debate in fan circles as to how much of Lost is pre-plotted and how much of

it is done on the fly, as stories, actors and sit- uations present themselves. "You need room [to be flexible] because you can't anticipate every move that's going to take place or every storyline that's going to develop," parents are, that environment doesn't let

Abrams points out. "You just never know Kal-El be who he really is. So Kal-El would with any series—especially one like Lost— really be Clark, but knowing his true nature, exactly how things are going to play out. the older he got, the less comfortable he "I liken it to a Ouija board, where you would be with himself. My story started off know the questions you're going to ask, you with Clark as his persona, but then he ulti- know what answers you want ideally, but mately becomes Superman and accepts that.

then as you're actually doing it, you're not "In one draft, was actually a

sure sometimes who moves what. You have , but we changed that early on. I

a story and a beginning, middle and an end, played around with different things that I

but as you go ahead, things start to happen. thought would be cool to try, but the funda- Then you think, 'Was it the original idea that mental story was an examination of this guy brought us here? Was it the alchemy of the who's imprisoned by his own powers. He actors in the roles? Or was it the unanticipat- has to face the consequences of his abilities, ed reaction of the audience that made us take and eventually comes to use and embrace the story in this direction?' them." "So the key to Lost is that there's no sin- As if Abrams hasn't been busy enough gle answer to the entire show," he continues. recently, he has several He co-created Lost and "It's never going to be The Sixth Sense, other irons in the fire. helmed the pilot. Season where you say, 'Oh my God, he's dead. Two has provided more He's developing The They're dead! The whole thing is about them answers—and even more Good Sailor—about the being dead!' There won't be one glorious questions. "The key to Lost U.S.S. Indianapolis—for answer to everything, and [co-creator] is that there's no single the big screen, and is an Damon Lindelof and I decided that early on. answer to the show," executive producer on Abrams explains. Lost cannot be a one-joke show. There needs the new series What to be a number of things happening at the About Brian. The show same time. So, to me, it's about the journey. After five years on stars Barry (Boogeyman) The beginning was critical, but as we go the air, Alias will wrap with Watson as the last bache- along, we need to be able to adjust so that a two-hour finale. lor among his circle of Abrams is proud of the Lost can take on a life of its own. Otherwise, friends. "Dana Stevens generosity and respect that we're not staying open to the things that can wrote a script that was Jennifer Garner, the cast potentially make it great." very charming and fun- and crew have shown each Abrams was delighted to see Lost on the ny," Abrams says. "Bad other during its run. cover of STARLOG #332 (an issue that fea- Robot—the production tured an interview with him). "STARLOG years. There are many workplaces where company that Thorn Sherman and Bryan

was one of my favorite things as a kid grow- that simply doesn't happen. To work some- Burk run with me—is producing it. We shot

ing up," he remarks. "I still have the first 70- where for that long, where you love the peo- a pilot, and ABC picked it up. The show is something issues at home. I love STAR- ple and everyone is aware of how lucky they about as unlike Alias and Lost as you can

LOG! I'm a huge fan. So it was a thrill for are, is truly the greatest gift." get. It's in the vein of Felicity or thirtysome- Lost to be on the cover." There has been speculation about an thing, but with a more comedic bent. There's Abrams' other series, Alias, concludes its Alias film or TV movie somewhere down the a dearth of romantic comedy on TV today, five-year run with a two-hour finale May 22. line. "The opportunity to revisit Alias will and I think there's an appetite for a sweet, The last few episodes center around Sydney always be there," he states, "but in many good-natured series." (Jennifer Garner) giving birth, the return of ways Mission: Impossible III is the most Not many people have the talent to multi- Vaughn (Michael Vartan), Irina Derevko expensive episode of Alias ever. I feel like I task as a television and movie writer, pro- (Lena Olin) and Eric Weiss (Greg Grunberg) just did a version of what an Alias movie ducer and director. "My job and responsibil-

and the denouement of Sloane's (Ron might be. So we'll see how audiences react ities change all the time," Abrams observes. Rifkin) Rambaldi quest and efforts to find a to that." "Sometimes I'm producing and getting a permanent cure for his comatose daughter, show on the air; other times I'm creating a Nadia (Mia Maestro). Identity issues show that I'm planning to stick with for a

"The ending is a satisfying, big and emo- Another project that Abrams was associ- period of time. For better or worse, I like tional conclusion," says Abrams. "And that's ated with—at least for a while—was a new doing a bunch of things at once. And while I

not just the last episode, but the ones leading Superman movie. He was one of several do worry about spreading myself too thin, I up to it as well. There's a really emotional scribes who took a shot at a script; eventual- also don't pretend to be running everything. and unexpected story, and it's consistent ly, director Bryan Singer and screenwriters I have incredibly talented people surround- with what has come before. If you sat down Michael Dougherty & Dan Harris went in a ing me who are deserving of the credit. What

and watched all five seasons, the finale will different direction for Superman Returns. "I About Brian is really all Dana and Thorn. leave you with a sense of completion and loved a lot of what was in my screenplay, but Lost this year has been Damon and Carlton

purpose." I can also see why some of it would have had Cuse. And on Alias, it has been Jeff Pinkner Asked how he feels about Alias' achieve- to been [revised] before shooting," Abrams and the producers and writers.

ments, Abrams replies, "I'm proudest of the allows. "And that's because I tampered with "My association with these shows is

crew, the cast and the magic they performed the sacred canon of Superman. hugely important to me, and selfishly I wish

every week in making people believe that "What I liked and thought was unique I could be at all of them all the time, but I this world existed and that we actually trav- about my script was it reversed the notion enjoy doing multiple things," J.J. Abrams eled to these locations. I'm proud of the that is a put-on and Superman is grins. "That's why I've composed music for attention to detail—whether it was in the who Kal-El really is. These human parents my shows, and I did a song and some visual

writing, directing, acting, music, costumes are raising this kid with superpowers, and effects for Mission: Impossible. I love play-

or the set and production design. There was they see how strong he is and have to teach ing with all this stuff, so I could never spend always a passion behind everything. I'm also him control and restraint. It's like raising a my time on just one job. And for as long as proud of the respect and kindness the entire wild animal—almost to the point where the I'm allowed to, I'm going to try and experi- cast and crew showed each other over five kid is afraid of himself. And as loving as the ence as many things as possible!" www.starlog.com STARLOG/itme 2006 39 By PAT JANKIEWICZ & KIM HOWARD JOHNSON MAN C DIRECTOR BRYAN SINGER CHRONICLES THE ACTION & ADVENTURE WHEN "For me. the later comic SUPERMAN RETURNS. books and illustrations [have been more influential]," ver since 1938, when he was first reveals Singer (pictured). rocketed to Earth from the "I'm not a big comic book doomed Planet , Super- person. I'm more of a man has been a popular hero in all media: SF/fantasy person." books, radio, TV and film. Director Richard Donner's Superman (1978) is considered one of the greatest comic book films ever made, for the serious way it treated the character. Sadly, the Superman movie series ran out of gas in 1987 with Superman IV: The Quest for Peace. The character was resurrected on TV in the 1990s with Lois & Clark, a new animated series and Smallville (which began in 2001). Despite his TV popularity, the Man of Steel created by & hasn't flown into theaters in two decades. Now, many years and questionable ideas (Superman in an all-black costume! He can't fly! Lex Luthor is also from Krypton! Krypton never exploded!) later and after umpteen script variations on the overhyped "Death of Superman" storyline from the '90s comics, Kal-El is set to once

again leap tall buildings in a single bound on the silver ^4 !

owThe impressive trailer for Superman Returns begins with a scene from Donner's film, in which Jor-El (Brando)—next to his wife Lara (Susannah York)—announces: "I give them my only son." Besides that homage, the preview shows the Kent Farm and The , both of which recall the '78 film. As Singer notes, he has some compelling personal reasons to tell Superman's story. "I'm adopted, I'm an American and I'm an only child," he

explains. "Superman is all those things, so I identify with him. There's always a face behind someone's face, and I've always found that intriguing. That interested me in Apt Pupil, X-Men and The Usual Suspects— even my first film, Public Access. It's some- thing about identity, different identities. There's also a spiritual quality to Superman

Returns. It's a film about saviors and what happens when they come back. "What engages me about the character is that he's the ultimate immigrant, and he car- ries his special heritage with pride—espe- cially in the sense of the suit. He's very ide- alistic, and I'm trying not to lose that. Unlike

Wolverine, who is cynical, Superman kind of represents America, and the pitfalls one

experiences because of that idealism. I very

much like the character; I find him extreme-

ly pleasant. And I would like to think that people—or aliens—like Superman really do exist! Plus, he can do anything." Of course, challenges are involved when you're dealing with a protagonist capable of pulling off the impossible. "If you look back at the comics' history, they've done pretty much everything," Singer points out. "Superman has rescued everyone and picked up, thrown and captured every- thing—and everything has bounced off him So you have to see what serves the story that you're telling at the given moment. This Superman Returns director Bryan (X- of Steel: Brandon Routh, a former soap movie is huge—probably 1,500 to 2,000 Meri) Singer stepped up to the plate and got opera actor, just like the late Christopher shots. It has sequences where Superman into the air—a feat , Reeve. The film opens with Superman re- you've never seen anybody do anything of Wolfgang Petersen, McG and Brett Ratner turning to Earth (hence the title!) after a long this scope. couldn't accomplish. This is a labor of love absence. In the meantime, mortal enemy Lex "Superman Returns takes you from outer

for Singer, who holds Donner's original in Luthor () has been up to his space to the depths of the ocean. It's quite a great esteem. He passed up a sure thing in X- old tricks, and () big canvas. And you see all of his powers. Men: The Last Stand to take a gamble on has a new man—and a child—in her life. Well. ..most of them. Superman flies up high Superman Returns, and made an even more "We talk about Superman's absence," above the Earth, sees problems all over the daring decision: His movie is a semi-sequel Singer says. "He has been doing a little soul- world and addresses them." to the '78 picture, and uses elements from searching. His Mom has been sending post- John Williams' rousing Superman score and cards for him from various spots, like the Look! the late Marlon Brando's performance as Largest Ball of Twine and places like that. Getting Superman back on the big screen Jor-El, the superhero's father. We imply certain things. Ma Kent says, 'I've has been a long process involving various Singer also cast an unknown as his Man been getting pretty good at signing your directors, writers, actors and plots. "I've name!' But when Clark comes back [to The always had an idea for a Superman film, Bryan Singer's Superman Returns stars Daily Planet], nobody cares; they barely where Superman would go away somewhere Brandon Routh and Kate Bosworth. notice. Clark is sort of invisible. Jimmy and come back," Singer states. "I mentioned "Brandon is playing three characters: the Olsen [] is the person most once to Dick [Donner] that although the real Clark Kent, the Clark who works at excited about his return. This story is about Superman project wasn't available they The Daily Planet and Superman," says — E Singer. "Kate plays Lois Lane more Superman finding his place in a world that already had a script and a director—if it ever I mature. She has a boy friend and a child. has very much changed—and, ultimately, he became available, I would love to do it. He She's at the peak of her career." does find his place at the end of the picture." asked me, 'What would you do?' I told him,

STARLOGX/ime 2006 41 — "

'I would put your film in a kind of history ly say, 'Why am I doing this? This should and tell a return story.' Dick loved that idea, happen!' And they're right there to help me we talked about it for a little while and I left make it happen—or vice versa." feeling I had his blessing. With any cinematic adaptation of a comic

"Then, a couple of years ago, I was book comes the inevitable question of how offered the J.J. Abrams Superman draft to much the filmmaker drew from the source direct. It wasn't a badly written script by any material. "Very little—little to none," Singer

means, but it wasn 't the story that I wanted replies. "It's mostly original, but there's def-

to tell. Half of the script was Smallville, and initely a respect to the various TV series, the

the other half was Superman II. I didn't real- movies, the serial and the musical, which

ly respond to that. So a year went by, and I I've seen [the 1966 Broadway musical It's a was developing Logan's Run at Warner Bird, It's a Plane, It's Superman]. We're tak- Bros. I had already told them that I would ing a piece of everything—including the like to make my own Superman, but they comic in all its incarnations—to give always said, 'Well, we're up a road.' Superman Returns a general history. Suddenly, though, the director fell out, and "Luckily, others have held the torch for a McG was no longer doing Superman. number of decades. So the collective memory "Coincidentally, I went to Hawaii a year of Superman—in the audience's mind—is the later with [X2 screenwriters] Dan Harris and product of the '40s radio show, the '50s TV

Mike Doughtery, and I pitched a vague series, the '60s reruns, the '70s movies, Lois Superman idea to them. Over the course of & Clark and Smallville. An archetype has four days' discussion, we basically grew so been contemporized every decade or so, and excited about Superman that by the time we the audience's collective memory of got on the flight back to LA, we were Superman spans those eras. It's more than just halfway through the treatment! A couple of the of the character in 1938."

days later, we really fleshed it out, and Dan, While Singer isn't a comic book enthu-

Mike, [production designer] Guy Dyas and I siast, he is a fan of the first Superman film, Commenting on how striking Routh sat down in a restaurant and collectively and that's why some of the Superman seems in the suit, Singer remarks: "If you decided that we should push Logan's Run Returns score will sound familiar. "My com- were to meet him in the costume, your back and do Superman now. poser, John Ottman, is one of my two edi- reaction would be, 'Oh, that's Superman.' "The next day, I had already scheduled a tors, and he's appropriating John Williams' meeting with Warner Bros.," Singer contin- theme," Singer says. "I wanted [the opening Smallville Universe," he clarifies. "It's more

ues, "and I told them that I would like to theme] to be in the spirit of Star Wars, so it in line with the 1978 movie, but I'm being make Superman. They wanted to hear the will be 'The Theme,' re-orchestrated and careful about not treading over what

plot. So I described the story that I wanted to reproduced. However, the score will be quite Smallville has done."

tell, and in about 72 hours we closed the original. There are certain themes I would Warner Bros, is usually fiercely protec- deal—very privately and very quietly." like to use—for the main title, Lois, etc. tive of their characters, but the studio didn't Starting production on Superman and many of them will be heard throughout have any objections to Lois Lane having a

Returns happened almost as quickly as clos- the film whenever it's appropriate." kid. "As with X-Men, I've been afforded ing that deal. "The script was pretty far tremendous control over the characters," along when I began filming, but you know..." Up in the Sky! Singer says. "It's the child of Lois and Singer smiles. "My style is that every day we While absent from theaters, Superman Richard White [X-Men's ].

invent something new. Every day, I freak out has appeared in several small-screen incar- The baby is not 's [Frank and change .something, which has a ripple nations. The best known, Smallville (starring Langella] son, and Richard and Lois aren't

effect on everything I'm going to shoot. It as a teenaged Clark Kent), has married. The child is out of wedlock. I happened just the other day, but it's always been on the air for five years. Singer has had know—it's very racy. exciting and it's always for the best. That's to take that series—and its storyline—into "But Superman is not a homewrecker," why it's great having Dan and Mike here in account. "Our film is its own world, and it Singer hastens to add. "Superman Returns is

Australia all the time, because I can sudden- functions quite separately from the about what happens when old boy friends come back into your life. Something hap-

pens, and it's a tough situation." Other alterations include the hero's cos- tume: The "S" emblem on Superman's chest

is now smaller, and the reds and blues are darker. "In the comic book, the 'S' has been

all kinds of colors and all kinds of sizes. People forget that," Singer observes. "And those variations have been going on since

the original , where it was a

tiny, yellow 'S.' But you don't want to play with the colors and patterns too much. That would be like giving Wolverine two claws instead of three.

"In terms of the 'S,' I felt that the silk- screened [letter Reeve wore in the movies]

was a bit dated. And when I went back and looked at the other suits, the 'S' was either

too large or it was silk-screen. It looked like a billboard. So the letter has to be the right proportion."

Superman's emblem is one of the world's

42 STARLOG//i/«e 2006 www.starlog.com Superman Returns is being shot with the Genesis camera.

"We're the first film to really utilize it," notes Singer. "The camera was built with the goal of creating something that looks more like film than any digital camera to date."

Kevin Spacey essays the loathsome Lex Luthor. "Kevin's Lex is somewhere between what you're seeing on Smallville and the first Superman" Singer offers. most recognizable images. "I feel an enor- even though they possess extraordinary pow- tors all over the world—and I watched two mous responsibility because, very simply, ers," he points out. "But Superman is the tapes that Brandon had made that I liked. it's Superman," he declares. "That insignia Man of Steel—bullets bounce off him, not There was something about him that inter- probably surpasses any other comic or pop his suit. So I've kept the costume traditional. ested me, and the day I was leaving for culture icon. It's the crest of his Krypton And Clark changes into it in different ways. Australia for my first [location] scout, I family, and in this movie he discovers that In one sequence, you get to watch him actu- scheduled a meeting with him at the Coffee and how important his family actually was. I ally do it, but it's not quite like the Max Bean & Tea Leaf on Sunset. I knew within guarantee that if you take a cross and that 'S' Fleischer cartoons," he laughs. "Clark does the first 10 minutes of conversation that he into a jungle, you'll have 50-50 recognition. it very, very quickly." was probably going to be Superman.

It's an extraordinary responsibility. Superman's trademark cape needed to be "We talked for two hours, and then I went "I wanted to make the suit as traditional refashioned as well. "I went back and looked straight from the Coffee Bean to the airport to as our collective memory serves us, but at at the old suit, in person, and it was just a Sydney, knowing that I had a Superman. But the same time, to it in update terms of the different time—you could get away with dif- I didn't officially make the decision for two physique and the crest. Brandon's costume ferent things," Singer explains. "Fortunately, months. I brought Brandon in, did some has a raised crest, because my inteipretation Christopher was so great that he transcended Photoshop with his face and created a paint- is that the suit is a product of Kryptonian what could have been an awkward costume. ing of him in the suit. Word got out that I heritage and technology; it symbolizes many Some of the people who have seen photos of might have a favorite, but no one knew who things, like certain structures on Krypton. Brandon in the suit [weren't impressed]. But he was. Eventually, I went to the studio and The colors, in some ways, are reminiscent of Brandon sells it." told them, 'This is my one and only choice for Dick's film, but they're a bit more muted, so the role. There is no other—please accept it!' it doesn't look as costume-y—though it will It's a Bird... "I announced it spontaneously, because always look a little like a costume. As for the man who wears the suit, there was a panel that a bunch of us did for "I chose not to have a body suit or any- Singer recalls how Routh became his X2 at the Arclight [Theatre in LA], and the thing like Batman, because is Superman. "I looked at enormous amounts rumor had already gotten out. I said, TT1 human and requires that technology for pro- of tape and screen tests," he says. "I saw tons answer two questions about Superman,' and tection. And the X-Men have their frailties, of people—we had multiple casting direc- the first question was, 'Is Brandon Routh

Superman?' I replied, 'Yes.' The other ques- X-Men's James Marsden (left) is Lois' new beau, Richard White. "Very few things tion was, 'Are you going to use John other than Kryptonite can pose a threat to Superman," the director points out. "Giving Lois a fiance and a baby poses a genuine threat, an obstacle, to Superman." Williams' music?' And I said, 'Yes.' There was never a time when I ever considered having a known actor in the role. Brandon's character, talent, physique, looks and per- spective [were perfect for the part]." In some clips, Routh looks uncannily like Reeve. "We watched the original Superman,

but by no means did I ever say to Brandon, Act like !' " Singer states. "It's weird with Brandon. One moment, he's a dead ringer for Christopher. But the next minute you see him, he's completely differ- ent! There are moments when he recalls the first film, and then there are moments when he's his own Clark and his own Superman." Singer feels his biggest creative chal-

lenge "is just to make a good movie. I don't

really care about the relevance to today. I only want to be respectful of the Superman Universe. The one thing that makes this film

more modern is that it's about what happens

STARLOGX/tme 2006 43 —

when old boy friends come home. phone to answer the call—because The world has moved on since it's really rude to do that when Superman was the idyllic young you're having a meeting with man who first emerged from the someone—is because I was getting as a superhero. on a plane to Australia, so I would

And Clark Kent is definitely the dis- be out of communication for 14 guise. Superman inhabits three char- hours. acters: There's 'Clark on the Farm,' "So I took the call, and I'm talk- raised by the Kent family; 'Bumb- ing to her, and I said, 'It's funny ling Clark,' the Clark who has to you should mention that...' And she masquerade at the Daily Planet; and said, 'I'm glad you're excited about finally, there's Kal-El, last surviving Kevin, and Kevin is excited about son of Krypton. this. We'll talk more about it when

"Clark is goofy; he's playing a you get back.' I replied, 'Great," "DC Comics is affording me a great amount of trust role," Singer continues. "Clark isn't and she told me, 'I hope you find in the direction I'm taking," Singer declares. One thing that young Clark from the farm, although the next Hugh Jackman.' That's hasn't changed, though, is that Perry White you'll a bit that. the Daily when I blurted out, T may be sit- see of At (Frank Langella) still runs The Daily Planet. Planet, he's the awkward, invisible ting across from him right now!' man, and he's the guy in love with Lois. He's but the call from his manager to seriously Brandon was looking away, trying to pretend playing a part, and that's his costume. begin discussions didn't happen until 45 [he didn't hear that]. He just smiled. I don't

Superman is the real him." minutes into sitting with Brandon at the know if he remembers it the way I'm telling Bosworth landed the Lois Lane role Coffee Bean. It was absolute coincidence! it, but it was a really sweet moment." (See because "I saw Beyond the Sea twice!" And the only reason I picked up my cell page 46 for Routh's memories.)

It's a Plane... Growing up, Singer had an idealized ver- sion of the Man of Tomorrow. "It was a com- bination of the TV series and Dick's Superman. Those are my biggest —After a hiatus, Superman is inspirations," he acknowledges. "There are off and running in a variety two cameos in Superman Returns: Noel of media. "We're doing a Neill and , who were the original video game with Electronic Lois Lane and in the 1950s TV Arts;" Singer announces. "It series. And they have a function in the film; _ should be a spectacular it's not just, 'Hi, I'm in your movie!' and ~ _r=video game for the next- generation consoles." then they walk away. They're meaningful cameos. "Jack is the bartender in a scene with our

Jimmy Olsen, and it's great that they have a moment together. (Larson's bartender sagely tells Jimmy: 'It's hard coming back to a job when you've been gone a long time...') It

was fun to shoot that, but it was a very long

day. Jack came in after flying 1 5 hours to get Singer exclaims. "She was phenomenal, and

I really liked her in it. I brought her in to read with Brandon, and they had a chemistry. It was the combination of her work in Beyond the Sea, the chemistry she had in the room with Brandon and the general sense I had in As with X-Men, Singer the meeting. When I cast—and I've had a wants this comic book adaptation to be believable. good record with casting—it's usually dur- "Superman has levels of ing the meeting that I fully make the deci- strength, but he also has his sion. Kate plays Lois as more mature. She weaknesses," he asserts. "If has a boy friend and a child. She's at the you stay within those peak of her career and has achieved a lot." boundaries and pay Spacey, of course, directed and co- attention to logic your starred with Bosworth in Beyond the Sea, logic—you'll be fine." and won a Best Supporting Actor Oscar for Singer's The Usual Suspects. Now, Spacey is Lex Luthor. "This Lex is a bit darker, a bit edgier," Singer notes. "And Kevin looks

great bald. I left that up to him, because bald caps are very difficult; they don't work like you think they're going to work. Kevin has

done it before, and that was his choice. I went to go see him in his trailer, and I saw this guy staring at me. I paid him no atten- tion, then I looked back—it was Kevin, and none of us recognized him! "I developed the role with Kevin in mind, here, and then he worked an 18-hour day. He's not young, but he has an incredible

amount of energy. I was really impressed." Asked what he would like to bring to this movie that wasn't in Donner's Superman, Singer replies: "I can't think of anything.

Superman is a wonderful movie, and all I want to do is bring him back. Dick's

Superman is the best of what a superhero film can be. There are certain things they couldn't do then, but now that we have sophisticated visual FX, we have the [bene-

fit of those technical innovations]. "Donner had it much more difficult in the original," Singer admits. "He couldn't "For what he had at the time, Dick did an do rig removal—which we can—so [many of the FX] had to be done with lighting amazing job. So much had to be done with effects and rear-projection. There was no CGI." lighting effects and rear-projection. You

couldn't paint out cables [with a computer] Ben Hubbard? Not the same Ben for the least reason that it was shot in back then; you were forced to move the cam- Hubbard mentioned by Young Clark Kent Australia. "The virtue, idealism and nobili-

era a certain way, and Chris had to act it. (Jeff East) to Ma Kent (Phyllis Thaxter) in ty that exist in Superman don't exist in the Also, you had to hide the flying rigs and Superman, when he says, "Ben Hubbard will X-Men, or even in Batman—and he's anoth- those sorts of things. They needed to be very take care of the farm." "Yes, it is," Singer er DC superhero. Superman Returns is based clever." grins. "Actually, Ben has done more than around one character. The X-films have Using Superman footage of Brando is a just take care of the farm!" he jokes. many characters, many parts."

decision that could certainly be debated. Donner's film loosely based While Singer is an accomplished and "Marlon Brando is to tinfoil Jor-El me, cos- on the Big Apple. "Dick didn't base it well-respected director, he isn't—pardon the tume and all. He is the face and voice of Jor- 'loosely' on New York City; he made it New pun—a Superman. Having an extraordinary El," Singer declares. "I knew I wanted to use York City! He even had the Statue of crew backing him up has made realizing his voice, plus I had a sequence in the Liberty!" Singer laughs. "His Metropolis Superman Returns a much easier endeavor. Fortress of Solitude that involves his image, was New York City. Our film is like a "We've got lots of people from King Kong, so I wanted to get them from the first film. love story, and Metropolis captures that Star Wars and The Matrix, and they're just We had negotiations with his estate, eventu- look, so there's more Art Deco and that kind terrific," he lauds. "When you're making a ally acquired the use of them and then were of stuff. Ultimately, our city is something picture, there's a whole cast of characters able to go into the archives and find the orig- between today's New York and the New behind the camera who are involved. A kind inal ADR sessions and outtakes—there York of 1938." of theater [setting] occurs—between the aren't many. From that, I can generate what Singer's Daily Planet is based on sets, the cast and the crew. On any given day, I need. And when Brando's on, he's on; he's Donner's interpretation of the Metropolis we employ around 800 people. By the finish Jor-El. It's amazing." newsroom, but some TV monitors have been of our run in Australia, we'll have employed In the trailer, Ma Kent (North By added to help serve the story. "There are a 10,000 people. And that doesn't include the Northwest's ) has a man number of ways we use them," says Singer. visual effects houses, which would add thou- with her. Did the director resurrect her hus- "There's one particular scene where we sands more." band? "No, Pa Kent is dead," Singer says. imply that Superman has been all around the He is saddened not to be rejoining his "That's Ben Hubbard [Poltergeist's James world, saving people in different countries, brotherhood of movie mutants (which he Karen], the neighbor who has the farm five during the course of one night. So when discussed in STARLOG#277ķ). In- miles down the road." Clark shows up for work, he has this grin on stead, Rush Hour's Ratner is helming X-

his face while he's watching the screens. Men: The Last Stand. "Unfortunately, I can't

'Superman was in Paris!' 'Superman was in split myself in half, otherwise I would be Germany!' 'He was in a convenience store!' directing X-Men 3 as well! I'm very proud of 'He was here!' 'He was there!' 'Some people the X-Men films, particularly the second

think he's moving faster than the speed of one," Singer says. "Brett is a good friend of

light!' There's all this conjecture, and it all mine. I've known him for years, and I'm takes place in one night." excited for him. X-Men 3 will probably sur- prise you." It's Superman! Singer hasn't abandoned plans for the Superman Returns contains other ele- remake of Logan's Run. "I'm working on ments of the '78 film that fans will appreci- that now with [screenwriter] Christopher ate. "It's in the designs, the details, the sto- McQuarrie," he states. "Chris did a couple rylines—trying to reference it but not of drafts of the first X-Men, and we spent

over-reference it," Singer explains. "We talk time working on Logan 's Run in Seattle." about Superman being responsible for Lex Superman Returns is a monumental Luthor's imprisonment, but we don't explain that would scare off most direc- exactly why, just that they went up against tors, but Singer was prepared for the daunt- each other. And Superman, because of his ing undertaking. "I directed two X-Men idealism, didn't seal the deal, so to speak. films," a weary Bryan Singer smiles. "I love

And when Superman left, that enabled Lex Superman, and I guess I have enough credi- to wrangle his way out of prison—but, bility that Warner Bros, trusted me with one again, we're not specific. That's why I say of their largest franchises! We try to make a that Superman Returns puts the first film in few things sinister, but this is definitely the a vague history, as opposed to saying I'm funniest and most romantic movie that I've

making a direct sequel." ever made. I really think Superman Returns

Singer has found making Superman will deliver to the fans, and I truly believe Returns more daunting than the X-films; not anyone from eight to 80 will enjoy it!" ^

STARLOG/Jwne 2006 45 By KIM HOWARD JOHNSON iWHk Bt ff^KBSKt Wk jA jjf

LOOKING HEROIC, BRANDON ROUTH STANDS

Brandon Routh, going from a "S" is still daunting, as are the muscles be- encounter with the Man of Steel. "I was six For real. or seven, and I had Superman pajamas, a virtual unknown to the title star in neath— some prosthetic, some one of the year's biggest films is, The fastener at the nape of his neck, nor- cape—which my mother still has—and the quite simply, crazy. "Superman Returns has mally concealed by the cape, is undone, as Superman movie was going to be on televi- been an amazing learning experience," says Routh sits back and remembers his first sion for the first time," says Routh. "I was so Routh, who bears a strong resemblance to excited that I was running around the house the late Christopher Reeve. "It's living and jumping off the couch in the living times 10, because I'm playing someone room. I got so revved up that I gave myself a

who's super-human, so I get to con- migraine, and my Mom told me I slept

stantly imagine what it's like to have through at least the first half of the those powers! film—I was sick to my stomach! Still, "Even though that sounds fabu- vaguely recall watching the sec- lous, there's also a great deal of ond half...groggily! So Superman responsibility and challenging as- definitely made a huge impression I grew up, interest in pects that come with it—not only the early on. As my good things, and not just outwardly. science fiction went more down the

By that, I mean giving a perfor- road of fantasy. I still read lots of fantasy. mance that the fans appreciate and "Superman came back into my life honors the character, Chris and when I became an actor, because one of everybody who has come before. the reasons my first manager wanted to There have been so many amazing look at me was because I resembled [Superman depictions], and it's Christopher Reeve. So my career because of them that I'm here today. really got a jump-start because of this They did such a great job." character. I ran into this woman who was After a long day on the set and staring an assistant to J.J. Abrams [who wrote an down Kevin Spacey's Lex Luthor, Routh unused Superman movie script], and she relaxes in a cushy office chair in a told me, 'Hey, you know you look a lot like nearby conference room to talk about Superman.' It was at a friend's party, and she this role of a . His cape is was an acquaintance anyway, and she told off (the wardrobe people me they were doing another Superman film. worry about wrinkles), I said, 'Yes, I know, but I thought they were but the blue suit with casting older.' So she put the idea back into the familiar red my head again." Afterward, Routh decided to enter a cos- tume contest at the Lucky Strike Lanes, a Long Island bowling alley where he was working at the time. "I thought, 'It's Halloween, there's a hundred bucks to EHMAM; TALL AS THE MAN OF STEEL.

win and I have a great Superman shirt.' So I El, in the beginning. How it takes place in

did it, and everybody at work freaked out at the film, at the start, is that Kal-El doesn't my resemblance. And that was that," says know where he is; he's coming back from d Routh. "It just mounted from there—the journey that was fruitless, and that was very coincidence, and the response to my much a beginning for me as well. Kal-El is a Superman appearance." lot like me—maybe more so than the rest of the characters. For example, he's Superman Man of Steel at home, on the farm, and he's Clark, loo It's the real Superman costume that helps he's all three, but he doesn't have to impress the actor get into character today. "The out- anybody. Not that Superman has to impress fit definitely makes a difference," notes people, but he doesn't have that persona. Routh. "I did a screen test in a blue T-shirt Kal-El is with his Mom, he's on the farm,

and a cape fashioned from cloth, but it was and he can be completely himself, so he's not the same. There's that feeling I have more relaxed. within—that Superman is there, always— "And then Clark is loads of fun," contin- but the suit makes the man. To be in the cos- ues Routh. "He's the most enjoyable of all tume is like working out: my blood is pump- three characters because I'm making people ing, my veins enlarge and I feel bigger than laugh. And I'm a lot like Clark, too. I'm a bit I do when I haven't worked out. The suit fits klutzy, although as I've grown up, I've got- extremely well, and it makes me keenly ten a little better about that; I'm more aware aware of my body. of things around me. So Clark comes quite

"So it is a big deal. ..the boots, too. I've heard many people on The Actor's Studio

talk about putting their shoes on. It's really important to have that foundation. And the cape makes a lot of difference as well, because if I didn't have that when I'm walk-

ing around, it wouldn't be the same at all.

The cape is very regal, and it gives me a sense of floating and being light on my feet. Having the cape is a real benefit." Part of the challenge of playing Super-

man is that it involves more than simply essaying the Man of Steel. As Routh observes, a Superman actor must actually portray three roles. "I've had the good for- tune to have space between these charac- ters," he says. "We did Farm Clark, or Kal-

Routh not only looks like Superman, but he could pass for Christopher Reeve. After entering a costume contest at a bowling alley, "Everybody at work freaked out at my resemblance," he recalls. "It just mounted from there."

STARLOG/./f»ie 2006 47 "

sion on the Internet before I auditioned,

because I didn't know what was going on,

and I learned about this stuff from these Superman websites," he says. "There was a

lot of talk about 'Is Clark going to be bum- bling, or more like the comics, where he's much more shy and sometimes portrayed as not so friendly?' What I wanted was to make sure Clark had a point-of-view, because

Clark is a spy! He gets into The Daily Planet, where he can find out what Lois Lane thinks of Superman. That's what he does in the old Max Fleischer cartoons: He works there so he can be close to the news and hear what's going on.

"And I wanted Superman to be a part of Clark's presence. Every once in a while, when nobody's looking at Clark, you see Superman staring out through his eyes, because he's always there, and that's in

Chris' performance as well. I thought that was important, and I honestly believe that

Clark is a part of Superman. I enjoy Clark, so in that sense, Superman must enjoy him as well. He does that stuff, the funny stuff, the running into doors and not being able to

open something, that's on purpose. So I have

fun with it, and I think Superman does, too.

Clark is also a disguise that allows

Superman to communicate with people; it's the only chance he has to really relate with humans, because Superman doesn't go around striking up conversations with people on the street. His only real way to communi- easily, and that has involved lots of explo- like Chris, and I feel that, too, because I cate is through Clark, so he lives and ration and creativity. And with the physical know the original movie pretty well, and I breathes Clark all the time; it's very impor- humor and stuff like that, he's more fun to hear lines that kind of echo that film. I listen tant for him." play. to myself and I say, Tm not mimicking Routh also notes that—unlike most

"Superman is very challenging some- him,' but it comes with the character. When comic book superheroes—Clark is actually times. I'm on display—not only because I'm I'm in touch with [Reeve], that's what the disguise, and Superman is the reality. in a skin-tight suit, but also because he's an Superman exudes. And it's definitely built "Most of my time is spent playing Clark, not icon; everybody looks up to Superman. It's off his character, because I've watched [his Superman, so why not get comfortable with difficult not thinking about audiences watch- Superman movies], so how could I not say the disguise?" ing me or how they expect Superman to that part of him is in this, because I've seen sound or act and just be OK with doing it the his amazing performance." Last Son of Krypton way I'm going to do it. That's why I'm so Prior to his audition, Routh studied The actor's Superman Returns experi- happy to have [director] Bryan Singer on my Superman on the Web, particularly in devel- ence began with an unexpected meeting with side, because he won't let me go astray. He oping his Clark Kent. "I read lots of discus- Singer that changed the course of his has an amazing view of what he wants this movie to be, so there's really nothing to worry about, because we can 't go wrong." For the young actor, playing Superman conjures up images of the most famous Man of Steel on film, Reeve. "He was great, and he's my Superman as well, because that's who I watched growing up. He is Superman to me," says Routh. "I watched the first movie again before my screen tests, to get the story again and make sure I was up to snuff on the character. People ask me what's different between my Superman and Chris' Superman, but there's really not much con- trast. We're different people, but there's no need to change anything Chris did, because Superman doesn't have a huge range. He can't be crazy, too boastful or too weak. And Chris did that amazingly well. There's really nothing there that I can improve on, so I just bring my energy—which is a different ener- Following his first meeting with director Bryan Singer (holding coffee), gy—to the table. Routh believed he was a front-runner for the role. "I was thinking, 'Wow, he must have "Bryan sometimes says that I'm eerily a good idea about me already!'

48 STARLOG//wn

didn't know I was going to be meeting with

Bryan that day. That morning, I was actual- ly having a migraine headache. My agent called me, but I didn't answer the phone

because I wasn't feeling well. Luckily, she

kept calling until I answered. Anyway, I had to make the meeting because Bryan was

going to Australia, and I couldn't change it to another day. Thankfully, though, that

meeting ended up being delayed. When I did get together with Bryan, we sat and talked for an hour and a half. He divulged so much information about the film that I was think- ing, 'Wow, he must have a good idea about me already—and it's the first time we've met!' "And the meeting was out of the blue,

because it had been a month since I had done anything with Superman or heard from

the studio about my previous auditions. So I was quite shocked that we were finally hav-

ing a discussion about it. Then Bryan asked me, 'Would you come in and read?' He was

already showing me respect, which I was amazed by. Bryan wasn't saying, T would like you to come'; he was asking me! Then I had to wait two weeks, until Bryan came back from location scouting in Sydney."

It was during their discussion that the Grasping who director got a call on his cell phone from Superman is and Spacey's agent. "I was like a little kid sitting pulling off his in the corner, listening in on Bryan," he superhero presence recalls. "Then Bryan told me what he was isn't the easiest talking about, which I took to be an even assignment. "The

greater boon. He told the agent, 'I might be outfit definitely sitting across from Superman right now!' makes a difference," [Those tip-offs] kept coming up throughout he says. "The suit the man." the process, but nobody gave me the heads- makes up for sure!" When he was eventually cast, Routh was put on a strict diet and fitness regimen, which he has had to continue throughout lensing. "It's always changing, depending on my schedule," says Routh. "But in the

beginning, it was much more intense. There was more work to do as far as getting myself into shape. The weights started off heavy to bring size [to my muscles], then as the size came in, they added a little more cardio. But last over the three or four months, the regi- , " men has been reduced and the weights and

repetitions have come down, just to main- ; tain [my stamina]. The filming schedule is quite to arduous, so work out for an hour } before I go shoot is a bit much. I've already | done the hard work. Plus, I've consumed 1 lots of eggs and protein shakes!" Superman Returns marks Routh's first > major experience with special FX. " The effects only other work I've done was on ;

One Life to Live, where I performed some I

fire and car crashes, and I punched a guy — *

that was fun!" he laughs. "But that has been °.

it. On this film, there's wind everywhere— ;

in my eyes and in my face—and there are !

explosions. Other times, I'm hanging by a ; wire and being pulled up in the air. It's a i

blast! But it does become repetitive and, »

after a while, it's tough on the body. I'm • www.starlog.com —

The three sides of Superman are That was lots of fun—being amongst all quite different. those people watching Lois, and I'm looking "[When] Kal-EI at her as Clark. Nobody's watching me, so I farm, is on the [change to looking at her as Superman] until he can be people see me and the meeting is dismissed. completely Then I snap back into Clark." himself, so he's While Routh admits that he has checked more relaxed." out the Internet to see what people are say- ing about the film, he doesn't worry about negative comments. "People said [some

mean] things when I was on the soap opera. Of course, they probably had more reason to

say it back then, when I was learning the ropes!" he jokes. "It's fun to read peoples' views, because they'll take one thing, like a photo, and start this whole dialogue about how bad something might be—from one look! So it's an interesting [way to examine] society and the human mind, as well as just being entertaining. The big thing for me was,

at the time I was cast, [people were saying

that] I was too skinny and not big enough. I learning about that, too. It's pretty neat to be Maybe late 20s?" says Routh. "I'm however was sitting there thinking, 'What are you doing all this stuff, but I don't think I'll be old I look or however old you want me to be! guys talking about?!' That was the only crashing around the staircase. I'll leave that I saw a brief synopsis of the film before I comment that even slightly irked me." to my stand-in. I don't think they would let met with Bryan, and I thought, 'If they're Reminded that a few members of the me even if I asked!" doing a continuation, maybe I'm not going press said the same thing about Reeve 30 Up to this point, Routh has been doing all to be the right age.' But I don't have to worry years ago, Routh grins. "That's why I had no of his own flying. "As far as I know—except about that anymore, because it really doesn't worries. I had every intention of getting to for one shot that my stand-in did of boots matter." the size that I needed to be, and I knew that landing—it has all been me," he states. "My So far, Routh has two favorite scenes if Chris did it, there wouldn't be any prob- stand-in makes sure everything works and is fittingly, one as Superman and another as lem and everybody would be happy." safe, and he does lots of the legwork. Clark. "As Superman, my favorite sequence As the interview finishes, Routh is sur-

Between the two of us, we've got it down. is when I fly down onto a plane wing. That rounded by costumers who cover his suit to

We do a great job of making it look real, was enjoyable because the plane was down protect it from the light evening drizzle that because when you're not really flying, it's here," he says, using his hands to describe has begun to fall in Sydney. "They talked rather difficult! When I'm standing on a box the position, "and I was up here. I was about putting me in a hair net earlier today," and need to simulate movement, my head already 20 feet off the ground, because the he sheepishly confesses. has to be high enough so that it looks like plane was on this big gimbal, and they float- Then, as he prepares to head to the

I'm flying. But it can't look strained, which ed me down on [the wing] pretty fast. I soundstage, another assistant appears and is hard, because I'm holding my neck back grabbed ahold of it, pulled back in the wind holds an umbrella over his head. And while or [struggling to keep] my arms up. and the gimbal shook. It was a pretty big Brandon Routh prepares himself for a few "At any rate, I've done quite a bit of that, deal and delightful to perform because it was more hours of filming, the newest screen and it's loads of fun. And there are some sav- hands-on. Superman—draped in a robe and with surgi- ing graces—like when I have my hands on "And with Clark," he adds, "there's a big cal garb protecting his boots—shows that something or I'm holding or lifting some- conference room scene where all the stardom won't be going to his head. "They thing. The stuff we've done outside The reporters are there and I see Lois as Clark. put me in this thing to keep me humble." Daily Planet, lifting things—those are the fun days. Then there are the days where I'm just hanging, or standing on a box, involved

in all this technical stuff. Bryan wants to do

as much of it real as possible, as opposed to CGI. We've gone this far, so we might as well do as much as we can." World's Finest At one point during this interview, the light hits Routh is such a way that the resem- blance to Reeve is uncanny. "It's bizarre," he admits. "There are some things we're not meant to understand, and you just have to

accept it. This has been an amazing experi- ence and opportunity for me, and it's because of Reeve and all he accomplished. If

it weren't for him and his likeness, I defi-

nitely wouldn 't be here." Routh is uncertain about the age of his

Superman, but decides that it must be simi- lar to Reeve's character in the original Reporting on the pressures of playing the Man of Steel, Routh admits, "It's difficult Superman movie. "I can't give you an exact not thinking about audiences watching me or how they expect Superman to sound or age, because none has been quoted to me. act and just be OK with doing it the way I'm going to do it."

50 STARLOG/7i«

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Fresh from directing Batman Begins, Christopher Priest reveals Christopher Nolan is bringing a tale of [FOR THE magic and mystery to the silver screen. a few secrets behind Oscar-nomi- The British director of the transforming his nated Memento and the American remake of Insomnia is at work on the $40 million film prestigious novel adaptation of The Prestige—a novel by acclaimed English SF & fantasy writer into cinemagic. Christopher Priest that follows the rivalry of NE*i two magicians in 19th-century England. According to the 1995 novel (now in print from Tor Books), "the prestige" is the effect or the product of magic: "If a rabbit is pulled from a hat, the rabbit, which appar- ently did not exist before the trick was per- formed, can be said to be the prestige of that trick." IRWK,. However, The Prestige digs far deeper JEFF RENAUD ^tt0\ than simply pulling a long-eared Leporidae from his burrow in a top hat. "The plot deals with two stage illusionists working in the gaslight-and-velvet world of 19th-cen- tury music halls. They fall out because of a misunderstanding, and their relationship is never patched up," explains Priest, a three-time win- ner of the British Science Fiction Association (BSFA) Award. "They con- tinue to pursue their feud for the rest of their lives. However, that is only the plot. The story beneath is concerned with the : extremes of secrecy and obsessive curiosi- ty. Both magicians have bigger secrets than those of their tricks." Real Effects The Prestige reads much like Oscar Wilde's The Picture of Dorian Gray or H.G. Wells' The Invisible Man. It's a true study of magic, more Harry Houdini than Harry Potter. Priest, a self-proclaimed "huge" fan of Wells—as witnessed by his 1976 novel The Space Machine—explored magic and, specifically, the term "prestige" both in preparation for and construction of his leg- endary tale of legerdemain. "When you start researching stage magic—which is always scientifically based, and has no supernatural element you come across various attempts by magi- cians to set out the basic 'principles' that

underlie all techniques and methods," Priest says. "These are set out in the novel, but I was interested in the notion of the word 'prestige' and its possible connec tions with the

Abracadabra? Presto change! With a few magical words (and a great many literary enchantments), Christopher Priest produced this novel creation, the most difficult of illusions, The Prestige.

52 STARLOG/Juwe 2006 magical terms 'prestidigitation' . For comics fans, and, of course, 'Hey, presto!' that's a dream matchup of "It struck me that one could Marvel's Wolverine vs. DCs relate the word 'prestige' to . Priest says he has no idea of effect, of success, of special opinion on the casting but

achievement...not just a standing is "familiar with the work of both in life, but in pulling off a difficult actors. They have the dual capac- illusion. So although I didn't ity of being highly talented pro- invent the word, I invented its fessional actors with box-office application in the novel. Sub- appeal. The casting, from that

sequently, I've noticed that sever- point-of-view, is perfect." al magicians have adopted the Nolan, of course, directed word in that meaning, so it obvi- Bale in Batman Begins, and ously fulfilled a need. I think brought along Sir you'll find that the upcoming (who played Alfred) as well from movie will make very effective that film. Scarlett Johansson has use of this idea." Ladies and gentlemen! May we present the Amazing Priest, signed on to play Olive Wens- mystical master of published And speaking of the film, prestidigitation, award-winning combe. Andy Serkis, recently adept of the literature of legerdemain and that most Priest couldn't be happier with monkeying around as King Kong, miraculous of all wizards, a writer. the man transforming The Pres- has also joined the cast. And tige into a visual FX showcase. Soon after it Priest was sent a copy of Nolan's first another spot on the star-studded roster has was published, the book began attracting film, Following, when the offer was initially been filled by none other than Mr. Ziggy Hollywood's interest. "Nothing came of made for The Prestige. "I realized that Nolan Stardust, . The man who once

those early interests and, anyway, I could was an unusual talent, and that he and I fell to Earth takes on the role of the main his- never imagine how the novel could ever be probably approached stories and ideas in successfully adapted," Priest notes. "If similar ways," Priest observes. "I received you're the author, you tend to see the thing three offers for movie rights to The Prestige only in terms of the book that you've at about the same time, but I decided to go written. with Newmarket Films [the company work- The obsessive "When Christopher Nolan took up the ing with Nolan] purely because of that. need to protect the option about five years after The Prestige "One of the other offers was for slightly better money, and the other came from a secret that the table has company that was ready and willing to shoot a false bottom...

the film more or less right away, but I had a hunch that Nolan would be the best choice. torical character in The Prestige: inventor Not long after agreeing to the deal, I saw and physicist Nikola Tesla. Memento. I immediately knew that I had Priest has long been interested in Tesla, a made one of the best decisions of my life. colleague and later bitter rival of the more Although I've had to wait several years for famous inventor Thomas Edison (SF fans

him to get around to The Prestige, I still may also recognize Tesla as the inspiration believe the decision was the right one. for John de Lancie's character in TV's came out, I was greatly interested in what he Because of Insomnia and Batman Begins, Legend). "Both his life and work were extra- might do with it, but I still couldn't see past he's now at the top of his game." ordinarily interesting," he says. "Tesla came the words. When I eventually read the up with many patented ideas that have

screenplay that he and his brother lonathan Reel illusions changed our world. Alternating current is the had written, it suddenly made sense. They've In the film, the two magicians—the aris- most obvious, but there were others, as well abandoned much of the novel's structure, tocratic Rupert Angier and the working-class as several more patents that were never built and made most of the best ideas into visual Alfred Borden—are being played by, respec- or publicly demonstrated in his lifetime, and effects. I was stunned by this approach, and tively, Hugh Jackman (see page 55) and remain secret to this day." can hardly wait to see the finished result. Beyond his curiosi- "Did I ever think it would be made into a ty about Tesla, Priest major Hollywood movie? No, but we all had no special interest have dreams! I'm pleased the movie seems in magic prior to writ- likely to spread the word about my book. ing The Prestige. "Like Many films these days are based on an many people, I've original story or script, or are always found well-per- adapted from books which formed illusions enter-

are already bestsellers. taining, but I never took

In this case, The Pres- it any further than that," tige is a relatively ob- he remarks. "I came to scure novel, which I the subject, in fact, believe will be found through my interest in by many new readers the way some people because of the film. But are secretive, and how the obscurity is only relative. that in itself arouses

The book has been in print ever since curiosity in others. I it first came out in 1995, it has won several started researching There is nothing up his sleeve! This is not a trick. At no time awards and it has been translated into many will his hands leave his body. And yet Priest the Great through books—good languages. But it was never a bestseller in continues to pull fantastic creations of staggering books on magic are the usual sense." imagination out of thin air. hard to find, and expen- www.starlog.com STARLOG//«ne 2006 53 —

DOn'T MISS WHAT sive to buy when you do find them. I dis- covered there is a small but highly special- ized trade in these books, but for me they were well worth the investment. "The 'secrets' of magic are usually fairly uninteresting. Who cares if the table has a Interviews: David false bottom, or the deck of cards has been Duchovny, Rene rigged? What's much more intriguing is the Auberjonois, Salome Jens, Tim Russ, Pat style with which magic is performed that Taliman, Richard Here's the programming lineup is where magical skill really lies. And Chevolleau. Sliders. S10 of past editions. Order NOW. beneath that is an even more interesting phe- nomenon: the psychology of deception, the

The psychology of deception../'

wish to baffle other people and the obsessive Interviews: Chris Interviews: Kate Interviews: Robert Interviews: Christopher need to protect the secret that the table has a Carter, Nicole deBoer, Mulgrew, Michael Dorn, Picardo, Garrett Wang, Judge, , Bill Mumy, Robert Armin Shimerman, Alyson Hannigan, Michael Easton, Chris false bottom." Cirroc Lofton, Anita La Owens, Kevin Kilner, Duncan McNeill, Jonathan LaPaglia, X- While The Prestige is the first Priest Roxann Dawson, Mark director Rob Bowman. Selva, Richard Burgi, Nick Searcy, B5 direc- of Dacascos, X-writer Young Jules Verne. Sabine Karsenti, Kevin tor Janet Greek. work made into a movie, the author The . Complete Babylon 5 Conroy, John Cope- Writing Trek. S6 Separation—winner of the 2003 Arthur C. Animated Godzilla. S6 Episode Guide. S6 land. The Sentinel Epi- Clarke Award, presented annually for the sode Guide. S6 best SF novel first published in the United firs™

Cash, check or money order to: ly for the film's release through Disney in City State Zip STARLOG GROUP, INC. October. And maybe, just 1 372 Broadway, 2nd Floor maybe, Nolan's picture will New York, NY 10018 be "the prestige" of some Your Signature If you do not want to cut out coupon, movie magic. we will accept written orders. Please allow 4 to 6 weeks for delivery. You can fax: 212-889-7933 or e-mail: [email protected] www.starlog.com —

Hugh Jackman leaps into action anew as Wolverine. BY WILL MURRAY

the set of X-Men: The Last OnStand, Hugh Jackman is in big trouble. Dressed in Wolve- I line's black battle suit, adamantium H1! claws extended, he's flat on his stom- ach, helpless. Towering over him is , in I the person of Sir Ian McKellen. Behind them lies a mas- sive spill of rubble strewn with bat- tered cars. "I warned you!" Magneto snaps, gesturing with one hand. Screaming in pain, Wolverine flips

onto his back, and is sent spinning in place by the mutant's irresistible mag- netic powers. Only one tortured word is understandable: "Jean!" "You never learn, do you?' Magneto sneers. L

Wolverine's agonized reply is lost in the howl of wind machines blowing fog onto the chilly Vancouver location. "Cut!" / Jackman climbs to his feet, looking fierce and feral with his Wolverine mane. His character's troubles aside, Jackman is having a great time. And well he should. With the third X-Men nearing completion, and a Wolverine

solo film on the horizon, Jackman is one of the hottest actors on the planet.

"I've often said—and I mean it that in the genre, and I don't just mean comic book movies but any

kind of action movie, Wolverine is one of the more complex and satisfy- ingly challenging characters to play

as an actor. So, I always enjoy going back to him," he remarks. This time, though, things are dif- ferent. In the first X-Men, Wolverine (a.k.a. Logan) was the . In X2, Logan formed an uneasy alliance with his fellow mutants. "Wolverine is the classic reluctant-hero arche- type," Jackman muses. "This movie

STARLOG/Jwne 2006 55 isn't about whether he's a part of the X-Men, interesting things in this is that we talk about but rather, what role does he play? Will they different classes of mutants, with Magneto work together as a team? And when push and Professor Xavier [Patrick Stewart] being comes to shove, will Logan step up to a lead- Class 5," Jackman reveals. "And then there ership position? Or will he always want to are a number of mutants—Classes 1, 2 and stay on the outside?" 3—who are easy for Wolverine to beat. But Jackman won't answer his own question, at some point, there are ten of them coming of course, except to say, "I wouldn't call at him. We wanted to show that 'berserker' Wolverine the greatest team rage—what happens when player in the world. It does Wolverine goes from just not come naturally to him. WOLVfRIHf fighting to an animal." The stakes are very high in He's going to need that this film. They're the high- animalistic attitude. In addi- est they've been—emotion- tion to tangling with Mag- ally and in every other neto again, Logan confronts way." the powerful Juggernaut If Logan is being (). "Sabretooth groomed to lead the X-Men, [Tyler Mane] was one of what of Cyclops (James Wolverine's adversaries in Marsden), his former rival the first one, and that was a for the late Jean Grey more traditional rivalry," (Famke Janssen)? Is Cy- Jackman says. "Juggernaut clops washed up? Is that tri- is someone that Wolverine angle now finished? "It's underestimates. He sees Jug- not over with," Jackman Logan proved so popular gernaut, and Logan thinks he flatly says. "And I wouldn't that he was given his own can easily handle him. But say Cyclops recedes into comics series—and the Juggernaut is a tougher op- over the background at all. I character has won ponent than he expected. movie fans, too. Jackman is think the fans will be With his kinetic energy, once already preparing a shocked by the role that Juggernaut starts, he's Wolverine spin-off. Cyclops plays in this. unstoppable." Where he's at in the beginning of this X-Men Has Logan at last met his match? Not is completely logical and understandable. according to Jackman. "Now the thing is,

It's a side of Cyclops you've never seen Wolverine is unstoppable, too," he explains. before. But as for the direction that he goes "You gotta kill him, and he's very difficult to Jackman has his own personal view on

in, the fans will have to wait and see. The beat. So you have two characters who are, in Logan's mutant class ranking. "Well, I have

love triangle is still there, and that remains a way, quite similar." my theory about it. I think he's maybe a an issue." Class 3 or 4," he offers. "Wolverine is pretty amazing in that he can heal. It's a great abil- ity. But I've always thought what makes him X-Men: The Last Stand promises the more powerful than almost any of his oppo- 0K0\ largest group of X-Men ever assembled on nents is what's in here [he points to his film, as well as even more mutant members heart]. He's truly a Rocky character. Logan of Magneto's Brotherhood. "One of the knows in his heart that he can't be stopped. There's that animalistic side of him. His Three's not a charm mutant gifts aren't the greatest, but I believe for Wolverine (Hugh he's the strongest mutant out there. And I Jackman) and think Logan knows that as well. He Storm (Halle Berry). isn't arrogant; he just doesn't believe In X-Men: The Last anyone can beat him. But there are Stand, the Marvel times in this movie when he has to mutants must not only be smart, because he's up against deal with a supposed some formidable foes." cure, but Magneto's Brotherhood Wolverine isn't the only rebellion. feral mutant in X-Men: The —

Professor Xavier (Patrick Stewart) had actors already noted, also returning are: j his reasons for Aaron Stanford as Pyro, Shawn Ashmore as I asking this lone wolf Bobby Drake, Halle Berry as Storm and to become an X-Man. | Rebecca Romijn as Mystique. "Pyro's main He has always seen | adversary is Bobby," Jackman comments. the leader within j "In this movie, Pyro is a big part of Wolverine, and the now—more than i Brotherhood. Pyro has grown up; he's no longer a kid. He really challenges Bobby, ever— it's time for j when push comes to shove, that for Logan to step up. j and goes Bobby's relationship ! with Rogue as well." also returns as although might not j — you remem- ber from brief [ him X2 (he made a very appearance). "Colossus has a huge role in j this, and that's great. I think the fans will be happy," Jackman says. "What's terrific about

the script is that every character pays off. It's extremely satisfying. If you're a fan of Storm, Cyclops, Jean Grey—I think the fans know that Dark Phoenix is back in this story—Xavier, Magneto or Bobby, they're all taken forward. And that's no mean feat." It was no small feat to pull this produc- tion together. After Bryan Singer (who

i helmed the first two X-Men movies) exited the franchise to direct Superman Returns, Matthew {Layer Cake) Vaughn took over, only to drop out as production began to shift into high gear. Replacing Vaughn was Brett

(Rush Hour) Ratner. "It's all I know with X- Menl" Jackman laughs. "X-Men has always

been in flux. Always! It was Matthew's

choice to leave. He felt he needed a little

At some point, I'll have to hang up the claws, but I'm not ready to do that yet.

Last Stand. Frasier's Kelsey Crammer plays now, and there are moments during that more time [to work on the script], which was

Dr. Henry McCoy—a.k.a. the blue-skinned where Logan is looking around and sees understandable. What we had when he left,

Beast, one of the original X-Men—who has Kitty. And that part of him that wanted to we could have definitely shot it. But with the found a semi-normal life in national politics. take care of Rogue—which is quite tender help of Brett, [second-unit director] Simon "Kelsey is a great addition," Jackman extols. is there for Kitty, too. We play with that a lit- Crane, [screenwriter] Zak Penn and then the "His character is going to leap off the screen tle bit. It's not a huge subplot, but there's a actors coming in, X-Men 3 has really gone to in every way. On the outside, the Beast looks connection." another level. very feral, but on the inside he's not like that "What Brett inherited was the bones of a at all. Beast is intellectual, civilized and Menacing Mutants script where all of the characters from X- well-educated; he's quite a pacifist. Of X-Men: The Last Stand reunites most of Men and X2 go further than they've ever

course, Wolverine and Beast don't really the cast from the series' earlier entries, and been before. And it's the best script to start click, particularly in the beginning. not just in cameo roles, either. Besides those with that we've ever had. Ideas are paid off Wolverine is completely suspicious of any- one in politics, so he thinks there's some agenda going on. He's pretty derogatory toward Beast for a while."

But don't assume this film is Wolverine

vs. the world. Logan's softer side is on dis- play, too. "The relationship with Rogue [Anna Paquin] rounds out beautifully," Jackman says. "We had lots of those two in the first X-Men, but there wasn't as much in What direction the sequel. There aren't many scenes will Wolverine go in between them in this X-Men, but what is the third X-Men shown is very poignant." adventure? Will Another X-Men ally is Kitty Pryde, he run the other [ played by Ellen (Hard Candy) Page, who ISk way. only replaces X2's Katie Stuart. "Ellen is phe- looking out for nomenal," Jackman praises. "Kitty is a big himself? Or will part of the team, and she's smart. She's he ally with his fellow mutants young, too, so she isn't as strong as what as they make their we've established with Rogue and Last Stand? Wolverine. But there's an element of that. We're shooting the big battle scene right www.starlog.com STARLOG//«rce 2006 57 that have been in the series since the begin- ning. And Bryan has a lot to do with that: He was always about planting the seeds. Bryan went for a tone in the first one that allowed things to open up more in the second while still being believable. He should really be given credit for his role in the trilogy, because the third X-Men is very much a part of [his original vision]." X-Men: The Last Stand is the most ambi- tious film in the saga so far. "I feel very blessed at the moment," Jackman says. "I'm living my dream, which is being able to be a part of both the theater and film worlds. And Always looking for new challenges, Jackman joined The Fountain, I don't see a limit—I'm sure the industry at a centuries-spanning romance in which Rachel Weisz plays his eternal love. some point will give me a limit—to what I remains fluid, he does reveal, "I'm pretty

sure it's going to be some kind of prequel. I

love all the origin series, and Weapon X. It's really fascinating, and there's a great deal of complexity. So that's what we're zeroing in on, but we need [to nail down a finished] script." If the project is eventually green- lighted, expect to see Logan's X2 nemesis William Stryker (Brian Cox). "At present, that's the thinking," Jackman confirms. No director has been selected, but Jackman has already drawn up a list of potential prospects. "I have about half a dozen dream directors," he says, "but there are any number of people I would be happy

with. First, I want to see where we go with the script. I'm sure we'll have pressure to

make it a PG-13 movie, but there's also a case for doing an R-rated Wolverine. These are the sort of decisions we have to discuss.

Are we going to make it smaller and really " get into the character?'

The Fountain gave Jackman a character with an i ncredible range to explore. Tom Verde So the tone of Wolverine is something begins the film as a Spanish conquistador and ends it as a 26th-century astronaut.

can do in either of those fields. I don't really want to be away from the theater longer than Logan knows in his heart that he can't be stopped. two or three years. And then in film, I have

such a range of things I want to do. The Golden Age of stage magic," Jackman

movie I have coming up, The Fountain, is offers. "Magic was the most commercial art something people have never seen before. form of that time—it was at its pinnacle It's truly amazing. I think [director] Darren then—and this movie tells the story of these Aronofsky is the next , and I two skilled magicians, their rise and the feel lucky to have worked with him. Darren great rivalry between them." wanted to make the movie with and Jackman is Rupert Angier, a gifted illu- , but that fell through." sionist who doesn't always see the secret A centuries-spanning romantic fantasy, behind the trick. Bale plays Jackman's mag- The Fountain stars Jackman as Tom Verde ical nemesis, Alfred Borden. The movie is an and The Mummy's Rachel Weisz as his lost adaptation of Christopher Priest's acclaimed love, Izzi. Through several lives and differ- 1995 novel (see page 52). "I'm so excited ent eras, Verde seeks the fabled Fountain of about this film!" Jackman exclaims. "And Youth. In addition to playing a modern-day Chris is one of the smartest directors around. Wolverine's scientist in the film, Jackman also essays a Michael Caine is in it as well, and David unpredictability and Spanish conquistador and a 26th-century Bowie has signed on to play a small part [as ambiguity still intrigue Jackman, astronaut. "I loved the juxtaposition of that, scientist Nikola Tesla]. The rest of the cast is who has no plans to and I also did a Woody Allen movie coming together in a very exciting fashion." hang up his claws [Scoop]," Jackman remarks. "And then Scarlett Johansson and Andy Serkis co-star. just yet. there's Wolverine. For me, that's Heaven." Beyond that, more X-Men films beckon. "It's common knowledge that my company Mysterious Magicians is working with Fox to try and do a In his next project, Wolverine battles the Wolverine spin-off movie," Jackman notes. Caped Crusader in a film by Batman Begins "I would love to do that, and we have two or director Christopher Nolan. Well.. .sort of. three ideas. Some of the script has already Both Jackman and Batman actor Christian been written, so that's moving along quite Bale star in The Prestige. "It's set in early- nicely."

20th-century London, and it's about the Although Jackman cautions that the plot

58 STARLOG//ime 2006 Jackman is still wrestling with. "Truth be see more of him," he says. "I'm honored to the character. And you can't explore that in told, if you really want to tell Wolverine's have the role—more honored than when I an ensemble X-Men piece. There are too story, you're to going have to make the got it, because I didn't really know anything many characters, and you can only go so far. movie pretty heavy at times. But can you about X-Men. I understand enough about There's quite a lot left to learn about that make PG-13?" Jackman questions. film history now to realize that Wolverine is, Wolverine, and if he gets his own feature "Some directors I've spoken to say, 'Oh, in many ways, a classic Mad Max/Dirty film, we can really get to know him. At some let's this R-rated.' make I can see that film Harry type. And people wanted to see more point, I'll have to hang up the claws, but I'm [in my head], but there are other Wolverine than one Mad Max and Dirty Harry movie. not ready to do that yet. It's all good." movies, too. I run into kids every day who There's something about them.. .a mystery. And as for Logan's leadership dilemma love this character. At Halloween, I see little Yes, they're cool, but it's not like they play in X-Men: The Last Stand... "I won't tell you Wolverines going around. I don't want to cool. They're enigmatic and, to me, that's which way he goes," Jackman grins, make a film that excludes them, and maybe what Wolverine is as well. And that's why I "because with Wolverine, it could go either don't need to." we always enjoy coming back to play him." way. That's the thing I like about him: He For someone who fell into this role after With Wolverine, Jackman hungers to isn't predictable. I don't think he's always an already-cast Dougray Scott dropped out, examine Logan in greater depth. "Logan has going to get the girl or save the day. He's a Jackman has not only made Wolverine his had a nice go in these X-Men movies, the little more grey." own, but he has come to understand why the writers have been very kind to him and Back on the set, Ratner pits Wolverine mutant is a breakout charac- you've seen quite a bit of him," he states, against Magneto once again. The scene ter. "I'm not surprised that people want to "but there's much more to understand about plays as before. If anything, Hugh Jack- vehicles to be repositioned and the is falling over the Vancouver atop the rubble's highest point, the mystery need Night faster!" location for X-Men: The Last Stand. woman is garbed in an unfamiliar scarlet action sped up. "Make the cars go he is being accomplished, The cameras are set to roll in a mock- costume covered by a heavy coat to ward off instructs. While this confer. up of the former Alcatraz prison yard, now the winter cold. Her face is obscured, but her McKellen climbs down to I or I direct their dressed as the Worthington Industries hair is an odd shade of red. It almost match- "Do just throw them, do research complex. Multiple lights illuminate es Magneto's militaristic ensemble. trajectory?" he asks. Ratner and McKellen resumes, McKellen a gigantic jumble of concrete slabs inter- Director Brett Ratner calls for action. huddle. When shooting spersed with wrecked cars and twisted "It's time this war is brought to an end!" puts more English into it. bridge supports painted international orange. McKellen shouts, raising his arms theatrical- "That's much better," Ratner praises. he com- Has an earthquake struck this pseudo-San ly. A sedan and a SUV rise up from behind Coming over to talk to STARLOG, Francisco? the ruined bridge, and Magneto gestures as if ments, "It's kind of a myth that these great with Visual FX supervisor John Bruno sets the to hurl them via his magnetic power. Pyro actors don't need directors. I've worked Fiennes, Emily stage. "Tonight, we're picking up the end of makes hurling gestures of his own, and key , Ralph The the Golden Gate sequence, which starts with lights—called "Pyro" lights—kick in, first to Watson and Philip Seymour Hoffman. experienced actor is, the more they Magneto taking the bridge, lifting it and fly- denote twin fireballs leaving his outthrust more an to directed. They don't like being in ing it to Alcatraz," he explains. "Magneto hands, then a brighter to suggest fiery want be lands the south end in San Francisco Harbor detonations. These will be inserted later on their own head. Even though Patrick Stewart and swings the north end around and crash- in post-production. [who plays Professor Xavier] is great on the first take, he's happy to do 20 more in order es it onto Alcatraz's prison yard. Most of the "It's too long," declares Ratner. "Cut!" mutants are attacking the island, so there's a He's not satisfied. The cranes hoisting both to explore different nuances and ideas. battle going on." Sir Ian McKellen—in full Magneto regalia—enters the scene. With him is Aaron Stanford, playing Pyro, the renegade X-Man who joined Magneto's Brotherhood at the end of X2: X-Men United. The two actors take their marks amid the debris. "What we're setting up is a scene in which Magneto raises some of the cars on the bridge and hurls them at the soldiers while Pyro ignites them," says Bruno. "So flaming vehicles are exploding over the soldiers." A third actor becomes visible through the drifting smoke. Standing like a silent sentry

X-Men: The Last Stand director Brett Ratner (left) loves working with experienced actors like STARLOG favorite Patrick Stewart. They're always willing to explore different avenues and ideas. Actors feed off of that. I'll say, 'Remember stars Hugh Jackman (page 55), Anna Paquin, what you did in X21 OK, let's do this version James Marsden and others too numerous to " of that.' mention. Seriously, "It's such a complex movie because Cold Warfare there's a political point-of-view and then Despite the cold, Ratner is relishing there are emotional points-of-view," Ratner tonight's shoot. Magneto is his favorite X- relates. "There are so many things to pay off, Men character. "He's a villain who you see and several plotlines, not just one. But the humanity in, and Bryan did a brilliant everything is driven by story and character. job of establishing that," he notes, referring So we're not blowing stuff up just to blow to Bryan Singer, who helmed the first two X- stuff up. It's always motivated. This X-Men Men films. "I think the Holocaust sequence is a much more emotional film, despite the is the best scene in the first movie. Magneto fact that there's this cerebral intellectual is doing bad things, but you understand stuff with Xavier. You're going to see emo- him—his pain, his sadness and his soul." tion from him, too."

It follows that McKellen is one of his Yet this is an action-packed picture as favorite people to direct. "He's brilliant," well. "There's an incredible Danger Room extols Ratner. "These actors take this very sequence, and other stuff that's in the comics seriously; they really do. It wasn't easy step- and beloved by the fans," promises Ratner. ping [into this production]. These are big "The Sentinels are in it. And Beast. Bryan shoes to fill. Bryan did a fantastic job on the always wanted [those characters], but he

first two movies, and I'm taking this film never got them in. I just went and fought for very seriously as well. I think the actors these specific things." have some empathy for me because of the With two armies of mutants opposing short amount of time I had to prepare." one another, the sequel sounds like an apoc- From the moment he replaced alyptic final confrontation. But Ratner re- Matthew Vaughn on the project, The sists the suggestion. "X-Men: ! Last Stand has also been a battle for I wouldn't say that," he grins. "To me, the Ratner, both logistically and time- battle story and the war stuff isn't the soul of wise. This is the biggest, most ambi- the movie. There are two souls to this—the tious X-Men to date, featuring the political side and the human. The political is

largest cast of mutants ever assem- the Cure and how it affects certain people.

bled. In addition to McKellen, The other is the heart, which concerns some- Stanford and Stewart, the film one who has been an important part of the

X-Men: Armageddon? I wouldn't say that.

When Sir Ian McKellen enters the scene as the enraged Magneto, destruction and devastation are sure to follow.

STARLOGZ/nw 2001 first two X-Men—Jean Grey [Famke Jans- sen]. She's back. She's Dark Phoenix. It's similar to having a drug addict in the fami- ly—how do you save them? Especially when that person is not only going to hurt them- selves, but many other people, too." Suddenly, everything becomes clear: the mystery woman in the distance must have been Janssen. Halle Berry is the perfect Storm: beautiful, Stormy weather brainy and bold. The tempestuous o mutant can bring down the heavens Central to the conflict that drives The through her powers to control the weather. Last Stand is the explosive news that a cure for mutation has been found. Who will accept it? Who will reject it? And who will I just want to fly. Storm does it in the comics. attempt to destroy it? Underlying all that is a

Berry, who is essaying Storm for the third time. "Feeling like when I was a child—if I could change myself, somehow my life

would be better. As I've gotten older, I think I've come to terms with what nonsense that

is. And this movie certainly adds light to that dark subject." Berry was reluctant to return as Ororo

Munroe. "This film is still very much an

ensemble, and that's one of the things I love about working on X-Men," she says. "But this time Storm has a definite point-of-view, and that has been wonderful. Brett was real- ly instrumental in finding a voice for the character. They've had trouble with that over the years. I'm not really sure myself what voice Storm was taking from the comic

books, because it didn't always materialize

in the other scripts. This time, though, it are constantly popping up in the Marvel saga. New mutants does. And I get to fly! Wolverine (Hugh Jackman) bested Deathstrike in X2. In The Last Stand, he will butt "I've been saying this since I started heads with Juggernaut, among others. these films: I just want to fly. Storm does it darker question: Who will live? For the buzz in the comics, and I've worn this cape for • is that not every mutant survives this film. two movies now and never used it. Flying Ratner, of course, won't talk about fatalities. truly is part of her mutation, so it's nice to be

"Storm is one of the X-Men who's most able to use that talent in a way that helps my opposed to the Cure," he offers. "And when fellow X-Men. I never got to explore the you see the passion that these characters beauty of what Storm does. As an actor, that

have for the subject matter, it totally moti- has been really fun for me. I've done wire- vates each individual's plight and their work and spinning." And, Berry candidly Jean Grey (Famke angst. The plot is awesome." admits, some vomiting. But that's all part of Janssen), of course, "As a woman of color, that's an issue I've being an X-Man. is reincarnated as struggled with my whole life," says Halle "I think it's good that I wasn't a fanatical Dark Phoenix. The actress can't reveal The filmmakers had to fight to get Beast (Kelsey Grammer) into the sequel. much about her One of the most popular X-Men, Beast is a blue mutant with a brilliant mind who wants storyline, but comics a better world for all mankind. fans may guess some of the twists.

Both Quill (Ken Leung) and Pyro (Aaron Stanford) are members of Magneto's Brotherhood of Mutants, a rebel organization opposed to the Cure and devoted to mutant superiority.

62 STARLOG/Aine 2006 X-Men junkie," Ratner opines. "That gives Chameleonic yet deadly, the actors the leeway to try different things. Mystique (Rebecca Romijn) They have been here before, know their is Magneto's ruthless characters and understand what they can and right-hand woman. She cannot do. The actors have their opinions; does legwork, too. they're not just robots. They've thought about this." Abruptly, the winds pick up and a blue screen tears loose from a building, snapping and cracking like a sail in a storm. Crew members struggle to get things under con-

trol, which they ultimately do, but it's a bad omen. "It has been very easy the past week

because it hasn't been raining," muses Ratner. "But we usually spend 90 percent of the time out here with freezing cold rain pouring down on us. It's mentally and phys- ically exhausting." As Ratner speaks, flurries are discernable

in the floodlights. Before long, it's sleeting.

Confusion overtakes the set. It isn't sup- posed to snow in Vancouver for another

month. And since it never snows in San

Francisco, the night's shooting is suddenly imperiled. The crew—realizing they're behind schedule—nervously watches and waits. But the sleet becomes a squall. There's a rule of thumb about capturing pre- cipitation on film: You backlight rain, but frontlight snow. So the camera is picking up every budget-busting flake. Reluctantly, the

producers call it a night. Approaching Dark Comfortably sheltered in her trailer,

Janssen is philosophical. "As you can tell, these aren't the most ideal shooting circum- stances," she smiles. "It's unfortunate be- cause the exterior night shoots were sched-

uled for the end of the movie, when it's cold

and wet and freezing. But it is the way it is. I always have to remind myself that I'm part

of something bigger, and it's going to look Any guesses as to why James Madrox () is called Multiple Man? The young amazing. When we see the final movie, I'm mutant emerged as the most complicated character to realize on screen. not going to remember that I stood out there in the freezing cold. It's really not that lensing. "We're only shooting one miniscule pears, then the rest of him basically becomes important. When I get to see the cars floating moment of this humongous sequence, but metal, showing sinews of his muscles. The

behind me and all this spectacular stuff, it's everybody's involved in it," she explains. only character who has as much strength is going to be great." "Not everybody works together all the time, Juggernaut. So they pair off." Janssen can't reveal much about tonight's but when it's done [and cut together], it will Shawn Ashmore is back as Bobby Drake/ look like we were together the entire time. Iceman. "We're going to advance Bobby fur- Everything is intertwined." ther in his development, where he actually Her Last Stand activities, however, don't becomes ice," reveals Bruno. "He'll be Ice- involve much screen time with the new X- man as portrayed in the comics; he's com- Men. "I have very little to do with the new pletely ice. It isn't entirely CGI, but he's ones," she admits. "But I've met them, and solid ice where you see his hands, face or they seem to be fantastic. I've heard great anything outside of his clothes." things about their acting and what they con- Informed of STARLOG's conversation tribute to our movie." with Janssen, Bruno contributes a bit more Bruno appears to be the man to ask about information about the resurrected character. the new mutants, beginning with Peter "We're taking her from nine years old to her Rasputin, a.k.a. Colossus (Daniel Cudmore). progression into Dark Phoenix," he disclos- "In X2, you saw him for one and a half sec- es. "That's a huge transformation. There's a onds, but I remembered him," Bruno recalls. point where Jean becomes the Phoenix and "When we discussed using Colossus in The is technically the most powerful mutant, Last Stand, I said, T don't know what that dwarfing everyone—including Xavier!" guy was, but I thought it was cool that he With all these FX-enhanced mutants to becomes metal.' He's used throughout the realize, Bruno probably wishes he was film, and he's especially important to the working on a less complicated project, like third act. We've designed how he turns into his previous film, ALIEN vs. Predator. Colossus—the surface of his skin disap- "We're not doing fantasy animation," he www.starlog.com STARLOG/June 2006 63 —

strength of the Hulk. He's agile, and when he starts moving, there's nothing that can stop him. They haven't given him big armor [like in the comics]—he's sort of toned down. But he's massive, and he does have a helmet." Another new villain is Multiple Man (Eric Dane), who fills the screen with nearly 50 duplicates of himself. "Multiple Man is a fun character, but each shot with him—or them—is complicated because it involves CG or multiple passes, which is a pain in the neck," Crane observes. "We're definitely keeping the action side of the film within the realm of reality and this world. Sometimes Angel (Ben Foster) is one of the original X-Men. Prosthetics and CG were less is more." employed to create the wings that allow Warren Worthington III to take flight. Taking the same approach as the notes. "The point is keeping it real. If it from the get-go, starting with the first X- Fantastic Four filmmakers did with Michael doesn't look believable, it's clown time. And Men. There's a great emotional conflict to Chiklis' Thing, the X-Men team is using (for that's not going to happen. For example, you his character. Hank McCoy was a handsome the most part) prosthetics and practical FX don't see the X-Men in their costumes until football star when he was young; his nick- to realize Beast. "We haven't seen Beast the movie's end, when they're actually going name 'Beast' came from those days, because before, so we've been experimenting with for it." he had extremely large hands and feet. When what we can do practically," Crane says. One X-Man who won't be back is Alan he's transformed, he can't—and never has "Beast uses all four limbs, but we're going just Cumming's teleporting Nightcrawler. Asso- accepted that change. In his mind, he isn't I away from primates as our models, ciate producer David Gorder explains, "He's attractive anymore. He's this blue, hairy because we've seen that before in Planet of | difficult and expensive to bring to the screen, thing, and Beast's struggle translates very the Apes. He does, however, have some ape- both special-effects- and makeup-wise. well to film." like qualities; Hank is a Beast. When he gets When you're going to use a character like annoyed, he can be pretty wild." Nightcrawler, you want to have significant Heat Wave Another original X-Man has finally made screen time for him in the story arc. Because The next day, stunt coordinator and sec- it to the screen. Ben Foster plays Warren we're trying to tell the Dark Phoenix story ond-unit director Simon Crane is meticu- Worthington III, better known as the winged and show her transformation—in addition to lously shooting a wild interior chase bet- Angel (page 68). "It's a combination of pros- bringing in Beast—we had to make deci- ween Juggernaut (Vinnie Jones) and Kitty thetics and CG wings, but all his flying is sions about who's important and who the Pryde (Ellen Page) from every conceivable being done practically," Crane states. "We fans are dying to see. But there's plenty of angle. After Kitty eludes the lumbering man- have a huge sequence where he jumps out of room for Nightcrawler in future sequels." mountain, Crane plays an animatic of a fol- a 22-story building, swoops down over a

Still, even with Nightcrawler's absence, low-up scene. It shows an animated Pryde crowd of people and flies off. That was done The Last Stand won't lack for blue-skinned grabbing Juggernaut around the waist and with wires. It looks amazing, and Ben did it mutants. Besides the return of Mystique sinking him into the floor, where he be- himself. The character is very natural; he (Rebecca Romijn), there's the Beast (Kelsey comes stuck. isn't aCG Angel."

Grammer, page 65). "Mystique is imperative "This is the interior of Alcatraz," Crane With approximately 20 super-powered to the Brotherhood," says Gorder. "Plus, explains as the actors warm up. "Juggernaut mutants to coordinate, Crane has had his she's a good character because she can aug- is bursting through the walls, and Kitty is hands full. "I'm not used to doing X-Men ment the plot by transforming into other phasing through them. Juggernaut is a typi- films, so this is a new experience," he grins. things. And there are twists to her character. cal thug. We've seen the Hulk and the Thing, "It's hard to organize it all, but we're hoping "Beast is not only one of the most but what gives Juggernaut a different quality to make the action sequences different than beloved X-Men, but he's [one of the most is Vinnie. And we have some great scenes of the other movies. Actually, there really popular characters] in the Marvel Universe. Juggernaut and Logan interacting. Jug- weren't tons of action or stunts in the first We've fought to get Beast into this series gernaut is like a soccer hooligan with all the two. We're trying to put more in, and doing

a lot of it for real, but obviously with some Intensifying animosity and CG enhancement. And we're playing with conflicting opinions result in a new powers and techniques for the various j clash involving man and mutant. characters. Each one has a unique ability, The battle between good and and we need to make sure you see them all. "•^ evil is blurred as the X-Men In the final battle, each mutant has their make their Last Stand. vignette of action. Everything we're doing is on a big scale. One of the war sequences is like —but with mutants!" Like Ratner, the stunt coordinator stress- es that there's more to The Last Stand than mutant apocalypse. "At the end of the day,

it's about opposing forces," says Simon Crane. "Everyone has their own point-of- view, and the X-Men don't necessarily dis- agree with what the other mutants want. But

they're going against the law to do it, which isn't correct. This movie has a message. It's deep, character-based action that culminates in an epic battle." ^

64 STARLOG/Jtme 2006 www.starlog.com

in yellow trunks and Smurf-blue fur. X-Men £ fans shouldn't expect to see that version on 0) 0 screen, however. cc CO "His powers as Beast are on the back

CJ1 burner throughout most of the movie," ir Grammer explains. "He's doing his best not < to resort to violence, or to enter any kind of a physical confrontation, because he believes in diplomacy.. .until things come to a head. And then, there's only one answer. And that's to stand shoulder to shoulder with his mutant comrades and fight against a clear danger." While X-Men and X2 director Bryan Singer briefly included the pioneering X- u Man in the second picture, The Last Stand is °3 Beast's first time working with the growing cast of superheroes. "Oh, it's great," Grammer enthuses. "The actors are so good, and they've been at this for several years. But they welcomed me with open arms. I stepped right into the role the very first day Perspicaciously pondering the petrifying predicament of the preternatural mutants, of shooting. Of course, the makeup helps. I Beast partakes in politics to present his position to people-partisan parties. 2 think the actors just assumed this character Perhaps Wolverine (Hugh Jackman) and Storm (Halle Berry) are on the same page. existed by virtue of what the makeup guys extraordinary office. In the film, McCoy is Washington's severe form. Everybody else has some have done, which is work." cabinet-level Secretary of Mutant Affairs; nuance of mutancy, but Hank is boldly With the filming approaching its "Hank has integrated into the political world mutant in every possible way. So his dilem- Christmas 2005 deadline, Grammer's time quite successfully," Grammer explains. "In' ma in terms of confronting the Cure is the in a coat and tie is over. He has just shot his his desire to be of service to his fellow allure of a normal life." first confrontational scene with Magneto mutants, and also to mankind, he has found Signs of McCoy's blue hue are evident (Sir Ian McKellen). "I was pleased with it," little the first this path for himself. In the context of the all over the makeup trailer. A production he allows. "It's a odd when movie, though, this might not necessarily be sketch shows him in a radically different time you meet someone is when you're where he's meant to be forever. Then style X-outfit than that seen in the other X- jumping into the middle of the film's climax. line at the Golden Globes again. ..it might." The actor chuckles dryly. Men films. A styrofoam mannequin Beast We've met on "I can't divulge too much. But he's doing his head is a map of every hair to be affixed to once or twice and exchanged kudos. He's a best to do the world some good in whatever his face in the final stages of the grueling terrific actor. It was a very simple routine, capacity he can. That's what I like about transformation process. And hanging from physically, for each of us, but it's a high him. That's Hank and Beast." the ceiling is a vintage Beast toy, clad only point in the movie. I know we're going to be Garrulous Guy

1 The character's strange life takes an unexpected turn when announcement comes of a cure for those afflicted with mutancy. "Hank's a bit like Ray Charles, who had his sight when he was a young boy," says Grammer. "When Hank lost his normal appearance—which happened when he was working on a scientific experiment—that's where things went wrong for him. His mutant tendencies accelerated to the point where he manifested them in this hairy, blue,

Essaying a character of profound precocity is nothing new to Grammer. He played the verbose psychiatrist Dr. Frasier Crane on Cheers and Frasier for 20 years.

66 STARLOG/W 2006 —

shooting more coverage, Consistent with his mutant composition, admits to having done no Beast but things went well." has undergone many comic training at all. "No, no," permutations. Initially established as a big- The Hank McCoy seen he chortles. "I'm past the footed anthropoid anomaly, he later in The Last Stand differs old street life. I put that transformed into a grey-furred creature. from the character who behind!' Today, the anthropomorphic Beast is more of debuted in X-Men #1 back a b/ue-haired feline manifestation. in 1963. But that backstory Prolix Pundit is alluded to in the film. Mixon silently con- "We all started out in the tinues applying cobalt same place," Grammer re- pigment around Gram- lates. "That's one thing I mer's green eyes. Still to learned about the character come are the wild wig, muttonchops and from the comic: He was one bodysuit that round out the physical charac- of the first to be educated at ter. Back in 1972, the gorilla-like Beast grew Xavier's academy. Then animal-like teeth and grey body hair, but there was Eric, a.k.a. Mag- soon turned blue instead. Since then, various neto. Hank knew him as a evolutions have moved his design in a more young man at the school." feline direction (which is being ignored in As a Washington insider this film). No doubt, Grammer must some- embroiled in the mutant times wish that Marvel hadn't reinvented the controversy, one might superhero so radically. "Well," he grimaces, expect McCoy to be an examining his brutish blue features in the adversary of the X-Men. mirror, "this is sort of the in-between "No," responds Grammer. Teletubby and Beast mask. There's a "That's because he has a history with so many of them." So McCoy doesn't even have a beef with the surly Wolverine (Hugh Hank is boldly mutant in every possible way. Jackman)? "They interact as a team of sorts—maybe reluctantly. There's a great new kids are helpful. That's about it. Hank's Teletubby that comes out when the makeup respect between them. They certainly know presence is sleight-of-hand; it's misleading comes off, which is really scary. It's fun to of one another, and the rest is for you to at first. People who are fans of the comic put on a mask and play somebody cool." enjoy as it unfolds in the film." know he can fight. But in this manifestation, It's also hard work, Grammer acknowl- Beast has sworn off that. He's more of an edges. "You have to warm up the mask a Magniloquent Mutant advisor, a senior diplomat. His physical bit," he points out. "You need to do a couple Grammer is carefully circumspect about prowess should surprise and delight the of stretches and move the mouth around. the action side of his participation. "Well, audience." And the eyes. And actually check in the mir- Hank deals with Magneto," he smiles. "And Beast has a long, rich history in the ror and do a little homework in terms of he deals with Callisto. Storm, Wolverine and comics. Introduced as an agile, apelike char- what expressions are possible within the

Hank do a bit of work together. Some of the acter, he soon began speaking like an over- constraints of the mask. It's pretty expres-

educated in love with his extensive sive. The eyes are still my eyes, and that's 80 vocabulary—rather like Dr. Frasier Crane, percent of your communication. My eyes are whom Grammer immortalized in two working overtime!"

decades of work on Cheers and Frasier. Grammer recalls the first day he walked "That might have been one of the things that onto the set and his co-stars met the latest

attracted them to me," he drolly offers. X-Man. "They were speechless. It's a pret-

"People make an assumption about my intel- ty successful makeup; you can still see that

ligence, which is pretty much underestimat- it's me in there. I look kind of like I did

ed. However, we're not gilding the lily in when I was about 25. I had that much hair As the this case. Hank speaks well—as an educated then," he jokes. "I wear evening gloves as X-Men make man would—and it's basically my voice. Is well as kick-around work gloves. And I've their Lasr Stand, it to the point of being absurd? I've read a got the diplomatic some big feet—hopefully you'll never McCoy must couple of the comics where my reaction was, see them!" disregard his 'That's a little over the top!' But I don't think One person who has gotten a glimpse of cultivated his vocabulary is overdone in this movie. the total Beast is Grammer's child. "My inclinations and However, I'm willing to explore that if the daughter has seen me in the makeup. She liberate his savage right moment presents itself." calls me 'Blue Guy,' " he grins. "I had her inner-Beast. Despite the actor's comedic gifts, he was come out during the first week or two of not hired to lighten what is expected to be a shooting, and let her watch things unfold. dark story. "The film really isn't funny," She's four, but she didn't get too disconcert-

Grammer observes. "My character has ed by it. She was a little scared at first, but lighter moments because of my tendency to then realized that the old comic genius was be ironic. That's about as high-comedy as still inside there. Now, she just giggles about we get. Hank is a cheerful fellow and cer- the whole idea.

tainly fun in battle. There's a little room for "As an actor, you hope that in your life- comic relief within the context of the big time you'll create several memorable char- fight, but these movies take themselves very acters," Kelsey Grammer observes as the seriously. So it would be unwise to say this conversation—and the makeup session isn 't a departure from my usual work. Hank comes to a close. "I had a shot at one

is a serious person, and he's dealt with in a [Frasier Crane], which I did for 20 years. serious manner in this movie." Hank McCoy is another one. He's pretty As for the action sequences, Grammer memorable, too."

STARLOG/Jwne 2006 67 By WILL MURRAY

Soaring high above mankind, Ben Foster flies into mutant action.

most actors how they landed cer- Asktain roles, and they often have no idea. Not Ben Foster. He knows exactly why director Brett Ratner cast him in X-Men: The Last Stand. "I auditioned," he replies. "Brett likes to be plugged into what's current," he continues. "He cast Kitty Pryde based on Ellen Page's phenomenal perfor- mance in Hard Candy, which showed at last year's Sundance Festival. I suppose a similar sort of attention has been going on with my character in the movie Alpha Dog. The X- Men series has been cast with actors, rather than people who aesthetically fit the charac- ters. It was an honor to be included among such wonderful performers as Sir Ian McKellen, Patrick Stewart, Halle Berry and Hugh Jackman." Known for playing sensitive art student Russell Corwin in HBO's Six Feet Under— as well as an ever-growing lineup of weirdos, sociopaths and psychos—Foster switched gears to essay the tragic mutant Will Angel take the Cure? Once made, the decision is out of his hands and Angel. "Warren Worthington is a young man may leave him without wings. and the son of a very wealthy entrepreneur," notes Foster. "He has decided, alongside his it's more of an internal one. He starts off as subtle visual references in the movie. But I

1 father [Batman Returns' Michael Murphy], a young man struggling with his differences, was most interested in the internal conflict to get cured of his mutancy, which is consid- and as the film progresses, he turns those and making Angel as human as possible; ered to be a disfigurement. They both want differences into his strengths—which I think he's someone who's in a collision with him- his life within society to be easier, and that is the key to the success of this franchise. self. I see him as an angel with a heavy journey can take place by removing these These are very human characters, although heart." giant wings on his back." they have tremendous powers and abilities. Angel appeared as a full-fledged X-Man They're similar to the Roman gods—these Avenging Angel in various Marvel Comics for more than a are individuals in great conflict with them- Although not initially familiar with decade. Later on—as a member of the - selves, with very human needs, fears and Angel and early X-Men issues, Foster did stituted X-Men group called X-Factor—he weaknesses." read the comic growing up. "Yes, absolutely. lost his mutant wings and had them replaced While Angel is a crucial player in the I was a Wolverine and Gambit fan," he by metallic replicas. In that incarnation, plot, the character's mythological overtones enthuses. "Those were my guys growing up. Worthington was known as Archangel, and motivated Foster's performance as much as I love Gambit." while The Last Stand's story arc suggests the superheroics. "I was more familiar with With the addition of Angel and Beast the such an evolution, it doesn't necessarily play the image of a man with wings than the actu- (Kelsey Grammer) to The Last Stand, out that way on screen. al X-Man character," he admits. "It's one of core X-Men team created back in 1963 has "This film introduces Warren becoming civilization's [most recognizable] icons, and now appeared in the films. Both characters Angel," reveals Foster. "There isn't a key I was excited to consider those possibilities. confront the difficulties of being a mutant transformation on a surface level; I suppose In terms of religious connotations, there are , and face the destiny-altering possibil-

68 STARLOGZ/M/je 2006 —

From the blue skies above, Angel (Six Feet tinder's Ben Foster)

sweeps down. Is it any wonder that man fears mutant?

mutant extras. It had been raining all morn- wings attached to my back. They were made ing, the sky was overcast, we were by a of light foam and actual feathers. I wasn't so church and there were birds right at my eye fond of putting them on and taking them off,

level. Getting dropped and then shooting but wearing them around was unique. I

above and out into the sky was just about as couldn't sit down, and I certainly had to extraordinary an experience as I've ever had." stand differently. It's a powerful feeling hav-

Wirework can be physically challenging ing wings on your back. It was a special

and sometimes particularly brutal, which is experience, and it was amazing how strange-

ly natural it felt."

Stretching his wings in new genres is / see him as an angel with a heavy heart. exhilarating for the actor. "It's interesting

I suppose as science moves along, we're able ity of getting cured. Unfortunately for fans, why many actors happily leave it to stunt to capture more specifically the images we Angel and Beast's arcs don't converge much doubles. "Not me," grins Foster. "I really have when we daydream," he observes. "But in the movie. "No," confirms Foster. "They enjoyed the physicality; it was a different in terms of powers, there have always been parallel." run language than what I'm used to. Most of the these icons, and so it was fantastic to partic- Professor Xavier (Stewart) has Magneto small films that I'm in, it's just working ipate in a film version of a Roman god

(McKellen) as an adversary. Wolverine from the shoulders up—right? So the oppor- tragedy/opera. This didn't feel new to me. It

(Jackman) has Juggernaut (Vinnie Jones). tunity to stretch my body and myself was felt ritualistic. I liked that." Iceman (Shawn Ashmore) has Pyro (Aaron lots of fun." Stanford). But unlike so many of the X-Men, Foster didn't have to earn his wings, but Fallen Angel Angel doesn't square off against a specific he did need a pair of distinctly different Angel wasn't Foster's first outing as a foe. In fact, when plied with simple ques- appendages. "We had two kinds," he says. Marvel Comics character. He played tions like whether his character will end up "The flight wings were simulated by CG, but Spacker Dave, the clueless neighbor of joining the X-Men, Foster laughs and for the non-action sequences, there were real Frank Castle (Thomas Jane), in The Pun- responds, "I can't talk about that element. I signed my life away." But ask him about his flying scenes, and the actor takes off. "The wirework was incredible," Foster gushes. "It's some of the most state-of-the-art, cutting-edge wirework

available, and we really pushed it to the limit. Although we had a tremendous stunt team, many of the stunts were performed by the actual actors. The effect is pretty remark- able to watch. You see Halle spinning like a tornado and Hugh catapulting at 70 miles per

hour. And when Angel is flying through the

air, that really is me that you're seeing, It was like being paid to go to an amusement park." In one of Last Stand's, most dramatic moments, Foster got to soar where even angels rarely tread. "They shut down a In his four decades of flight at Marvel Comics, Warren Worthington III first wore the Vancouver street for us so we could shoot this original team's blue-and-yellow uniform before donning several other stylish costumes. huge flying move," he recalls. "That was an In the most dramatic change of all, Angel's wings were clipped (amputated!) and, then experience, just hanging by a wire above 75 equipped with metallic replicas, he flew anew as X-Factor's Archangel. www.starlog.com STARLOG/Jime 2006 69 isher. "I liked Spacker Dave; he was a well- creature with a intended outsider, a delicate Visiting The Dead Zone for his good heart," he remarks. "I haven't really friend producer Shawn Piller, thought about it too much, but the people Foster interacted with stars Nicole I've been interested in portraying seem to be deBoer and Anthony Michael Hall. on the outskirts of society or normalcy. They're seeking out their own truths, what- ever they may be, violent or passive. I enjoyed The Punisher. It's a real throwback, a '70s-style gritty B-movie, and we were all aware that we were tipping our hat to that. I appreciated The Punisher for what it was." Recently, Foster played the malevolent Mars Krupcheck opposite Bruce Willis in Hostage. And last year he did an episode of USA Network's The Dead Zone. "My friend Shawn Piller produces the show," he explains. "He called me up between jobs and said, 'Look, you want to come in for an episode? It's based on the son of a famous rock star who's suicidal.' We're both enor- mous Jeff Buckley fans, and the script was you're dealing with a large cast, conflicting Ratner," Foster enthuses. "He's a larger- entitled 'The Last Goodbye' [the title of one schedules and considerable effects, shooting than-life character, and that's necessary to of Buckley's albums]. So I went there [to can get shifted around. I just anchored down shoulder the weight of the X-Men franchise. Vancouver] for a week and had a great time." in Vancouver and worked whenever they It's an enormous task, but Ratner is energy He had a good time on The Last Stand as called me. Other than that, I really enjoyed personified. He is non-stop, has an incredi- well, but it was no week-long lark. "It was the city. Vancouver is a tremendous place." ble eye, shoots a hell of a lot of coverage and certainly slapdash," Foster chuckles. "The And when he did get to act, his director tries to make things as fun as possible. It was schedule was constantly changing. When made it memorable. "I loved working with like going to work in Carnivale. Capes and blue people. Very bizarre." But Foster makes sure to point out that Foster had no fear Ratner never lost sight of the character of flying. He found the dynamics amid all the superhero spectacle. act of flight an affirms. "The extraordinary, unique "There's a strong balance," he and ritualistic humanity aspect of the series is definitely a experience. part of The Last Stand. These people are dealing with incredible conflicts and issues involving morals, beliefs and responsibili-

ties. Beneath all the explosions, blue make- up and feathers, the fan base for these movies has been so strong because they never abandon that humanity. I'm pretty

excited to see the film myself. It's hard to

gauge a movie while you're making it. But I

just saw the preview and, man, it has my $10!" Although guarded about plot particulars,

Foster is willing to discuss the possibility of Angel appearing in other X-Men sequels. "If they do another one and have Angel back, I would be delighted to continue with this character," he declares. "I've become quite

attached to him, and it was certainly a change from my last picture, Alpha Dog. That was an extraordinary experience, but a demanding role—essaying a crystal-meth- addict skinhead with a huge potential for violence. So working on X-Men and getting to fly was a welcome vacation!" For the time being, this Angel has lost his wings, but the down-to-Earth actor is appre- ciating life on the ground and his good for- tune. "I would like to continue doing what I'm doing," Ben Foster concludes. "I've been exceptionally blessed to work with some amazingly talented people in a variety

of projects, and as long as I can continue on

this path, I'll consider myself extraordinari- ly lucky."

And it doesn't hurt to have an Angel on your shoulder, either.

www.starlog.com Science Fiction & Fantasy come alive in

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Dick Smith. $10. Empire FX. $10. , Tom Mankiewicz. $10. #95 Grace Jones. Matthew #145 Tim Burton. John Rhys- Tunnel writers 2. $50. Broderick. Butrick. Hauer. #122 007 Film Salute. Martin Davies. . #13 . Pal. #41 Sam J. Jones. #70 Man from U.N.C.LE. Mad Max III. Cocoon. $1 0. Short. Duncan Regehr. Paul Shatner 2. Dalton. Moranis. #172 Koenig. Brian Aldiss. Logans Run EPG. $1 0. . $10. Debbie Harry. Chris Lee. Verhoeven. Lost Boys. $100. Cobb.ffflFX2.$10. . 67. B&B. $10. John Badham. $10. #96 9th Ann. . #14 Project UFO. Jim #42 Robert Conrad. Mark . Moore. John #123 Nancy Allen. Dolph #146 Matt Frewer. Andre #173 Kelley. Frakes. Bakula. Danforth. Saturday Night Lenard. Dr. Who.$-\0. #71 . Judson Cleese. Jedi FX 7. $10. Lundgren.Tim Dalton. Norton. Doohan. Takei. Alien Nation EPG. $10. Live Trek. $10. Scott. Dan O'Bannon. $10. RoboCop. ST:TNG. $100. Abyss. RR FX 3. $10, #43 Altered States FX. #97 . River #174 Stewart. Nimoy. Takei. #15 Twilight Zone. This David Cronenberg. #72 7th Ann. Roger Moore. Phoenix. Ron Howard. Chris #124 . Kevin #147 Danny Elfman. Nimoy. Lambert. GC Johnson. $10. Island Earth. Galactica. Hu/A:EPG.$10. Bradbury. Hamill. Shatner. Walken. Donner. BTTF. $10. McCarthy. Gary Lockwood. John Varley. Phoenix. Chris Richard Donner. $10. June Lockhart. $10. Courteney Cox. $15. Barnes. Koenig. Norton 2. #175 Roddenberry Salute. #44 Altered States. #98 MJ Fox. George Miller. 67 EPG.flft FX 4. $15. Shatner. Dorn. Nichols. #16 Phil Kaufman. Fantastic Bob Balaban.$10. #73 Cliff Robertson. Robert Dante. Jennifer Beals. $10. #125 Bruce Dern. Gerry Macnee. John Napier. $10. Voyage. Invaders EPG. $10. Vaughn. Roy Scheider. Jason Anderson. Carpenter. #1 48 Tony Jay. . #45 Thorn Christopher. Robards. Hamill 2. $10. #99 Anthony Daniels. Ian Cameron. $10. Chaves. Biehn. Warner. RR #176 Anthony Hopkins. #17 Roddenberry. Ralph Peter Hyams. Escape from Holm. Zemeckis. "Cubby" FX 5. 67 EPG 2. $125. Doohan. Kim Cattrall. McQuarrie. Spielberg. Joe NY. SF comics. $10. #74 Molly Ringwald. Michael Broccoli. Mad Max. $10. #126 Marina Sirtis, Hays. Wheaton. Jon Lovitz. $10. Haldeman.$10. Ironside. Malcolm McDowell. Schwarzenegger. Macnee. #149 Yvonne Craig. Robert #46 Harry Hamlin. Lorenzo Semple. $10. #100 Lucas. Nimoy. Irwin Bill Paxton. Michael Praed. Lansing. RR FX 6. $10. #177 Nick Meyer. Carpenter. #18 . Richard Superman II. Greatest Allen. Carpenter. Ellison. J.G. Ballard. B&B. $25. Wim Wenders. Tarzan. $10. Hatch. Joe Dante. $10. American Hero. $10. #75 Nancy Allen. John Cushing. Roddenberry. #152 Leslie Stevens. Gareth Lithgow. George Lazenby. Harryhausen. Nichols. $10. #127 Lucas. Harryhausen. Hunt. B&B. "Real Indy" $10. #178 Batman Returns. #19 Roger Corman. Gil #47 Takei. Sarah Douglas. McQuarrie. Semple 2. $10. Davison. Kathleen Kennedy. Honey, I Blew Up the Kid. Gerard. Star Wars. $10. Doug Adams. Outland. $10. #101 Ellison. . Gates McFadden. $50. #153 Bradbury. Edward Young Indy. $10. #76 Crabbe. Sybil Danning. Sting. 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Meaney. Vic Perrin. Ironside. #181 Asimov tribute. Deanna Cartwright. ALIEN.SW. Connery. Lawrence Kasdan. Scott Glenn. $10. . Elmer Bernstein, Michael Cavanaugh. Flattiners. BTTF 3. $10. Lund. Stuart Gordon. Voyage Ray Walston. $100. . . $10. Starman. RoboCop. $75. writers. Lundgren. $10. #23 Dan O'Bannon. Prowse. #80 Billy Dee Williams. #156 14th Ann. Nielsen. Dr. Who. The Day the Earth #51 Kasdan 2. Shatner. Anthony Ainley. Jedi FX. $10. #104 Peter Mayhew, Stephen #130 Tim Burton. Denise Schwarzenegger. Gale. #182 Lloyd E Stood Still. ALIEN. $10. Harryhausen. Roddenberry. Collins. Bradbury. Ken Crosby. Jack Larson. Dorn. Dante. Farmer 2. Van Damme. Roland Jerry Goldsmith. $10. #81 Alan Dean Foster. Fred Johnson. Outer Limits. $10. Pertwee. Munro. B&B. $10. Starman EPG. $10. Emmerich. Voyage #24 3rd Ann. Leonard Nimoy. Ward. Veronica Cartwright. writers 2. 65. $10. William Shatner. $10. #52 Blade Runner. Shatner. Buckaroo Banzai. $1 0. #105 Lambert. Colin Baker. #131 Jonathan Frakes. 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#27 Nick Meyer. Galactica Gilliam. Trek Dr. I/. bloopers. $10. Who. $1 0. #133 BobHoskins. C.J. Land of Giants writers. $ 1 0. EPG. ALIEN FX. $10. #107 Henson. Tom Cruise. Cherryh. Roy Dotrice. Patrick #185 Highlander. Old Indy. #55 Phil Dick. Ed Bishop. #84 8th Ann. Nimoy. Frank Dicks. W.D. Richter. Jean M. Culliton. Sirtis, Goldsmith. #1 60 . Kim Zemeckis. Robert Sheckley. #28 . Wonder Culp 2. Trek bloopers. $1 0. Oz. Chris Lambert. Marc Auel. ALIENS. $10. Badler. R. Rabbit. B&B. $10. Hunter. GRR Martin. Eric Immortal. Dracula. $10. Woman EPG. $10. Singer. . Pterpoint. Edward Judd. #56 Zardoz. Triffids, Trek Banzai. Jedi FX 3. $10. #108 10th Ann. Russell. Rod #134 Zemeckis, Crosby. Ken Ghost. Flash. Giants 2. $10. #186 Stewart. Anne Francis. #29 Erin Gray. Buster bloopers 3. $10. Taylor. Martin Landau. Chuck Johnson. Cherryh 2. James Adrian Paul. Red Dwarf. Crabbe. $10. #85 . Jeff Jones. Roddenberry. Michael Caan. Sylvester McCoy. $10. #161 . Martin 2. Immortal 2. $10. #57 LIS Robot. Caroline Goldblum. Bob Zemeckis. Biehn. David Hedison. $10. Suzie Plakson. Liam #30 Robert Wise. Chekov's Munro. Ron Cobb. $10. Ivan Reitman. Dante. $1 0. #135 R. Rabbit. 67. Jerry Neeson. Ghost. $10. #187 Rick Berman. Gordon Enterprise. QTapes. $15. #109 Sigourney Weaver. Sohl. Patrick McGoohan. Scott. Craig Charles. Glen #58 Blade Runner. Thing. #86 Peter Weller. John Henson. Carpenter. Takei. . Van Williams. #162 Stockwell. Patrick Cook. Time Trax. $10. #31 Empire. 20,000 Syd Mead. Bloopers 4. $10. Sayles. Chris Columbus. Rick Ally Sheedy.310. Alien Nation. $10. Swayze. LeVar Burton. Val #188 Terry Farrell. Andreas Stewart. Bakula. Lambert. Burton. "Tribbles." $10. Aiaimo. Snipes. Jefferson. #274 Charisma Carpenter. Radclitfe. Samurai Jack. #315 Andy Serkis. Gene Katsulas. Doug Adams. Geraint Wyn Davies. $100. SPatrick Flanery. Hatch. $15. Terry Pratchett. Christian. Mutant X. Smallville. $25. Barry. Kate Beckinsale. Bennett. Chris Barrie. $10. 1 #235 Neil Gaiman. French Vail. Keith David. John Jada Pinkett Smith. Alan #213 . Bruce Stewart. Robert Trebor. #256 Elizabeth Gracen. Billingsley. Frequency. $10. #293 Bakula. Shatner. Moore. Marsden. Duck #189 Dale Midkiff. Robert Boxleitner. Robert D. McNeill. Doyle. Carrey. Elfman. $10. Matheson. Antz. X-Files. 7 Nimoy. Sean Astin. Warwick Dodgers. $50. Patrick. DS9. $10. Malcolm McDowell. Chris Days. Pleasantville. $50. #275 Gillian Anderson. Don Davis. Pat Warburton. Barnes. Jessica Steen. $10. #236 Star Wars 20th. Hamill. Davis. X-Men. $10. Columbus. Kilner. B5 jam #316 Michael Rosenbaum, #190 Armin Shimerman. Daniels. Renee O'Connor. #257 Robert Leeshock. talk. Monsters, Inc. $50. Bloom. AMoore 2. Trinneer. Mark Goddard. Anne #214 Rebecca Gayheart. Alice Krige. $10. Norman Lloyd. Stewart. #276 24th Ann. Duchovny. Gerard Butler. Elliott Reid. McCaffrey. Danny Roxann Dawson. Mumy. Shatner. Carpenter. $50. Verhoeven. . #294 Peter Jackson. Elijah Farscape. Carnivale. $15. John-Jules. Koenig. $1 0. Species. Outer Limits. $10. #237 Cronenberg. Lucas. Vincent Ventresca. Quaid. Wood. John Lasseter. John Lawless. Spiner. Buffy. #258 Justina Vail. Kevin Park. Jeffrey Boam.$10. Shea. Billingsley. Lexa #317 Chris Gorham. Kristin #191 Rene Auberjonois. #215 Duchovny. Michael Highlander. X-Files. $10. Smith. Russell. Frakes. Doig. HB Carter. Jimmy Kreuk. Noah Hathaway. Lucas. Jurassic Park. $1 0. Gough. . Frewer. A Bug's Life. $10. #277 Ian McKellen. Anna Neutron. JM.$1 5. Bakula. Boyd. Clone Wars. Nigel Bennett. $10. #238 Sorbo. Christian. Tim Paquin. James Marsden. Tru Calling. $15. #192 17th Ann. Spiner. Russ. LeVar Burton. $10. #259 Sirtis. Rick Baker. Russ. Inv. Man. $200. #295 . Cate Crichton. Frederik Pohl. $10. #216 19th Ann. Picardo. Bill Nation. B5. Bat Beyond. $10. Blanchett. Lauren Lee #31 8 Will Ferrell. Wood. Pullman. Antonio Sabato Jr. #239 Michael Caine. Richard #278 Chris Carter. Famke Smith. Viggo Mortensen. Mortensen. Monaghan. #193 Schwarzenegger. Chris Richard D Anderson. $10. Biggs. Howard Gordon. Luc #260 Bruce Campbell. Kevin Janssen. . Kevin Robbie Coltrane. Laura Whedon. Gaiman. Moss. Lloyd. Jurassic Park. $1 0. Besson. Hauer. Xena FX, Bacon. Piller. EFC. Wonder Bacon. Shannon Kenny. Bertram. B5. $10. Donner. Indy's Women. #217 Chris O'Donnell. Highlander. Spawn. $10. Woman. Trekonyms. $10. Space Cowboys. Blob. $10. Tricia Heifer. Galactica. $15. #194 Fay Wray. Brian Bonsall. Marshall. Howard. Nimoy. #296 Annabeth Gish. 2001. Jurassic Park. $10. Piller. William Alland.$10. #240 21st Ann. Rhys-Davies. #261 Laurence Fishburne. #279 Farscape FX. Yancy Gordon Woolvett. McKellen. #319 Peter Jackson. de Lancie. Winston. Gordon Michael Easton. Spiner. Butler. Stewart. Paul. Dark Nichols. John Logan. $10. Pygram. Andy Hallett. John

#195 Piller. Praed. Ann #218 Jim Carrey. Stan 2. Men in Black. $10. Farscape. Art of Matrix. $10. Angel. Andromeda. $10. Schneider. . Robinson. 25 best Next Winston. Crosby. Kennedy. #297 Chris Lee. Howard Ian Richardson. $10. Generations. $10. Alland 2. Paul Freeman. $10. #241 Jodie Foster. Rick #262 Samuel L.Jackson. #280 Schwarzenegger. Shore. Winston. Ice Age. Baker. Goldblum. MB. $10. Matt Groening. Carrie-Anne Cameron. Sorbo. Bruce Jeremiah. Spider-Man. $50. #320 Thurman. Blalock. #196 . #219 Kevin Costner. Stephen Moss. Reeves. Freddie Campbell. Anthony S. Tyler. Otto. . Sirtis. Hatch. Richard Furst. Dorn. Nimoy. Alland 3. #242 . Barry Prinze Jr. Wachowskis, Head. Gena Lee Nolin. $10. #298 . Tobey Mercedes McNab. Hamill. Llewelyn. Alan Hunt. $10. Writing Lost in Space. $1 0. Sonnenfeld. Ironside. Kull. Bulloch. Franklin. $100. Maguire. Dominic Keating. Koenig. Tim Burton. $10. Spawn. Star Wars. $10. #281 . Shiri The Rock. Sorbo. Tammy #197 Bruce Campbell. #220 Jennifer Hetrick. #263 Ewan McGregor. Nicole Appleby. Mulgrew. Lawless. Macintosh. Katsulas. #321 . Hill. . Michael Space: Above & Beyond. X- #243 Mimic. MiB. Robert deBoer. Cronenberg. Tarzan. Rebecca Romijn. Brian Daniels. Dinotopia. $50. McKellen. Perlman. John Whelan. Peter Davison. Files. Writing US 2. $10. Beltran. Glen Larson. Aron Mummy. Matrix FX. $50. Jacques. $10. Glover. Amy Acker. Fess Jonathan Brandis. $50. Eisenberg. Erin Gray. Joseph #299 . James Parker. Affleck. $10. #221 Chris Carter, de Lancie. LoDuca. Zemeckis. V. $10. #264 23rd Ann. Gary Cole. #282 Patrick. Picardo. Lisa Gurney. Portman. Linda #198 Lockhart. James Bama. Spiner. . Toy Jude Law. Joe Pantoliano. Ryder. Brendan Fehr. Bat Park. CCarpenter. $50. #322 Bloom. Jackman. Ted Raimi. Jackie Lane. $10. Story. Red Dwarf. $10. #244 Max Grodenchik. Warren Stevens. Shimerman. Beyond. Dune. $10. Rhys-Davies. Billingsley. Casper Van Dien. Stewart. Tarzan. Matrix. $10. #300 26th Ann. 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or fans of 1950s science fiction schlock, it has endured as one of F;that decade's all-time great campfests: Queen of Outer Space, the loopy, serio-comic tale of a motley rocket crew that crash-lands on Venus

andfinds it populated by mini-skirted, ray-gun-packin' glamazons, most recognizably Zsa Zsa Gabor as a leggy scientist, and most formida- bly Laurie Mitchell as the masked and cruel title character, "Yllana, the Queen of Outer Space." Scripted by SF master —and based on a story by newspaper, stage and screen-

writing great (!)—Queen of Outer Space is a color CinemaScope trashterpiece of interstellar proportions. And it's just one of several fantasy films on the resume of Mitchell, who was also reduced to the size of a doll in Attack of the Puppet People, and who made a return voy- age into space to play a lunar maiden in Missile to the Moon. Born in New York City and raised in the East Bronx, Mitchell (real name: Mickey Koren) moved with her family to California while in her teens. Acting school led to stage roles and then to movie assignments, beginning with 20,000 Leagues Under the Sea (her 1954 fdm debut) and fol- lowed by Girls in Prison, The Monolith Monsters, the

Bowery Boys ' Fighting Trouble and many more. Long-retired and now the wife of a medical salesman, she has been "rediscover- ed" by her fans and has begun making the celebrity expo and auto- Laurie Mitchell graph show rounds. ruled Venus in 1958's Queen of Outer Space, STARLOG: Your first movie was Disney's and now, her 20,000 Leagues Under the Sea. face unmasked, LAURIE MITCHELL: In the scene at the reigns at LA- beginning, where you first see Kirk Douglas area celebrity walking down the muddy street, Gloria Pall nostalgiathons. and I are walking with him. We're suppos- edly.. .two hookers! [Laughs] That was my introduction to show biz! It was a nothing

part but, I tell you, to be working with one of the most important, top actors of that time—the handsome, talented Kirk Doug- las—was such a thrill for me. It was unbe- lievable for a first-timer. That scene was shot on the Universal backlot, and when it got to be lunchtime, Kirk said, "Are you www.starlog.com STARLOG/Ju/ie 2006 73 —

was a kick doing that, and a photo of me being carried appeared in Look magazine. That started the beat in my heart for show biz. Step two: My Dad fell in love with California after seeing a movie called The Jolson Story [1946]. He drove out with some

friends and bought a little house, called my In day, Mitchell (left) one beautiful Mom and said, "Adele, we're mov- launched her movie career—and ing to California." My Mom thought he was lunched with Kirk Douglas out of his mind! How can you give up an during the making of 20,000 apartment in the East Bronx, friends, busi- Leagues Under the Sea. ness? But my Dad did it. After I finished hungry? Let's go to the commissary and men approached our table with I.D.s from high school, we moved. My Dad was we'll have lunch." So we did. We took some- WOR radio station and asked if I would take absolutely thrilled to get out of New York thing that looked like a golf cart, only it was part in a publicity stunt. All I had to do was City. After a few months out here, we met a dressed up like a submarine. wear a negligee (not too revealing!), lie on a family who had a son that they wanted me to

STARLOG: A golf cart that looked like a- chaise lounge and be carried on it by two meet. The son, Larry White, came over to sub was how he got around on the lot? men down Broadway in New York City. It the house, and he was absolutely gorgeous, MITCHELL: Yes! The whole thing didn't and we started to date. He was a magician look like a submarine, just the front of it—it and a trumpet player. We got married at the had the "nose" of a submarine. It was a joy Roosevelt Hotel in Hollywood. Larry appar- for me to be with him, and we talked a little ently saw something in me, and he said, "I about our backgrounds. He told me his par- think I need to send you to dramatic school. ents came from Russia, and that they were Let's see what happens." He sent me to Ben very poor. I told him my folks also came Bard's Acting School, and I performed sev- from a small village in Russia, and spoke of eral plays on stage. I even did, believe it or their hardships. Then we drifted on to other not, fair Helena in A Midsummer Night's subjects. He said, "You're not only pretty, Dream. Can you believe a Bronx [lady] but a very sweet person." I said, "Thank doing Shakespeare? [Laughs] Well, I did it! you!" and we drove back to the set. And I was doing a play one evening—I think that was that. We finished the scene, said it was at Ben Bard's—and after it was over, our goodbyes and left. I felt great. He a very distinguished gentleman approached was such a fantastic guy—a beautiful, good me backstage. He was Sam Armstrong, an looking and very fine man. Days later, there agent for actors, and he thought my perfor- was a knock on my apartment door, and I got mance was great and wanted to sign me as a a delivery of some yellow roses and a note: client for six months. What a wonderful THANKS FOR THE LOVELY CONSID- human being. Throughout my show business ERATION AND CONVERSATION WE career, he never left me. Unfortunately, he HAD AT LUNCHTIME. KIRK. I almost left us. I still love him. And once he signed cried from joy. That was really, really nice. k me, I started with 20,000 Leagues. Speaking of 20,000 Leagues, I also | STARLOG: In your next SF film, Attack of remember how thrilled I was to have had the Puppet People, you had one of the leads. Tony Curtis' dressing room. Incidentally, he MITCHELL: Puppet People was an wasn't inside the dressing room! [Laughs] I absolute blast. Who else do you know who in a coffee can? Just He wasn't working then, so they let me use : has taken a bubble bath it—that's where the wardrobe mistress changed me. It was all mirrored, very gor- geous, just like he was. I was like a kid, looking around, checking out his clothes! I was quite impressed, and I said to myself, "Someday, I'm going to have this... Someday

I will!" Little did I know that I would be working with him in the future in Some Like It Hot [1959], another classic. STARLOG: Prior to this—as a kid growing up in New York—did you like movies? Her short MITCHELL: Very much. Also live stage meeting and shows, which my sister Fran—six years script reading older—took me to on Saturday afternoons. for the film's Since our parents worked, on Saturdays she producers was in charge of me. Well, Broadway was convinced them to our beat! Usually we would see performers coronate of her choice at the Paramount Theater, like her the Frank Sinatra, whom everybody loved. We Queen of would sit through three shows. Fran would Outer Space. say, "Mickey, if you watch the show with me one more time, we'll go to the Automat and I'll buy you anything you want to eat." One day at the Automat, Fran and I were finishing our pie when two gentle-

74 STARLOG//wne 2006 www.starlog.com —

Director Bert I. Gordon made his Puppet People appear minuscule via camera tricks that Mitchell found "so intriguing."

A giant briefcase provides a temporary home for Puppet People June Kenney, John Agar, Scott Peters, Mitchell, Ken Miller and Marlene Willis.

Honey, I shrunk Splish-splash! A bubble bath in a coffee the party: Mitchell can was one of Mitchell's memorable and her fellow moments on an oversized set. Puppet People take a singing & dancing me! [Laughs] It was filmed at an indepen- break from their dent studio, and I was so intrigued by the miniaturized way the camera went all the way up to the misadventures.

ceiling and shot down at us from there to shouting to be heard. And the props were very well-made. When I us to tiny make appear be people. They put STARLOG: Is it tough to act in SF movies, was looking at them—and when I was get- me in that coffee can, and in a giant tube where you're playing characters who are ting into them [laughs]—they looked realis- we [John Agar, Ken Miller et al.] were play- having experiences that no one has ever real- tic. Except they were gigantic! ing people who had been miniaturized by a ly experienced? STARLOG: What are your memories of

crazy dollmaker who was lonely and wanted MITCHELL: The director [Bert I. Gordon] some of the other Puppet People! to keep all of us for himself. There was also would explain to us what was going on, and MITCHELL: They were very nice to work

a giant phone that we used to try to call the why he put the camera way up high to make with. Ken was friendly, and John was all police, battling to pick up the receiver and us all look tiny and so on, and that helped. right. As far as the other people.. .they were

OK, too, but I really Behind the scenes, it was Zsa Zsa Gabor (right) who wanted to can't say much about be treated like a queen, giving director Edward Bernds any of them as far as a headache and producer Ben Schwalb an ulcer (literally!). being terribly friendly. We did our business, said "Good night" to each other at the end of each day and that was

all. On some produc- tions, people stick to- gether and kid around,

but on Puppet People, I don't know why, but... STARLOG: Well,

maybe it was just a question of having to work so fast, there was no time for kidding around. MITCHELL: You know, you might be right. Budget, budget, Watching the application of her budget, and let's shoot it in four hours! burned-face makeup was enough to [Laughs] They worry about money, money, "cause nightmares," Mitchell moans. money. But we all giggled and laughed, and

STARLOG//«ne 2006 75 —

The gal from the Bronx played her Between takes on Missile to the Moon, lovelies second spacewoman in the rock-bottom Mitchell (lower right), other lunar Missile to the Moon. and Earthman Tommy Cook take a coffee and l/ar/efy-reading break.

overall it turned out to be a very effective lit-

tle picture. We all thought, "Oh, gee, what a silly thing," but some people really thought Puppet People was good! Those eyebrows! Those ! Those butts a And Bert I. Gordon? STARLOG: Did you wear wig? STARLOG: (on the stage floor)! Mitchell goes from a MITCHELL: No, that was my hair. My MITCHELL: He was friendly enough, but smoke break to a smmmokin' pose. not to the extent that, say, Mr. Bernds hair is blonde. [Queen of Outer Space director Edward tie thing that bothered her—if I had a crease STARLOG: Didn't you tell me a minute Bernds] was. He was an angel, that Mr. in my outfit—she was right there. ago that you were brown-haired? Bernds. But Bert was certainly more friend- STARLOG: The first time LaVigne put the MITCHELL: When I was younger. Also, I ly than some directors. Some directors are, makeup on you, was it an unpleasant experi- used a lower voice as the "kveen," because I "Do your business, thanks a lot and good- ence, or interesting? had to be in command, give orders and

bye!" [Laughs] But I didn't find Bert MITCHELL: Very scary! I remember say- sound believable. I don't know where it

unkind, nor did I see him banging his head ing, "God forbid there should be a person came from, but it was quite low! against the wall because somebody didn't like this." Watching it go on.. .it could cause STARLOG: Ed Bernds—my first-ever remember their lines. nightmares! Emile would say, "Don't worry. interviewee—told me he went to Western STARLOG: Next, you played the title role I'll get it off." And every day, he used cold Costume with Zsa Zsa and, when she got in Queen of Outer Space. cream, or whatever he got it off with. Oh, demanding, he found a phone and called Ben MITCHELL: Sam sent me out to Allied God, they took so many pictures. They Schwalb and got after him to dump her! Artists to see this beautiful, God-love-him would be right there with their cameras, MITCHELL: She was very demanding man, Mr. Ben Schwalb [producer of Queen every day. They sent me so many photos—of about clothes, about everything. And Mr. of Outer Space]. What a sweetheart! Sam this ugly person! [Laughs] Bernds was the sweetest man, such an sent me out to see about playing the [imi- STARLOG: And memories of Zsa Zsa? angel—everybody said that about him. Zsa tates Zsa Zsa Gabor] "vicked kveen." MITCHELL: When it came to Zsa Zsa, she Zsa couldn't remember her lines, and she STARLOG: You had already acted in one of wanted this, she wanted that, she wanted used to yell out to the dialogue director Schwalb's Bowery Boys movies. Did you glitter in her costumes. ..she wanted certain [Herman Rotsten], "Herman! Vot is the god- have to audition for the part? things that were very, very expensive. An damned line?" She could never remember, MITCHELL: I recall reading a few pages actress she wasn't, but in those days she had so finally they got her a teleprompter!

of it, then I left, and a few days later Sam some sort of name, and so they wanted her STARLOG: Did Bernds' patience ever called me and said, "Laurie, you have the for the picture. Zsa Zsa used to yell—like seem to wear thin with her?

part." Then I had two hours of makeup with she didn't want the other girls to have the MITCHELL: Yes, but he was such a patient Emile LaVigne, the makeup man, doing a same color hair. Later, on Some Like It Hot, man. I remember seeing him hold his head plaster of Paris... Marilyn Monroe didn't want any of the other and go [Mitchell makes a groan-sigh sound]. STARLOG: Oh, a life mask! girls to have the same color hair, either. But he was a very sweet man: "All right, let's

MITCHELL: Oy! I had to sit there 'til it STARLOG: But you had the same color do another take," "Another take" and on and

was hard, and then he took it off. It was hor- hair as Zsa Zsa in the movie. You had to, on. It was just like [Some Like It Hot direc-

rible, but it had to be done. I still have the because she impersonates you at one point. tor] Billy Wilder with Marilyn: "OK, darlingk...Take 22!" mask—it's in the closet, wrapped in clear MITCHELL: Hers was just a little lighter. Marilyn, plastic. It's cruddy now; it's aging like me! [Laughs] Then there were the days when he Some like it—Mitchell loved it! "The most thrilling experience of my show business career" was her supporting role in Some Like It Hot with Jack Lemmon in had to make my face up to look burned, for drag (left of Mitchell) and Marilyn Monroe (far right). the scenes where the "vicked kveen" is unmasked. There was putty, black-and-blue marks and everything to make my face appear eaten up by radiation. Emile, the dar- ling, he should rest in peace, would put the makeup on me right on the set. Zsa Zsa was always, always late, so Emile would say,

"Laurie, as long as we're waiting, I might as well do this nice and slow with you." It would sometimes take two-and-a-half hours to put the makeup on, the ugly stuff. He was wonderful to me, and so were the wardrobe mistress and.. .well, everybody. [Wardrobe supervisor] Irene Caine was divine. Any lit—

76 STARLOGX/tme 2006 —

STARLOG: Early on, when you heard that dressing room. But not all-mirrors! sip column said that she and I had a feud Queen of Outer Space was going to be color STARLOG: Is it always you in the mask, or which we never did. Why would she give me and CinemaScope, did that give you the feel- did you have a double? champagne if we were fighting? They wrote ing—before you knew better—that it was MITCHELL: It was always me. that I was jealous of her, or that she was jeal-

going to be a bigger picture? STARLOG: Even at the end, when the ous of me, but it was baloney. Then, I would

MITCHELL: No, not at all! [Laughs] And "kveen" is inside the Beta Disintegrator as say 10 years ago, I ran into her in Europe. at the beginning, I really thought it wasn't it's sparking and smoking? We were at Heathrow Airport, and there was

gonna do too well, because I felt that Zsa MITCHELL: Always me, yes, I was in the Zsa Zsa, and she was furious. I said, "Hello,

Zsa wasn't doing such a great job. I remem- sparks and the smoke! One take. When it Zsa Zsa!" and she went [very coldly], "Oh..." ber the guys on the set—the people in charge was over, the cast and the crew applauded, She was mad because they wouldn't let her of the lights, the carpenters, all the people and I went, "Yyyyyyay!" [Laughs] I was so take her dog on the airplane. She said, try who so hard—were saying things like [in thrilled! They had said, "Do it in one take," "Don't they know who I amV "Yes, Zsa an exasperated voice], "Oh, shoot!", "Oh, and I did, and they all applauded. When we Zsa, they know who you are..." "I am never thisl" and "Oh, that'." during the long hours finished the picture, I don't remember if we going on this airline again!" "All right. See they were putting in. "Oh, this is never were a week late or two weeks late. By then, ya. Bye!" [Laughs] gonna go." Under their breath. Big sighs, big Ben was in the hospital, and somebody STARLOG: Much of the stuff that goes on groans and comments like, "Oh, jeez..." called him—it must have been Ed—and told in Queen of Outer Space is meant to be

STARLOG: Bernds told me that Zsa Zsa Ben, "Laurie picked up the picture" [helped funny. Is it funny when it tries to be? didn't like the competition—all the younger, keep production moving along]. And Ben MITCHELL: No. But, what the heck, it

beautiful girls in the movie. said, "Give her $850 more, because she's sold. I don't know whether or not it made

MITCHELL: That's what I remember, too. such an angel." In those days, $850 was a lot money, but I hope it did. And I enjoyed She was a self-centered person, that's all. of money, and I was so thrilled! being Yllana, Queen of Outer Space. STARLOG: What was it like for you to be STARLOG: I've interviewed two or three on a set with so many other beauties? people who worked on Missile to the Moon,

MITCHELL: I didn't think anything of it, and they barely remember doing it!

'cause I'm a warm person. I was never on an MITCHELL: All I remember is that big ego trip or like, "Listen, I'm the leading spider coming at me in the cave. Today, they

lady." I never felt that way. I was just glad would do it with a computer, but in those that they were working. And / was glad to be days they had a guy up high handling the so- working! called "special effects"—moving the spider STARLOG: Didn't anyone think it was legs like a puppet on strings. Target [a ridiculous for a woman on Venus [Zsa Zsa's department store chain] would make a for- character] to have a Hungarian accent? tune selling a spider like that for Halloween! MITCHELL: That is food for thought, isn't [Laughs] Leslie Parrish was a darling, it? Where the hell did she come from? The extremely friendly and fun to be with, and a

Hungarian part of Venus? Well, maybe the very pretty girl. As far as the other actors, I

Earth Hungarians took her and dropped her can't tell you much about them because I off there! [Laughs] As for the other people in don't remember much else! it, was. ..OK. He was cordial STARLOG: The most famous movie you enough, but he wasn't particularly warm. I were in would be Some Like It Hot. think he was wrapped up in something with- MITCHELL: The most thrilling experience Mitchell left acting to go on the road with in himself, and I don't know what that was. her husband, a medical salesman who of my show business career was that movie. Maybe he had problems. Some actors are [in It demonstrated his products on her (!). started out as a three-week job, and I was an enthusiastic voice], "Hi! How are ya? so excited to get the part. Three weeks What's goin' on?" Eric was [in a cold, busi- STARLOG: And part of the reason Queen wound up being three months, though, nesslike voice], "Good morning." And that of Outer Space took so long to shoot was Zsa because of Marilyn: She was pregnant, she

was it. Zsa not knowing her lines? was always late, she didn't show up at all, all STARLOG: The Queen is so gaga over his MITCHELL: Oh, absolutely. Well, they kinds of problems. And whether she showed character, I but as watch the movie I think, knew going into it that they were going to up or not, we would get paid for the day. I "What does she see in this lump?" have a problem with her. Rubirosa [playboy met the most wonderful women [the actress- MITCHELL: He was very standoffish. A Porfirio Rubirosa] was her friend at — boy the es who played the other girls in the band]; few years later, he was doing a movie in time "Rrrrubirrrosa" she called him. He they were marvelous. I was so thrilled to be [South America], and he drowned. Terrible. would call her on the phone in her dressing in a movie with Marilyn and Jack Lemmon. Now, Patrick Waltz—another one of the room, and she would speak to him either in Jack was a darling. He schlepped around leading men in the movie—was a sweet- Italian or German—not Hungarian. And not with all of us; he took us everywhere. Tony heart. He married the dearest little Lisa English, that's for sure! [Laughs] He sent her Curtis was kind of.. .OK.. .but we all loved Davis, who was also in the film. Lisa was a case of tiny champagne bottles, which she Jack. He was just an angel. such a sweetheart, an adorable girl. They shared with me. Zsa Zsa would say to me in STARLOG: Everybody who remembers were a darling couple, and he died so young, the makeup room, "Oh, vot a shame they you, remembers you for Queen of Outer of a heart attack. That was a tragedy. I ran stuck a mask on such a beautiful face!" Space. How often do you watch the movie? into Lisa several years ago. I was taking my STARLOG: Do you think she was sincere? MITCHELL: Not often. But it has been sister to a doctor in Beverly Hills, and I MITCHELL: No. Not at all. Sometimes at shown many times over the years, and it's looked up, and she was the nurse. I went, the end of the day, when the mask and the amazing how many people have seen it and

"Lisa?" She went, "Laurie?" We hugged makeup were off and I was putting regular are interested in the film and sci-fi. I cannot each other, and I said, "Oh, I'm so, so sorry," [beauty] makeup on, she would go, "Vhere believe the people who go to these conven- and she said, "So am I." you goingk?" I would say, "I'm going to tions; they want your autograph and they STARLOG: While making 20,000 Leagues, meet my husband and get a bite to eat," and surround you. Me, little me! They go, you told yourself that someday you would she would say again, "You really are pretty, "Laurie Mitchell! Can I have your auto- have a Curtis-level Tony dressing room. aren't you?" I would reply, "Oh, thank graph?" I'm absolutely astonished, and it What was yours like on Queen! you"—but I would be thinking "B.S.!" just thrills me. It makes me feel so good. MITCHELL: [Laughs] I had a very nice Incidentally, the gos- Like I was a kid again. ^ www.starlog.com STARLOG//i

Those lips! Those Much more work eyes! (Well, that resulted (a grand total of eyel) Those claws! 60 covers for Warren Those neck bolts! Those Publications): Spacemen, fangs! Basil Gogos no Creepy, et al., plus doubt has an eye for beau- 48 Famous Monsters, the ty but, to baby boomer latter ranging from genre Monster Kids, his claim to icons (, Bela fame is his eye for the Lugosi, the Chaneys, grotesque and his amazing Price, Peter Cushing, two-decade run as a cover , etc.) to artist for Famous Monsters King Kong, Gorgo, the of Filmland magazine. Colossal Beast and the It was in 1960 that Cool Ghoul (TV horror Gogos was asked by his host Zacherley). agent to do his first Now, nearly a half-cen- Famous Monsters cover tury after that Price cover (an image of Usher-ed in a new era at in House of Usher). The Warren, scores of Gogos' artist—an Egyptian-born monsterpieces have finally Greek who came to the come together in Famous U.S. as a teenager—was Basil Gogos was the artist whose Famous Monsters (such genre icons as Monster Movie Art ofBasil supplied only with a photo Boris Karloff and This Island Earth's Metaluna Mutant) ignited the Gogos, the latest entry in of Price for reference and imaginations of both horror and SF fans. Vanguard Productions' the instruction that the series of books on great client {Famous Monsters publisher James Warren) was looking for fantasy artists (available in $24.95 tpb, $34.95 he and $59.95 signed something "new and different and colorful." he editions). Gammill is the chief architect of the 160-page book. He

Still not quite certain how to approach the assignment, Gogos wrote most of the text and solicited testimonials to the Greatness of decided to simply let himself go. "The result was so striking and so Gogos from many monster world notables, among them FM editor 'different' that Gogos was nervous about delivering the finished , Zacherley,

work in person, and asked his agent to take it in," says Kerry Roger Corman, Rick Baker, Frank Gammill, Gogos fan extraordinaire (and an artist himself). "The Darabont and fellow legendary

agent was nervous about it, too! But Warren was so delighted with it artists James Bama, Ken Kelly, that he immediately called Gogos to thank him, and to discuss more William Stout and Vincent Di Fate. work." "When I first met Gogos at a horror fan convention," Gammill says, "I was surprised by the amaz- ing amount of art he had turned out in recent years to supply the demands of monster fans eager to own prints or original works. The ; '2r fact that there was no book on his work grew more difficult to accept.

I became determined to make it happen." Gammill brought the idea to his Readers can order the friend David Spurlock of Vanguard fabulous Famous Monster Productions, who was enthusias- Movie Art of Basil Gogos direct from Vanguard / tic—although they both knew that Productions' website locating all the needed material (www.creativemix.com/vangu wouldn't be easy. The two were ard). eventually able to gather images of older, at In 1965, when then-11-yeai>old Kerry Gammill (now the original art for many of the 1960s-70s Gogos monster portraits, left) first beheld FM #1 0's of the Opera cover, he Phantom and in their book are presenting them "in the purest form possible,

was forever hooked on Gogos (right). ,. preserving all the richness of the originals," says Gammill. A small

78 STARLOG//M«e 2006 www.starlog.com STAR WARSF During his decade-plus stint at Warren Publications, STARLOG Creative Director W.R.

'A Mohalley designed the magazines' covers (including FM Gogos paints what he sees. His portrayals of Draculas Bela | #147) and Lugosi and Christopher Lee have chilled several generations | worked with of Monster Kids. Gogos. He also designed sample of that artwork is on display on these pages. this article. Also included are Gogos' early paperback novel covers, plus the covers and interior illustrations he did for 1960s-70s "men's adven- ture" magazines, which Gammill calls "one of the last havens for realistic artists" in the final days of that great era of magazine illus- tration. In total there are 150 color and 50 b&w illustrations, up to and including Gogos' more recent monster paintings and drawings.

"What makes Gogos' monster covers so great is that he is a pro's pro from the classic school of great American illustrators such as Norman Rockwell, N.C. Wyeth and James Montgomery Flagg—but he just happened to fall into doing movie monsters," Gammill

remarks. "And he approached them with as much integrity as if he were painting the Man of the Year on a Time cover. Fans can "Each monster painting is not just a portrait, but a work of art," meet Gogos Kerry Gammill explains. "He loved the chance to do something dif- this year at Monster Bash ferent and to use unusual color and textures choices that he wasn't and the San able to in his more conventional illustration work. The freedom of Diego Comic- his brush strokes and his unique Con. See the multicolor lighting made Gogos' website monster covers come to life (www.basilgo in a way that few other gos.com). artists' did."

Besides creating new works for nostalgic buffs, Gogos does straight portraits and ARE PEOPLE nature scenes (like this Black Lagoon landscape). His subjects weren't just Famous a

11 of Hugo Weaving s work shares a common denominator—from epics such as the Lord of the Ringi and Matrix trilogies and V for I Vendetta to smaller films in the vein of The Adventures of Priscilla, Queen of the Desert, Peaches and Little Fish to stage outings like Hedda Gabler. "The most important thing is to try to find the script that most appeals to me, and illuminates something which excites me," he explains.

"Whether it be stage or movies, a large- budget film or a small-budget one, an Australian, American or European produc- tion—those things aren't as crucial. The material itself is what's important. And if

I can mix it up and move from stage to film, I'll do that. I've always thought those two disciplines essentially spring from the same place, and they can also inform each other. Film work can help stage work and vice versa." Weaving was acting alongside Lord of the Rings co-star Cate Blanchett in Hedda Gabler at the Academy of Music when Vfor Vendetta opened in theaters nationwide. He welcomed the strange juxtaposition of projects, just as he welcomed joining Vfor Vendetta at "Strength Through the last minute. Weaving stars as V— Unity—Unity Through terrorist aiming to spur the people of Faith." Future London's England to revolt against a government administration preaches that has rigged circumstances in their these values, butV favor, convincing the citizenry that reveals that they near-Draconian measures are neces- don't necessarily practice them. sary to maintain order, when it's actu- ally a power grab and a scheme to keep the population in check. After being imprisoned and disfig- ured as a result of the government's handiwork, V now lurks about Lon- don in a Guy Fawkes mask and black Cloaked in cape, preparing to blow up Parliament conspiracy, shrouded in secrecy, in a year's time, after introducing the mysterious himself to the masses—and his ene- revolutionary who mies in a memorably explosive — calls himself V manner. He's ready to stand alone, (Hugo Weaving) but makes an unlikely ally in a young tempts Evey woman named Evey Hammond Hammond (Natalie (Natalie Portman). V saves her life, Portman).

80 STARLOG/June 2006 —

Unmasked, Weaving but she emerges from the harrowing experi- isn't quite as ence more mature, politically aware and enigmatic as his willing to help V realize his revolutionary V for Vendetta plans. alter-ego. The actor understood the motivation for the The Anarchist Incognito anarchist's disguise First-time director James McTeigue and welcomed helmed Larry and Andy (The Matrix) the challenge of Wachowski's Vfor Vendetta script, which is wearing Guy based on Alan Moore & David Lloyd's con- Fawkes' visage. troversial graphic novel. James Purefoy was originally cast as the titular terrorist, but he withdrew after roughly three weeks of shooting, reportedly because he couldn't come to grips with working beneath a mask. Weaving, however, didn't mind. Having grown up in England, Weaving was already familiar with Fawkes and the Gunpowder Plot of 1605. And during the making of The Matrix, he and the Wach- owskis happened to be reading Antonia Fraser's Faith and Treason: The Story of the Gunpowder Plot at the same time. So when the call came to enter the V fray, Weaving blindly jumped in on only a few days' notice. "When you do things at the last minute, you're forced to un-complicate them," he points out. "You're forced to make very simple and intuitive choices, which lib- erates you from over-thinking matters. "There were already so many challenges to this role—for the actor playing V as well as the filmmakers, who had to humanize the

mask—that it was actually easier jumping in at the last minute. Normally, if you asked me, 'Would you rather have more or less

time to prepare for a character?' I would

answer, 'Obviously, I would rather have more.' And in an ideal world, you could always choose that path. But with this par- ticular character, [the lack of preparation] made the experience exhilarating and enjoy-

able. Actually, I find, for me, that's often the and she—fascinated by his words, ideas and best way to work—just jump in, do the best the mystery of what's behind the mask I can and get on with life." befriends and learns from him. Matters take Although not given any time to analyze a strange and sadistic twist when V confines the part, Weaving quickly found the heart and tortures the naive and unworldly Evey, and core of this complex character. "They

STRENGTH THROUGH UNITY UNITY THROUGH

V isn't afraid to use force to get his message across. Charismatic but also crazy, the explosive insurgent sends shock waves through England.

STARLOG/June 2006 81 Weaving didn't have to fight for this role. After another actor dropped out, his Matrix buddies—writer-producers & director James McTeigue—called on him to join the production on a few days' notice.

sent me the script, I read it and it was evident the mask. There were a couple of times to me that V would be behind the mask the where I didn't wear it, but it didn't seem whole time," he remarks. "That's who he is. right because V always has the mask on. V is the embodiment of an idea, and that Also, Natalie was responding to the man in

idea is more important than the body he's the mask, so to have her respond to me felt encased within, if you like. He even says that wrong. That's why I never wanted to work in the film: 'Beneath this mask there is flesh. with her without it." There's more than flesh. Beneath this mask

there is an idea, and ideas are bulletproof.' The Rebel unknown

So it was clear to me who V is, and that he There has been some debate concerning

mask. I was the scope of the Wachowskis' involvement Inspired by the Gunpowder Piot of 1605, would never take off his And people believe the sib- V takes action against Sutler (John Hurt) thrilled by that prospect. in the picture. Some and other officials who have used their "I stayed in this mode the whole shoot," lings directed far more than anyone is letting power for personal gain. he adds. "I also rehearsed most of the time in on, but Weaving puts the kibosh on that

According to Weaving, 71 the Wachowskis only helmed some second- unit shooting for Vendetta, like this spectacular domino- falling sequence.

82 STARLOG/7i«?e 2006 —

notion, insisting that (to his knowledge) the Wachowskis only handled some second-unit shooting—most notably the domino-falling sequence (as pictured below). Weaving has no problem stating that McTeigue—a long- time Wachowski associate who served as an assistant director on the Matrix films indeed earned his "directed by" credit on V for Vendetta. "The director was definitely James McTeigue," Weaving says. "James was the

man I worked with every day. Larry and Andy were there as writers and producers. The script didn't change from day one until we were in ADR. There were some minor revisions, but those were very, very small. That's the way Larry and Andy work: They write a script and that's pretty much it. It doesn't change. He's more than a man. He's more than a mask. As Weaving notes, "V is the embodimer "So I didn't see them much [on the set] of an idea. That's who he is," Ultimately, he is all of us. until the shooting had been completed. I did spend quite some time with them in the ernment or situations tends to stifle discus- Smith in The Matrix in STARLOG#310. evenings, but that's because we all know sion, and governments often attempt to sup- Today, Weaving offers his verdict on the each other from The Matrix. Many of the press debate for various reasons. In times of Matrix movies: "I think the first one works people involved in V'for Vendetta worked on war, stress and strife, administrations desire best. But you can't really say that. It was a the Matrix movies as well. So, no, it was a certain control over debate. I think what trilogy. But if you take only one film, the definitely James' film. Larry and Andy have we need to do is maintain the debate." first works better standing on its own." a great relationship with James, and they've Weaving previously discussed his stints Meanwhile, back in City, the worked with him for a long time. They did as the Elvish ruler Elrond in the Lord of the word on the street is that Weaving is being not want to direct Vfor Vendetta; they want- Rings trilogy and as Neo's nemesis Mr. considered for a role previously played by ed James to direct it." Tommy Lee Jones in Batman Forever, that V for Vendetta is timely and controver- classic good/bad guy Two-Face. "I'm sial, which is ironic given that the source what?" Weaving exclaims. "Oh, really?" material began hitting the streets 25 years The Batman Begins sequel casting rumor is ago. What an audience takes away from the certainly news to him. "I've never heard that movie, Weaving argues, will vary from per- one!" son to person. "It certainly makes you As the conversation comes to a close, think," he offers. "Look, the film is an exhil- Weaving reveals that, in fact, there's nothing arating and entertaining ride, but there's so on the horizon for him at the moment. much more to it than that. While you're Hedda Gabler—which he performed back watching it, you're skating this surface of home in Australia before bringing it to the fantastic ideas that are incredibly pertinent States—will have ended its initial run by late to the world in which we live. March. Something will eventually turn up, "This picture addresses the major issues though—be it in Australia, the U.S. or else- we're talking about today. What people take where, on the stage or in a film, big or away from it is another forum for debate. small. Weaving has been around long And hopefully it will spark debate. I guess enough that he's not at all stressed, and the core of the film is that fear of gov- he feels no compulsion to relocate to Hollywood for more opportunities. "I don't have anything lined up," he says. "I'm looking for- ward to spending time with my family and getting back to planting some trees on our property. I've never really In tune been tempted to move to with current the States. Because I events, V for live in Sydney, the Vendetta is majority of my work has been in a provocative Australia. the stories picture that And I'm Weaving often interested in being a part of hopes sparks telling tend to spring from my debate country. among "Obviously, there are great audiences. scripts that come from all parts of the world and issues that are per-

Photo: Claudio Carpi tinent to everyone," Hugo Weav- ing acknowledges, "but I've just never had a desire to move to the

U.S. I love coming here, but I would feel alien in this country." ^

STARLOG/June 2006 83 —

By MARC SHAPIRO Voyage to the Bottom of the Sea? Not quite! It's more of an odyssey to the top of the boat when the his is what Irwin Allen might have done if he had had — Poseidonpc capsizes and those still the money. Yes, if the "Master of Disaster" were tretrapped must make their way alive today and had not only a 2006 budget but contem- ononward and upward (yet porary technology and CG FX to play around with, he dcdownward). Acting heroic en route HI might have remade his influential 1972 disaster epic anare Christian (Mike Vogel), Robert favorite Kurt The Poseidon Adventure in much the same way as this year's RamseyRe (STARLOG Russell),l Jennifer Ramsey (Emmy Poseidon. Even without Allen (who died in 1991) on board, this Rossum),[j John Dylan (Josh new flick resembles the original almost to a fault—which might Lucas),^ Maggie James (Jacinda qualify Poseidon as Hollywood's most unnecessary remake since , BBarrett), Conor James (Jimmy Gus Van Sant's Psycho. But, hey, the sets look spectacular. BBennett)| and Richard Nelson director "It's the same formula as the first film," concedes (j(Jaws' Richard Dreyfuss). Wolfgang Petersen. "The basic idea is that this big ship is swal- lowed up by a huge tidal wave and goes upside down. Then, we follow one group of people who are trying to get out. The rest is all new with very different characters and story elements." What is new is that—unlike the original, which used exterior locations and actual cruise ships as well as soundstages Poseidon has been a studio-locked production, encompassing several stages on Warner Bros.' LA lot. This was much in evi- dence on a particular day near the end of shooting. All the actors (including Stealth's Josh Lucas, who suffered a minor injury during lensing when a water cannon knocked him off a 30-foot wall) have long since wrapped. Which leaves the real stars of the film—the stunt performers and physical effects crew—to strut their stuff. In a huge water tank that nearly takes up an entire stage floor, several stunt people are perched in and around debris- filled water. After almost an hour of prepping the scene, cameras Must there be a morning after? They're remaking The Poseidon Mdwenture again, but why?

"M H roll on a section of the upside-down ship's

| interior as a cannon of water explodes

•*> into the set, slamming a dummy hard This sequence will be jfr J against a bulkhead. W* 4mM repeated several times during the shoot- (A ^|JI ing day for maximum coverage. Yet, no

'flpk ''k.; matter how much he gets socked or ^JR-. soaked, the dummy never complains. » -^Jv Second-unit director Doug Coleman K. \J previously worked with Petersen on The ^Lk ji i 1 Perfect Storm and Air Force One, so the ^ t w0 have developed a nice shorthand. .."«#- ^ii "His direction to me on this film has been City Beneath the Sea? Producer Irwin Allen not only captained to create excitement," Coleman confides. "And that has opened such seaworthy movies as The Poseidon Adventure, he also the door to doing lots of things to make this movie exhilarating." made the Oscar-winning 1952 documentary The Sea Around acknowledgement that he has been extremely Us, based on Rachel Carson's exploration of the oceans. Coleman's His widow Sheila and Allen acolytes Kevin Burns and Jon J. busy on Poseidon is a bit of an understatement. "There have Jashni are serving as the remake's executive producers. been so many obstacles that we've had to work through," he

84 STARLOG//MW 2006 www.starlog.com remarks. "We've had to deal with heights, fires, floods, electrical challenges, furniture dropping, falling elevators. We haven't done most of these things before, so everything about this film is new to us." The second-unit director reports that the toughest elements of Poseidon to pull off were the scenes where the actors were required to swim underwater through submerged decks and

corridors. "The actors were awesome when it came to those sequences," he praises. "We had them come in to practice on the sets and with the stunt team before we actually shot the scenes. They were all troupers, especially Richard Dreyfuss, whose character is in the water more than the others. "The big thing was the comfort and safety levels. In Richard's case, we planned it out so that he would be underwa- ter for three takes and then we would bring him up for a rest. We wanted the actors to know that there would be somebody with them just out of camera range, so if they needed air, there would be air. Her hairstyle was last person you might expect to see altered a bit; her Thehanging around a movie set is the clothes were screenwriter. But that wasn't the case the retailored; but with Aeon Flux, where co-writer Phil Hay cinematic Aeon still spent a great deal of time on the film's possesses the same German soundstage. "The script was pretty strength and sexuality locked into place since the very begin- as her cartoon much counterpart. ning of production," he says. "It was good to soak it all in. And things came up that I hap- Selected Photos: pened to have the answer for. I'm really Jasin Boland grateful that the producers wanted us there."

Hay is one half of the Aeon Flux writing team. The other is his partner, Matt Man- fredi. They first met at a Brown University improv group, then relocated to Los Angeles. Penning movies wasn't their origi- nal goal. "We were like the classic case," Hay chuckles. "We were going to become professional improvisational comedians... and ran into the wall quickly." The duo came to this project off their critically successful teen romance movie crazy/beautiful. "It was a leap of faith for

1 II r iff fcwi

Once they got the assignment, Hay and his co-writer ran with

it. While neither of them had ever penned a SF screenplay before, they were excited by the genre. the producers," Hay notes. "We hadn't writ- ten any science fiction movies, but they saw that we were excited and understood what

the genre is about. In the end, Aeon Flux is a love story, the same as crazy/beautiful. But they're in a very different garb—and there's no weaponry in crazy/beautifull" Liquid Energies Not having SF credits until now doesn't mean Hay is a genre innocent. He cites an eclectic collection of favorite films, ranging from the Star Wars and ALIEN franchises to Silent Running, The Man Who Fell to Earth and animated movies like Shying away from the blockbuster mentality of '80s action flicks, Hay concentrated on Wizards. "I've seen Flash Gordon 12 times," the "chaotic and totally weird characters" who live in Chung's surreal universe. he boasts. "I can watch it any time. I'm talk-

ing about the feature with Sam J. Jones. On movies that aren't necessarily science fiction didn't score at the box office in its December this movie, we spend lots of time focusing but art pictures," he qualifies, "films like 2005 theatrical bow. But maybe that result on so-called minor characters because my Memento and Pi have the kinds of values to was somewhat predictable. "Aeon Flux was favorite character in Star Wars is Wedge." which I gravitate." seen as an unadaptable property," Hay ad- Other films also influenced that adapta- Alas, Aeon Flux (due out April 25 on mits. "People would look at this and say, tion of the MTV show. "When I talk about DVD from Paramount Home Entertainment) 'How are we going to turn this into a film " that audiences will go see?'

It took a decade for the project to go to camera—and with good reason. Earlier By WILL MURRAY scripts were junked as misfires. Recalls Hay:

"The concept out there was to turn it into a traditional, big, thudding '80s action movie, with a wo- man called Aeon Flux but nothing else about the show or world." Enter Hay and Manfredi. "What we saw

as fans of the show was that it's more like adapting [pop artist Robert] Rauschenberg than a comic book or novel," Hay notes. "Originally, for inspiration, we looked to Run, Lola, Run, which I consider a science fiction movie just because of the energy of its ideas. We approached Aeon Flux with an energy that had nothing to do with the 1980s blockbuster mentality. What would be new?

Something that has all the action people

mm With partne Matt Manfredi, Phil Hay made Aeon Flux into a real killer.

Top operative Aeon Flux (CharlizeTheron) helps lead the Monican rebellion 400 years in the future. Phil Hay & "She has totally Matt Manfredi faced become this person to the tough task of us," Hay says of Theron. adapting Peter Chung's Although uncast when an/me-influenced the script was being MTV toon as a live- written, the actress action picture. truly characterizes this beautiful assassin.

STARLOG//w«e 2006 87 —

want, but comes out of chaotic and totally weird characters?" Some matters derived directly from Peter Chung's source cartoons. "The basics of the movie's relationship between Aeon and Trevor are very much like the show," Hay says. "The best way to describe it is they're people who know they shouldn't be attracted to each other, because it's so wrong, and yet they're destined to be and have to figure out why. They have to discover what it is about the other person that drives them crazy.

What happens when they meet each other is part of the story, and it sets them on a path where they both must understand their mys- terious connection." Beyond that, the screenwriters plundered the surrealistic animated feast that mesmer- ized viewers of MTV's Liquid Television a decade ago. "There are little visual mo- ments," Hay relates, "like the show's signa- ture image that's on the cover of every video box, where Aeon catches a fly in her eyelash. We do that. To me, that's the heart of the show—the weirdness and mystery of it. Details like that fit in completely with what we're doing. And the fans will say, 'Oh,

' that's in "A Last Time for Everything."

"Her hair is a great example. Aeon has this insane hairstyle that's like a ram's horns, which you could never put in a film because it would be ridiculous. And the costumes in the show are skimpier than any human could possibly wear and look good in. So the idea was to take that same sort of adventurous- mand of the government; the Handler a real chaos, a questioning. She possesses ness and create a great vision of it. We sug- [Frances McDormand], the spectral spiritual the true spirit of an anarchist, although she gest the hair, but it's something a real person leader of the rebellion; the Keeper, played by does belong to an organized rebellion as from the future would wear." Pete Postlethwaite; and Inari [Yangzom well. Aeon is in touch with her primal ani- Aeon Flux, directed by Karyn Kusama, is Brauen], Oren's strange aide-de-camp." mal side, but is also incredibly personally populated with a cast of characters unfamil- The core of Aeon Flux remains, as disciplined. She's a warrior." iar to the show's fans. "The characters, while always, the disturbing relationship between As for Aeon's intended victim, Hay com- they've evolved, are very different in some the star-crossed foes-in-love Chairman ments: "I always saw Trevor as incredibly ways," Hay says. "Many of them are our Trevor Goodchild (Marton Csokas) of the charismatic, and that's where his power invention. They aren't part of the show, but Breen and assassin Aeon Flux (Charlize comes from. But he has much more impor- they would have fit in. There's Sithandra Theron) from the rival state of Monica. tant things on his mind than being ruler of [Sophie Okonedo], Aeon's protege; Freya "Aeon has a mission," Hay notes, "and she the world. Trevor is tied up in his science

[Caroline Chikezie]; Oren [Jonny Lee has a specific idea of how she sees the and the world as he sees it. He's a dreamer... Miller], Trevor's brother and second in com- world—of good and evil. But inside of her is but very powerful. He's the leader of the rest of the human race—but an almost reluctant ruler. Trevor contains a certain compassion

that sometimes makes it hard to do his job." When the Monican rebels send their top assassin, Aeon, to take down Trevor, sparks fly. But not the kind anyone expects including a bewildered Aeon. "There's tons of character stuff in the film—especially tension between Aeon and Trevor," Hay says. "They're enemies who clearly love each other in some way. That's what the show was about—these battling forces; one represents science, order and learning, and

the other is chaos and anarchy." Market Forces During most of the scripting stage, Hay and his partner had no specific flesh-and- blood model for their heroine. Nor did they use any particular actress as a nominal touchstone. "We really didn't," says Hay. to and realized A woman on a mission, Aeon doesn't quite fit into this (or any) world. And she "We wrote an archetype, how won't be back for a sequel. few people could approach a role like this

88 STARLOGX/wne 2006 Aeon Flux's striking visuals were a series trademark, and the screenwriters tried to preserve that imagery. "We see the MTV show as the dream world of our characters," Hay notes.

Hitting video stores April 25, the Aeon Flux: Special Collector's Edition DVD features commentary by Hay & Manfredi, Theron and producer Gale Anne Hurd as well as the featurettes "Creating a World: Aeon Flux" "The Locations of Aeon Flux," "The Stunts of Aeon Flux," "The Costume Workshop of Aeon Flux" and more.

involvement with the project. "We didn't Warner Bros, called Market Forces," he says. have much interaction with Peter," Hay says, "It's based on a British novel by Richard

"because it seemed he wanted the film to be Morgan, and set 20 or 30 years in the future, what it is and focus on his own stuff. It was where everything has become like Iraq. The great when he visited the set, though; he story is about a world run by [a corporation became attached to what was going on. We like] Halliburton or Bechtel. It's almost a were definitely conscious of the responsibil- science fiction version of The Firm, where ity we had adapting something this special. someone in one of these companies—the A way to protect [the source material] is to golden boy who has risen through the do your own thing that tries to do justice to ranks—gets a conscience and starts to real- the thoughts and feelings of the original, but ize that people are actually trading off of takes them in such a new direction that the misery, war and conflict. The novel is two can exist on their own." extremely political." because of Aeon's emotional chaos. The Manfredi and Hay have been writing Does this mean a new career direction for character requires someone who's incredibly partners for 12 years. Living six blocks apart the screenwriting duo? "I would love to be powerful and exerts a strong aura. Charlize enables them to collaborate intensively. typecast as a sci-fi guy!" Phil Hay grins.

has that, and now it's impossible to imagine "Our ideas and styles have converged so "I'm a fan, so it's appropriate!" anybody else. She has totally become this much that we now exhaustively outline person to us. Aeon's sexuality was a big part everything together down to the tiniest Crouching tiger, of the show's appeal. It isn't as aggressively moment," Hay says. "Then we split up and hidden assassin. Crafty, stylized as the show, but we wanted this to take shots at different scenes. I'll write one, agile and stealthy, be a very sexy movie." it send to Matt, who'll edit it and send it the catlike Aeon is a Don't think that because Aeon Flux is set back. And he'll do the same thing. We dis- master of slipping

400 years from now, that's all there is to it. agree every single day about different things, in and out of places "We didn't throw burlap over a burning trash but they're artistic conflicts, so we just fight unnoticed.

can and call it the future," Hay quips. it out. It's good that we had Karyn to adjudi- Chung's strange and striking designs and cate. She was the boss.

visuals were carried over to some degree. "Matt and I worked on the script for "It's not that we're less stylized, but we're almost four years. As our world changed, the different. Still, there's a continuity between world of the movie changed. Some of the them, and we wanted to maintain the show's things in the subtext came to the surface, but sense of mystery. On the TV series, there's a the core theme remains the same: How do

dream logic that makes sense of everything, you retain your humanity and all the great

even though it's very buried. If you watch things that make you human in the face of all

the show 400 times like Matt and I have, it the strife in the world and technology that starts to work on you. You begin to see that tries to dehumanize you? It's the battle to there really is a coherent intelligence behind save what is human in everybody. There's it all. But we tried to turn the film into some- lots of stuff in science and politics where

thing more understandable on a story level, people ask, 'What is it to be safe?' 'Can you with revelations so people say, 'Wait a sec- trust what everybody tells you?' 'Whose side ond! Now I understand!' are you really on?' There are issues involv- "In some way, we see the MTV show as ing governments and rebels and how things the dream world of our characters," he adds. can turn over and change. Today's good guy "The movie operates in a more realistic uni- is tomorrow's bad guy." verse, but their spiritual essence is in there. Tomorrow, however, won't include a It's important for the fans to recognize the sequel; its production is precluded by the images, and there are action beats that refer- film's disappointing box-office perfor- ence specific material from the series." mance. Meanwhile, Hay and Manfredi have Despite that, Aeon Flux's creator Chung moved on to another genre project. "We're (STARLOG #342) didn't have any direct working on a science fiction movie for www.starlog.com 90 STARLOGX/wne 2006 www.starlog.com EDITORIAL.

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