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Full text of "Starlog Magazine Issue 222"

Scott Baku la & Roy Thinnes vs.THE INVADERS 



THE SCIENCE FICTION UNIVERSE 




JANUARY #222 



Bruce Willis 
as Cole 



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You've crashed 
on a strange 
planet. You 
quickly strike 
a deal with your newfound alien buddy, Gaan. 
You'll help blow away his hostile robot 
inhabitants. He'll help you get safe passage off 
the planet. Easier said than done. Together, 

you'll have to solve deadly puzzles 
and avoid traps, red 

BREOOEB 




siugs, lizards, giass tunneis, acia 
and sparking cables. You'll go from 
hauling butt through the forest to 
blasting into a bomb -filled mine shaft 
to fighting through an armory to 
destroy a reactor. It's Alien Cdyssey — 
the PC CD-ROM game with incredibly snoot! 
character animation and Argonaut's exc" 
3D adventure game technology. Zr 
annihilation. But in a friendly sc i 



ABBONHUT 



©1995 Philips Media, inc. ©1995 Argonaut Software Limited. 



For more information call 1-800-340-7888. Visit our Web Site at http://www.r. 




ESSENTIALS 



50 



27 



34 



38 



42 



MORPH WITH THE CAMERA 

Rene Auberjonois shapes up 

for more directorial shifts 55 

GRAPHIC 
TERMINATIONS 

Terminators good & 
bad rule in these 
comics sequels 



STRANGE GENESIS 

James Cameron & 

Jay Cocks 

recall 

Strange 

Days writing 

THE 

MONKEY'S 

UNCLE 

Terry Gilliam 
crafts the 
surprises 
behind 12 
Monkeys 




SAVAGE SWORD OF XENA 

As a warrior woman, Lucy 
Lawless rides into action 

BEYOND THE DUMONT 
HORIZON 

Heroic till the end, Cap- 
tain zoom conquers 
the universe 

60 HER 
CO-STARS WERE 
CATWOMEN 

Marie Windsor 
remembers 
a movie 

she'd rather 

forget 

67 AGAIN, 

THE 

INVADERS 

Scott Bakula 
joins Roy 
Thinnes to 
fight aliens 



Bruce Willis 
ponders the 
mystery engi- 
neered by Terry 
Gilliam. What 
or who are the 
12 Monkeys? 
For clues, see 
page 42. 



NUMBER 

222 

JANUARY 

1996 

THE 

SCIENCE 

FICTION 

UNIVERSE® 



72 SECRET MASTER OF 
THE HOLODECK 

Dwight schultz confesses! He 
really is a science-fiction fan! 

78 ENSIGN ADVENTURE 

On this voyage, Garrett Wang 
gets lost among the stars 

COMPONENTS 

6 MEDIALOG 

8 VIDEOLOG 

10 GAMELOG 

14 BOOKLOG 

19 COMMUNICATIONS 

22 FANLOG 




STARLOC: The Science Fiction universe is pub- 
lished monthly by STARLOG CROUP, INC., 475 Park 
Avenue South, New York, NY 10016. STARLOC and 
The Science Fiction universe are registered 
trademarks of Starlog Croup. Inc. (ISSN 0191 -4626) 
(Canadian CST number: R-124704826) This is issue 
Number 222, January 1996. Content is © Copy- 
right 1996 by STARLOC GROUP, INC. All rights 
reserved. Reprint or reproduction in part or in 
whole without the publishers' written permis- 
sion is strictly forbidden. STARLOC accepts no 
responsibility for unsolicited manuscripts, pho- 
tos or other materials, but if submittals are 
accompanied by a self-addressed, stamped enve- 
lope, they'll be considered and, if necessary, 
returned. STARLOC does not publish fiction. Fic- 
tion submissions are not accepted and will be 
discarded without reply. Products advertised are 
not necessarily endorsed by STARLOG. and views 
expressed in editorial copy are not necessarily 
those of STARLOG. Second class postage paid at 
New York, NY and additional mailing offices. Sub- 
scription rates: $39.97 one year (12 issues) deliv- 
ered in U.S. only. Canadian and foreign 
subscriptions $48.97 in U.S. funds only. New sub- 
scriptions send directly to starlog, 475 Park 
Avenue South, New York. NY 10016. Notification 
of change of address or renewals send to STAR- 
LOG Subscription Dept., P.O. Box 132, Mt. Morris, IL 
61054-0132 or for Customer Service, call toll-free 
1-800-877-5549. POSTMASTER: Send change of 
address to STARLOG Subscription Dept, P.O. Box 
132, Mt. Morris, IL 61054-0132. Printed in U.S.A. 



E H *R B 'OP *B J R. R t R E K 



JOURNEY A«C ROSS THE 
LANDSCAPE OF IMAGINATION 




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REFUECTI n 5 OF THE F U 



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PHRSE ORE' 



COMING DECEMBER 13. 10 95 



TM, ®, & © 1995 Paramount Pictures. "All Rights Reserved. STAR TREK and Related Marks are Trademarks of Parai 
Produced and distributed by Fleer/SkyBox, Mount Laurel, NJ 08054. Authorized User. 




JANUARY 1996 #222 
Business & Editorial Offices: 

475 Park Avenue South 
New York, NY 10016 

President/Publisher 

NORMAN JACOBS 

Executive Vice President 

RITA EISENSTEIN 

Associate Publisher 

MILBURN SMITH 

V.R/Circulation Director 

ART SCHULKIN 

Executive Art Director 

W.R. MOHALLEY 

Editor 

DAVID MCDONNELL 

Managing Editors 

MARC BERNARDIN 
MICHAEL STEWART 

Special Effects Editor 

DAVID HUTCHISON 

Contributing Editors 

ANTHONY TIMPONE 

MICHAEL CINCOLD 

SIGRUN WOLFF SAPHIRE 

Consultants 

TOM WEAVER 
KERRY O'QUINN 

Senior Art Director 

JIM MCLERNON 

Designers 

YVONNE JANC 

ALLEN KUSHNER 

GEORGE EDWARDS 

West Coast Correspondents 

MARC SHAPIRO 
BILL WARREN 

Financial Director: Joan Baetz 
Marketing Director: Frank M. Rosner 
Circulation Manager: Maria Damiani 
Typesetters: Jean E. Krevor, Arwen Rosenbaum 
Staff: kim Lampariello, Debbie Irwin, Dee Erwine, 
katharine Repole, Jose Soto. 
Correspondents: (West Coast) Bill Florence, Pat 
Jankiewicz, Jean-Marc & Randy Lofficier; (NY) 
David Hirscn, Michael McAvennie, Joe Nazzaro, ian 
Spelling, Steve Swires, Dan Yakir; (Chicago) Jean 
Airey, kim Howard Johnson; (Boston) Will Murray; 
(VA) Lynne Stephens; (NM) Craig Chrissinger; (FL) 
Bill Wilson; (WV) John Sayers; (Canada) Peter 
Bloch-Hansen, Mark Phillips; (England) Stan 
Nicholls; (Inter) George kochell, Michael Wolff; 
(Cartoon) kevin Brockschmidt, Mike Fisher, Bob 
Muleady, Mike Wright; (Booklog) Scott W. Schu- 
mack. 

contributors: Rene Auberjonois, Scott Bakula, 
Stuart Banks, Teri Bruno, James Cameron, Susan 
Ciccone, Jay Cocks, Terry Erdmann, kyle Fritz, 
Terry Gilliam, Howard Green, John S. Hall, Tom 
Holtkamp, Cece Horwitch, Penny kenny, Leah 
krantzler, Brian Levant, John Langton, Lucy Law- 
less, W.C. Pope, Shannon Ryan, Dwlght Schultz, 
Tina Silverman, Roy Thinnes, Guy Vardaman, John 
Vester, Jeff Walker, Garrett Wang, Marie Windsor. 
Cover Photos: 12 Monkeys: Phillip Caruso/Copy- 
right 1995 Universal City Studios; Xena: Copyright 
1995 MCA-TV. 

For Advertising Information: 

(212) 689-2830. FAX (212) 889-7933 

Advertising Director: Rita Eisenstein 

Classified Ads Manager: Tim Clark 

For Advertising Sales: The Faust Company, 

24050 Madison St. Suite 101, Torrance, CA 90505 

(310) 373-9604, (310) 373-8760, Attn: Dick Faust 



m'Dh\i06 



CREATURES ON PARADE 

Oscar- winner Rick Baker will create the 
special makeup FX for Men in Black. 
Tommy Lee Jones and Will Smith star as 
the mysterious alien investigators. Vincent 
(Strange Days) D*Onofrio is also in the 
cast. Ed (Bill & Ted's Excellent Adventure) 
Solomon scripted. Filming begins in April. 

That other ultra-busy Oscar-winner, 
Stan Winston, is the FX guy who's devising 
Kothoga, the deadly creature pursued by 
Penelope Ann Miller and Tom Sizemore in 
Relic. VIFX will create the digitally ani- 
mated version of Winston's monster. Linda 
Hunt and James Whitmore co-star in the 
film, which is being produced by Gale 
Anne Hurd (taking over for previous pro- 
ducers Kathleen Kennedy and Frank Mar- 
shall). 

Updates: George Miller has left the 
long-in-development movie version of the 
Carl Sagan novel. He won't be making 
Contact after all. 

Time Master, the time-travel adventure 
previewed in SF EXPLORER #10, eschews 
a major theatrical bow to hit video this 
month from MCA/Universal Home Video. 
Michael Dorn, Duncan Regehr and Pat 
Morita star. 

Mary Reilly, the Julia Roberts view on 
Dr. Jekyll & Mr. Hyde, has once again 
delayed its release. The new date: February. 

Looks like it will be George (ER) 
Clooney and Jason Scott Lee as the crusad- 
ing crimefighter and Kato in Universal 's 
big-screen version of The Green Hornet. 
Lee, of course, already briefly played the 
part in Dragon: The Bruce Lee Story in 
scenes re-creating the TV show (which 
starred Van Williams and Bruce Lee). 

Genre People: Sigourney Weaver is the 
Wicked Witch in the live-action version of 
Snow White which is now filming. 

The life of the legendary Twilight Zone 
creator is examined in Rod Serling: Submit-, 
ted for Your Approval, airing on PBS sta- 
tions as an American Masters special the 
week of November 29. 

Meanwhile, Stan Lee gets the A&E 
Biography treatment later this month in 
Stan Lee: The ComiX-MAN. It'll debut 
December 26 at 8 p.m. EST on the A&E 
cable network. In the last year, Biography 
has also profiled such other genre notables 



6 STAKLOG/Jamiarv 1996 



FILM FANTASY 
CALENDAR 

All dates are extremely subject to 
change. Movies deemed especially 
tentative are denoted by asterisks. 

X-Mas: Toy Stoiy, Jumanji, 12 Mon- 
keys, Balto. 

January: Screamers. 

February: Maiy Reilly. 

April: Loch Ness. 

Spring 1996: The Muppet Treasure 
Island, Biodome, The Nutty Professor, 
Mystery Science Theater 3000: The 
Movie. 




Look for an animated Blues Brothers on 
UPN. 

as Gene Roddenberry, Bram Stoker, Boris 
Karloff, Bela Lugosi and Lon Chaney Jr. 

As hinted at last issue, John de Lancie 
does indeed return to the Star Trek Universe 
in an upcoming Voyager. He'll be Q again. 

Matt Frewer is the bad guy in the cur- 
rently shooting Generation X, a TV movie 
based on the Marvel Comics mutants. Fox 
plans to air it next month. 

In the new Love Bug TV flick, heroic 
Bruce Campbell gets to meet Herbie's orig- 
inal owner, Dean Jones, who makes a 
cameo appearance. 

Genre TV: UPN has renewed Nowhere 
Man for nine more episodes, giving it a full 
season on the air. Star Bruce Greenwood 
discusses his enigmatic alter-ego in SF 
EXPLORER #11. 

UPN has greenlighted a new animated 
primetime series based on The Blues Broth- 
ers. Film Roman will be producing 13 
episodes. 

CBS is considering whether to go ahead 
with The Tomorrow Man as a midseason 
replacement. After an executive regime 
change, the network backed off from a pre- 
vious decision to do so. An airdate for the 
already finished telefilm/pilot hasn't been 
announced. 

And finally, if all goes according to 
plan, that long-brewing Doctor Who TV 
movie should be moving into production 
shortly. Scripted by Matthew Jacobs, it will 
air on Fox possibly in February, more like- 
ly in May. It'll be filmed in Vancouver 
(though the story is set mostly in San Fran- 
cisco) and involve a new Doctor, two new 
(possibly continuing) companions and one 
classic antagonist (the Master). All of those 
roles are uncast at presstime. However, 
there is one actor already, definitely on 
board with a signed contract. As per tradi- 
tion, the Doctor undergoes a regeneration at 
the story's beginning, an event which will 
mark the final appearance in the role of the 
current occupant of the TARDIS, for 
Sylvester McCoy. 

— David McDonnell 



Guess what the Cardassians and 
Bajorans will be giving this gear? 







ifiuumw 



lEMiaLHMkL 

e.s.s. UTisnarsa-nei-D 



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.S3?*J* TR€K 


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STHRTREK 



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5ay happy holidays to the 5TAR TREK 
fan on your list in a very interactive 



way with the incredible new Star Trek 
Emissary Gift Set. Featuring the 
highly acclaimed Star Trek: The Next 
Generation™ Interactive Technical 
Manual CD-ROM, Star Trek: Deep 
Space Mine Harbinger™ Hnlnsuite 
Missions CD-RDM, "Star Trek: Deep . 
Space Mine™ Emissary" the series 
pilot on video, and Star Trek™ 
Conversational Klingnn, an audio CD 
product, this amazing set is packed 
full of intergalactic adventures, 
excitement, and fun! 



Star Trek: The Next Generation 
Interactive Technical Manual 

This award-winning CD-ROM is the ultimate 
STAR TREK: THE NEXT GENERATION fantasy, 
featuring a QuickTime™ Virtual Reality tour 
of the L55 Enterprise, and everything 
you'll ever want to know about life aboard 
a 25th century Federation 5tarship. 
Far Windows , "3.l and Windows" '95 

"Star Trek: 

Deep Space Mine™ Emissary" 

You won't find this feature-length pilot for 
sale at your local video outlet. See how it 
all began for the Bajorans, Cardassians, 
and crew of D59. 87 minutes an VHS 



Star Trek: Deep Space Mine 
Harbinger™ Holosuite Missions 

Experience the incredible 3-D action of the 
Holosuite Missions as you investigate the 
murder of a Federation officer, battle 
deadly drones, negotiate high stakes 
engagements... This gripping, fully inter- 
active CD-ROM teaser introduces a whole 
new dimension in STAR TREK adventure. 
Far MS-DOS an CD 

Star Trek™ Conversational Klingan 

From Marc Dkrand, creator of The Klingan 
Dictionary, comes an audio program that 
can teach anyone to speak Klingon. Oe a 
Klingon...or at least speak like one. 



IVIACOMK*. 

DfUUmeDlfl 



A Welcome Holiday Offering 
On Any Planet. 



' & © 1995 Paramount Pictures. All Rights Reserved. 
STAR TREK and related marks are trademarks of Paramount" Picture's. 



UWlUL'Ud 



GROUND CONTROL TO 
MAJOR TOM 

Director Ron Howard's powerful film 
version of the Apollo 13 space voyage 
that kept the world in suspense for four 
days, while a crew of three astronauts and 
NASA engineers worked desperately 
against time to return the crippled space 
capsule safely to Earth has splashed down in 
your local video store. Apollo 13 is an 
MCA/Universal Home video release, sell- 
through priced on videocassette (in both 
widescreen and pan-and-scan formats, as 
well as a Spanish language subtitled edition) 
for $22.98; the widescreen THX laserdisc 
retails for $44.98 in CLV. There is also a 
Collector's Set videocassette edition 
($29.98) which includes the documentary 
Apollo 13: To the Edge and Back. The 
movie is based on astronaut Jim Lovell and 
Jeffrey Kluger's book. Lost Moon. 

Michael Crichton's Congo, adapted for 
the screen by John Patrick Shanley and 
directed by Frank Marshall, is a new release 
from Paramount Home Video in VHS and 
Beta, but priced for rental. Stars Laura Lin- 
ney, Dylan Walsh, Tim Curry and Ernie 
Hudson take a back seat to ILM's volcano 
climax and Stan Winston's mutant apes. 

Later this month, Judge Dredd. summer 
1995's British comic book-turned-movie at 
the hands Sylvester Stallone and director 
Danny Cannon, appears in stores priced for 
rental in VHS and Beta. Special FX are by 
Mass«Illusion and Kleiser-Walczak Con- 
struction Company. 

Another of this summer's offerings, 
Species, has been priced for rental on VHS 
from MGM/UA Home Video. The wide- 
screen laserdisc is $34.98 in CLV. 

Laserdisc: The Golden Age of Science 
Fiction Thrillers, Volume II presents four 
favorite '50s features in one boxed set from 
MCA/Universal Home Video ($99.95 in 
CLV). In The Land Unknown, Jock 
Mahoney and Henry Brandon are Navy 
explorers who stumble upon a tropical jun- 
gle of prehistoric terror in Antarctica. The 
Monolith Monsters pits Grant Williams, 
Phil Harvey and Lola Albright against a 
crop of deadly alien crystals that grow and 
multiply, while turning anyone who comes 
into contact with them into stone. In Mon- 
ster on Campus, directed by Jack Arnold, a 
professor discovers that the blood of a long- 
thought extinct fish, the coelacanth, has the 
power to -reverse evolution, and turns a 
peaceful academic into a rampaging Nean- 
derthal. Beauty is more than skin deep for 
The Leech Woman, the story of an African 
tribe that has discovered how to reverse the 
aging process; it really works, but the recipe 
calls for the brain glands of a live man for 
each dose. Altogether, it's five hours and 1 1 
minutes of campy nostalgia. 

The Pioneer Special Edition line of 
laserdiscs features a few titles of special 



interest to STARLOG read- 
ers: Terminator 2: Judg- 
ment Day, Cliffhanger and 
Total Recall. All of these 
PSE titles include added 
footage, director's com- 
mentary, video interviews 
and a tape transfer that's 
supervised frame -by-frame. 
Total Recall, for example, 
includes commentary by 
writer Ron Shusett, director 
Paul Verhoeven and special 
FX artist Rob Bottin. Great 
gifts for this holiday season. 

Whipstaff Manor can be 
seen in all its widescreen 
glory on a new THX press- 
ing of Casper from 
MCA/Universal Home Video, $34.98 in 
CLV. 

Both ALIEN ($49.98) and ALIENS 
($59.98) are back on your dealer's shelves 
in new THX widescreen editions, complete 
with Dolby AC-3 digital surround sound, 
from 20th Century Fox Home Entertain- 
ment. 

Warner Home Video has announced the 
availability of Batman Forever in 
widescreen with AC-3 digital surround 
sound priced at $39.95 in CLV. 

Alexander Korda's classic Technicolor 
re-telling of the Arabian Nights stories has 
been digitally restored using the original 
three-strip Technicolor elements; look for 
The Thief of Baghdad ($59.98. CLV) from 
Pioneer Special Editions. 

John Landis' An American Werewolf in 
London has debuted in widescreen on the 
LIVE label, priced at $39.98 in CLV. 

Television: Columbia House Video 
Library has started to mine the classic 
George Reeves Superman TV series from 
the 1950s. Each volume contains three 
unedited episodes. An introductory volume 
includes the pilot episode "Superman on 




8 STARLOG January 1996 




Earth" as well as "Panic in the Sky" — in 
which Superman loses his memory while 
trying to destroy a Kryptonite-laden asteroid 
hurtling toward Metropolis — and "The 
Wedding of Superman," in which Lois 
Lane's dreams get the better of her. This 
series is offered by mail order only. The 
introductory volume is priced at $4.95 while 
subsequent volumes are $19.95 each in 
VHS. Columbia House may be reached at 
(800) 638-2922. 

Animation: The holiday gift of choice 
this season is the new Collector's Edition of 
Disney's Cinderella. It's an astonishing 
treasure-trove of never-before-released and 
rarely seen materials from the Disney 
archives, including an eight-minute 1922 
silent version of Cinderella created by Walt 
Disney more than 25 years before the talk- 
ing version. Thought to be lost forever, the 
one-of-a-kind short is included in its entire- 
ty, having been recently discovered and pur- 
chased by a Disney collector at a garage sale 
in England. Also included are abandoned 
storyboard sequences, the 1933 Silly Sym- 
phony version, original 1940 story concepts, 
detailed character designs and live-action 
test footage. The supplemental audio sec- 
tion includes songs that though written for 
the movie, were not used, as well as a num- 
ber of broadcast radio clips — even including 
Cinderella voice Ilene Woods' live on-air 
discovery that she had been cast in the part. 
This deluxe CAV edition is priced at $99.99; 
the CLV version of the film without any of 
the goodies is marked at $29.99. 

Cheap: New Line Cinema has 
announced price breaks for The Guyver, 
Critters, Critters 2, The Lawnmower Man 
(rated and un-rated versions) and Time Run- 
ner, all are now $14.98 each in VHS. 

Holiday price breaks from Buena Vista 
Home Video include Tim Burton's The 
Nightmare Before Christmas and The Mup- 
pet Christmas Carol, now $14.99 each in 
VHS. Robert Heinlein's The Puppet Mas- 
ters has now been re-priced to $19.99. 

Not to be missed is the cult classic The 
Cars that Ate Paris, ($19.98 in VHS from 
New Line) a low-budget Australian feature 
from director Peter Weir's salad days. 

— David Hutchison 




NOTHING IS WHAT IT SEEMS 



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FICHTIN' MAD 

Get ready to rum-bllllllllle on the new 
Sony Playstation ($299.99) with Battle 
Arena Toshinden (S59.99). from Sony Com- 
puter Entertainment. Take part in the under- 
world martial arts tournament, held once 
every several years by the "Organization.*" 
The winner is crowned the best of the best, 
while the losers. . . well, let's just say no con- 
solation prizes are offered. 

Choose from eight fighters offered, 
including: Eiji. a magical Bakko Japanese 
sword-wielding adventurer in search of his 
missing brother: Kayin, who intends to 
avenge his father's death with his Cariburn 
Saber; Sofia, a former Russian agent with an 
unknown past but renowned whipping tech- 
niques: Rungo, a muscle-bound man deter- 
mined to win back his family with his iron 
club; Fo, a mysterious elder whose Iron 
Claw cuts through his harmless looks; 
Mondo, the Yaki Clan's strongest warrior 
and holder of the ancient spear, Seiryu; 
Duke. French champion of the peasants and 
master of the two-handed sword. Dernier 
Ventcour; and Ellis, a wind dancer searching 
for her father, and ready to use her dirk (a 
dagger most effective in close range) on her 
enemies. 

Each character has several special 



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Players will fight over 
Battle Arena Toshinden. 

your chances for survival. 
Unfortunately, it won't get 
you through the game 
twice as fast. 

Sky Talking: If you 
prefer your fighting on a 
strategic, grander scale, 
perhaps you'll go for the 
likes of Earthdawn: Sky 
Point & Vivane, from 
FASA Corporation ($25). 
Basically, the people of 
Barsaive face a twofold 



moves, and you're really 
gonna need 'em, espe- 
cially if you decide to 
play at the hardest level. 
Should you beat every- 
one else at that level, 
you get to take on the 
mysterious devil warrior 
Gaia, the Organization's 
fiercest fighter and hold- 
er of the Armor Bastar. 
the greatest fighting 
weapon ever known. 

Battle Arena Toshin- 
den is a superb 32-bit 
fighting game, and part 
of a great launch with 
the new Playstation. 
Featuring a 3-D per- 
spective, multiple cam- 
era angles and options 
and terrific graphics and 
sound, it's the fighting game to beat right 
now. Granted, with enough practice, the 
game is fairly easy to complete, but it looks 
so good right now that you just don't care; 
you'll only wonder what the Playstation has 
in development that can beat it. 

Ghost Walking: No matter where you 
go these days, fighting's prevalent through- 
out video game systems. Heck, it even runs 
rampant on the Genesis in the future with 
Phantom 2040, from Viacom New Media 
($64.99). Based on Lee Falk's classic 
comic-strip character, you are Kit Walker, 
alias the 24th Phantom, out to stop Rebecca 
Madison and Maximum Inc.'s plans to con- 
trol not only the city of Metropia, but the 
entire world and its ecosystem. 

Headquartered in the Ghost Jungle 
below Metropia, the Phantom's mission 
takes him throughout the city. With over 60 
levels to wade through, it won't be an easy 
task, especially since deadly biots and boss- 
es await you at every turn. And if you think 
you've been through it all, think again. 
There are more than 20 possible endings to 
pursue. 

Despite some neat gimmicks. Phantom 
2040 is hardly ahead of its time in the video 
game industry. The graphics and gameplay 
are average at best, and the overall package 
is somewhat disappointing. Perhaps one of 
the best things about the cart is that it allows 
you to use two weapons at once, doubling 




There's nothing exciting to see in Phantom 2040. 



threat. Sky Point, looming hundreds of feet 
in the air, is a fortress which holds a vast 
fleet of armed airships and massive, floating 
citadels. Vivane Province is the Theran 
.Empire's lone outpost, and the base from 
which they plan to reconquer the Barsai- 
vians. Either way, Barsaivians don't have an 
easy time of it. 

Of course, the folks at FASA realize that 
knowledge is power, so they're offering 
Earthdawn adventurers a chance to learn 
about both landmarks. The Sky Point & 
Vivane boxed set offers three books: Barsai- 
vian Vivane, a 72-page book with a brief 
overview of the Theran Empire and the city, 
as well as information regarding the areas of 
Vivane occupied by native Barsaivians: 
Theran Vivane, a 48-page book that covers 
Vivane 's Theran Quarter, describes the 
Imperial city's powerhouses and informs 
gamers of the opportunities available in 
Vivane; and the Vivane Province, a 64-page 
book which describes Theran occupation 
forces, Sky Point and the settlement of 
Vrontok that grew up around the foot of the 
sky base. 

The boxed set also offers two 17" x 22" 
maps depicting Vivane and its province, as 
well as 16 pages of handouts and props 
designed to help gamemasters, who can use 
all the help they can get; after all, it's not 
easy running a war. 

— Michael McAvennie 



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I ■ I 

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LimiTED COLLE 




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R stellar collection of rare STAR TREK memorabilia 



Have you ever wished you could talk to Gene 



Roddenberry? (low you ve ynt the chance. 



Just take a seat 



in the captain's 



Judgment Rites." This hehind-the-scenes 
lank uFFers a unique and Fascinating 
opportunity to witness the evolution oF 
this epic CD-R0D1 adventure game. 




Roddenberry 



jnins goo on- 



screen Fnr an interactive. Quicktime " 
interview. He'll reveal the answers to a 



yalaxy oF iotriyuiny questinns as he shares 
his vision and his yenius. This up close 
aod personal interview, never beFnre 



been seen in the U.S., is a must For all 



serious collectors! 



Leooard Dimoy hosts this multimedia 
Collector's Edition and narrates the Full- 
motion video "making aF STHR TREK: 



TORHT 



In addition, sitting in Spock's chair will 
activate an all new interview, also 
previously unseen in the U.S. Using an 
interactive Format, ynu ask all the ques- 



tions and Leonard 
ilimoy has all the 

answers...jo5t as 
you'd expect Frum 



the venerable Vulcan. 



The Five year missinn contioues with eiyht 
STHR TREUudyment Rites episndes. This 
time yuu are in command. Hot, there is ooe 
problem — you are beiny watched. By 



whom aod by what you 



do not know. 



Even Spock can not accurately process 
these stranye occurrences. Is that troly 

an ancient UII1I1 triplane 

• 

heading straight For ynu 
at Warp 3 speed? Cnuld it be Trelane? 
How could yoor sensors suddenly report 
liFe forms on a dead planet? Illhere did 
that primitive race yet such advanced 
technolnyy? It couldn't be Dr. Bredell 



and the Vardaines...nr cnuld it? 



■no 



Game play is enhanced with I CD-Ms 
Full oF dramatic, hiyhly-rendered cinematic 
sequences and the actual voices oF the 
eotire. original STHR TREK crew. Brilliant 3D 
explnsions, convincing deep space encoun- 
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CTOR'S EDITIOII 



packaged ujith a spectacular CD-ROm adventure game 



oF ttie Enterprise™ computer all create an 
out-of-this-world gaming experience. When 
p hear the legendary Captain Kirk™, the 
uiit and wisdom oF Kir. Spock™ and the irre- 
pressible personalities oF mcCog™, 



Scotty™. Bold™, Checkov™ and Uhura™, 
you'll stuear you've been beamed into the 
continuation oF the original Five-gear mission. 



STAR TREK: Judgment Rites Limited 
Collector's Edition is a multimedia treasure 
For any 5TRR TREK Fan or adventure game 



enthusiast. In addition 



to the Roddenberry and 
Aimog interviews and 



host oF other rare or 



unseen memorabilia. 



we've included a copg 
oF the most popular episode oF the STAR 
TREK TV series. "Citg on the Edge oF 
Forever." co-starring Joan Collins. 



And, as an extra bnnus, gou'll get one 

oF our eight original 5TAR TREK: 

Judgment Rites 

cloisonne pins. These bold and colorFul 

pins are custom designed 

and produced, in a limited run. 




exclusively For the Collector's 



Edition, gou won't Find them 



anywhere elsel 



STRR TREK: Judgment Rites 



Limited Collector's Edition 



is more than a unique and original 
multimedia presentation — it is a part 
of the continuing legacg From the greatest 
epic adventure oF our lifetime. Don't 
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Actual design of doisorro pin may vary. 




Tales From the Mos Eisley Cantina, edited 
bv Kevin J. Anderson (Bantam, paperback, 
368 pp, $5.99) 

One of the better-remembered images from 
the first Star Wars film was the scene in the 
Mos Eisley Cantina. The viewer was suddenly 
confronted with a bewildering array of differ- 
ent alien species doing whatever alien species 
would do in a cantina. 

This anthology sets up a sort of outer-space 
version of Rashomon, with different authors 
explaining the circumstances which placed the 
various beings in the cantina at the time that 
Luke Skywalker, Ben Kenobi and the droids 
showed up. It's a cute idea but, after about the 
fourth or fifth eyewitness account of the light 
saber duel at the bar, it begins to wear thin. Of 
the 16 stories included, only a few stand out. 
Barbara Hambly checks in with a delightfully 
ghoulish little piece entitled "Nightlily," while 
Jennifer Roberson's moody "Soup's On" 
touches like a clammy breeze in the middle of 
a summer's day. M. Shayne Bell's "Drawing 
the Maps of Peace" provides a readable look 
into the effort of negotiation between two 
races and could possibly be expanded into a 
decent novel. 

For die-hard Star Wars enthusiasts only. 

—Michael Wolff 

Master of Many Treasures by Mary Brown 
(Baen. paperback. 394 pp, $5.99) 

Master is Mary Brown's sequel to the 
enchanting Pigs Don't Fly. but readers expect- 
ing a similar fairy tale-type plot will be disap- 
pointed. This time out, Summer's traveling 
through a world more recognizable as our 
own, and she's heading for the Orient to find 
her love — the dragon/man Jasper. 

Summer still has the ring that enables her 
to understand animals, and she picks up a 
rather interesting creature along the way, but 
Master lacks the legendary feel of Pigs. Also, 
the ending will leave readers who care about 
the genuinely likable characters frustrated. 

But Master is still worth reading. Brown 
does a nice job with the supporting cast, while 
Summer is a fully realized character. The var- 
ious places Summer visits are vividly 
described, and open up the world Brown has 
created. And there are generous dollops of 
humor to balance the tenser moments. 

— Penny L. Kenny 

Flowerdust by Gwyneth Jones (Tor, hard- 
cover, 288 pp, $21.95) 

Unrest simmers in the Southeast Asian city 
of Ranganar, already bustling with refugees, 
because of an addictive drug known as flower- 
dust. Derveet. the last surviving remnant of the 
local ruling family, feels a moral responsibili- 
ty to track down the drug's source. 
Accompanied by companions both mortal and 
mechanical, she discovers many unpleasant 



truths, especially about the Peninsula's myste- 
rious Rulers. 

Most SF/fantasy authors favor the 
Eurocentric archetype when it comes to telling 
their tales, but not Gwyneth Jones. Her saga of 
rebellion and change, which began in Divine 
Endurance, continues here. With hallucino- 
genic imagery and lush prose, Jones transports 
readers into a culture alien to most, and for 
some, the journey may prove too confusing. 
One must pay strict attention at all times, for 
events (and characters) are subject to change 
without notice. 

Jones has crafted a compelling alternate 
future, where women wield power through 
magic, tradition and other more subtle means, 
while most men are neutered and only a few 
kept "whole" as breeding studs. The sexes are 
strictly segregated, and procreation distasteful- 
ly sanctioned as the only necessary time for 
male-female sexual contact. 

Flowerdust is a novel which succeeds on 
many levels; unfortunately, it can also succeed 
in leaving its readers in a dazed state via its 
convoluted narrative flow. 

—JohnS. Hall 








the author of Pis* Don 



REBSURES 




© 







Art: Darrell K. Sweet 

Genellan: Planetfall by Scott G. Gier (Del 
Rev, paperback, 459 pp, $5.99) 

This debut novel should delight fans of 
military and adventure SF. Hostile aliens 
attack an exploration fleet and leave a small 
group of humans stranded on an Earth-like 
wilderness planet. The castaways fight for sur- 
vival and forge an alliance with the native 
hunter-gatherer people until the arrival of res- 
cuers from Earth collides with efforts by the 
hostile aliens to kill or capture them. 

The novel begins well with good military 
detail, and is at its best depicting the relations 
between the humans and the bat-like 
dwellers — who consider humans dirty, lazy 
and ugly. Only Buccari, the pilot who becomes 
the humans' leader, develops much character, 
but the dwellers and their world are well-real- 
ized, though occasionally the planet Genellan 
seems too Earth-like. Less convincing are the 
other aliens, the Kones, who. with their deca- 



dent emperor, ruthless general and scheming 
nobles, seem like space opera cliches. 

Still, Scott G. Gier pulls things together for 
a rousing climax with an excellent space bat- 
tle, a grueling chase on Genellan and plenty of 
room for sequels. 

— Scott W. Schumack 

Beowulf's Children by Larry Niven, Jerry 
Pournelle and Steven Barnes (Tor, hardcov- 
er, 382 pp, $23.95) 

By the same team that brought you The 
Legacy of Heorot. now — the sequel. And a 
damned fine one it is too! 

Written in their characteristically brisk, 
almost shorthand style, this latest Larry 
Niven/Jerry Pournelle/Steven Bames collabo- 
ration bristles with ideas, action, drama and a 
sense of wonder. The self-assured march of the 
narrative is occasionally marred by a prescrip- 
tive tone and characterization that seems flat 
despite being thorough. But maybe that's how 
God, and Robert Heinlein, intended science 
fiction to be written. 

The human beachhead on the planet 
Avalon was almost destroyed in the "grendel 
wars" described in the first book. The new 
book opens 24 years later. The human colony, 
having taken refuge on the now grendel-free 
island of Camelot, is in the throes of a genera- 
tion split between the "Earth born" (or "First") 
and their children, the "Star born" (or 
"Second"). 

The Star born stage a quiet revolution to 
reopen the mainland for exploration after it 
was declared off limits by their elders, still 
shaken by the ferocity of the grendels. Into this 
bubbling stew of personality politics, manipu- 
lation and deceit, the authors throw some hot 
SF spice — bottle babies, cryogenic instability, 
cybernetics and alien evolution. This concoc- 
tion boils over and creates a shock- and sur- 
prise-filled ending. 

It seems as though Niven and Pournelle 
have, several times in their careers, attempted 
to set a standard — to write the SF novel on a 
given theme. They did it for the alien contact 
novel in 1974 with The Mote in God's Eye, for 
the natural cataclysm novel in 1977 with 
Lucifer's Hammer and for the alien invasion 
novel in 1985 with Footfall. With Legacy of 
Heorot and Beowulf s Children, along with 
Barnes, they have now set the standard for the 
alien planet colonization novel. Every detail of 
humanity's struggle to establish itself in total- 
ly alien surroundings is impeccably thought 
out, and the wonders of alien life are a tribute 
to Darwinian evolution. 

Beowulf's Children is satisfying as sequels 
go, but not always user-friendly if you haven't 
read the prior book. Avalon is well worth vis- 
iting twice, however, so don't miss this one. 

— John Vester 

The Silent Strength of Stones by Nina Kiriki 
Hoffman (AvoNova, paperback, 244 pp, 
$4.99) 

Nick spends his summers reluctantly work- 
ing in his father's store and enthusiastically 
spying on the vacationers that come to the 



14 STARLOG/January 1996 




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lake. Watching others keeps him from thinking 
about his overly controlling father and missing 
mother. But this summer's different. He's 
pulled out of the role of observer and forced to 
take action on behalf of his new friends — a girl 
with hypnotic eyes and a boy with the soul of a 
wolf. He also has to deal with his own strange 
abilities and his mother's return. 

Nina Kiriki Hoffman has written a magical 
story. The fantastic elements are subdued, mir- 
roring and emphasizing Nick's changing role in 
his family, rather than dominating the action. 
The whys and hows of the magic are left unex- 
plained, and rightly so. Stones is about families 
and what they do to one another. It's also about 
control — of others and yourself. Overall, this is 
a strong novel that even non-genre fans can 
enjoy. 

— Penny L. Kenny 

Harvest the Fire by Poul Anderson (Tor, 
hardcover, 192 pp, $18.95) 

This short novel serves as an epilogue to 
Poul Anderson's Han'est of Stars and The Stars 
Are Also Fire, summarizing the ideas of those 
longer, more complex volumes. Civilization has 
followed the course suggested in those books to 
become a Utopia without crime, disease, pover- 
ty or war. It also lacks creativity and discovery, 
since humans have abandoned intellectual and 
physical exploration to the Cybercosm, an arti- 
ficial intelligence that acts as a benign dictator. 

Opposing this orthodoxy are the Lunarians. 
a new race that's wild, passionate and, some- 
times, cruel and ruthless. Jesse Nicol, space 
pilot and frustrated poet, loves a Lunarian 
woman and becomes embroiled in a plot by 
Lunarian rebels even as he conducts his person- 
al search for inspiration and identity. 

Anderson's sympathies are clearly with the 
rebels and the spirit of the adventure, but the 
Cybercosm and its agent, Venator, are no 
stereotyped monsters, and the establishment 
they represent is basically decent. The conflict 
here isn't good versus evil, but security versus 
liberty, and Harvest the Fire is both entertaining 
and thought-provoking. 

— Scott W. Schumack 

Book of Moons by Rosemary Edghill (Forge, 
hardcover, 224 pp, $20.95) 

Rosemary Edghill has created a fascinating 
little world that will keep readers turning the 
pages and wanting to know "what happens 
next." even though nothing really exciting is 
going on. 

Bast is a modem-day witch in New York 
City, and it's through her eyes that readers see 
the modem occult scene. Though it's billed as a 
mystery, Book of Moons will disappoint hard- 
core fans of that genre. 

Witches' spell books are disappearing; then 
a volume purportedly to be Mary, Queen of 
Scots* appears. Finally, a store owner is killed. 
It's up to Bast to make the pieces fit. 

Readers will guess who "did it" right away. 
But the mystery isn't the point. Just sit back and 
enjoy the smart, sassy Bast and the occult sub- 
culture she inhabits. 

— Penny L. Kenny 



How to Save the World, edited by Charles 
Sheffield (Tor, hardcover, 352 pp, $23.95) 

This original anthology has a good idea — 
SF yarns dramatizing basic problems and radi- 
cal solutions — but the execution is weak. Most 
of the stories are good; they just don't live up to 
the book's promise. Too often the authors pre- 
sent clever but silly ideas, as in James P. 
Hogan's "Zap Thy Neighbor" or Brenda 
Clough's "The Product of the Extremes," with- 
out making them plausible. Just glancing at a 
problem isn't enough; Nick Pollotta's "Raw 
Terra" is funny but really has little to do with 
pollution. Particularly disappointing is Charles 
Sheffield's "Higher Education," which rehashes 
collaborator Jerry Pournelle's notion that 
school discipline can be improved by capitalists 
exploiting the asteroid belt. 

More successful are Lawrence Watt-Evans' 
bleak "Choice" and Jerry Olton's eerie "My 




Art: Stephen Hickman 



Soul to Keep," both of which offer disturbing 
solutions to serious problems. "The Meetings 
of the Secret World Masters." by Geoffrey 
Landis, is also gripping and thought-provoking 
until it falls into melodrama. 

Not a bad book, but saving the world will 
take much harder work from everyone, includ- 
ing SF writers and editors. 

— Scott W. Schumack 

Beyond the Gate by Dave Wolverton (Tor, 
hardcover, 352 pp, $22.95) 

Another addition to the long series of fan- 
tasy and science-fantasy stories revolving 
around the concept of "The Quest." To be spe- 
cific, this is the second volume in Dave 
Wolverton's "The Golden Queen" series. 
Maggie, the woman destined to become the 
queen of the alien Dronon race, marries 
Gallen. her warrior sweetheart. But the honey- 
moon is short-lived as the newlyweds are sent 
packing to a distant planet to locate and fight 
the Harvester, an entity who wishes to subju- 
gate all intelligent life. As before, the couple 



is accompanied by Orick the bear, and the trio 
is. in tum, joined by a small host of support- 
ing characters. 

It's not necessary to read The Golden 
Queen to pick up the story here, as Wolverton 
provides enough detail for the reader to under- 
stand what's happening. His greatest strength I 
is his eye for depicting interesting races, as 
well as setting up an intriguing background (a 
universe where the creation of entire species 
through genetic engineering is common- 
place). But this is clearly a link in a larger 
story, as opposed to being a tale in itself, and 
the uninitiated reader might consider starting 
with the earlier volume to appreciate the full 
flavor of Wolverton's vision. 

—Michael Wolff 

Debt of Ages by Steve White (Baen. paper- 
back, 282 pp, $5.99) 

Steve White continues his time-travel 
series with a strong and intriguing entry. 
Readers will enjoy his "true" Earth history 
and future, as well as the alternate Earth his- 
tory and future he offers. 

Robert Sarnac accidentally created an 
alternate timeline on his last visit to the past. 
Now, time keeper Tylar is giving Sarnac the 
chance to fix his mistake. Along with his wife, 
Tylar, a visitor from the alternate Earth and 
King Arthur. Sarnac goes back to the alternate 
Earth's timeline. . 

Even readers who haven't been following 
the series will be able to dive right into this 
book. White perfectly blends background 
information, technical and historical details, 
vivid battle scenes and well-written charac- 
ters. Tylar and his need-to-know-basis-only 
mentality is worth the price of admission by 
himself. Add the best Arthur and 
Gwenhwyvaer characterizations in recent fic- 
tion and you've got a great package. 

— Penny L. Kenny 

Point of Hopes by Melissa Scott and Lisa A. 
Barnett (Tor, hardcover, 384 pp. $23.95) 

Children are disappearing from all over the 
city of Astreion. They don't seem to have any- 
thing in common; there have been no ransom 
demands, and they aren't being murdered. The 
city is ready to explode as everyone looks 
with suspicion at everyone else. At the same 
time, an astrological convergence heralding 
great change approaches. Are the children and 
the stars connected? And what can one honest 
pointsman and an unemployed soldier do to 
diffuse the situation? 

Melissa Scott and Lisa Barnett go to much 
trouble to show a society that's based on 
astrology. Unfortunately, the story is top- 
heavy with information that isn't integrated 
into the story as well as it might be. 

Pointsman Rathe and the soldier Eslingen 
are interesting characters that fail to reach 
their potential. The authors start weaving a 
relationship of some sort between them, then 
lose the thread. The mystery's climax also 
seems forced. Point has several interesting 
parts that never achieve a cohesive whole. 

— Penny L. Kenny 



16 STARLOGA/awMry 1996 



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MOON MISSES 

...Thank you for the article on Apollo 13. Kudos 
to Imagine, Ron Howard. Brian Grazer. Tom 
Hanks. Kevin Bacon. Bill Paxton. Gar)' Sinise. Ed 
Harris and the rest of the cast and crew for Apollo 
13. I had read Lost Moon and had seen the PBS 
special. Apollo 13: To the Edge and Back prior to 
seeing the movie, and was curious as to how close 
to actual events the movie would stick. Almost 
exactly, as it turns out. One of the actual astro- 
nauts, Fred Haise. quoted in a newspaper article, 
stated how one of the dramatic moments in the 
film was total fiction, but that knowledge doesn't 
really detract from the movie. 

Actor Bill Paxton commented once that he 
worried that in ALIENS, the audience would be 
only too happy to see his character. Hudson, buy 
the farm, because of all the Marines who survived 
the initial onslaught of the aliens, he was the one 
who showed the most fear. But in reality, his char- 
acter turned out to be one of the most popular, 
because the audience could identify with some- 
one who was afraid in a situation that warranted 
it. 

This is also true for Apollo 13. We know, in 
reality, that the astronauts in Aquarius did not turn 
on each other or bicker among themselves while 
cooped up in the LEM (they were not the kind of 
men who would, otherwise they wouldn't have 
been chosen to be astronauts in the first place), 
but having such a scene in the movie was invalu- 
able in getting the audience to identify with the 
characters. The real astronauts' self-control, focus 
and bravery in any situation is beyond reproach 
and also beyond the layperson's ability to identify 
with. But again, this is a movie, and the decision 
to insert such a fantasy scene was brilliant. 

Apollo 13 is a movie. In reality. Jack Swigert 
was the pilot, and his voice announced the return 
of Odyssey to Earth, not Jim Lovell's as portrayed 
in the movie. (It was. after all, Tom Hanks' 
movie.) It was a shame to see the employees of 
Grumman portrayed as they were. That was a dis- 
service to the hundreds of Grumman employees 
who raced into work after the disaster to see if 
they could be of help. And it was. after all. Grum- 
man's homely little LEM that performed beyond 
the designer's specs. The movie practically 
begged the question: How many people can be 
n acting above and beyond the call to help 
rescue the astronauts? In the movie, the answer 
was not very many, or that would tax the audi- 
ence's ''get real'' quotient. But the reality was that 
many, many people did just that, believe it or not. 
The reality of that mission was even more intri- 
cate and incredible than could be shown in two 
hours and 15 minutes. 

The movie was superbly done and well- 
paced. It definitely was not a vacuous Speed as far 
as summer movies are concerned, but that's a 
mark in Apollo's favor, especially as it is a true 



story. The movie is for the thinking members of 
the public, to be sure, bin during my numerous 
viewings. the children who were in the audience 
seemed to enjoy it as well. Apollo 13 bears up 
under repeated screenings due to the understated 
acting of Tom Hanks and cast (it takes more than 
one viewing to get the nuances present in their 
performances) and the exquisite care taken to 
reproduce the atmosphere and mood of the peri- 
od. 

Apollo 13 has also ruined for me any existing 
and future movies that might be based upon the 
space program, because I now will expect these 
productions to live up to its standards of accuracy. 
The movie also made it easy to get drawn into the 
suspense and tension simply because of Imagine's 
decision to reveal how they actually shot their 
weightless scenes. Knowing that the actors 
involved were actually risking life and limb 
(heading over the parabola and for the ground at 
500 mph in the "Vomit Comet") and that some of 
them were all too aware of their mortality (e.g. 
Kevin Bacon and Gary Sinise) made the weight- 
less scenes that much more compelling. The lift- 
off (while a special FX masterpiece and 
combined with a rousing score) conveyed the 
real-time physical brutality of lift-off even more 
so than actual documentary footage I have seen. 

Again, congratulations are due to the cast, 
crew and company. I hope those who actually 
lived this incredible adventure feel they have been 
cast a bouquet. 

Lisa Ponce 

Address Withheld 




Before he hit <?n the remdeer, 

5arrt3 experimented cottK 

a vanety f wildlife. 

FIRE MISSIVES 

. . .In one of your previous issues, there was a let- 
ter from Duncan Shea writing about "MST3K 
Mirth." 

He mentions Fire Maidens from Outer Space. 
which was directed by Cy Roth, my uncle. My 
uncle has been dead since the early '70s, and if he 
was alive, he would most likely get a real "kick" 
out of the fact that his movie is known by so many 
people. I have even read where it was described as 
having a cult following! 

Granted, Fire Maidens from Outer Space is a 
real bomb movie, and I've also seen it on MST3K 



Join in the Celebration of the 30th Anniversary of Star Trek with 

TIM RUSS [Tuvok) • ROXANN BIGGS-DAWSON (B'Elanna Torres) 

JOHN de LANCIE (Q) • ERIC MENYUK {The Traveler) 

Make-up Artist Karen Westerfield and more to be announced 

Another Exciting Trek Vacation Adventure Presented by 

"The Caribbean Exploration" 
June 15-22, 1996 



THOMAS 



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Only Cruise Trek passengers will attend the Trek events . Be sure to mention in which 
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&i-iSTarJS THEORY OF RELATIVES. 

and laughed along with Crow T. Robot when he 
makes his remarks. Still, it is a classic. If it was 
made today. I am sure the monster would be scary 
and it would have tons of FX. 

The music used in the maidens dancing seg- 
ment was my favorite childhood song, and I was 
thrilled when my uncle put this song in the movie. 
This was his only SF movie, but his other movie, 
which used to be on TV all the time, is Air Strike, 
starring Richard Denning. 

It's too bad Fire Maidens isn't available on 
video, like Queen of Outer Space or Plan 9 from 
Outer Space: maybe someday whoever owns the 
rights to it will release it. 

Sue Schneider 

P.O. Box 46043 

West Hollywood. CT 90046 

...This letter has been a long, long time in coming 
to you. 1 have been meaning, ever since your mag- 
azine had been well into mid-flight, to tell you 
how wonderful it is to see so many familiar but 
seemingly forgotten fantasy film stars being locat- 
ed and interviewed by your publication. I would 
have never thought I would see any magazine or 
publication not only take interest in. but locate, 
interview and tell us extensively about such seem- 
ingly hard-to-find individuals as Richard Denning. 
Jeff Morrow, John Anderson. Guy Williams. Mark 
Goddard. Rex Reason and on and on. 

So many of these names hold such a dear place 
in our hearts, but they were just names in the cred- 
its until your magazine and your co-publication, 
FANGORIA. came into play. I have just been 
meaning to write to you to convey my delight and 
joy at being able to read about so many of our film 
favorites highlighted in your magazine. 

J. A. Garnett 

P.O. Box 115208 

Atlanta, GA 30310 

THE WET ONE 

. . .Waterworid is not the sea-borne turkey industry 
insiders and gossip-mongers predicted for months. 
From their accounts. I expected an overinflated, 
self-indulgent cinematic trial, a painful endurance 
test on the order of. say, Star Trek: The Motion 
Picture. Rather. Waterworid is a surprisingly spec- 
tacular film, The Road Warrior on water, blended 
with an inversion of Dune, with plenty of action 
scenes and funny lines, especially those of the vil- 
lain played by Dennis Hopper. It's a solid repudia- 
tion of all the fishy things said about the 
production. In my estimation, it's certainly worth 
the price of a ticket, and it could well be a crowd- 
pleaser. but whether the movie gamers the Juras- 
sic Park-type numbers needed to sop up the 
oceans of red ink incurred by its unheard of budget 
is still open to question. Bad turnstile results could 
have a negative bearing on future mega-money SF 
features, heavily dependent as they are on costly 
FX. Regardless of whether it commercially sinks 



or swims, Kevin Costner can be justifiably proud 
of his aquatic adventure film, for craftsmanship 
alone if for nothing else. 

However. Waterworid does have its weakness- 
es. Unlike Dances with Wolves and Field of 
Dreams, it lacks emotional punch. The movie, 
however, has intellectual integrity: by the end. the 
audience can sense, instead of being explicitly- 
told, that the Mariner belongs at sea and not on dry 
rland. This is set up by the story's adherence to its 
> own invented customs and rules as it would seem 
\ to be necessitated by a nautical existence. There 
' are incongruities of detail, such as rock music, but 
! this is offset by the marvelous production design, 
t which creates a desperately savage and watery 
age. The Mariner's gadget-laden trimaran is a 
vehicle more wondrous than the Batmobile and a 
good deal more believable. 

Finally, the conclusion to Waterworid comes 
across as a trifle too neat and miraculous, as in 
Dime when rain falls on the desert. Nonetheless, 
the virtues of the movie outweigh its defects by a 
fair margin, and I have a feeling Waterworid will 
be one of the better-remembered films from sum- 
mer 1995. 

Al Christensen 
543 1 South Oakes 
Tacoma. WA 98409 

DEEP MISGIVINGS 

. ..This is a response to the letter sent in by Susan 
Haws. Her third-season review of Star Trek: Deep 
Space Nine was right on target. Oh. how the 
mighty have stumbled, fallen and can't get up. So 
many things went awry this season. I can only 




assume that the folks over at Babylon 5 have 
invested in a reputable witch doctor. After racing 
home for every' episode of season two, a quarter of 
the way through season three. I had forgotten what 
night the show was on and was surprised when I 
would catch it. If I stayed around long enough 
after finding it, I soon remembered why I had for- 
gotten. 

There is no longer any thought to the episodes, 
no message that underlies the surface action. The 
tension, the intrigue, the mystery, all have been 
sacrificed for shallow, directionless, morose pabu- 
lum flavored with nothing more than a few dashes 
of blatant morality. This season we got to see Odo 
grotesquely tortured, a murderous blackmailer 
achieve high religious office and the premise of 
the series absently invalidated in one tortuous 
hour. I refer here to the third season's crowning 
infamy, "Life Support." 

There is only one good thing to attribute to this 
agonizing and foolishly conceived script: the per- 
formances of Philip Anglim and Nana Visitor. To 
have deprived themselves of an actor of Anglim's 
caliber and delivered such a blow to Star Trek's 



- sage of religious tolerance and 
peaceful resolutions is uncon- 

table. Even looking past the loss 
the most intriguing, uplifting, 
intelligent recurring character on the 
series, there is the baffling fact of 
having eliminated the Federation's 
greatest advocate in regard to their 
presence on the station. I suppose 
someone forgot that the Federation 
.. - supposed to be there only at the 
invitation of the Bajoran provisional 
government to provide a buffer 

>. nst the Cardassians, with whom they now 
have a surprise treaty. Kai Winn's shallow concept 
ot the universe and jealousy of Sisko's position as 
Emissary (if those are not also forgotten) mean 
she has no use for the Federation. 

Now there is a new concept for Deep Space 
x . Gee. pardon my absent astonishment. The 
new concept, however, includes more shooting. 
more war. and here's something new and original: 
Klingons. The series now seems to revel in blood- 
shed instead of showing us its horror and has dis- 
regarded the opportunity to show us a world 
recovering from a brutal occupation. Perhaps part 
of the new concept should also be deleting the 
words Star Trek from the title. 

Stella Sutkiewicz 

1 19 S. Camden Avenue 

Fruitland.MD 21826-1323 

...The letters printed in STARLOG #218 were the 
most intelligent I've ever read. Finally, after all 
those DS9 hate letters or other TreA-bashing 
remarks of previous Communications columns. 
we see some realistic feedback from true DS9 
fans. 

I think the idea of defining "true Star Trek" has 
been getting more than out of hand and way too 
much letter space in previous issues. It's annoying 
to be a regular reader and see these kinds of com- 
plaints from Trek fans that can only put down 
everything or any fault of the current Star Trek 
series. 

I've watched DS9 from the very beginning and 
have never felt the show went out of context with 
how Gene Roddenberry visualized the 23rd or 
24th centuries. You simply can't continue any Star 
Trek series without making your own paths or 
moving in new 7 directions. 

Star Trek, like life itself, must change and 
evolve as it continues. I believe both DS9 and now 
Voyager meet those requirements in abundance. If 




Art: Tom Holtkamp 

0*5 ANOTHER B-0.!? 
FIRST NSTARTREK 
CASTiNSASTHE 
PRODUCERS v?THS 
N5XTTRK SPIN-OFF 
ANNOUNCE THE NSCT 

civpwin wiu. se a 

PWSCAUS CHAtUNSB! 
VISUAU.V WWRSB. 
FRACnONAU.¥fOHeifi>, 
CRSSS-PRSSNS 

MBWBMfNE AMERICAN 



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DS9 was so bad it would not have a fourth season, 
and lo and behold. Voyager was the only UPN 
show renewed. 

The real choice here for those fans who do not 
favor the new Next Gen movies or the current TV 
series is to either write to Paramount to stop doing 
Star Trek altogether, or let their staff do what is 
necessary to continue Gene Roddenberry 's vision 
of our far future. 

On the argument of "true Star Trek'.' anything 
that Paramount states is Star Trek is Star Trek. It is 
their copyright and no fan or group of fans will 
ever change that or label or divide any part of it. 
Star Trek will hopefully be here well into the 21st 
century. But I hope the Star Trek fans do not con- 
tinue to arrogantly divide and label themselves 
apart from others. Star Trek fans are Star Trek fans 
and no one fan is better than another because they 
• believe in the "true idealism" of Gene Roddenber- 
ry's vision. If asked to define or explain the vision, 
how would you put it? Did you know Gene per- 
sonally? Were you his best buddy? 

I know there will continue to be letters com- 
plaining about the latest Star Trek series or 
episode or character or movie, but I'll also know 
these are signs of not understanding this creative 
universe. Star Trek begins in our minds and goes 
to a blank sheet of paper. From there something 
magical takes place — the future as we hope it will 
be continues onward. 

But as Chancellor Gorkon once said in The 
Undiscovered Country: "I can see we have a long 
way to go." 

Ed.B. Schodde 

Pittsburgh. PA 

...I'm writing to you to express my thoughts about 
the readers who constantly moan when an SF 
show is cancelled. 

All that the readers do is talk about the charac- 
ters and say that the TV stations never gave any of 
the shows a chance to develop. I read the letters 
page and some letters are about how the viewer 
does not understand how another person could say 
certain things about a show. Everyone's a critic 
when it comes to a show, because we are the ones 
who have to watch them, and if we don't like 
them, we turn them off Then, the ratings drop and 
maybe that's one reason why the shows are 
scrapped. The only way to find out is to write to 
the show's makers and ask them why. 

So stop moaning about DS9. When you watch 
an SF show, don't compare it to DS9. When anoth- 
er SF show is scrapped, everyone writes in to com- 
plain that they should drop DS9 instead and keep 
the one that has just been booted off TV. Well, 
that's just your opinion. 

Anyway. DS9 obviously has something that 
the other lack to keep it going for so long. Plenty 
of us out there like DS9. so stop whining about it. 
The cancelled shows are nothing but history. 

D. White 

12 Farndale Avenue 

Palmers Green 

London N13 5AQ 

Enaland 




cruise from LOS ANGELES 

TO PUERTO VALLARTA, 

NIAZATLAN& 

CABO SAN LUCAS, MEXICO 

JUNE 15-22, 1997 

Cruise the blue Pacific to Mexico's Riviera coast in the 
company of more than a dozen actors and behind 
the scenes personnel from the original Star Trek® 
through Voyager.® There ore theme-related cruises 
and then there is Seatrek, the perfect combination of 
seo-going holiday and Trek convention aboard 
Carnival Cruise Lines beautiful ship, the Jubilee. 

Seatrek 97 is the seventh voyage organized by 
Seatrek Enterprises, creators of the original Star Trek 
cruises. We have payment plans, Trek Partner 
sharing plans for those travelling alone, charge card 
approval, discount airfares, Universal Studios 
package and other travel services. Sail with us in 
1 997 and join in the special events celebrating our 
1 Oth anniversary. 

For FREE brochure, send an S.A.S.E. business size 
envelope to:Seatrek 97, 8306 Mills Drive, Box 
1 98, Miami, FL 331 83 or phone 800-326-8735 
or 305-388-2890 



Invest a stamp 




Save a bundle 

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So stamp out ignorance with our free Catalog. 

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SF DIRECTORY 

Assembled by 

MICHAEL STEWART 



Please note: Inclusion here does not indicate endorsement ol any 
club or publication by STARLOG. And STARLOG is not respon- 
sible for information and spelling errors or changes in fees. 
Always write first to any organization, including a self- addressed. 
stamped envelope (SASE) to confirm its continued existence. 

Attention: Not listed here? It is not our oversight. You 
haven't sent information to us. Please write to SF Directory 
STARLOG. 475 Park Avenue South. NY. NY 10016. Provide al 
pertinent info on club/publication type, sanctioning (complete 
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mandatory), yearly dues or subscription rates and membership 
kit. To facilitate inclusion, please provide info in the style that fol- 
lows, carefully typed double-space. These will be listed free at 
STARLOG's discretion. Please note: STARLOG accept: 
absolutely NO phone calls re: fan clubs for any reason. 



I AS ft SF6aAL-1i-Ni&HT.. 

WSTH LEUelO " r 
AUTHENTIC ITV 






FAN CLUBS & PUBLICATIONS 

U.S.S. PATHFINDER 

A family Star Trek fan association currently 

exploring the Delta Quadrant on a first-contact 

mission. 

Sanctioning: None. 

Address: Ten Forward 

8541 Bardmoor Place North 

Seminole. FL 34647 
Dues: S24 per year. Free for remote 
members. 

Membership Includes: Certificate. ID card, 
subscription to The Transporter newsletter. 



f-ffl£oRiES,"\ f CflPTfliH Bur !Tfl?PgftR4 
i ffiR.StecK? i U>£ HfWE gEEW TURM6P 
, _>lN"rb PEWTER. fl>» FLftCEP 

sXCon m kimeMic pifKTic base 






;^AJ r.CL- ~- 



Art: Bob Muleady 



CROW'S NEST 

A fanzine dedicated to Mystery Science Theater 
3000, with news, reviews articles, fiction, car- 
toons, etc. 
Sanctioning: None. 



Art: Mike Wright 



Address: Crow's Nest 

P.O. Box 3825 

Evansville, IN 47736 
Subscription Rates: S18 (U.S. & Canada), $21 
(elsewhere). 

FANZINE PRINTING, PUBLISHING 
& DESIGN 

Providers of professional publishing, printing 

and design services for the average fanzine/fan- 

dom publication producer. 

Sanctioning: None. 

Address: Fanzine Printing. Publishing 
& Design 

101 10 Westland Drive 
Knoxville.TN 37922-5122 

Dues & Membership: Send SASE for price 

lists and info. 

GENERATIONS 

An organization geared toward all incarnations 
of Star Trek. 



CONVENTIONS 

Questions about cons listed? Please 
send a self- addressed, stamped enve- 
lope to the address listed for the con. 
Do NOT call STARLOG. Note: Due 
to various circumstances, con guests 
isted may not always be able to ap- 
pear and conventions may be can- 
dled without any prior notice. 
Conventioneers: Send all pertinent 
info no later than four months prior to 
the event to STARLOG Con 
Calendar. 475 Park Ave. South. NY. 
NY 10016. You must provide a phone 
number and (if one's available 
online computer address. STARLOG 
makes no guarantees, due to space 
limitations, that your con will be list- 
ed here. This is a free service: tc 
ensure a listing in STARLOG — no 
here, but elsewhere — contact Tim 
Clark (21^-689-2830) for classified 
ad rates & advertise there. 



DECEMBER 

CREATION 

December 2-3 
Convention Center 
Minneapolis. MN 

Creation Entertainment 

41 1 North Central Avenue 

Suite 300. Glendale. CA 91203 

(818)409-0960 

Guests: Michael Dorn. Marina Sirtis 

COLLECTIBLE TOYS & 
COMICS SHOW 

December 2-3 
Pittsburgh E\po Mart 
Monroeville. PA 

K. Crispin Promotions Inc. 
301 West Monroe Street 
Latrobe. PA 15650 

COLLECTIBLES 



EXTRAVAGANZA 

December 2-3 

Bayside Expo Center 

Boston. MA 

Show Production 

405 Waltham Street #333 

Lexington. MA 02173 

1-800-759-SHOW 

X-FILES CON 

December 3 
Convention Center 
Minneapolis. MN 
Creation Entertainment 
See earlier address 
Guest: Nick Lea 

JANUARY 1996 

FANCORIA'S 
WEEKEND OF 
HORRORS 

January 6-7 
Hotel Pennsylvania 
New York. NY 

Creation Entertainment 

41 1 North Central Avenue 

Suite 300. Glendale. CA 91203 

(818)409-0960 

Guests: John Saxon. Clint Howard. 

Brian Yuzna. Lucio Fulci 

PIZZA CON 7 

January 7 

Tower Plaza Shopping Center 

Visaua. CA 

Chris Mackey c/o Trivia 
3334 W. Caldwell *54 
Visua. CA 93277 
(209) 739-8388 

FEBRUARY 

CREMEC0N2 

February 2-4 



Manchester East Hotel 
Glendale. Wl 
CremeCon 2 
P.O. Box 37986 
Milwaukee. WI 53237 
(414) 223-3243 
cremecon@aol.com 
Guest: Lawrence Watt-Evans 

HURRICONCLIVE 

February 2-4 

Holiday Inn Beach Resort 

Ft. Walton. FL 

HurriCon Clive 

328 N. Elgin Parkway 

Ft. Walton Beach. FL 32547 

(904)863-8810 

Guests: Clive Barker. Philip Jose 

Farmer. Peter S. Beagle 

MAGNUM OPUS 
CON-10A 

February 15-18 
Adam's Mark Hotel 
Charlotte, NC 

Magnum Opus Con 
P.Ol Box 6585 
Athens. GA 30604 
MOC@ IX.netcom.com 

WAR '95 

February 15-18 
Adam's Mark Hotel 
Charlotte. NC 

National Association for 
Professional Gamers 
P.O. Box 6585 
Athens. GA 30604 
(706)549-1533 
MOC@ix.netcom.com 

GALLIFREY '96 

February 16-19 
Airtel Plaza Hotel 
Van Nuys. CA 
Gallifrey One Conventions 
P.O. Box 3021 



North Hollywood. CA 91609 

(818)752-9656 

Guests: Sylvester McCoy. Sophie 

Aldred. John A. Blake 

LEAP CON '96 

February 17-18 

Beverly Garland's Holiday Inn 

Studio City. CA 

LeapTime. Inc. 

P. O. Bt>x 16495 

North Hollywood. CA 91615 

MARCH 

KATSUCON 2 

March 8-10 

Holiday Inn Executive Center 
Virginia Beach, VA 
Katsu Productions 
P.O.Box 11582 
Blacksburg. VA 24060-1582 
Katsucon@vtserf.cc.vt.edu 
Guest: Steve Bennett 

CON*CEPT'96 

March 22-23 

Holiday Inn Crown Plaza 

Metro Center 

Montreal. Quebec 

Con*Cept 

P.O. Box 405. Station H 

Montreal. Quebec 

H3G 2L1 

Canada 

Guests: Terry Pratchett. 

Bob Eggleton 

M1DS0UTHC0N15 

March 22-24 
Brownstone Hotel 
Memphis. TN 
MidSouth Science Fiction 
Conventions. Inc. 
P.O.Box 11446 
Memphis. TN 381 11 
(901)274-7355 



Guests: Barry Longyear. Frank Kelly 
Freas. Paul Darrow. 

TECHNIC0N13 

March 22-24 

Best Western Red Lion Inn 

Blacksburg. VA 

Technicon 13 

c/o VTSFFC 

P.O. Box 256 

Blacksburg. VA 24063-0256 

(540)951-7232 

Technicon@VTCCl.cc.vi.edu 

Technicon® VTCC 1 .Bitnet 

Guest: L.E. Modesitt 

PRISONERS OF THE 

KNIGHT 

March 29-31 

Holiday Inn Yorkdale 

Toronto. Canada 

c/o Prisoners of The Knight 

203-23 Oriole Road 

Toronto. Ontario M4V 2E6 

Canada 

(416)925-9020 

Guest: Deborah Duchene 

N0VAC0N 

March 30-31 

Westpark Hotel 

Tvsons Corner. VA 

(703) 280-5382 

Guests: Robert Picardo. Grace Lee 

Whitney. David McDonnell. Dennis 

Russell Bailey 

APRIL-MAY 

I-C0N15 

April 12-14 

SUNY at Stony Brook Campus 

Long Island. NY 

I-CON 15 

P. O. Box 550 

Stonv Brook. NY 1 1790-0550 



22 STARLOG//fl/;»arv 1996 



sanctioning: None. 
Address: Generations 

P.O. Box 67001 

RPO Maples 

Winnipeg. MB 

R2P 2T3 

Canada 
Dues: S25 (Canada), $20 (U.S.). 
Membership Includes: 12 issues of newslet- 
ter and discounts to club events. 

.OIS & CLARK FAN CLUB 

n organization for fans of Lois & Clark: The 
Adventures of Superman. 
tioning: None. 
Address: Brandi Tolson 

14935 Beloit Snodes Road 
Beloit. OH 44609 
Dues & Membership: Send SASE for info. 

FOREVER KNIGHT FAN CLUB 

The oldest club for fans of Forever Knight. 
Sanctioning: None. 
Address: Forever Knight Fan Club 
P.O. Box 1228 
Boston. MA 02130-0011 
FKFCpres@ aol.com 
Dues: S20 (U.S.). S22 (Canada), $27 (else- 
where). 

Membership Includes: Six issues of The 
Knightly News, club badge, cast photo and 
episode guide. 



:=. •■■.'■ odos 



pis at msTtsw; huj 



: :-6045 
Guest: George Alec Efllnger 

MARITIME 
SCIENCE FICTION 
FESTIVAL 

April 13-14 

Delta Barrington Hotel 
Halifax. Nova Scotia 
Randy Hicks 

a] Organizer 
P.O. Box 46021 

5a RPO 
Halifax. NS 
■ 2 5\ 8 

I-S00-622-6199 
Guests: Majel Barrett 
Roddenberry. Robert O'Reilly. 
Robin Curtis. Robert Llewellyn 



FLEET ACADEMY 
NORTH 

April 26-28 

Holiday Inn Yorkdale 

Toronto. Ontario 

Fleet Academy North 

26 Doddington Drive 

Etobicoke, Ontario 

M8Y 1 S4 

Canada 

Sharon Lowachee 

(905)824-2284 

S.L0wachee@2enie.2eis.com 

Guests: D.C. Fontana. Bjo 

Trimble 

FOR THE KIDS 

May 11-12 
Sheraton Inn 
Charlottesville, VA 
For The Kids Inc. 

P.O.Box 123 




ffiCfUVT rt?£ A LoSTlW S?AC£ CEUMloM 
"-W6U1 LENfJIER..." 

Art: Bob Muleady 




"Art: Emily Pent ield/Sherry Gtllam 
PATRICK STEWART NETWORK 

An organization for fans interested in the 
career of Patrick Stewart. 
Sanctioning: None. 
Address: Patrick Stewart Network 

P.O. Box 4990 

Riverside, CA 92514 
Dues: S25 (U.S. and Canada). S30 (Europe). 
S35 (Australia and Japan). 
Membership Includes: Color photo, four 
issues of Coach's Club House, club directory. 

NATIONAL MUSEUM OF SCIENCE FIC- 
TION AND FANTASY 

A non-profit organization founded in 1990 for 
the creation of a national center, museum and 
hall of fame dedicated to all science fiction. 
. fantasy and classic horror. 
Sanctioning: None. 
Address: Craig A. Smith 

Chairman of the Board 
National Museum of Science 
Fiction and Fantasy 
P.O. Box 31663 
Independence. OH 44131 
Dues : Send SASE for info on donations. 

BABYLON 5 ON-LINE 

A free weekly electronic newsletter containing 

information on Babylon 5 delivered via the 

Internet. 

Sanctioning: None. 

Address: katana@indirect.com 

Subscription Rates: Free. Send first name, e- 

mail address and state of residence to 

katana@indirect.com. 

IMAGINARY TIME 

A multimedia fanzine for unconventional 
adventure exploring your favorite SF shows. 
Sanctioning: None. 
Address: Imaginary Time 

123 Vista Drive 

Mississauga, Ontario 

L5M 1W2 

Canada 
Subscription Rates: Send SASE for info. 

EPIC 

A club dedicated to the appreciation of the 
work of Ethan Phillips. 
Sanctioning: Ethan Phillips. 
Address: EPIC 

P.O. Box 4818 

Waterbury. CT 06704 
Dues: S20 (U.S.). S25 (elsewhere). 
Membership Includes: Personally auto- 
graphed photo, membership card, quarterly 
newsletter. 




SCIENCE 



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STORYBOARDS 

Motion in Art 

$24.95 

Written & Illustrated by 

Mark Simon, Storyboard Artist of 

the TV Series "seaQuest DSV" 

If you like to draw, you can make 
good money illustrating for film, TV, 
animation, commercials, computer 
games and more! This book will tell 
you how! 



Topics include: 

Drawing Better Boards 

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What Producers Look For 

How to Present Your Work 



172 pg. Dozens of illustrations. 
Splra^bouno\ _ 



STORYBOARDS 

$24.95 
Quantity being ordered. 

POSTAGE & HANDLING: NORTH AMERICA: 
$5.50/book, OVERSEAS: $10.50/book. New York 
State residents add 8 1/4% sales tax. 
Canadian residents add 10% sales tax. 

Method of Payment: 

□Cash □Check □Money Order 

□Discover □MasterCard QVisa 

Account Nb."~ ~ 

Card Expiration Date: / (Mo./Yr.) 

Your Daytime Phone #:( ) 



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City 



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Your Signature 

Total enclosed: $ 



Send cash, check or money order to: 

STARLOG GROUP, INC. 

475 PARK AVENUE SOUTH 

NEW YORK, NY 10016 

IF YOU DO NOT WANT TO CUT OUT COUPON 

WE WILL ACCEPT WRITTEN ORDERS. 

Please allow 4 to 6 weeks for delivery. 



A Miller Tale 



Hey. Ron. it's Kerry in New York. How are you?" "Moderately adequate, thank 
you." Ron Miller's words were the same familiar greeting I had heard a thousand 
times, although I have not seen his talk lanky self in years. "How is Judy?" I 
inquired, with little worry that his devotion to his wife had waned. 

"Oh. as usual, she's practically perfect." And still the heroine of his life. 
For the past five years. Ron and Judy have lived in a comfortable country house in 
Virginia, near the area where Potomac Creek joins Potomac River — and not much else 
happens. "From where I'm standing." Ron told me. with his usual dry humor. "I can 
see the middle of nowhere." 

Only a science fiction person would conjure up that kind of phrase, and Ron is defi- 
nitely that kind of dude. He's one of those invisible machines, working behind the 
scenes of SF. who. like the Energizer bunny, just keeps going. You might not know his 
name, but he has contributed creative visions to all quadrants of the science fiction uni- 
verse. He has been involved in books, trading cards and exhibits, in movies and maga- 
zines. Some of you may recall Ron's association with this magazine, starting in 1977. 

In STARLOG #10. 1 asked Isaac Asimov to write an article discussing the scientific 
feasibility of travel through space at what Star Trek calls "warp speed." and I asked 
Ron to paint an original two-page illustration for "Faster Than Light." A year later, he 
was given the title Space Art Advisor in STARLOG and FUTURE LIFE. 

In this more-scientific publication (no longer flying, alas), Ron helped me to devel- 
op a series of highly factual articles exploring everyday life aboard a huge space sta- 
tion. Ron illustrated each installment of "Civilization in Space." Through Ron. I met all 
the talented space artists, many of whom we interviewed and featured in the pages of 
FUTURE LIFE. I began purchasing original paintings, and over the years formed an 
impressive collection that now covers the walls of the STARLOG publishing offices, 
a virtual gallery of astronomical and science fiction illustration. 

Ron introduced me to the master of space art. then 90. Chesley Bonestell. Chesley's 
alluring illustrations in Life. Collier's and other popular magazines throughout the '50s 
made the unknown territory of space seem real, reachable and rewarding. Top NASA 
officials credit Bonestell with providing fuel and funds for the American space pro- 
gram. He was also the special FX matte artist for movies like George Pal's When 
Worlds Collide and War of the Worlds. I was fortunate to visit Bonestell's home/studio 
in Carmel and to enjoy knowing him for the last years of his life. Thanks to Ron. 

Three published novels carry Ron's name as author, and books featuring his spec- 
tacular illustrations, like Grand Tour. In the Stream of Stars. History of Earth and Out 
of the Cradle, are now classics of science and imagination. One of his most ambitious. 
The Dream Machines, is a 750-page volume of spaceships, weighing more than five 
pounds and selling for more than $100. The cheaper (and lighter) CD-ROM version, 
revised and amended, will be available this Christmas. 

One of his favorite projects was working with David Lynch on Dime as a produc 
tion illustrator. "He was a nice guy." Ron said sincerely of Lynch, "very funny 
told me I was on his same wavelength. I considered that quite a compliment." 

Like many fans, Ron was lured into science fiction and fantasy by Kid-Vid — shows 
like Superman, Captain Video and Mr. Wizard. "I still watch Mr. Wizard" Ron chuck- 
les. "He's still entertaining and still fascinating." For a more philosophical explanation 
of his attraction to the world of tomorrow, with its bizarre distance from everyday life, 
Ron simply says. "It's cool." 

I haven't seen Ron in years, but he has been busy with a wide variety of projects. 
Primarily an artist, he has talented fingers in many related areas. Right now. his prime 
goal is nursing a motion picture script he wrote into production. 

His script, Cat's Paw. is a science fiction thriller with fantasy aspects. "It's Cat Peo- 
ple meets Broadcast News" he explains, "or. CNN From Hell!" His partner on the pro- 
ject is Ron Shusett. whose film credits include ALIEN and Total Recall. Shusett would 
like to see Cat's Paw done as a big Hollywood production, but it is. after all, a Miller 
tale, and the author sees it being done wonderfully on a modest budget. 

Whatever comes of that project, no doubt this invisible science fiction machine will 
continue humming. Ron Miller has found the key to his happiness — exercising wild 
imagination with smart practicality. The result is a positive energy that colors all his 
projects with a magical aura. 

I enjoyed time on the phone with my old pal. At the end of our conversation. I was 
smiling and excited. Ron gives new life to the phrase Miller Time. 

— Kerry O'Quinn 



and he 



24 STARLOGA/a/HMi-v 1996 



Explore the Historyjaf Science Fiction in 




Order now while issues last! 



Note: All issues include numerous articles & 
interviews. Only a few are listed for each entry. 



=2 Gene Rod den berry. 
Space: 1999 EP 
Guide. Logan's Run. 
War of the Worlds. 
S50. 

=3 Space: 1999EP 
Guide. Nichelie 
Nichols. George Takei. 
DeForest Kelley. S35. 

#4 3-D SF Movie 
Guide. Richard 
Anderson. Outer Limits 
EP Guide. S50. 

=5 3-D Film history. 
UFO & Space: 1999 
EP Guides. S15. 

=6 Robert Heinlein on 
Destination Moon. 
Animated Star Trek. 
$25. 

#7 Star Wars. 
Rocketship X-M. 
Space: 1999 Eagle 
blueprints. Robby. S35. 

#8 Harlan Ellison. Star 
Wars. The Fly. S25. 

#10 George Pal. Ray 
Harryhausen. Isaac 
Asimov. S20. 

811 CE3K. Prisoner 
EP Guide. Incredible 
Shrinking Man. Rick 
Baker. S20. 

#12 Roddenberry, 
Doug Trumbull & 
Steven Spielberg. 
CE3K. Dick Smith. 
S10. 

#13 David Prowse. Pal 
on The Time Machine. 
Logan's Run EP 
Guide. $5. 

#14 Project UFO. Jim 
Danforth. Saturday 
Night Live Trek. S5. 

#15 Twilight Zone EP 
Guide. Galactica. 
Richard Donner. This 
Island Earth. S5. 

#16 Phil Kaufman. 
Fantastic Voyage. 
InvadersEP Guide. 
S5. 

#17 Spielberg. 
Roddenberry. Joe 

Haldeman. Ralph 
McQuarrie. S5. 

#18 Empire. Joe 
Dante. Dirk Benedict. 
Richard Hatch. S5. 

=19 Roger Corman. Gil 
Gerard. Star Wars. 
Body Snatchers. CE3K 
FX. S5. 

=20 Pam Dawber. Kirk 
Alyn. Buck Rogers. 
Superman. S5. 

=21 Mark Hamill. Lost 
in Space EP Guide. 
Buck Rogers. S5. 

=22 Lome Greene. 
Veronica Cartwright. 
Special FX careers. 
ALIEN. S5. 

=23 David Prowse. 
Dan O'Bannon. Dr. 
Who EP Guide. Day 
Earth Stood Still. 
ALIEN. S5. 



#24STARLOG's3rd 
Anniversary. William 
Shatner. Leonard 
Nimoy. S6. 

#25 Ray Bradbury. 
Star Trek: TMP. Thing. 
S5. 

#26 Ridley Scott. H.R. 
Giger. ALIEN. Gerry 
Anderson S5. 

#27 Galactica EP 
Guide. ST: TMP. 
ALIEN FX. Nick Meyer. 
$5. 

#28 Lou Ferrigno. 
Wonder Woman EP 
Guide. S5. 

#29 Erin Gray. Buster 
Crabbe. S5. 

#30 Robert Wise. 
Chekov's Enterprise. 
Questor Tapes. 
Stuntwomen. S15. 

#31 Empire. 20,000 

Leagues Under the 
Sea. Chekov's Ent. 2. 
S5. 

#32 Sound FX LP 
Buck Rogers & Trek 
designs. Chekov's Ent. 
3. S6. 

#33 Voyage EP Guide. 
Ellison reviews Trek. 
S5. 

#34 Tom Baker. Irv 
Kershner on Empire. 
Martian Chronicles. 
Buck Rogers. S15. 

#35 Billy Dee Williams. 
Empire & Voyage FX. 
S5. 

#36 4th Anniversary. 
Nichols. Prowse. Glen 
Larson. Yvette 
Mimieux. S6. 

#37 Harrison Ford. 
Terry Dicks. First Men 
in the Moon. S5. 




#38 CE3K. Buck 
Rogers EP Guide. 
Kelley. S5. 

#39 Buck Rogers. Tom 
Corbett. Erin Gray. 
Fred Freiberger. $5. 

#40 Hamill. Gil Gerard. 
Roddenberry. Jane 
Seymour. Freiberger 2. 
Empire FX. $4. 

#41 Sam Jones. John 
Carpenter. S5. 

#42 Robert Conrad. 



Mark Lenard. 
Childhood's End. 
Dr. Who. S6. 
#43 David 

Cronenberg. Jeannot 
Szwarc. Altered States 
FX. Hulk EP Guide. 
S5. 

#44 Altered States. 
Bob Balaban. S5. 

#45 Peter Hyams. 
Thorn Christopher. 
Escape from NY. S5. 

#46 Harry Hamlin. 
Blair Brown. Superman 
II. G American Hero. 
S5. 

#47 Takei. Sarah 
Douglas. Doug Adams. 
Outland. S5. 

#48 5th Anniversary. 
Harrison Ford. Lucas. 
John Carpenter. Bill 
Mumy. S6. 

#49 Adrienne Barbeau. 
Kurt Russell. Lucas. 
Takei. 007 FX. 
Raiders. S15. 

#50 Spielberg. Sean 
Conner/. Lawrence 
Kasdan. Lucas. Ray 
Walston. Heavy Metal. 
Dr. Who. S50. 

#51 Shatner. 
Harryhausen. 
Roddenberry. Jerry 
Goldsmith. Kasdan. 
Batman. S5. 

#52 Blade Runner. 
Shatner. $5. 

#53 Bradbury. Patrick 
Macnee. Blade 
Runner. S5. 

#54 3-D Issue. Bob 
Culp. Connie Selleca. 
Terry Gilliam. Leslie 
Nielsen. Raiders FX. 
Trek bloopers. S5. 

#55 Quest for Fire. Phil 
K. Dick. Culp 2. Ed 
(UFO) Bishop. 
Trumbull. Trek 
bloopers. S6. 

#56 Zardoz. Tn'ffids. 
Trek bloopers. S5. 

#57 Losf in Space 
Robot. Conan. 
Caroline Munro. Ron 
Cobb.SIO. 

#58 Blade Runner. 
The Thing. Syd Mead. 
Trek bloopers. $10. 

#59 The Thing. 
Kirstie Alley. Merritt 
Butrick. Arnold 
Schwarzenegger. S35. 

#60 6th Anniversary. 
Star Trek II. Carpenter. 
Ridley Scott. TRON. 
S6. 

#61 Trek II Pt.2. Walter 
Koenig. Sean Young. 
Road Warrior. S15. 

#62 Ricardo 
Montalban. Koenig. 
James Doohan. Ken 
Tobey. Dr. Who. S5. 

#63. Spielberg. Nimoy. 
Kurt Russell. Rutger 




Hauer. James Horner. 
S25. 



#64 David Warner. 
Peter Barton. Dr. Who 
EP Guide. S75. 

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Crystal. S5. 

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Marshall. S5. 

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Killed Spock." Trek II 
FX. S5. 

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Say Never Again. 
Harve Bennett. 
Richard Maibaum. S5. 

#69 Anthony Daniels. 
Tom Mankiewicz. Jedi. 
S5. 

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U.N.C.L.E. Debbie 
Harry. Chris Lee. John 
Badham. S5. 

#71 Carrie Fisher. 

Judson Scott. Dan 
O'Bannon. V. S5. 

#72 7th Anniversary. 
Hamill. Shatner. Roger 
Moore. Bradbury. June 
Lockhart. S6. 

#73 Cliff Robertson. 

Robert Vaughn. Roy 
Scheider. Jason 
Robards. Hamill 2. S5. 

#74 Molly Ringwald. 
Michael Ironside. 
Malcolm McDowell. 
L. Semple 1. S5. 

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Lithgow. McQuarrie. 
George Lazenby. 
Semple 2. S5. 

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Sybil Danning. S6. 

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Chuck Yeager. Tom 
Baker. Trumbull. S5. 

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Glenn. Nick Meyer. 
Arthur C. Clarke. 
Trumbull 2. Lance 
Henriksen. S5. 

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Kershner. Jon 
Pertwee. David 




Hasseihoff. S5. 

#80 Billy Dee Williams. 
Anthony Ainley. Jedi 
FX1.S5. 



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Fred Ward. Veronica 
Cartwright. Greystoke. 
Buckaroo Banzai. S5. 

#82 Schwarzenegger. 
Max von Sydow. Chris 
Lloyd. Faye Grant. Dr. 
Who. Jedi FX 2. S4. 

#83 Kate Capshaw. 
Robin Curtis. Fritz 
Leiber. Marshall. Dr. 
Who. V.S10. 

#84 8th Anniversary. 
Nimoy. Frank Oz. 
Chris Lambert. Marc 
Singer. B. Banzai. Jedi 
FX 3. V. S6. 

#85 Jim Henson. Joe 
Dante. Jeff Goldblum. 
Bob Zemeckis. Ivan 
Reitman. S5. 

#86 Peter Weller. 
Lenard. John Sayies. 
Chris Columbus. Rick 
Moranis. Jedi FX 4. 
S75. 

#87 Ghostbusters FX. 
Kelley. Prowse. David 
Lynch. 2010. B. 
Banzai. S5. 

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Schwarzenegger. 
Kelley 2. Keir Dullea. 
V Dune. Gremlins. $6. 

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Troughton. Jim 
Cameron. Irish 
McCaila. Starman. B. 
Banzai. Terminator. S5. 

#90 Scheider. Karen 
Allen. Ironside. Dean 
Stockwell. Pinocchio. 
S75. 

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Crichton. V. Dune. 
Gremlins. Terminator. 
S10. 

#92 Carpenter. Tom 
Selleck. Giliiam. Brazil. 
Barbarella. S5. 

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John Hurt. Robert 
Englund. Simon Jones. 
Dr. Who. Jedi FX 5. 
M. Python. S10. 

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Katt. Sayies. John 
Barry. Michelle Pfeiffer. 
V. JediFX6. S5. 

#95 Grace Jones. 
Butrick. Hauer. 
Matthew Broderick. 
Mad Max III. Cocoon. 
S5. 

#96 9th Anniversary. 
Peter Cushing. Roger 
Moore. Jonathan 
Harris. Tina Turner. 
John Cleese. Cocoon. 
Jedi FX 7. S6. 

#97 Mel Gibson. Scott 
Glenn. Ron Howard. 
River Phoenix. Donner. 
Chris Walken. BTTF. 
S10. 

#98 Michael J. Fox. 
Dante. George Miller. 



Guttenberg. S5. 

#99 Anthony Daniels. 
Zemeckis. ''Cubby" 
Broccoli. Mad Max. S5. 

#100 Lucas. Nimoy. 
Carpenter. 

Harryhausen. Ellison, 
fvlatheson. 
Roddenberry. Irwin 
Allen. Nichols. 
Cushing. S6. 

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Scott. Sting. Roddy 
McDowall. Macnee. 
Takei. Fred Ward. S5. 

#102 Spielberg. Mel 
Blanc. Michael 
Douglas. Allen 2. Alley. 
Doug Adams. Peter 
Davison. S5. 

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Hauer. Bennett. Bottin. 
Elmer Bernstein. S5. 

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Stephen Collins. Ken 
Johnson. V Outer 
Limits. T Zone. S5. 

#105 Lambert. Colin 
Baker. Jonathan 
Pryce. Grace Lee 
Whitney. Planet of the 
Apes. VEP Guide. 
Japanimation. S5. 

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Curry. Clancy Brown. 
Terry Nation. ALIENS. 
Japanimation. S5. 

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W.D. Richter. Jean M. 
Auel. ALIENS. S5. 

#108 10th Anniversary. 
Roddenberry. Martin 
Landau. Chuck Jones. 
Kurt Russell. Rod 
Taylor. David Hedison. 
Michael Biehn. BTTF. 
V. $6. 

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Carpenter. Sigourney 
Weaver. Ally Sheedy. 
Takei. Melanie Griffith. 
S5. 

#110 Bradbury. 
Cameron. Cronenberg. 
Nimoy. Geena Davis. 
Bob Gale. S5. 

#111 Columbus. Sarah 
Douglas. Nick 
Courtney. Martin 
Caidin. Trek IV. S10. 

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Bloch. Rick Baker. The 
Wizard. Little Shop of 
Horrors. Starman TV. 
S25. 

#114 Nimoy. Guy 
Williams. Robert Hays. 
Gareth Thomas. S50. 

#115 Kelley. Chris 
Reeve. Jenette 
Goldstein. Tom Baker. 
Carpenter. ALIENS. 
S1 25. Very rare. 

#116 Nichols. Majel 
Barrett. Robin Curtis. 
Whitney. Paul Darrow. 
Ray Russell. Dr. Who. 
S50. 



#117 Catherine Mary 
Stewart. Lenard. Adam 
West. Nation. Frank 
Oz. RoboCop. S5. 

#118 Shatner. Rod 
Taylor. Jeff Morrow. 
Michael Keating. D.C. 
Fontana. GRR Martin. 
S10. 

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Matthews. Doc 
Savage. S5. 

#121 Reeve. Mel 
Brooks. Dante. 
Lithgow. Weller. Karen 
Allen. Jacqueline 
Pearce. Henriksen. 
S10. 

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Martin Short. Duncan 
Regehr. RoboCop. 
Lost Boys. Snow 
White. S50. 

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Dolph Lundgren. Tim 
Dalton. RoboCop. 
STTNG. S50. 

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McCarthy. Gary 
Lockwood. Courtney 
Cox. STTNG. S15 

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Gerry Anderson. 
Carpenter. Running 
Man. Princess Bride. 
Cameron. $6. 

#126 Marina Sirtis. 

Schwarzenegger. 
Macnee. Bill Paxton. 
Michael Praed. Robert 
Hays. Maureen 
O'Sullivan. B&B. S5. 

#1 27 Lucas. 
Harryhausen. Gates 
McFadden. Peter 
Davison. RoboCop. 
S50. 

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Weller. Paul Darrow. 
Koenig. James Ear! 
Jones. Prowse. 
William Campbell. 
John de Lancie. 
Bradbury. S25. 

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Wil Wheaton. Robert 
Shayne. Michael 
Cavanaugh. Starman. 
RoboCop. S50. 

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Munro. Jack Larson. 
Tim Burton. Judge 
Reinhold. B&B. Blake's 
7. S50. 

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Larson 2. B&B. 
RoboCop. S5. 

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Tamblyn. Alan Young. 
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Baker. RoboCop. 
Roger Rabbit. 
Beetlejuice. STTNG 
FX. $6. 

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Goldsmith. Jane 
Badler. Patrick 



Culliton. Roy Dotrice. 
ft Rabbit. V. BSB. 
S10. 

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Crosby. Cherryh 2. 
James Caan. Ken 

Johnson. Sylvester 
McCoy. Big. S5. 

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Jerry Sohl. Marta 




Kristen. Van Williams. 
Prisoner. Alien Nation. 
$6. 

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Carpenter. Sohl. Jock 
Mahoney. Trek: The 
Lost Generation. S5. 
#137 Marshall. War of 
the Worlds. S5. 

#138 Michael Dorn. 
John Larroquette. 
Jean- Claude Van 
Damme. John Schuck. 
Lenard. Phyllis Coates 
1. JohnColicos. R. 
Rabbit. C. Power. B7. 
$5. 

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Landau. Coates 2. 
Nigel Kneale 1. 
Phantom of the Opera. 
Superboy. S5. 

#140 Bill Murray. 
Kneale 2. Wheaton. 
Rex Reason. Eric 
Stoltz. B&B. 
Munchausen. S5. 

#141 Diana Muldaur. 
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Amanda Pays. Gilliam. 
Kneale 3. Fly II. S5. 

#143 Perlman. Kelley. 
Robert Picardo. Tracy 
Torme. Indy III. 
Batman. SF 
costuming. B.5B.S50. 

#144 13th Anniversary. 
Shatner. Richard 
Chaves. Kim Basinger. 
Harry Harrison. Roger 
Rabbit FX 1. Indy III. 
Batman. S6. 

#145 Tim Burton. 



Moranis. John Rhys- 
Davies. Ron Cobb. 
William Gibson. 
Shatner 2. Tim Dalton. 
BR FX 2. Batman. S6. 

#146 Phil Akin. Cesar 
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Andre Norton. Takei. 
Matt Frewer. Abyss. 
Batman. RR FX 3. 
S10. 

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River Phoenix. Norton 
2. Koenig. CD Barnes. 
RRFX4. S7EP 
Guide. S10. 

#148 Tony Jay. 
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Newmar. David 
Warner. RR FX 5. B7 
EP Guide 2. S75. 

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2. RR FX 6. S5. 

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Siodmak. Richard 
Matheson. Cameron. 
Ken Johnson. Nation. 
S5. 

#151 Michael J. Fox. 
Crosby. Matheson 2. 
Jim Coburn. Nichols. 
Gary Conway. Gary 
Graham. S5. 

#152 Leslie Stevens. 
Gareth Hunt. Jay 
Acovone. A Nation. 
BSB. "Real Indy." S5. 

#153 Bradbury. Scott 
Bakula. Edward Albert. 
Lee Meriwether. B&B. 
A Nation. S5. 

#154 Ron Koslow. 
Sally Kellerman. T. 





Recall. RCop 2. 
Gremlins 2. BTTF III. 
Red October. B&B. S5. 

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Winiield. Colm 
Meaney. Ironside. 
Flatliners. BTTF III. S5. 



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Schwarzenegger. 
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EP Guide. S6. 

#157Weller. Paul 
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Walston. Ronny Cox. 
Marshall. Flatliners. 
S5. 

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Kershner. Joe 
Haldeman. T. Recall. 
Darkman. Flatliners. 
S5. 

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Card. Nicolas Roeg. 
M. Piller. Leiber. Land 
of Giants writers 1 . T. 
Recall. S10. 

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Goldberg. Kim Hunter. 
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Pierpoint. Ghost. 
Flash. Giants 2. S5. 

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Martin 2. Suzie 
Plakson. Liam Neeson. 
Ghost. Robin of 
Sherwood. S6. 

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Patrick Swayze. LeVar 
Burton. Val Guest 1. 
Don Matheson. 
Predator 2. Ghost. S6. 

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S6. 

#1 64 Dan Aykroyd. 
John Agar. Richard 
Denning. Tim Burton. 
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Nation. Creature from 
Black Lagoon. S6. 

#165 Phil Dick. FX2. 
S6. 

#166 Robin Hood. 
Rocketeer. Mark Ryan. 
WWorlds EP Guide. 
S6. 

#167 Pertwee. Mary 
Elizabeth 
Mastrantonio. 
Creature. 6. 

#168 1 5th Anniversary. 
Terminator 2. Robin 
Hood. Lost in Space. 



Michael Moorcock. S7. 

#169 Schwarzenegger. 
Roald Dahl. Alan Arkin. 
BHI& Ted 2. RoboCop 
3. Dr. Who. $7. 

#170 Cameron. Robert 
Patrick. Alex Winter & 
Keanu Reeves. 72. 
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Who. T. Tunnel writers 
1.S7. 

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Tunnel writers 2. S25. 

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Aldiss. B7. B&B. S6. 

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Addams Family. Alien 
Nation EP Guide. S10. 

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S6. 

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salute. Shatner. Dorn. 
Nichols. Macnee. Star 
Wars. S8. 



nana noenflaswi* 





#176 Anthony Hopkins. 
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Wheaton. Jon Lovitz. 
Kathy Ireland. S7. 

#177 Nick Meyer. 
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Invisibility. S7. 
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Honey. I Blew Up the 
Kid. U. Soldier. Young 
Indy. S7. 

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Batman Returns art. 
portfolio. S8. 

#180 1 6th Anniversary. 
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Darren. Mahette 
Hartley. Henriksen. S7. 

#181 Asimov tribute. 
Deanna Lund. Stuart 
Gordon. Lundgren. 
Voyage writers 1 . S7. 

#182 Lloyd Bridges. 
Jean Claude Van- 



Damme. Voyage 
writers 2. S7. 



#183 Michelle Pfeitfer. 
Danny DeVito. Walken. 
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Oliver. Young Indy. 
Voyage writers 3. S7. 
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salute. Ridley Scott. 
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Quantum Leap. S7. 

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Sheckley. Body 
Snatchers. Immortal 
writers 1 . S7. 

#186 Stewart. Anne 
Francis. Adrian Paul. 
DS9. Aladdin. Red 
Dwarf. Immortal 2. S7. 

#187 RickBerman. 
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Charles. DS9. Time 
Trax. S7. 

#1 88 Terry Farrell. 
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S10. 

#189 Dale Midkiif. 
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S7. 

#190Armin 
Shimerman. Mark 
Goddard. Anne 
McCaffrey. Danny 
John-Jules. Daniel 
Davis. Koenig. S10. 

#191 Rene 
Auberjonois. Lucas. 
Jurassic Park. S7. 

#192 17th Anniversary. 
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Crichton. Frederik 
Pohl. S7. 

#193 

Schwarzenegger. 
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Park. S7. 

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S7. 

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Praed. Ann Robinson. 
25 best Next 
Generation. S7. 

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Hunt. S7. 



#197 Bruce Campbell. 
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Davison. Jonathan 
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Snipes. S25. 

#198 Lockhart. James 
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X-Files. S7. 

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Files. S7. 

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Attacks. S7. 

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Anderson. The Mask. 
Rare! S75. 

#206 de Lancie. Peter 
Beagle. TimeCop. 
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#207 Avery Brooks. 
Van Damme. 
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As Heraclitus once pointed out. "Every- 
thing flows, nothing stands still." 
While it's fairly certain that the long- 
. . d Greek philosopher wasn't thinking 
•bout a futuristic TV drama called Star Trek: 
Deep Space Nine, his words would certainly 
pply to Rene Auberjonois. Not only has the 
ard-wihning actor spent four seasons play- 
ing that series' shape-shifting security chief. 
Constable Odo. but like his mercurial alter- 
ego. he has also begun to morph into a new- 
form. Auberjonois has become one of DS9's 
most promising directors, helming the third 
season episodes "Prophet Motive" and 
"Family Business," as well as "Hippocratic 
Oath," his first directorial installment for the 
Fourth season. 

"I wouldn't call it a big FX show, or a big 
battle show," says Auberjonois. " 'Oath' con- 
cerns O'Brien and Bashir. and a really inter- 
esting twist in their relationship, which has 
been growing wonderfully over the past few- 
masons." 

One would think that the actor had his 
hands full playing Deep Space Nine's irasci- 
ble security chief, but as Auberjonois reveals, 
by the beginning of season three, he knew he 
wanted to direct as well. "I went to [execu- 
tive producer] Rick Berman and said. T 
would like to throw my hat in the ring.' I 
knew how they went about it, because I had 
talked to Jonathan Frakes, who was very 
encouraging and said, 'You've got to do 
this!" I also watched as 
k. Avery Brooks direct- 

ak Rene Auber- 
A jonois isn't 
ft content to just 
S direct Odo's 
evolution on 
Star Trek: Deep 
Space Nine, he 
wants to direct 
episodes as 
well — and he is. 




Rene 

Auberjonois 
looks at shift 
in careers & 
the shape of, 
things to 
come. 

By JOE 
NAZZARO 



\ 






ed, so I was aware of the way they do it on 
Star Trek. 

"Often, when you're a regular on a TV 
series and get to direct an episode, you are 
not directing it," Auberjonois continues. 
"You just go in and talk to the actors, and the 



director of photography directs it. They don't 
do that on Star Trek. First, you start out as a 
director-in-training, or as [producer] David 
Livingston called me, a 'DIT' You then go 
through a stringent process of sitting in the 
editing room, sitting in casting sessions, pro- 



STARLOG//a/;»a;-r 7996 27 




duction meetings, dubbing sessions, going 
from here to there. I threw my hat in the ring 
in July before the season started, and didn't 
direct a show until right before Christmas. It 
took me a while, but I've been an actor for 30 
years, so I wasn't in totally uncharted territory. 
"What was wonderful was that I asked 
with great trepidation, and part of me was 
scared that Rick was going to say yes, and in 
fact he did. He looked at me for a second, and 




I thought. 'Uh oh!' and then he said, 'I've 
been waiting for you to ask.' So that was it, I 
was off and running. 

"At one point, we were walking out of a 
production meeting together, and Rick said, 
'So, are you ready yet?' and I said, 'No, I'm 
not ready,' and he let it go. Then, a month 
later, I got a call from him. and he said, 'This 
is the call you love to get and you hate to get. 
It's time for you to do it,' and I said, [his 
voice goes up a few octaves] 'OK, throw me 
in the pool and see if I can swim.' " 

Directorial Shifts 

The fledgling director's first assignment 
was "Prophet Motive," an out-and-out come- 
dy in which Grand Nagus Zek (Wallace 
Shawn) arrives on DS9 carrying the newly 
rewritten Ferengi Rules of Acquisition — and 
things go swiftly downhill from there. 

Auberjonois spent an enormous amount 
of time preparing the episode, and rehearsing 
with his Ferengi leading men Armin 
Shimerman and Max Grodenchik on week- 
ends. "The truth is, the more prepared you 
are as a director, the more flexible you're 
able to be. All the best directors I've worked 
with knew exactly what they wanted, had 
everything figured out and yet were willing 
to change their mind on a dime. You can only 
do that when you have a very clear idea what 
it is you want. It's difficult to be flexible 
when you don't know what you want to do, 

Even though Garak (Andrew Robinson) 
tortured Odo in the "Improbable 
Cause/The Die is Cast" two-parter, the 
experience has brought the two charac- 
ters closer. 




Joining the ranks of Star Trek actor/direc- 
tors which include Patrick Stewart, 
Jonathan Frakes, LeVar Burton and 
Brooks, Auberjonois directed "Family 
Business," guesting Andrea Martin. 

but when you have it all figured out, you're 
able to move in another direction easily. 

"This was the show that had the Worm- 
hole sequence, which was very complex, 
because it had to be shot in all sorts of little 
pieces. I had to storyboard that whole 
sequence, which isn't something you do a lot 
in television. I worked with a storyboard 
artist, and carefully studied the Wormhole 





Auberjonois enjoyed departing from Odo for the episode "Facets," where he played 
Dax's former host, Curzon. "I think Curzon may return at some point in the future." 



sequence in 'Emissary,' the pilot, because 
that same atmosphere had to be invoked. I sat 
and watched that sequence again and again, 
to design it in a sort of comedic sense, but 
also to give it the same visual feel the 'Emis- 
sary' sequence had — on a much smaller bud- 
get, obviously. 

"The other thing I tried was to give a kind 
of fantasy, Maxfield Parrish feel to the show. 
As grotesque as the Ferengi are, they're also 
sort of adorable; that's why I designed the 
scene where Quark and Rom are sitting in the 



big, round window together. I had to fight for 
that, because the producers don't like you to 
do something in front of a window if it 
doesn't have a moving star field behind it, 
and that particular window doesn't. I fought 
for that, and they eventually built a moving 
star field for that set, and now they're glad 
they have it, because it's a room they use a lot 
for different sets. I guess they realized it was 
finally time to go ahead and spend the 
money. So, visually, that was a stylistic 
device I created." 



As a director who's still, by his own 
admission, "wet behind the ears," Auber- 
jonois says he relies heavily on DS9's direc- 
tor of photography, Jonathan West. "In 
'Family Business,' I wanted everything to be 
shot very low, which isn't usually the way 
you shoot Ferengi, because they're small 
people, so you tend to keep the camera high- 
er to accentuate the fact that they're small. 
Because the sets were so small, it was just 
something I wanted to do, and it really paid 
off and gave that episode an interesting 
look." 

"All the best directors 

I've worked with knew 

exactly what they 

wanted." 

In "Family Business." Quark and his 
brother Rom are forced to return to the Fer- 
engi homeworld after they discover that their 
mother, Ishka, has been earning profits — a 
definite no-no for Ferengi females. Auber- 
jonois suggested comic actress Andrea Mar- 
tin for the role, but didn't pull any punches 
when telling her about the elaborate prosthet- 
ic makeup she would have to endure. 

"I said to her, 'You've got to know that up 
front, so if you feel that you're not going to 
be able to handle it. then don't do this part, 
because it's going to be harder than anything 

JOE NAZZARO. veteran STARLOG corre- 
spondent, is the author of The Making of 
Red Dwarf (Titan. £7.99). He profiled John 
de Lancie in STARLOG #221. 



STARLOG/Januarx 1996 29 



Morph 
Memories 

As Deep Space Nine edges further into its 
fourth season. STARLOG asked Rene 
Auberjonois to comment on some of the 
more memorable episodes featuring his 
character. The actor has already discussed 
most early segments in previous STARLOG 
interviews, so the critique begins midway 
through the second season. 

"Necessary Evil." "Jim Conway, who 
directed our two-hour opener this season, is 
one of our best directors, and I know that 
Rick Berman feels 'Necessary Evil' is one of 
the best shows we've ever done. I certainly 
loved doing it; I loved its whole genre feeling, 
like a Raymond Chandler mystery. That's one 
of the things that, for better or worse, some 
people like and some people don't, but it's 
one of the things that Deep Space Nine is able 
to do. It's just a darker show." 

"The Alternate." "Technically. I was a 
little disappointed in the monster aspect of 
it. It just wasn't what I hoped it would be. 
The original concept was for me to play 
both parts, myself and the part that Jimmy 
[Sloyan] played, but it turned out to be tech- 
nically impossible. My makeup takes too 
long to be able to change back and forth. It's 
not like when Nana Visitor plays alternate 
sides of Kira: that's possible, because the 
only thing that changes is the wardrobe, 
which isn't a big deal. But to change an 
entire prosthetic makeup, that would have 
been impossible. On one level, that was very 
disappointing, but on another. I was very 
happy that James Sloyan did it, because he's 
an old friend whom I admire, and I think he 
just did a terrific job." 

"Shadowplay." "Oh. I loved that show, 
and the little girl [Noley Thornton] was 
wonderful. It's always problematic to work 
with child actors — either they're fabulous or 
they're awful, and 
been very 
lucky in my 
life, through 
Benson and 
on, to work 
with some 
terrific 
young 
actors, and 
she was one 
them. I love 
the scene where I 
morphed into the 
top, but actual- 
ly we shot 
s. the 




morphing part on blue screen a few weeks 
later, when I had the flu and an ear infec- 
tion. I had to go onto a soundstage all by 
myself and stand for hours and spin. It near- 
ly killed me!" 

"Crossover." "I didn't have that much to 
do in that, and of course I wasn't in the 
crossover pan of the second one ["Through 
the Looking Glass"], because they had 
blown me to pieces in the first one! I 
thought 'Crossover' was one of our best 
shows of the season, certainly not because 
of my participation, because it was relative- 
ly small. It was fun to take the dark side of 
Odo and push it to the limit. Armin 
Shimerman always points out that any one 
of our characters, pushed a little further, 
crosses a line and becomes quite a dark 
character, and that's certainly true of Odo." 

"Tribunal." "I had a great time doing 
that one. A side note to that story is when I 
was 16 years old, I was an apprentice at the 
American Shakespeare Festival in Stratford. 
Connecticut. John Houseman brought me 
there. He was an old family friend and knew 
I wanted to be an actor, and he gave me this 
chance. I played guards and supernumer- 
aries and odds and ends throughout the sea- 
son, and the leading actor that season was 
Fritz Weaver. He's a wonderful actor, and so 
it was particularly gratifying for me to get to 
work with Fritz, who played the Cardassian 
defense counsel. It was also Avery Brooks' 
first show as director, so it was exciting, 
watching him get his feet wet." 

"The Search I & II." "It was the first 
time I got to work with Jonathan Frakes as a 
director. The only problem working with 
Jonathan is that he makes you laugh so 
much that when you have a face like Odo's, 
you must be careful you don't break it from 
laughing. 

"That aside, I thought it was terrific, and 
it opened up this Pandora's box of problems 
that Odo has to face. Just as you think. 
•Finally, he has found out where he's from." 
it's a much more confusing situation than 
anyone could have anticipated." 

"The Abandoned." "It's interesting, 
because that's also an episode that Avery 
directed. I thought that was a very com- 
pelling episode. Somebody else mentioned 
that one to me as an episode that I was 
heavy in. I realize I was in a lot of scenes, 
but I guess my take on that whole show- 
was I was so interested in how Avery 
approached it. and his incredible compas- 
sion and understanding of the situation. It 
really feeds into a very contemporary prob- 
lem that we're facing in our society and our 
culture, with kids on crack, and what that 
does to them. That's the way Avery 
approached it, and I thought that was very 
moving. I was also impressed by the way he 
worked with the actor who played the young 
Jem'Hadar [Bumper Robinson]." 

"Fascination." "Candidly, I wasn't 
thrilled with that episode. The promise of 

Rene Auberjonois considers the shape of 
some recent DS9 adventures. 



LwaxanaTroi [Majel Barrett] and Odo's 
relationship being investigated in more 
depth led me to hope (and I can't speak for 
Majel. but I would guess she feels the same 
way) that we would get something with a 
little more depth to it. It was a sweet 
episode, it was a comedy really, but I was a 
little disappointed, in terms of the relation- 
ship between Lwaxana Troi and Odo, which 
I think was a little superficial. I wouldn't list 
it as one of my favorites, although having 
directed comedy. I know it's the hardest 
genre to do. especially in Star Trek, and I 
thought Avery did a fine job. When you do 
26 episodes a year, there are going to be 
some that you're thrilled with and some that 
aren't quite as satisfying, and I would have 
to list 'Fascination' among those.'" 

"Heart of Stone." "We were all really 
disappointed in that crystal. It looked like 
old Star Trek, not to put old Star Trek down, 
because I certainly don't want to do that, but 
it wasn't what any of us imagined it was 
going to be. I had imagined it was going to 
be this wonderful, clear Plexiglas substance 
like ice. and it ended up being this clunky 
thing that just didn't work on a technical 
level. Unfortunately, they had farmed it out. 
It would have been far better if they had let 
our people do it. but I guess because every- 
one was working so hard and there was so 
much to do. they thought that would be one 
thing they could give over to a freelance 
prop person and it didn't work. It was a 
really a mess." 

"improbable Cause/The Die is Cast." 
"On a personal level, it was great to get to 
work with Andy Robinson, an old friend 
and an actor who I've always admired and 
worked with a couple of times. I really like 
the fact that our characters will hopefully 
have a relationship now. and we can start 
looking forward to some interplay between 
Garak and Odo. In 'Way of the Warrior.' I 
shot a nice little scene with Andy, where 
Odo is having breakfast with Garak. So on 
that level. I was really pleased with the two- 
parter. I thought it was a terrific story." 

"Facets." "I haven't actually seen that 
one yet, because it came out late in the sea- 
son and I was already gone. I'm looking for- 
ward to seeing what everybody else did, 
such as Quark showing his feminine side. I 
loved doing it. because it's actually some- 
thing I've been hoping we would get to, 
which is for me to shape-shift into other 
things rather than just inanimate objects or 
rats. I have wanted to be able to create other 
characters, like I've always felt he could 
shape-shift into a Cardassian. but they 
weren't really willing to do that, so this was 
the first time I was able to do that to some 
degree. Curzon may return at some point in 
the future." 

"The Adversary." "I was glad that we 
used that episode as the season's ending, 
and in fact I read a positive review of that 
episode, obviously written by a Trekker, 
who felt it was right up there with the other 
good shows." 

— Joe Nazzaro 



: a've ever done if you haven't worn pros- 
Ktks.' She decided to go ahead with it, I 
think really based on the fact that I was so 
candid with her. 

"There was a time at 3 a.m. where they 
decided that, for the scene when she strips off 
her clothes, they had to put rubber on her 
Hhoulders as well, which was not something 
she was prepared for. She was balking at it, 
and it was miserable and painful and uncom- 
fortable, and she looked at me and said. 'Boy. 
E you hadn't warned me about this. I would 
?e out the door.' Despite her discomfort. I 
nought she was wonderful in the role. The 
crew would have done anything for her, and 
I'm very hopeful that the character will 
return. Maybe Ishka and the Grand Nagus 
ill get together in some way." 

Having directed two episodes with a 
decidedly comedic slant. Auberjonois' next 
effort had a totally different tone. " 'Hippo- 
cratic Oath' is a very dramatic episode, but to 
tell you the truth, comedy is the hardest thing 
to do. Comedy is like music: the beats have 
to be very carefully worked out. and then 
they must be very spontaneous. 

"With drama, you have a little more flexi- 
bility, a little more looseness. I didn't 
rehearse it nearly as much, because that's not 
the way Colm Meaney and Alexander Siddig 
work. They're very instinctual, and won't 
know their lines when they come on set. 
They'll have the script in their hands and they 
work with it. and by the time the cameras 
roll, they'll be flawless. That's part of the 
director's job: to work more like the actors 
work, and the way that Max and Armin work 
is very meticulous and worked-out, and very 
rehearsed, which was a great help, but that's 
not the case with O'Brien and Bashir. I'm 
glad this wasn't the first show I did. because 
I would have been really scared." 

Acting Shapes 

Putting his directorial work on hold for a 
few moments. Auberjonois turns his atten- 
tion to some of the big changes in Deep 
Space Nine's fourth season, and how they'll 
affect his character. "The reason the Kling- 
ons have gotten involved is because of their 
fear of the Dominion." he explains, "and their 
coming into the quadrant, and the Klingons' 
growing fear that they can't believe anybody, 
that the changelings are stepping in and tak- 
ing over everybody. So, there are some inter- 
esting complications there. It's a way of 
pumping up the danger of the Dominion, 
which has taken some doing. They're not the 
Borg, they're not the Klingons: they're some- 
thing else, and it's a more complex kind of 
danger that's being presented." 

On a personal level. Auberjonois says 
there are still some areas he would like to 
explore with Odo. especially as far as the char- 
acter's interpersonal dynamics are concerned. 
"I'm hoping there will be a really good 
episode for Armin and me to do together, 
because even though people continually J 
talk about how they love the relationship I 
between our two characters, we've never M 
really had an 'A' story about us. So, down m 
the line. I'm hoping that will happen." 




"It was a sweet 
episode," the 
actor states of 
"Fascination," 
"but I was a lit- 
tle disappoint- 
ed, in terms of 
the relation- 
ship between 
Lwaxana Troi 
[Majel Barrett] 
and Odo." 




Another area ripe for development is the 
growing relationship between Odo and Kira 




Auberjonois' first directorial outing was "Prophet Motive," in which Grand Nagus Zek 
(Wallace Shawn) rewrites the Rules of Acquisition. 



(Nana Visitor). Thus far. Odo's feelings for 
the feisty Bajoran officer have remained 
unrequited, and Auberjonois isn't sure if that 
will change. "People ask me. 'Is something 
going to happen between Kira and Odo?' and 
I always say, T hope not!' I like the fact that 
she doesn't know and that he lives with it, 
and it's really the kind of thing that doesn't 
need to be addressed that often. Once the 
audience knows, and has it in the back story, 
it informs every time Odo and Kira talk to 
each other, whether or not the writers are 
actually addressing it specifically. Maybe 
they'll address it eventually, but I wouldn't 
be surprised if they didn't.'' 

In addition to DS9. Auberjonois continues 
to work in other media. During the last hiatus, 
he flew to London, where he appeared in a 
limited run of George Bernard Shaw's Don 
Juan in Hell, along with Ed Asner, Babylon 
5's Mira Furlan and Harris Yulin. who played 
a Cardassian war criminal in "Duet." 



Sharp-eyed viewers may also have caught 
the actor's brief cameo in this summer's 
blockbuster Batman Forever. As with his per- 
formance in Star Trek VI: The Undiscovered 
Country, most of Auberjonois" work ended 

"I had to go onto a 

soundstage all by 

myself and stand for 

hours and spin." 

up on the cutting-room floor, but the charac- 
ter still appears briefly in the film's final 
moments — fright wig and all. 

"When I agreed to do it, I met with Joel 
Schumacher, who was very sweet and is a y 
big Star Trek fan. It was a very small, 
'bookend' part — a scene at the beginning 
and another at the end. but ultimately, it '' 



ended up only being the scene at the end. I 
think that was only done for time purposes, 
because I was doing some looping very close 
to its release date, and I looped the scene that 
was cut. Joel was there at the time, and I said 
to him. "Gee. I'm amazed this is all still in the 
film.' and he said. 'Oh yes, absolutely.' and 
then it was cut. so it must have been for time 
reasons. 

"No matter how large your part is. there's 
always the danger that you're going to get 
cut. especially with a role like Dr. Burton, 
which really is just an in-joke, an homage to 
Tim Burton. That's why I had the messy 
black hair. I haven't seen the film, but I 
understand it's very good." 

Back on the Paramount soundstages, 
Rene Auberjonois hopes to balance his acting 
work with the occasional directorial assign- 
ment. How many episodes he'll helm for the 
nev- veason isn't set. but the actor-turned- 
director says he'll be happy with whatever 
comes along. "I haven't said to Rick. 'How- 
many am I going to get to direct?" It really 
doesn't work that way. It depends on who's 
available and what they need. I think if I 
direct two shows this year. I'll be very happy. 
I depend a lot on the kindness not only of 
strangers but also the people I work with day 
in and day out. so I'm not greedy. 

"It's also very tiring to do both things," 
the actor admits. "No matter how big or 
small my pan is. it still takes a tremendous 
amount of preparation. I'll be satisfied if I do 
two shows this season. Maybe I'll do more, 
who knows? I'm not really worried about it." 




32 STARLOGA/amwrv 1996 






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The unknown future rolls toward us. I 
face it for the first time with a sense of 
hope." Sarah Connor intoned at the 
conclusion of Terminator 2: Judgment Day. 

Perhaps she spoke too soon. 

Certainly things looked good in the Ter- 
minator saga as the end credits rolled on 
James Cameron's blockbuster sequel. Sarah 
and her son John, who will grow up to 
become the leader of the human resistance 
against the machines, have destroyed the T- 
1000 terminator in a pit of molten steel. By 
blowing up the Cyberdyne Systems laborato- 
ry, they've also dealt a crippling blow to 
Skynet, the computer system that will control 
the machines in the future. 

Of course, the Connors had help from an 
unlikely source: one of the original T-800 
series Terminators, reprogrammed and sent 



back by the future-John to protect himself in 
the present. This Terminator is destroyed, 
too, in order to wipe out all Terminator tech- 
nology in the present. 

But it's not over. The future is still in 
flux — and more Terminators are on the way. 
thanks to writers Dan Abnett and Mark Pan- 
iccia, both hard at work on two new mini- 
series from the latest comics company to 
license the saga. Malibu Comics, T2: Present 
War — Cybernetic Dawn and 72: Future 
War — Nuclear Twilight. 

"Fans will get a healthy dose of both 
types of Terminators," says Paniccia, whose 
Nuclear Twilight story is linked to Abnett 's 
Cybernetic Dawn tale. Both storylines con- 
clude in a special "#0" issue, with the poten- 
tial for a regular monthly Terminator comic 
to follow. 



From dawn to 

twilight, the 

unstoppable 

machines from 

tomorrow are once 

again on the march. 

By BILL FLORENCE 

Past four-color incarnations (from Now 
and Dark Horse) were primarily derived 
from Terminator (the first film, whose licens- 
ing rights were not controlled by creator 
Cameron). The new series are licensed by 
Cameron's production company, Lightstorm 
Entertainment, with the mission of staying 
"true to Cameron's vision." Lightstorm is 
handling approvals on the books, while Mal- 
ibu works closely with Van Ling, T2's cre- 
ative supervisor and visual effects 
coordinator. 

The new comics coincide with an effort 
by Cameron to expand the Terminator uni- 
verse. The special #0 issue will be released 
shortly before Cameron's new Terminator 
"ride movie" opens at Universal Studios 
Florida next summer. 

Present Chaos 

Present War — Cybernetic Dawn is a 
direct continuation of Terminator 2, chroni- 
cling what happens to Sarah, John and other 
characters in the days after the T-1000 is ter- 
minated at the steel mill. "The thrust of this 
present-day story revolves around the idea 
from the movie that the future is not set," 
explains Abnett from his home in England. 
"In a way, it's like we've licensed Sarah Con- 
nor, not the Terminator. Sarah is much more 
important and more central to the movies. 

"At the end of 72, there's the distinct 
impression that Sarah has not only saved 
their lives now, but she has also thrown 
things over so the future is going to be differ- 
ent. The Arnold Schwarzenegger Terminator 
tells her that Dyson was definitely responsi- 
ble for things in the future, so by removing 
him from the frame, Sarah thought she had 
prevented that future from ever happening. 

"At the beginning of Cybernetic Dawn" 
Abnett says. "Sarah wonders whether she 
and John might have actually, permanently 
won. If they haven't won a lasting peace, she 
knows they'll find out very soon... which 
they do." 

Unfortunately, Terminators are still com- 
ing back from the future — three of them, in 
fact. And this time, their agenda has changed. 



34 STARLOG//an«ary 1996 



"Sarah's efforts in T2 were so successful 
that she has jeopardized the creation of 
Skynet in the first place," states Abnett. 
'"Therefore, a team of Terminators — two T- 
800s led by a T-1000 — travel to the present. 
The T-800s are dedicated to assassinating 
John Connor, but the T-1000's mission is to 
ensure that Skynet is created." 

This T-1000 is female — "as female as a 
fluid metal machine can be." chuckles 
Abnett. "It doesn't need to specify gender. 
but it seems to have molded itself on a female 
form." 

Several new characters, mostly govern- 
ment agents working for the shadowy organi- 
zation funding Cyberdyne. appear in 
Cybernetic Dawn. "These people are obvi- 
ously upset to see Cyberdyne fall," notes 
Abnett. 

Abnett also brings back and expands the 
roles of Mossberg and Weatherby, two 
policemen who appear briefly in T2. "We 
wanted to have police involved in the story, 
and it seemed natural to carry on with these 
characters. They're interested in what they've 
uncovered. So when we pick up with them in 
the first issue, it's the next day of their inves- 
tigation. We also use Miles Dyson's wife, 
Tarissa, and their kids, Danny and Blythe, 
who appear in the film and now have much 
more important roles to play." 




to 



x\ 



Sarah Connor continues her battles against 
pages of Malibu Comics' twin mini-series T2 
Future War— Nuclear Twilight. 

Particularly tantalizing is the inclusion of 
a T2 scene cut from the final film. "Sarah 
goes back to Enrique and his family at the 
gypsy camp in the desert," says Abnett. 
"That's when we see the lost T2 scene, 
wherein the T-1000 tracks them to the camp. 
•I relate that event in Cybernetic Dawn 
because it has a bearing on the story. It's a lit- 
tle extra slice of T2." 

Future Wars 

Connected to the Cybernetic Dawn's pre- 
sent war timeline, Nuclear Twilight takes 
place in 2029 and is seen through the eyes of 
the adult John Connor. This mini-series 
includes events seen in the Terminator films 
and fills in many events left unseen by 



malevolent machines from the future in the 
: Present War— Cybernetic Dawn and T2: 

Nuclear Twilight opens up with John 
remembering what it was like to view the 
world for the first time after the radiation dis- 
sipates. "He and his mom come out of the 
shelter with some of the other survivors, and 
they view the horrible sight of destruction. 
The first thing they end up doing is fighting 
Terminators again," says Paniccia. 

Although the T-800 Terminators play an 
major role in both mini-series, artists Rod 
Whigham (Cybernetic Dawn) and Gary Ersk- 
ine (Nuclear Twilight) are not allowed to use 
the Schwarzenegger likeness. "It's not in 
Schwarzenegger's contract to do approvals, so 
if he can't approve it, we can't use it." Paniccia 
explains. "We'll see a T-800 from the back, or 
the face will be in shadow." The rest of the 



to- 



f 4 





"Fans will get a 
healthy dose of 
both types of 
Terminators," 
promises Future 
War writer Mark 
Paniccia, whose 
tale concerns 
the original T-800 
model. 



Nuclear Twilight is the story of the adult Joh 
events only alluded to in the films. 

moviegoers. Issue #1 begins a few days 
before John sends Kyle Reese back through 
time; issue #4 includes that event and ends 
soon after. The book includes the trio of Ter- 
minators being sent back, as chronicled in 
Abnett 's story. 

"Dan and I are working together as close- 
ly as we can within the time frame we have," 
Paniccia says. "But since he's in England and 
I'm in California, we can't exactly get 
together face to face. 

"I read everything Dan has written, and 
he has everything I've done. We talk on the 
phone about ways to tie the two series togeth- 
er. This way, you get the sense that the pre- 
sent and future are happening at the same 
time, just as in the Terminator movies." 



n Connor's life in the future, filling in 



actors' visages are rendered faithfully. In fact. 
Nuclear Twilight reveals that the T-1000 Ter- 
minator in T2, played by Robert Patrick, was 
modeled after a human resistance fighter. 
"We're tying into the whole Terminator 
myth," offers Paniccia, "and we're giving the 
reader a visual of what happened. What does 
Skynet 's complex look like? What is life like 
in 2029 with nothing but this skeleton of 
humanity left? We see that the human resis- 
tance uses whatever computers are available, 
whatever power generators are around. We get 
the feeling that they're always struggling." 

BILL FLORENCE, veteran STARLOG cor- 
respondent, profiled Jennifer Hetrick in 
STARLOG #220. 



STXRLOG/January 1996 35 




In the comics' future, T2s Danny Dyson, son of Miles Dyson, is John Connor's best friend. 



Readers of Nuclear Twilight will meet 
some of the human soldiers from Reese's 
time. A grown-up Danny Dyson also appears 
as John's life-long friend. '"Danny and John 
have worked hand-in-hand to develop the 
human resistance," Paniccia explains. "We 
might also see Blythe Dyson, who is definite- 
ly in Dan's comic." 

Both writers went back to the T2 novel- 
ization seeking as much background infor- 
mation as possible. "We've taken in all the 
Terminator lore available," says Paniccia. 
"I've written some Star Trek stories and Deep 
Space Nine comics: I'm a huge Star Trek fan, 
but Star Trek is on every week. I know the 
property very well. As much as I love Termi- 
nator, there was a lot of homework that had 
to go into this project. I hadn't seen the films 
for a while. Future War in particular takes the 
elements of the films and novelization that 
need to be there to explain what's happening. 
For instance, every time there's a power dip. 
John Connor freaks out, because he knows 
Skynet is sending someone back." 

John is the central character in the future 
war story, whereas Sarah remains the focal 
point in the present war. The writers feel 
they've captured the essence of both charac- 
ters to everyone's satisfaction. "John is in 
turmoil at having to send Kyle back," Panic- 
cia comments. "He has to protect Reese and 
stop him from going out on missions, 
because he can't let him die. John has no idea 
if he's doing the right thing; he's missing a 
lot of knowledge. His mom didn't tell him 
everything. And he blames her and worships 
her at the same time." 

Abnett's Sarah Connor is "obviously a 
logical extension of Sarah Connor the war- 
rior and destiny-maker, guarding the future 
in the form of her son. She has been driven to 
the edge fighting one Terminator, and then 
with another Terminator's assistance, a sec- 
ond Terminator and now here are three of 
them." Although she's just as tough as she 
was in T2, her son begins to draw out a bit of 
the softer Sarah seen in the original film. 
"This is the first time she has had a chance to 
relate to her son in terms of being a mother," 
Abnett reflects. "There are times when she 
realizes she must get John to make his own 
choices. 

36 STARLOG/ZowMary 1996 



"They're both interesting to write, 
because they're not two-dimensional. They 
don't always do the most predictable thing. I 
love the fact that Sarah is so amazingly effi- 
cient and well-trained. There are few situa- 
tions that take her by surprise." 

Artists Whigham and Erskine bring dif- 
ferent styles to the two mini-series. Accord- 
ing to Paniccia, each is working on the 
appropriate series for his talents. "Rod 
Whigham is a very good dynamic artist, and 
he's good at likenesses. That makes him per- 
fect for Dan's present-war series, because it 
has the greatest need for likenesses. 

"With my series, there's a greater need to 
be technically accurate and to show a great 
deal of detail. There are burned cars flipped 
over, Terminator endoskeletons like we see 
in the beginning of T2. These are very com- 
plex images, and Gary's perfect at it." 

Past Pieces 

Given their enthusiasm for the Terminator 
saga, Abnett and Paniccia seem the perfect 
choices to handle the T2 writing duties. 
Abnett was asked "out of the blue" to take 
part in the project. "It seems I was suggested 
to the Malibu editorial staff by the folks at 
Marvel, whom I've done 
some work for before. I 
was glad to be asked 
because I love the Terminator 
films. This is just the sort of 
thing I relish. It has a great mix 
of action and technology, with a 
degree of realism." 

When he first learned there would 
be two mini-series, one in the present 
and one in the future. Abnett assumed 
he would be given the future war tale, 
based on the fact that he did not have 
suburban USA outside his door for a pre- 
sent-day reference. "Besides," he adds, 
"the stuff I've done in comics has tended to 
be more science fiction-related. When they 
offered me the present war, I was quite flat- 
tered. Many of the characters from the 

"A team of Terminators— two T-800s led 

by aT-1000 — travel to the present. The T- 

1000's mission is to ensure that Skynet is 

created," reveals Present War writer 

Dan Abnett. 




Fans of the original rerm/naforfilm will 
be glad to see familiar faces such as Kyle 
Reese and Sarah Connor appear in the 
present and future sagas. 

movies are in the future war story, but I get to 
deal with them as they are most readily rec- 
ognizable, since my story immediately fol- 
lows the second film. 




"Also, the present war story is fun to do 
because I get to stage as many stunts and dra- 
matic elements as you would see in a movie. 
Of course, I have to think about that very 
carefully, because what looks great on film 
can be passe in a comic book. Big stunts hap- 
pen all the time in comics. I think to myself, 
"If I were making T3, what would I be calling 
for, based on what they've done before? Why 
should I bother throwing this motorbike off a 
cliff, when I've seen that? What can I do with 
a motorbike or truck or whatever that's going 
to be a logical cap to those stunts?' These are 
some of the challenges." 

A couple of sample concepts and a good 
working relationship with Lightstorm got 
Paniccia involved. "I'm happy to be doing 
the future war story. Dan's doing such a great 
job with the present war stuff. Besides, I 
always loved the future war scenes and I 
wished there were more of them. So. getting 
to do the future war comic for Malibu is wish 
fulfillment for me. I get a chance to show the 
dark skies, the explosions, the flying hunter- 
killers, the chrome endoskeletons. It's a dis- 
turbing, despairing sense of the future."' 

True. What, then, will make readers 
embrace Nuclear Twilight! 

"The whole underlying theme is that if 
humanity doesn't watch itself, if we don't 
learn lessons from our mistakes, then we're 
ultimately going to destroy ourselves," 
answers Paniccia. "Plus, there's a lot of 
action and a lot of eye candy for SF buffs. 
The whole dark future aspect is attractive in a 
sense, because it has that "cowboy and Indian' 
feel to it, but it's hi-tech." 

Adds Abnett. "One of the things I had to 
do in writing Cybernetic Dawn was analyze 
what made the film so exciting, and whether 
that could translate directly into comics. It's 
the special FX. the enormous tension and the 
amazing stunts, which can be reproduced to a 
certain extent in a comic story. But it's also 
the human element. An ordinary person — it 
could be you or me — suddenly gets picked 
on by some malevolent force and has to use 
every ounce of his abilities to stay alive for a 
great cause. And although time-travel stories 
always have an element of hokiness to them, 
Terminator and T2 are great time-travel sto- 
ries because they're so easy to understand. 
Thev're almost mythical." 




"The thrust of this present-day story revolves around the idea from the movie that the 
future is not set," explains Abnett. 



Both writers hope their T2 comics lead to 
a continuation of the series. Paniccia says a 




regular monthly with occasional special 
issues and mini-series would be ideal. 

But for now, both Dan Abnett and Mark 
Paniccia are concentrating on their respective 
fourth issues of the present and future wars. 
"It has been a wild ride." laughs Paniccia. 
"The future story has had several different 
endings already. The neat thing is that in col- 
laborating with Lightstorm, new things pop 
up that ultimately change the ending as I go. 
These are not comic books where Dan and I 
just sat down and wrote something. It has 
been as much of a mystery to me as I'm writ- 
ing it as it will be to the readers as they read 
it. There is an ultimate ending that has been 
worked out. but there is still a lot of room for 
change in how we get there. 

"It has been an interesting trip." 

Present War presents a scene cut from 
the final version of 72 in which theT-1000 
attacks the camp of Enrique and his 
family and wreaks havoc. 

STARLOG/ January 1996 37 



# 








m * # • 

James Cameron & Jay 
* .'«• I Cocks plug in their . 

clips, all to recall 
JP creating anightmarish 
* • 'H future. 

By IAN. SPELLING 



s 



ometimes the biggest step in getting a major-studio movie 
made can be as simple as calling your ex-wife. At least, that's 
the case if you're James (Terminator) Cameron, you've had a 
little story entitled Strange Days rattling around in your head for 
almost a decade and your ex just happens to be director Kathryn 
(Near Dark) Bigelow. Call it a true lie, but that's pretty much how 
the Bigelow/Cameron collaboration on the gritty (near)-futuristic 
SF thriller came to pass. "About two or three years ago. I had a lot 
of stuff in front of me." recalls Cameron. "I was set to do True Lies 
and I was going to do Spider-Man after that. So, I called Kathryn 
and said, 'Hey, I have this story idea. If you like it, we should devel- 
op it for you.' " 

Bigelow did indeed like the concept and the project proceeded 
from there, with Cameron offering his former wife his story about 
Lenny Nero (Ralph Fiennes), who, in Los Angeles on December 30, 
1999' deals in the most illicit of mind candy: a compact diskette and 
headset device that allows the user to experience the sensations of 
another human being. In other words, the slick, fast-talking but gen- 
erally miserable Lenny, a former cop, can help a legless man feel as 
if he's running. But. the same technology can also be used to record 
and peddle far more horrific experiences. 

In Strange Days, those experiences include the potentially race 
riot-inducing truth behind the death of Jeriko One (Glenn Plummer), 
a wildly popular activist/rap artist, and the murder of a hooker, Iris 
iBrigette Bako), seen entirely from the murderer's perspective, but 
felt from the helpless victim's. Worse, the use of the clips, as the 
recordings are called, can become addicting, a situation faced by 
Lenny, who turns to old clips of his ex-girl friend, the rock singer 
Faith Justin (Juliette Lewis), for physical, sexual and emotional stim- 
ulation. Only Lenny's friend Lonette ""Mace" Mason (Angela 
Bassett), a tough, morally upright chauffeur/bodyguard, can help 
Lenny help himself and assist him in keeping the rapper's death from 
reducing Los Angeles to a smoking heap of rubble. 

Cameron essentially had the entire film mapped out in his head 
and in a lengthy treatment. But with Trite Lies approaching produc- 
tion, he couldn't stay aboard the project in a hands-on capacity. Enter 
Jay Cocks, a former film critic for Time magazine whose script for 
The Age of Innocence (co-written with director Martin Scorsese) was 
nominated for an Oscar. "I got involved over the telephone. Kathryn 
called me up and said, "I'm doing this thing Jim has done a "script- 

ment" of.' Jim's treat- 
ments are not really 
treatments, but partially 
finished scripts," notes 
Cocks. "It was about 
140 pages, but it had a 
beginning, middle and 
an end. Jim had gotten 
involved with True Lies 
and wasn't available to 
do the kind of finishing 
work that was required. 
So, Kathryn gave me a 
buzz. We had 
worked 



I 





5L. • wc 



Taking refuge against the harsh future of James Cameron and 
Jay Cock's Strange Days are Lenny Nero (Ralph Fiennes) and 
Mace (Angela Bassett). 

Angels. If you're really sharp-eyed, you'll notice it's playing in Los 
Angeles in 1999. Jim knew me a little bit because he had helped us 
out on Company of Angels. I guess I was acceptable to all parties." 

So, Cameron turned his scriptment over to Bigelow and Cocks, 
and Cocks got to work on transforming the pages into a legitimate 
first draft of a screenplay. He and Cameron chatted via phone every 
so often as Cocks tinkered, and the in-progress script would be 
mailed back and forth among the trio of filmmakers. This continued 
for draft after draft in what Cocks dubs "a very easy collaboration." 
Cameron goes a bit further in his recollection of the Strange Days 
script saga. "It was a pretty collaborative process. Jay's task was 
more about shrinking the scriptment slightly, taking things out. 



together 
previously 
on [a Joan 
of Arc pro- 
ject called] 
Company of 

'Lenny is me," 
Cameron reveals of 
the slicker-than-snot 
memory merchant. 
"There is a certain 
aspect of a filmmaker 
that is a salesman." 



&fkMiih\i 



"It puts you in the dri 
of being the killer. \ 



restructuring it and making it smaller. He had a unique problem as a 
writer. There was a tremendous amount of creativity that was need- 
ed on his part in order to preserve the meat of it while trying to com- 
pletely restructure it. And he did it." 

Strange ways 

Interestingly, as seamless as the creative process may have been 
in getting Strange Days' story and dialogue down on paper, Bigelow 
and Cocks felt differently from Cameron on one major point. 
Cameron fully considered the project a science-fiction outing, while 
Bigelow and Cocks did not. It was a provocative argument. Strange 
Days takes place in 1999. the future to be sure, but barely more than 
four years down the pike now and only six years into the future when 
Cameron first put his Strange Days thoughts on paper. The costumes 
seen on screen aren't exactly futuristic, nor are the vehicles. Even the 
mini-disc playback deck doesn't seem that futuristic, and the record- 
ing technology, called SQUID — Superconducting QUantum 
Interference Device — has been contemplated in real-life scientific 
circles for several decades. 

Cameron stands firmly by his opinion. "I see it as psychological 
fiction, as opposed to robots and spaceships and that kind of hard- 
ware-based science fiction. Jay and Kathryn didn't want to see it in 

IAN SPELLING, veteran STARLOG correspondent, writes the 
"Inside Trek" column for the New York Times Syndicate. He 
previewed Space in issue #220. 



STARLOGIJamiary 1996 39 



terms of science fiction, which I think is a healthy way for them to 
approach the material. But / think it's science fiction. It does what SF 
does, which is holding a mirror up to present-day reality and ratchet- 
ing it one notch, or 50 notches, into the future and showing it from a 
different perspective." 

Cocks argues that the film is about voyeurism, about living at 
arm's length, about living one's own life through a re-created fanta- 
sy or nightmare experienced by someone else. "I want people to 
think twice about what they want and if wanting something means 
you should automatically get it. To me," he asserts, "I really thought 
this was a movie about watching. That's what I thought immediately 




"I want people to think twice about what they want and if wanting 
something means you should automatically get it," says Cocks. 

upon reading Jim's treatment. It's really a movie about movies. It has 
other layers, but that was the first and strongest thing that struck me." 
Taking Cocks' thought a step further, Cameron ponders whether 
he would ever want to experience another person's memories. After 
stating his belief that the introduction of a genuine SQUID device 
may be as little as five years or so away, he suggests that every writer, 



himself very much included, is fascinated by the idea of walking a 
mile in someone else's shoes. "Writers are very vampiric about other 



"We don't make movK 
for everybody." 



people and personalities and want to absorb as much as they can 
from people who interest them so that they can create characters. 
That's what this film is really all about," he says, echoing Cocks' 
comments. "I also think that's what the viewing expe- 
rience of a film is all about. Part of the magic of film 
is that you go into a theater and you spend a couple of 
hours with individuals who don't even exist, but who 
we allow ourselves to believe exist. We compare our 
behavior to their behavior and it reaffirms our values." 
In many respects, Cameron acknowledges, audi- 
ences watching Lenny are watching Cameron him- 
self. Lenny is him. Mace is him. The film bears his 
unique stamp, even if it was directed by someone 
other than him. "Lenny is me. There is a certain 
aspect of a filmmaker that is a salesman, who has to 
be able to sell a studio on a movie. That aspect of 
Lenny was easy for me to write. The idea of a guy 
who's romantic, emotional and wears his heart on his 
sleeve. I had to come up with that from somewhere," 
he stresses. "I don't know if Lenny is necessarily me 
in a day-to-day environment, but certain traces were 
transposed, so that the guy is the romantic figure and 
Mace is the stalwart savior: the action character. And 
I think that works. There's a validity and a reality to 
Lenny and Mace. " 

Strange Craze 

As always seems to happen w ith a Cameron film, Strange Days 
has been slammed for its explicit violence. This time out, he's being 
assailed for the particularly graphic sequence in which a woman is 
handcuffed, bound, raped and strangled by a mystery assailant. The 
unnerving scene — termed a "blackjack clip" in the film — amounts to 
the depiction of a snuff film, in which a person is actually murdered 
before a camera. Cameron defends the scene and forcefully refutes 



Strange 
Projects 



he big-budget SF thriller Strange 
Days experienced some mighty 
strange days indeed at the box office 
upon its release this fall. But James 
Cameron, who co-scripted the film with 
Jay Cocks for director Kathryn 
Bigelow, remains as busy as ever. 

Currently, the writer/producer/direc- 
tor is hard at work on his next few pro- 
jects, most notably Titanic, which had 
been code-named Planet Ice during 
Cameron's secretive pre-production 
phase on the film. "That's a fictional, 
epic love story that takes place on the 
Titanic. Most of it happens on the ship 
in 1912 and a small part of it takes 
place in the present day at the wreck. I 
just got back from the wreck site, where 
we spent several days filming scenes. 
We lucked out with the weather and got 
some footage that will be absolutely 
amazing," enthuses the filmmaker, who, 
of course, is best known as the man 
behind the cameras of Terminator, 
ALIENS, The Abyss, T2 and True Lies. 



"It's not cast yet, but I've written it and 
I'll be directing. We're shooting for a 
Christmas 1996 release date." 

As for the long-delayed Spider-Man 
film, to which Cameron's name has 
been linked for several years, the pro- 
ject remains very much on his mind. It 
will, however, have to remain on hold 
until after Titanic\ completion. "The 
lawsuits involved in it are still a real 
rat's nest. The rights are a mess, but I 
have a script that I really like and that 
I'm ready to make if we can get every- 
thing else all sorted out, after all the 
lawyers get done slaughtering each 
other at great expense," says Cameron, 
clearly frustrated at the situation. "The 
story is basically the origin story as I 
read it and remember it from my youth. 
I don't have anyone in mind yet to play 
Spider-Man, because it depends on 
when 1 do it. The actor will have to be a 
17-year-old. If I do the film in three 
years, that actor will only be 14 right 
now, and I don't know who he is yet. 
So, it'll probably be an unknown." 

Of course, more than a few genre 
fans are praying that Cameron will also 



eventually set his sights on a third 
Terminator adventure. Cameron cer- 
tainly won't rule out the possibility. "If 
there is a T3, 1 would want to direct it. 
Gale Anne Hurd, who owns 50 percent 
of the Terminator rights, and I are talk- 
ing. Arnold Schwarzenegger is interest- 
ed. We're all talking, but nothing has 
turned up yet," he says. "I did shoot the 
attraction for Universal Studios. I roped 
Arnold, Robert Patrick and Eddie 
Furlong into it. We went out to the 
desert for a couple of weeks and shot in 
70-miliimeter 3-D. That was really a 
treat. The dailies are almost hallucina- 
tory, it's so real. It's a themed attraction 
that takes place in a 700-seat theater in 
which there's a live performance inte- 
grated with a 3-D film on three screens. 
There are characters and motorcycles 
jumping in and out of the screen. It 
breaks down the classic proscenium, so 
that you don't know what you're seeing 
and you get sucked into a movie reality. 
It's a new plot using the same T2 land- 
scape." 

— Ian Spelling 




Everyone's got a vice, 
a crutch on which 
they lean, and Lenny's 
vice is Faith (Juliette 
Lewis) an ex-girl 
friend who is still by 
his side via the won- 
ders of playback. 

the notion that moviego- 
ers might get off on the 
sequence. "Absolutely 
the reverse. Rather than 
glorifying violence, it 
puts you in the driver's 
seat of being the killer. 
That deglamorizes it," he 
claims. "It's horrific. I 
think Lenny's reaction to 
the violence shows the 
sensibility of the film 
and the filmmakers. The 
guy falls out of [Mace's] 
car and throws up. 
People are shocked and sobered by the scene, and I think that's the 
response we expected. 

"We don't make movies for everybody. I hate films that are very 
carefully constructed from the get-go to just please everyone. This 
film was never about that. Kathryn and I knew going in that if we did 
everything exactly right and if we achieved 100 percent of our artis- 
tic goals, we would probably have a film that was liked by 60 or 70 
percent of people and intensely disliked by 30 or 40 percent of peo- 
ple. That's pretty much how it has fallen out. People either really, 
really like Strange Days or they really, really dislike it. And that's 
fine." 

It has been said so often that it has become a cliche, but there are 
only a handful of completely original stories and everything else is 
somehow based on that original handful. So, even those moviegoers 
who really, really enjoy Strange Days can't help but notice elements 
of other films in it. Some see Johnny Mnemonic, while others point 
to Brainstorm. The mention of Brainstorm catches Cocks by sur- 
prise. "It has been so long since I've seen that. Until you mentioned 
it, I had not thought about it. I guess that really could be an 
antecedent for Strange Days. I actually thought more about Peeping 
Tom when I wrote this. It's a great movie about movies, about watch- 
ing," he says, referring to the 1960 Michael Powell film, which more 
specifically concerns Mark Lewis (Karl Boehm), an insane photog- 
rapher who snaps away just as he murders his victims. "I don't read 

Thanks to SQUID technology, one can relive life, anyone's life, 
just by pressing play. And rather than face reality, some, like 
Lenny, hide from it in the crystal-clear past. 




Cameron and director Kathyrn Bigelow 
(left) knew that Strange Days wouldn't be 
for everyone. "People either really, really 
like [it], or they really, really dislike it." 




science fiction. I've heard many people mention William Gibson in 
connection with Strange Days. I never read any Gibson at all until I 
finished the first draft of the Strange Days script. I read Johnny 
Mnemonic, which I totally didn't get. And I read Burning Chrome. 
which had tremendous ambiance, but I'm not sure I understood that, 
either. I'm just not a science-fiction guy, and I saw Strange Days at a 
different level." 

Still, there's no arguing that the one thing Strange Days has in 
common with other cinematic interpretations of the world to come is 
that the world is revealed to be a dark, brooding landscape where 
rays of hope, both literal and figurative, are the exception rather than 
the rule. It would be pretty much impossible, Cocks contends, to do 
a riveting science-fiction film set in a Utopia. "Films about the future 
need to confront you. to ask you questions, to challenge you, all to 
set you on a road to some sort of discovery for yourself. I think that 
aspect of our take on the future was particularly intense," says the 
screenwriter, whose next film will most likely be the aforementioned 
Company of Angels with Bigelow. "Lenny's world was our way into 
the future. He's our 
guide into that 
world. I suppose that 
Jim has posed so 
many fascinating 
alternatives to the 
future that there 
could have been sev- 
eral other stories to 
tell within the 
Strange Days uni- 
verse he created." 

Cameron, who 
recently completed a 
Terminator 2 attrac- 
tion for the 
Universal Studios 
theme park and will 
next tackle an epic drama called Titanic, addresses the same basic 
issue, but from a different perspective, when he responds to the ques- 
tion of whether or not a filmmaker from the 1940s would find today's 
terrain the stuff of a nightmare science-fiction vision. "I don't know. 
It's an interesting question. I have a feeling that films are just more 
honest today. Back in the 1940s, the amount of death and destruction 
that [actually] happened compared to what happened in the movies 
of that time was amazing. You had World War II, with hundreds of 
thousands of men out in the South Pacific dying horrible deaths, and 
very little of that information was coming back to us in a graphic, 
visceral way. The films of the day were nice, sort of propaganda 
movies. Films are much more honest now about what's going on in 
the world. If that means they're more violent too, fine, that means 
that's what's happening now." 

As the conversation comes to a close. 
Cameron finds himself both looking back and 
ahead. He knows that Escape from LA. is in 
pre-production and it has him a bit nostalgic, 
as he was involved in the supervision of spe- 
cial FX during the production of John 
Carpenter's Escape from New York. "I've spo- 
ken with [Escape films producer] Debra Hill 
about possibly having my company [Digital 
Domain] handle the FX," he says. "We did 
them for virtually nothing on the first one. 
But I've told Debra they'll cost a lot more this 
time around." As for the future. Cameron 
already has an idea of what he'll be up to 
when the millennium's eve rolls around for 
real. "Well, I won't be in downtown Los 
Angeles," reveals James Cameron, laughing. 
"I'll probably be making a film somewhere. . . 
"...and will just forget to look at my 
watch." * 



STARLOGIJanuarv 1996 41 






3ig, bad Bruce Willis is stuck in the past— his 
past— and without the answer to 12 Monkeys, 
director Terry Gilliam won't let him go back to the 
future. 




Riding herd on a gaggle of stars is Terry Gilliam, 
director of 12 Monkeys. 



Terry Gilliam is going back to the future 
in 12 Monkeys. And, as the director's 
fans know, the future can be a scary 
place... 

In Gilliam's first movie in nearly five 
years, he is assisted by the box-office power 
of Bruce (Die Hard) Willis and Brad (Seven) 
Pitt. 12 Monkeys stars Willis as Cole, a man 
from the future sent back to 1 996 to prevent a 
deadly virus that nearly wiped out Earth's 
population that year. But, his mission is com- 
plicated by a mysterious, haunting image 



from his childhood that replays endlessly in 
his mind. 

Gilliam hadn't planned such a long break 
from directing, and says he spent the years 
since the Oscar-winning The Fisher King try- 
ing to develop projects like The Defective 
Detective, Don Quixote and A Connecticut 
Yankee in King Arthur's Court. Still. 12 Mon- 
keys had one overwhelming factor going for 
it. 

"This one actually had the money." laughs 
Gilliam. "See, we reached the point where all 



the other projects kept collapsing for various 
reasons. This one wouldn't go away. And 
when Bruce got interested in it, the studio 
said. 'Let's go! If Bruce will do it, we're 
ready to go.' And I said, 'It's time to go to 
work.' 

"I got involved in all of those different 
projects and kept running in all directions. 
like a chicken with his head cut off," he 
continues. "The ones that I wanted to do. I 
couldn't get the money for, and the ones that 
I was mildly interested in suddenly looked 



42 STARLOG/ianiM/T 1996 



Willis is Cole, a survivor of the disease 
ravaged Earth of 2035, who has come to 
the present to stop the disease. Madeline 
Stowe co-stars as a disbelieving psychia- 
trist. 

like they were going to happen, until months 
later I found that I'd been sucked into a thing 
where the star decides not to do it. It was the 
result of the success of The Fisher King that I 
suddenly had a choice — and I've discovered 
that choice confuses me!"' 

Gilliam won't reveal what most attracted 
him to the 12 Monkeys script. "Strangely 
enough, what attracted me most is the very 
tag I can't talk about, because it involves 
the film's ending," he says. "I was working 
on two other projects that all had the same 
kind of ending, and it was just extraordinary 
that these certain endings kept turning up on 
my doorstep. The main thing was that it was 





• J A%.'w 



Why did Gilliam choose 12 Monkeys over the other projects he had in development? 
Well, thanks to Willis' box office power, "This one actually had the money," he laughs. 



"This character may be a time trav- 
eler coming back to find the virus, 
or he may just be an apocalyptic 
madman," Gilliam reveals of Cole. 

incredibly complicated and complex. 
It was a very unlikely script [by 
David and Janet Peoples] to come out 
of Universal, or any studio for that 
matter." 

12 Monkeys begins in 2035, when 
99 percent of the population has died 
of a deadly plague. In hopes of eradi- 
cating the disease. Cole is sent back 
to 1996. where he encounters a psy- 
chiatrist (Madeline Stowe) who 
believes he is mad. It may sound 
straightforward, but the director 

STARLOG/ianuorv 1996 43 




"She was my first choice when I read this 
thing," Gilliam says of leading lady Stowe. 
"I needed somebody who was both beau- 
tiful and ethereal, and incredibly intelli- 
gent." 

promises much more than is apparent on the 
story's surface. Of course, would Gilliam 
ever do a film that could be summed up in a 
few sentences? 

"I think we know the answer to that one!" 
he laughs. "That's what's great about this 
film. This is even more complicated than my 
others in some ways. Somebody has to do 
this shit! Somebody has to keep breaking 
down the boundaries of generic filmmak- 



See No Evil 

As he previously did in Brazil. Gilliam 
admits he's creating another dark tomorrow. 
"It's not a very happy future," he says. "It's 
certainly a Spartan, severe kind of future, 
because if you're living underground, as the 
plague survivors are. it's not going to be all 
sunshine and roses. That's the kind of world 
it is. Strangely enough, even though all the 
departments were foaming at the mouth 
because they got to design the most interest- 
ing costumes and sets, the future part was the 
least interesting part of the film for me. It 
was territory I've played in before. The point 
of this future is that it may or may not be 
real — it may just be the product of a 
deranged mind. This character may be a time 
traveler coming back to find the virus, or he 
may just be an apocalyptic madman. That's 



KIM HOWARD JOHNSON, veteran STAR- 
LOG correspondent, is the author o/Life 
Before (& After) Monty Python (St. Mar- 
tin's, $15.95). He previewed Battlestar 
Galactica comics in STARLOG #221. 



"What [Willis] had to do was play this 
character who was dangerous and 
strong, but on the other hand was very 
erratic and unpredictable, and ultimately 
very innocent." 

why the future became more of an expression 
of his mind, as opposed to anything specific." 

Although Brazil, arguably his best-known 
film, is also set in the future, Gilliam says he 
didn't worry about making the 12 Monkeys 
world overly different from the future in that 
film. 

"It's probably exactly the same," he jokes. 
"I don't know... the future, to me, was not 
necessarily a place — it could be a state of 
mind. That was the approach I was taking. 
These are people living underground, and 
whatever they salvaged before they had to go 
underground is what they've used to make 
their technology. So, in that sense, it ends up 
being Brazil-like in its retro feel. For me, it's 
more a state of mind. It's a guy in a strange 
underworld, an oppressive and depressing 
place with no light and no air. 

"The 12 Monkeys future is an under- 
ground world, which has been done," says 
Gilliam. "We built sets, we worked inside 
unused power stations, like Brazil. We tried 
to make them look different than Brazil, and 
we actually used computer-generated back- 
grounds for some of the bigger sets. We had 
to make an above-ground world of the future, 
one that's just populated by animals, and we 
had to make it winter. So. we have Philadel- 
phia, buildings decayed and abandoned, 
overgrown with vines, with snow every- 
where. There are lions, bears and other ani- 
mals roaming around." 

Unlike some directors, Gilliam says he 
isn't afraid to work with real animals. "Even 
though later on we have some computer-gen- 
erated giraffes, we had lions and a real bear 
when we were shooting in Philadelphia." he 







How will moviegoers 
know that 12 Monkeys 
is a Terry Gilliam film? 
"When 10 minutes into 
the film, they're saying, 
'What the hell is this all " 
about?' " 



says. "It was outside City Hall, and we had a 
huge Kodiak bear named Doc. He's the 
brother of the bear that was in Legends of the 
Fall. Ban the Bear. It was very funny. 
because we were literally right in the middle 
of town with this animal." 

Unfortunately. Doc was not a bear who 
took his direction well. "At the end of the 
day. we were running late, and the Sun was 
disappearing." says Gilliam. "Doc was 
brought out of his box, which was some ways 
down this arcade. Then, he decided to take 
about 20 minutes to walk up to the camera, as 
the Sun was sinking rapidly. All we actually 
had to get him to do was rear up and roar at 
one point, and he finally did that! Animals 
are a pain in the ass. We've even got ele- 
phants in there — elephants roaming around 
Philadelphia. Luckily, much of that stuff was 
done by the second unit. 

"To start with, the studio just had a script 
and me." says Gilliam of 12 Monkeys' begin- 
nings. "The script was languishing. The stu- 
dio was fairly nervous about it because of its 



44 STAKLOGfJanuary 1996 




different nature. I don't know exactly how 
Bruce got wind of it, but I heard that he was 
really keen. We had met before Fisher King. 
and I was quite intrigued with him. but he 
went off and did Hudson Hawk instead. So, 
when he showed interest in this, we met and 
talked, and it was a go." 

In his first SF outing since the new Twi- 
light Zone's "Shatterday," Willis brought an 
uncharacteristic child-like quality to the pan 
of Cole. "What he had to do was play this 
character who was dangerous and strong, but 
on the other hand was very erratic and unpre- 
dictable, and ultimately very innocent, like a 
child lost in a strange land," Gilliam says. 
"He did all of that! The most amazing 
moments are when he becomes totally child- 
like and ecstatic, grinning like an idiot. 
They're wonderful moments! Those are my 
favorite bits in the film, when he becomes 
totally vulnerable and silly." 

According to Gilliam, Blink's Stowe was 
an obvious choice as the psychiatrist. "She 
was my first choice when I read this thing. I 



needed somebody who was both beautiful 
and ethereal, and incredibly intelligent. I 
can't think of many actresses who can pull 
that one off. That's it, it was very simple. She 
has to be this psychiatrist, a rational person 
who becomes more and more confused about 
what is real and what isn't, and at the same 
time be this object of devotion. She's like the 
anchor of this film. 

"Brad Pitt approached us and was very 
keen to do it," Gilliam explains. "It was real- 
ly impossible to say no to him because he 
was so enthusiastic and determined that he 
could do this part. The part is totally unlike 
anything he has ever done before. He has to 
be this fast-talking psychopath, a deranged, 
outrageous, over-the-top character, and that's 
not what most people know him for. He con- 
vinced me that he could do it. And then, 
along came the 'Sexiest Man in America" 
buzz, and nobody could believe our luck, 
having the hottest guy in town in this film!" 

Gilliam admits that Pitt's dubious press 
made the location shooting a little more hec- 



tic. "It got pretty silly with the crowds out 
there. A couple of weeks before he arrived in 
Philly. a local radio station said he was in 
town, and there were huge mobs of girls turn- 
ing up at the shoot looking for Brad. It never 
quite calmed down. He had never had any 
problem wandering around without security 
before then, and suddenly he was being 
whisked out of places to secret locations. It's 
not a very pleasant thing to have happen to 
anybody!" 

In a scene reminiscent of Gilliam's work 
as part of the legendary Monty Python come- 
dy troupe, he got Christopher Plummer to act 
inside a body bag. "I told him he could put 
that on his resume: 'Can act in a bag,' " 
Gilliam laughs. "I'm going to get all the 
Plummers to work for me eventually. He got 
the job only because he's Amanda's dad. It's 
not a big part, but I wanted someone who's 
very strong and impressive, who could add 
weight to the part. Brad couldn't divest him- 
self of his Southern accent, so I asked Chris if 
he could play it with a Southern accent, so 

STARLOG/ January 1996 45 




"The 12 Monkeys future is an under- 
ground world," explains Gilliam. "We tried 
to make [it] look different Uom Brazil! 'You 
be the judge... 

now. he's a gent from Kentucky. He's incred- 
ibly funny. In his final shots. Chris is lying 
tied-up in a body bag, with a biohazard stick- 
er across his eyes. When I looked at him 
there at the end in his last shot, he looked like 
he was having some sort of epiphany! Sud- 
denly, everything vanished, and he was very 
calm and happy lying there bound and blind- 
folded in a body bag. I think all actors should 
have to do this at least once in their lives!" 

Hear No Evil 

How will audiences know that 12 Mon- 
keys is a Terry Gilliam film? "When 10 min- 
utes into the film, they're saying. "What the 
hell is this all about?" I think they'll know! - I 
came to see a Bruce Willis film! I don't 
understand what's going on.' "jokes Gilliam. 
'T think then they will know they're at a Terry 
Gilliam film!" 

The 12 Monkeys shooting process was 



rather challenging, even for the director of 
The Adventures of Baron Munchausen. "This 
was more complicated, because it was a 
strange mixture." Gilliam says. "We have 
major superstars in the film, and very diffi- 
cult conditions to work in. It's a strangely 
imbalanced kind of film. Our budget was less 
than $30 million, so on one hand there were 
many restrictions on what we were doing 
because we didn't have the money to do it the 
way one might with a bigger budget. On the 
other hand, we had some big stars in there 
who had to be treated a certain way, so it was 
very confusing sometimes for the crew to 
know what kind of film they were making. 

"There were a lot of physical problems. 
There was the fact that we had to do all of 
these scenes in the winter in Philadelphia, 
and it didn't snow. We had to keep grinding 
up blocks of ice and spreading snow around 
the place, which became irritating beyond 
belief. It wasn't that there were these great, 
breathtaking visual FX, we were just trying 
to maintain continuity in the face of nature — 
which was refusing to cooperate! It was a 
rouah one. I was away from home for about 



seven months, and I wasn't enjoying that. 
I've been describing this as a club-footed 
production. It was hard to understand what 
was going on. and why things were more dif- 
ficult or complex than they should've been. I 
find that some of the crews I work with think 
I know what I'm doing, which is a fatal mis- 
take! I keep trying to convince them that I 
never made a film before in my life!" 

Post-production was accelerated in order 
to release 12 Monkeys by the end of this year, 
in order to qualify for the upcoming Acade- 
my Awards (it opens nationwide next 
month i. "It seemed OK to me," says Gilliam. 
"They all think there's going to be a chance 
that this will get some Oscar nominations. 
And. I suppose January is as good as any 
month. I don't know anymore — it seems like 
any time is a good time and any time is a bad 
time!'" 

One writer went so far as to call 12 Mon- 
keys the marketing challenge of the year, and 
the director agrees. "I like that!" shouts 
Gilliam. "That's as it should be! Those mar- 
keting people are paid a lot of money, and it's 
time for them to do some hard, serious work! 



46 STARLOGIJanuarr 1996 





"I find that some of the crews I work with think I know what I'm doing, which is a fatal 
mistake," Gilliam jests. 



What's interesting about it is that the market- 
ing people at Universal are really keen about 
it, which is nice. They're really excited. 
Instead of having people running from diffi- 
culties, they're embracing them and going 
for it." 

The director admits 12 Monkeys may be 
easier to market than some of his past movies 
because of the star names involved. "It's 
more dangerous as well — because of the 
names, it's very easy to sell it the wrong 
way," he muses. "It could set up the wrong 
expectations. But they're aware of that, and 
I'm trying to make sure that we sell it as 
enigmatically as possible. We can't have any 
people walking in expecting Die Hard IV" 
Gilliam doesn't want the film labeled at 
■ all, whether it's called a fantasy, an action- 
adventure or even science fiction. "I don't 
want to call it anything." he says. "Again. 
I've spent a year-and-a-half trying to make 
this film. I think journalists and marketing 
people will have to find their own name! The 
worst thing that could happen is that people 
end up coming to see Bruce do what he 
normally does. They're going to end up not 



seeing what he does. People who come 
expecting Brad to be pretty are not going to 
get what they want. This is a movie for smart 
people. We've had enough Dumb and Dumb- 
en. so now let's start doing the 'Smart and 
Smarters.' " 

The director jokes that he nurtured the 
virus which causes the desolate future in 12 
Monkeys. "We're trying to protect endan- 
gered diseases'." he laughs. "The rest of the 
scientific community is so bent on trying to 
stomp them out, and we're trying to put the 
balance right! Today, viruses have become 
the new version of the atomic bomb. They're 
the latest threat that we can all hold up our 
heads and panic about. That's what the script 
had — viruses and disease are very important. 
Luckily, the Hot Zone film came along [and 
went unmade], and Outbreak came along, so 
at least now, people are aware that viruses are 
not fantasy fabrications. Viruses are, in fact, 
dangerous, and because of the fear of catch- 
ing the virus, people are very much con- 
cerned with protecting themselves in the 
film, which leads to isolation and loss of con- 
tact. So, we have a 
space suit which is 
really a body condom. 
It's safe cinema for 
the "90s!" 

The most obvious 
question — who or 
what are the 12 Mon- 
keys! — is also the 
most enigmatic for the 
director. "That's why you have to pay the 
money!" laughs Gilliam. "They could be an 
army of people that let loose this virus that 
wipes out five billion people — but there are 
no guarantees in this film!" 

Gilliam admits that most of his movies 
manage to convey a deeper message. "It's 
hard not to take advantage of the podium that 
a movie is, because I feel that there's a 
responsibility to not just entertain people, but 



to actually inform them and make them 
think, make them perceive things different- 
ly." he says. "It's not so much always a mes- 
sage, but at least it's trying to make people 
look at life and the world with fresh eyes." 

12 Monkeys doesn't have a simple mes- 
sage that can be easily conveyed, he notes. 
"It's not that kind of a movie." he says. "It's 
many things. That's what I like about it. It's 
complex, it's saying many different things. 
True, some of them may be conflicting, but at 
least it demands that people become involved 
in it. and made to think. Those who don't 
want to work a bit are probably going to be 
disappointed. It's trying to do the opposite of 
what television does. It doesn't try to spoon- 
feed anybody. So maybe, the message is the 
medium, and the medium is a complex film 
that you have to work at." 

The filmmakers claim that 12 Monkeys 
was inspired by the 1962 French short La 
Jetee, though Gilliam says it may not be 
readily apparent. 

"It wasn't stolen directly from it" reveals 
the director with a smile. "It's funny, because 
the Writer's Guild 
didn't want us to use 
the 'Inspired By' 
credit, because it 
doesn't exist. The 
credit is supposed to 
be 'Based Upon,' 
except this is not 
'based upon' their 
film — it's very dif- 
ferent. The film has some interesting ideas in 
it. but it's a 27-minute short made up of 
black-and-white still photographs. The ideas 
in it were what inspired David and Janet Peo- 
ples to write what they've written, and what 
they've written is very, very different, except 
for two or three basic ideas that are central to 
this film. I can't actually say what they are, 
because it'll spoil the fun. People who see La 
Jetee may get a clue about 12 Monkeys, but it 



"I kept trying 

to convince ttiem 

that l had never made 

a movie before in 

my life!" 



STARLOG/Januarx 1996 47 




that they will insure my films. So, 
it was a very practical, pragmatic 
problem we had to deal with 
here." 

Despite the reviews, despite 
coming in under budget and 
despite winning an Oscar (Best 
Supporting Actress for Mercedes 
Ruehl) with Fisher King, the 
insurance company was not 
swayed. 

"They don't care about all of 
that," the director says. "Because 
that was a studio film, they don't 
believe the budget, so they say 
there's no proof I came in under 
budget, because studio budgets 
are so 'flexible.' This budget was 
inflexible, so they can see for 
themselves that we came in under 
budget again. So, I'm back in the 
good graces of the money people! 
They don't care whether a film 
makes money, just whether or not 
it aoes over budset." 



"I don't know exactly how Bruce got wind of [the 12 Monkeys script], 
but I heard that he was really keen," offers Gilliam. "We met and 
talked, and it was a go." 



would be silly to waste this film's surprise. 
So. go see La Jetee afterwards!" 

Gilliam spent much of the time after The 
Fisher King trying to develop scripts of his 
own, and admits that while he still prefers to 
shoot his own stories, he isn't as particular as 
he once was. 

''I've reached the point where I just prefer 
to make films? he declares. "If my own 
things weren't going to get off the ground, 
then I had to do something. The Defective 
Detective and Don Quixote are still floating 
around, but it becomes harder and harder to 
develop scripts. I don't know what it is — I 
think I'm getting impatient. I want to make 
films, and I'm finding that the writing on 
some of these isn't coming as fast as it used 
to, or I've lost confidence in them. I re-read 
The Defective Detective not long ago and I 
didn't like it, but on the other hand, we're 
talking about having another go at it. There's 
one side of me that's really demanding to do 
another one of my own things because I have 
ideas I want to get on the screen. On the other 
hand, time seems to be running out and I 
want to make films. More and more interest- 
ing projects are turning up that are dealing 
with subjects that I'm interested in anyway. 
I'm quite enjoying the business of taking 
somebody else's script and taking the ele- 
ments that I like and inflating them and shift- 
ing the others down, turning it into my own 
film." 

Speak No Evil 

The director says his offbeat reputation 
probably got him hired to direct 12 Monkeys. 
"I think the producers assumed I do weird 



and complicated films that 
most commercial directors 
don't want to know about," 
says Gilliam. "I don't have 
a career to defend, so I 
think I was the sacrificial 
lamb! I was just talking to 
the producer. Chuck 
Rovin. saying I had a real- 
ly nice career until I got 
involved with him and 
David and Janet Peoples." 

After battling for his 
version of Brazil and fight- 
ing to complete the over- 
budget Baron Munchausen 
(which he discussed in 
past issues, notably #140 
& #200). the success of 
The Fisher King helped to 
re-establish Gilliam's rep- 
utation. Has he redeemed 
himself now in Holly- 
wood's eyes? 

"We'll see how this one 
does!" he laughs. "All I 
know is that now I keep getting offers for lots 
of work. I can't escape from it, so I suppose 
that means I'm 'OK' again. One of the rea- 
sons I did this was because I thought having 
The Fisher King come in on budget was 
going to clear the slate as far as the comple- 
tion guarantors, the film's insurers. And, it 
wasn't 1 . They said that one was a studio film. 
This one is the first independent film I've 
done since then, so now the slate is clean. If 
you make independent films, you have to be 
insured, and I needed to clean the slate so 




Even though he says the insurance people 
are his friends now, Gilliam can still make 
the Hollywood establishment nervous. Still, 
he plans to keep on making unmistakable, 
complex films like 12 Monkeys as long as he 
is able, whether he has to work within that 
establishment or not. 

"Nobody knows what's going to be suc- 
cessful or not," offers Terry Gilliam. "All 
Hollywood knows is that big names are 
happy to work with me. And. since they 
believe in big names, they like me!" -£& 



48 STARLOG/Ja«»o;-v 7996 



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With a dark past & a deadly blade, Lucy Lawless 
battles on as a Warrior Princess. 



Playing Xena, syndicated television's 
hottest new action heroine, is no easy 
task, and Lucy Lawless has plenty of 
bruises to prove it. The sword-wielding New 
Zealand actress, who's currently sharing a 
weekly double bill with the legendary strong- 
man Hercules, insists that wounds, welts, 
scrapes and scars are all just part of the job. 



"I've actually gotten much better about 
that," Lawless happily announces from the 
Auckland studio where much of Xena is shot. 
"I just got five bruises today, and I don't even 
know how they happened. When the camera 
rolls, you don't even think about it, and your 
reflexes get sharper after you've been hit a 
few times!" 



Lawless is quick to point out that her 
fighting skills have improved considerably 
since her first appearance as an amazon war- 
rior in one of the two-hour Hercules movies. 
"I've never thought of myself as a very phys- 
ical person," she insists. "I was never a sports 
freak or anything like that. My nickname was 
"Unco." or 'Uncoordinated' at school, so it 
was a big shock to me to be doing this sort of 
thing. They've been giving me a lot of train- 
ing, which has helped a lot. Unlike Kevin 
Sorbo. who is a sportsman from way back, I 
need to get my skills up and keep them up. 
because it doesn't come naturally to me." 

Xena: Warrior Princess is a spin-off of 
last season's surprise adventure-fantasy hit, 
Hercules: The Legendary Journeys, starring 
Sorbo as the mythological demigod. Xena 
first appeared in three top-rated episodes of 
that series as a merciless warrior chief out to 
eliminate Hercules. She eventually re- 
nounces her warlike ways and teams up with 
Here to battle her former compatriots. The 
warrior princess turned out to be so popular 
that MCA TV greenlighted a Xena spin-off 
series featuring the same combination of 
mythology, action-adventure and stunning 
New Zealand scenery that made Hercules so 
successful. 

The new series began with Xena deter- 
mined to make amends for the sins of her 
past, and setting out to battle the forces of 
evil. She's joined by Gabrielle (Renee 
O'Connor i. a feisty, fast-talking young 
woman who's looking for a little excitement 




Riding hard into syndicated adventure is 
Lucy Lawless, who has the reins of Xena: 
Warrior Princess firmly in hand. 



50 STARLOGA/a/iKa/T 7996 




"He seemed to like me because I didn't 
kowtow to him," Lawless says of Anthony 
Quinn, who she co-starred with in Her- 
cules and the Amazon Women. 

in her life. As Gabrielle quickly discovers, 
hanging out with Xena means all the excite- 
ment she can handle — and then some! 

Carrying the weight of a weekly action- 
adventure series on one's leather-clad shoul- 
ders would probably be a daunting prospect 
for even the most seasoned of actresses. For 
Lawless, it really hasn't been a problem, and 
she credits the crew of Xena for making her 
job that much easier. "I don't really feel that 
pressure, because I'm surrounded by so 
many people who are giving their all as well. 
Everybody — from the people who lay out the 
cups, to the generator operator, to the make- 
up people — everybody is working so hard 
that it's not really my show. There's a really 
good feeling. We saw the first episode the 
other day, and it just galvanized everyone." 

While Lawless has already shot almost 
half of the first season's 22 episodes, she 
doesn't have a firm idea yet of what her char- 
acter is all about. "I'm still looking for it, and 
it doesn't matter what's on paper. After your 
first rehearsal for the first episode, you know 
what the history is, and that acts as fuel, but 
because Xena's always a character in transi- 
tion and she's on this journey, you never quite 
know what she's about. I just have a feeling, 
and the rest of it happens organically and con- 
tinues to grow, or at least I hope it does." 

One trait that has begun to emerge is 
Xena's surprisingly wry sense of humor, usu- 
ally sparked by exchanges with the idealistic 
and outspoken Gabrielle. Lawless says the 
character is considerably less dark than in her 
early appearances, and while Xena will prob- 
ably never be a barrel of laughs, she's obvi- 
ously picking up some of the actress' own 
infectious good humor. 

"You haven't seen anything yet!" Lawless 
promises half-threateningly. "I don't think 
Xena ever thinks she's funny. She isn't the 
knee-slapping, thigh-slapping, rib-tickling 
sort, but as you'll see, there's a wry humor to 



"I've got to say, although initially they were never my favorite thing to do, watching the 
fight scenes is really rewarding," Lawless offers. 



her. I'm also sorry to tell you this, but 
Gabrielle never entirely gets the better of her." 
The actress goes on to say that the give- 
and-take relationship between Xena and 
Gabrielle is key to the series, and "it's getting 
better and better the more we get to know 
each other. I have huge respect for Renee as a 
person. She's easy to listen to in film acting 
terms, and that's the magic: if you're actually 
listening and taking in somebody's face. 
That's real acting." 

Amazon Wife 

Looking back at her own real-life experi- 
ences, Lawless would probably say they mir- 
ror those of the brash young Gabrielle more 
than the seasoned warrior woman Xena. 
After attending Auckland University for a 
short time, the young Lawless contracted a 
serious case of wanderlust and left for 
Europe to go grape-picking on the Rhine. 
When the money began to run out, she 
moved to Australia, where she signed on with 
a gold mining company operating in the Out- 
back. Relocated to a small mining camp even 
farther from civilization. Lawless found her- 
self doing the same work as her male peers: 
digging, mapping and driving trucks. 

After getting married in Australia. Law- 
less moved back to Auckland with her hus- 
band, determined to pursue a career in acting. 
She landed her first real acting job at age 20, 
with the TV comedy troupe Funny Business, 
and after a string of guest-starring TV roles, 
she moved to Vancouver for eight months to 
study drama at the William Davis Center for 
Actor's Study. 

In 1992. Lawless returned to New 
Zealand, where she accepted a job as co-host 
for Air New Zealand Holiday, a travel show 
which took her around the world. A second 
season followed, and then a role in the two- 
hour Hercules TV movie Hercules and the 
Amazon Women. As Lawless admits, she 



didn't think, "not in a million years" that the 
character would one day help her land the 
role of Xena. 

In Amazon Women, Lawless portrayed 
Lysia, lieutenant to Hippolyta, queen of the 
Amazons (played by Roma Downey). Look- 
ing back on the first of her many Hercules 
guest appearances, the actress admits that her 
memory is a bit blurred, particularly of the 
battle sequences. "You know, I don't even 
remember doing fight scenes when I was in 
that," she says with mock surprise. "Were 
there really fight scenes? 

"I have to say, I've surprised myself by 
the physicality of it all, because it's obvious- 
ly some sort of natural aggression that shines 
through. It's something that I never recog- 
nized before, but I think growing up in a 
house with seven kids probably helped in that 
regard. I have five brothers, so it was pretty 
much the law of the jungle. It was a very lov- 
ing home and everything, but it was still very 
rowdy. I could really relate to that running- 
the-gauntlet scene in the second Xena 
episode." 

On the other hand, the actress has no trou- 
ble remembering her scenes with the leg- 
endary Anthony Quinn, who played Zeus in 
the five two-hour movies. "He was great; I 
was really surprised. Some people were a lit- 
tle nervous about having him around, but 
because I had not. to my everlasting shame, 
ever seen an Anthony Quinn movie, it didn't 
bother me. I knew his name and that he was 
somebody, but you treat everybody the same 
until you find out they're an idiot. 

"He seemed to like me because I didn't 
kowtow to him or whatever, but he was a 
superstar and I could see that. I felt really 
privileged to meet him, because there aren't 
many of them left. There are only a few of his 
caliber from that era, and I know he's work- 
ing still, which only makes him greater. He 
was a real gentleman." 



STARLOGA/anwarv 1996 51 




"I have huge respect for Renee [O'Connor], 
Gabrielle, Xena's wise-cracking sidekick. 




' raves Lawless of the actress who plays 



Lawless also enjoyed working with lead- 
ing man Sorbo (STARLOG #211), who was 
still far from being a household name in 
those early days. "Kevin really hasn't 
changed very much; he's a nice guy and good 
to work with. This has, in a funny way. 
become Kevin's home, and I think he's look- 
ing at buying a place because he has been 




'Holy guacamole, 
where do I go 
from here?' " 



down here for two years. He has a lot of 
friends here, and it's quite enriching, living in 
another country for a period of time. He 
seems to be handling it fine, and because he's 
here, he doesn't have people hounding him 
every two seconds. It's like a beach holiday." 

"If you're going to play a character for a 
couple of years," Lawless says of her 
alter-ego, "then I can't think of a better 
character to play." 



When Hercules was picked up as a week- 
ly series the following season, Lawless was 
invited back, but this time in a different role. 
In "When Darkness Falls," she played the 
scheming Lyla. who tries to help her centaur 
friends by drugging Hercules at a local wed- 
ding festival. While Lawless was happy to 
return to the series, she's not quite sure why 
she was asked back as a different character. 
"I don't know, that's a producer's question, 
so you would have to ask Eric Grundemann 
that. Hey, Eric!" she jokingly yells to the 
Hercules producer working in a nearby 
office. "Eric would know, or [exec producer] 
Rob Tapert, but I couldn't tell you." 

Warrior woman 

What Lawless can say is she had no diffi- 
culty with the complicated visual FX 
required to create the realistic-looking cen- 
taurs in that episode. "I don't have any trou- 
ble with special FX. If you have an active 
imagination, you just use it and it's not diffi- 
cult at all. I actually find it easier than work- 
ing off actors. It never even occurred to me 
that this might be a difficulty: it was just nor- 
mal acting." 

When Lawless was asked to return a few 
peeks later to play Xena in a three-episode 
story arc that closed Hercules' first season, it 
most literally a case of being in the 
right place at the right time. The original 
..---- hired to play Xena got sick at the last 
minute, and the producers had to find a 
replacement over the New Year's weekend. 

"I had just been in the previous episode. 
so I think the execs were saying, 'Oh no, we 
can't use her because we just used her. Here's 
a list of Eve other actresses you should try,' 
and every one of them pulled out for some 
reason. Pilot season was coming up, so they 
decided. "Oh no. we don't want to go down to 
the bottom of the world in pilot season and 
do a three-week stint that will come to noth- 
ing, when we could stay here in LA and do a 
pilot that could possibly become a series,' so 
thanks girls, thank you very much! 

"I flew up there two days before and had 
my hair changed. They made the costume up 
for me and then I was shooting. I had been on 
a camping holiday just before that, so they 
had to move heaven and Earth to find me. It 
was a huge twist of fate or good luck, or 
whatever you want to call it. but here I am." 

Xena's debut came in "The Warrior 
Princess," in which she seduces Hercules' 
friend Iolaus. driving a wedge between the 
two longtime comrades. For Michael Hurst. 
who has played Iolaus since the two-hour 
movies, working with Lawless was a plea- 
sure. "Like Kevin, there's no selfishness 
about her," he notes. "She has a lot of gen- 
erosity and we had a ball making those 
episodes. Both Lucy and I were really in our 
element, being picked up for the series, 
dressing in the most amazing way and doing 
scenes together. It was fantastic for both of 
us, and we both had a good time." 

According to Hurst, one of the most 
uncomfortable moments in "The Warrior 
Princess" was the scene in which Xena dis- 
robes and joins Iolaus for a bath. The reason 



for that discomfort? Not the one you might 
think. "Let me tell you, that water was luke- 
warm, and we had a lot of little pieces of sty- 
rofoam. which they use to create the look of 
stone, floating around: it looked like soup. As 
anybody would tell you, the last thing in your 
mind is any sense of eroticism! It was really 
businesslike, and we actually lost it some- 
times. We just couldn't help but start laugh- 
ing at the whole ridiculous situation: 
shooting this scene in a warehouse in the 
middle of Auckland City. It was very' funny." 

"We did develop a really good rapport 
early on," agrees Lawless. "I don't think it 
had anything to do with the fact that he's an 
established New Zealand actor, because we 
were only barely acquainted before that, but 
we really hit it off. Most women love talking 
to Michael. I think he gets a lot of mail 
already, but he's a pretty good guy. and 
would never get uptight about it. He and his 
wife drafted out some replies, but at this 
stage, I think the load is already getting too 
heavy and they just won't be able to keep 
doing that. He's such a busy man. directing 
plays and all sorts of things." 

Xena returned in "The Gauntlet." and this 
time, the warrior princess was beginning to 
tire of her warlike ways. Unfortunately, leav- 
ing that life behind meant having to endure a 
trial by combat with her former comrades. 

Lawless feels that although the episode 
may have been a bit too intense, it also sig- 
naled the beginning of Xena's evolution into 
a dramatically different character. "That first 
episode was directed by Bruce Seth Green, 
and then Jack Perez did the next one. which 
was a much darker show. It was written dark, 
and shot dark. Xena is a very different char- 
acter now. Before, she had no honor, but this 
Xena is very different. It's part of her life- 
changing transition, and now she does have 
her own warped code of honor." 

It was during the shooting of '"The Gaunt- 
let" that Lawless remembers hearing the first 
hint of a possible spin-off series featuring 
Xena. "I was sitting in the second AD's bus. 




Xena is a spin-off of the wildly-popular Hercules: The Legendary Journeys, and it only 
seems right that Here himself, Kevin Sorbo, should make an appearance. 



and I was trying to be all cool about it, saying. 
'Yeah. yeah, we'll believe it when it happens, 
and I'll talk to you later, thank you, Mr. 
Tapert." I went away and had lunch on my 
own. and tried to pretend I hadn't heard what I 
heard. Anyway, the upshot is four months 
from that day. it was happening. It seems like 
forever ago. but it was really only January, and 
now we're already up to our ninth episode." 

Barbarian Mom 

In order to prepare their lead actress for 
the new series, the producers of Xena sent 
Lawless to train with martial arts master 




Douglas (Dragon: The Bruce Lee Story) 
Wong, who taught her basic kung fu moves, 
as well as fighting techniques with staffs and 
swords. "It was like the old studio system; 
they took me to LA for training in dialogue, 
kung fu, personal training and film tech- 
nique. It was just wonderful and really kick- 
started me again. After I left acting school 
four years ago I had kind of plateaued. It took 
me four years to understand everything I had 
been taught, and then to think, 'Holy gua- 
camole, where do I go from here?" " 

If there's anything more difficult than bat- 
tling mythological monsters and barbarian 
warriors, it's trying to maintain a happy 
domestic life. With the long hours she has to 
spend on the Xena set, Lawless concedes it 
isn't always easy to find time to spend with 
her husband and seven-year-old daughter 
Daisy. "It is difficult sometimes, but we're 
managing. My daughter comes down to the 
set after school some days, and I know she's 
well-Iooked-after because she's with her 
father, and she couldn't have a better father, 
so she's fine." 

And what does Daisy think of Mom's 
new job? "She thinks it's pretty cool. She 
likes to have the posters and things, but she 
hasn't actually seen any of these new 
episodes yet.'" 

That brings up an interesting point: 
whether or not the action-oriented Xena is 
suitable viewing for small children. "I might 
have had a question mark over that one 
before," says Lawless, considering whether 
she would let her own daughter watch the 
series, "but now I think yes, I would, because 
all the sound FX and speed ramping make the 
fights cartoonish. (continued on page 66) 

STARLOG/Januarv 1996 S3 





\ 



20TH ANNIVERSARY EDITION 



The premier piece in S.D. Studios' 
upcoming line of super high-quality, 
fully-licensed precision metal replicas 
of movie and television props. 



Production is strictly 
limited to 7500 
replicas world 
wide. 




$675 



NOTE: Non- 
firing replica 
cannot be 
modified to 
fire live 
ammunition. 




The James 

Bond film The 

Man with the 

Golden Gun 

introduced movie fans to 

one of the most unusual 

weapons ever to appear on 

the silver screen. A cigarette 

case, lighter, pen and cuff 

link which, when assembled, 

produced a one-of-a-kind 

assassin's pistol! 



To celebrate the 20th 
anniversary of this motion picture, 
k World-Wide & S.D. Studios are 
producing a limited number of 
non-firing precision replicas 
of the Golden Gun. Each 
replica is composed of 
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plated in real 24 karat gold. Like 
the weapon in the fdm, the four 
components can be assembled into the 
finished gun. A simulated golden bullet, 
engraved with "007." is included and can be 



Each model is shipped in a beautiful solid walnut 

presentation box, complete with a glass lid emblazoned 

with the 007 logo, brass hardware and a combination 

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rare information about the original film is also included. 



THE MAN WITH THE GOLDEN GUN © 1974 Danjaq Inc. All Rights Reserved. 





Walnut displav box with 
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The combination lock is 
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THE GOLDEN GUM 

$675 each 

Please indicate quantity being ordered. 

POSTAGE, HANDLING & INSURANCE: 
USA & CANADA: $1 5 per item. New York State residents add 
8 1/4% sales tax. Canadian residents add 10% sales tax. 
OVERSEAS: $65 per item. (Shipped UPS International.) 



Method of Payment: 

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k 



This black-&-white SF 

hero rockets from '50s 

television across the 

universe & into real 

misadventure. 

By KIM HOWARD JOHNSON 

Captain Zoom is transported 400 light 
years away to lead a planet to freedom. 
The only problem is that Captain Zoom 
doesn't really exist — he's only an actor play- 
ing the part on a cheesy '50s SF-TV show. 
Will he pass up the role of his life? Or despite 
his small-screen talent, can he actually 
thwart an evil tyrant, and free a planet? 

The Adventures of Captain Zoom in Outer 
Space, a S4-million two-hour movie airing as 
an MCA-TV "Action Pack" feature, com- 
bines the fun of a '50s kids" TV show with 
the adventure of a Flash Gordon serial, all 
draped in '90s sensibilities. 

Creator and executive producer Brian 
(The Flintstones) Levant says they're walk- 
ing a semi-jagged line between comedy and 
adventure. "If I have any marketable skill, it 
is to sustain a reality where both humor and 
danger can co-exist and become credible, but 
at the same time, it has a different sense to it." 
says Levant. "That's what I bring to Captain 
Zoom, creating and sustaining that balance so 
that one doesn't overpower the other, and 
they work together rather than in opposition." 
Levant says the basic concept came to 
him suddenly while he was driving. "I had 
this image of a Captain Video-like character 
transported to another planet, where they 
believe him to be the person that he por- 
trays," says Levant. "I gnawed on it for about 
six years before we shot it. I had never 
pitched it anywhere, but when I signed with 
Universal Television. I insisted that Captain 
Zoom be a part of the deal, and they agreed! 
"The Monday after we finished The Flint- 
stones, [screenwriters] Rick Copp and David 
Goodman and I sat down for a week and 
hammered this out. Then, we got money for a 
design phase, so we would have a full script 
and a booklet showing our weapons, ships 
and costumes." 

Captain Zoom combines many classic 
science fiction elements. "We tried to puree 
every SF epic that we had ever encountered: 
a touch of Star Wars, a dash of Forbidden 
Planet, a cup full of Flash Gordon and a stick 



Fighting for 
truth, justice 
and all that 
stuff, though 
usually in 
black-and- 
white, is 
Dumont 
Network hero 
Captain Zoom 
(Daniel 
Riordan). 




of Buck Rogers, and put it on mix," jokes 
Levant. "The situations that Captain Zoom 
finds himself in were familiar not only to us 
as viewers and to him as a participant, but on 
a different level. His life has truly become a 
series of life-and-death struggles." 

SF inspirations 

The executive producer admits that SF 
books and comic strips were important when 
he was growing up. "They were a huge, huge 
influence," Levant says. "When talking about 
Captain Zoom, I always hark back to being 
eight years old and getting up on Sunday 
mornings to watch Flash Gordon, and being 
overpowered by the visuals and the imagina- 



tion. I didn't know that Ming's great court 
was nothing but a soundstage floor with 1 8- 
foot curtains! It took me to somewhere that I 
had never been. It always stuck with me, and 
Captain Zoom is my attempt to create the 
feeling that it brought to me, and add the 
dimension that is my life's work — which is 
comedy — to combine those elements. I tried 
to create a world where comedy and danger 
are credible, to try and turn Captain Zoom 
from someone who plays a hero into the gen- 
uine article." 

While developing the movie's look, the 
Zoom universe went through some drastic 
reshaping. "At first, we tried to make every- 
thing come from insects and nature, starting 



STARLOG/itfHuarv 7996 55 




Getting captured, confronting evil and contemplating their own demises always 
depresses the good guys. 



very naturally with ships that looked like 
giant beetles and things," says Levant. "It 
was interesting, but it was at war with the 
material. Then, I was out with my son and we 
came upon a book called Cars Detroit Never 
Built, a compilation of concept cars of the 
'50s and '60s. I stared at picture after picture 
of great fins and unnecessary chrome, and I 
said, 'This is what our ships should look 
like! ' From the back, the mother ship has the 
fins of a '62 Chevy, and the doors of a '51 
Studebaker! We even painted the models 
with old automotive paint." 

The filmmakers had to use their ingenuity 
to achieve some FX, as when the interior of 
the fighter ship was mounted on a computer- 
controlled set to simulate a ship's pitch and 
roll. "We built a whole gimbal set with 
hydraulic lifts," says Levant. "I'm not happy 
with building the whole inside of the set and 
putting it on tires, and having grips shake it. 
When they banked. I wanted the ship to bank. 
When they went into a nose-dive, I wanted it 
to divel We didn't lose any actors, but we 
threw them around pretty good! You can't 



fake that. I didn't want to do Voyage to the 
Bottom of the Sea. where everybody puts 
their arms out and goes side to side!" 

The quality was there down to the props, 
maintains Levant, who notes that their 
weapons were not mass-produced cheaply. 
"We didn't have propmakers making the 
weapons — we had artisans." he clarifies. "It 
wasn't just plastic casts of guns. They lathed 
the aluminum, and made them with weight 
and body. They weren't mass-produced, they 
had a personal touch. I was just at a Planet 
Hollywood looking at Star Wars guns, and I 
said, 'That's a Star Wars gun?! Ours really 
look like death rays! They don't look like 
they belong to Hopalong Cassidy!' " 

Television Families 

The cast features veterans and newcom- 
ers, including Daniel (Ed Wood) Riordan as 
Captain Zoom, Liz (ER) Vassey as rebel 
leader Tyra, Gia (Strictly Ballroom) Carides 
as the high priestess Vesper, Ron (Beauty & 
the Beast) Perlman as the evil Lord Vox and 
Nichelle Nichols as the rebel seer Sagan. 




Zoom creator Brian 
Levant came up with 
the TV movie's ~ 
spaceship look of 
"great fins and 
unnecessary chrome 



Why is this man laughing? Ron Perlman 
personifies merciless evil as snappy 
dresser Lord Vox. 

"I can't say enough about the cast," Lev- 
ant raves. "Nichelle's presence made us feel 
we were in space! The first time she read, she 
did it with kind of an English, high-tone 
accent. I said. 'You don't have to do that! 
You "re somebody who already commands 
the respect of millions! Try it again, and be 
more like you!" So. she did, and brought it 
dignity and grace and power." 

The screenwriters were equally delighted 
with the actress. "We were thrilled to get 
Nichelle." says Copp. "She has been very 
choosy about what SF projects she does, and 
we w ere very pleased when she came in and 
wanted to do this part." 

'"I'm a huge Star Trek fan," Goodman 
admits. "The great thing about Nichelle. 
aside from the fact that she's a terrific actress, 
is that you don't see much of her. You see 
more of other cast members, like Leonard 
Nimoy and Walter Koenig. doing other SF 
things, but Nichelle has turned down 25 SF 
projects since Star Trek. She brought real 
class to this movie." 

As for the other female stars, "Liz Vassey, 
who I first hired when she was 14 for The 
New Leave it to Beaver, was the only person 
who ever read for Tyra," says Levant. "She 
came in to see us and she had grown up a 
lot — a six-foot tall Amazon! Many times, 
you look at girls in these parts and they're 
beating up guys, and you think, 'Oh, right'.' 
Liz is a big. strong woman, and you believe 
she really could be leveling these guys!" 

"We also felt lucky to get Gia Carides of 
Strictly Ballroom, because she doesn't really 
do much television," adds Copp. "This 
appealed to her, and it was a fun part." 

Goodman notes that Perlman is perfect in 
his role as the evil Lord Vox. "Ron really 



56 STARLOG//a«K<zo' 1996 




walked that line between menace and come- 
dy," he says. "Lord Vox is a real villain, and 
you believe this guy is evil. Our casting 
director put Ron on a list, and when he read 
the script, he came to us. He gave a great 
reading, and we never saw anybody after 
that." 

The lead had to be a relative unknown due 
to budgetary considerations, but it was a 
lengthy casting process. Goodman explains: 
"We saw about 100 guys, and we started to 
question the material, because many of those 



reading didn"t quite get it. Then, Dan Rior- 
dan came in. He did his '50s Captain Zoom 
voice — " 

Captain Zoom, says L^rant, "has a tou%T> 
of Star Wars, a dasfydf Forbidden Plane\ , 
a cup full of Flasp^Sordon and a stick of S 
Buck Rogers:' 




" — And he did it better than anybody we 
had ever seen!" Copp interjects. "It was like 
what you would hear in those 1950s shows!" 

"We saw him a second time, and he blew 
us away," says Goodman. "He hit every note, 
made lines into jokes that we never even 
intended that way. He was just perfect. He is 
Captain Zoom!" 

"He's Dudley Do-Right!" says Copp. 

Heroic Schticks 

Copp and Goodman, whose credits 
include Golden Girls and Wings, were 
brought into the project by Levant. "Rick, 
Brian and I worked together to flesh out the 
story and the planet's history," says Good- 
man. "We each brought many different 
things to the table. When Brian brought us 
the idea, we got very excited. I'm a big SF 
fan, and Rick's and my background is in sit- 
coms." 

"I'm more of a student of science fiction." 
Copp says. "My earliest SF influence was 
when Josie & the Pussycats went to outer 
space! I'm learning a lot about SF." 

"When we sat down to do this, it was like 
someone was handing me my fantasy," says 

STARLOG/iamwry 1996 57 



Will Captain Zoom continue his 

""' i against evil? As 
stice somevyhere, 




Goodman. "We took a page from literary sci- 
ence fiction, and started looking at Isaac 
Asimov : s Foundation trilogy and Frank Her- 
bert's Dune. These men drew on the fall of 
the Roman Empire and the life of 
Mohammed, so we tried to decide on a back- 
drop that would give this a similar richness 
and texture and a multitude of stories. We 
chose the Middle East and Israel, the Holy 
Land for many different religions, which is 
surrounded by enemies. That's the basis of 
the Captain Zoom mythology. Pangea is the 
Holy Land of the galaxy, and all of these dif- 
ferent races and religions consider Pangea 
their Holy Land, and will fight to conquer it. 
while the Pangeans themselves fight to keep 
their homeland." 

Part of their research involved watching 
Flash Gordon and Buck Rogers serials, to 
which they paid tribute in Captain Zoom. "I 
was a huge fan of those, and I think you can 
see that in the show," says Goodman. "The 
arena fight is right out of Flash Gordon, but 
we have our own little twist on it. Flash Gor- 
don had to fight Prince Barin. his best friend: 
Zoom has a real comic spin in that scene. 



Zoom says. 'I'm your friend. I won't be 
repulsed by your face,' and when Simulus 
lifts his mask, our guy can't control himself!" 



according to the writers. Captain Zoom 
is an antidote to today's violent, cynical 
heroes. "That's the fun of it." Goodman 
notes. "He was never meant to be a hero, and 
he's thrown into this situation and forced to 
deal with it for his own survival. But he's an 
actor — and not a very good one! He does find 
the hero within himself, so there is that seri- 
ous aspect to what's generally a comedy. In 
order to survive, this guy has to find that deep 
down, he can be a hero." 

"When we were researching this, I want- 
ed to lap up as much SF TV and literature as 
I could before we started writing." says 
Copp. "The best part was finding these clas- 
sic '50s TV shows, like Space Patrol and Tom 
Corbett. We watched some kinescopes and 
used what we saw for the scenes when he's 
still doing his TV show in the 1950s. Those 
shows were hugely comic — they had a lot of 
unintentionally funny moments, which we 
Me to mine for our scenes. We wanted 
a direct contrast to the '50s television with 
the real adventure." 

The writers say that overall, they tried to 
maintain a balance between the comedy and 
the adventure. "We tried to walk a line by 
making Zoom very fun. very comic, but 
keeping the situations and adventures real, so 
that we wouldn't turn away the SF audience," 
sav> Copp. 

"This is not a spoof." Goodman declares. 
"We want the adventure to be real and excit- 
ing. The comedy really comes from the char- 
acters and their interactions." 

Kids today may not be familiar with the 
'50s SF shows, but the writers believe they 
don't need to be in order to enjoy Captain 
Zoom. "'Our intention was for those '50s 
scenes to stand on their own," says Copp. 
"You see a lot of bad television, and it may- 
no longer be live, but it's still out there every- 
where. I think people can relate to bad acting. 
bad scripts and cheesy effects. It also gave 
me a chance to write a part for myself!" 

Copp is on screen briefly as Happy, 

Zoom's TV sidekick who is left in the "50s 

when Zoom is transported to Pangea. "In ret- 

(continued on page 66) 




58 STARLOG/ Januan- 1996 



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By TOM WEAVER 

When movie fans think of Marie 
Windsor, the mental picture is gen- 
erally that of the shady, hard-as- 
nails dame, best exemplified by her roles in 
such crime classics as The Narrow Margin 
(1952) and The Killing (1956); Western buffs 
might envision her shooting it out alongside 
(or at/) cowboy heroes like Rod Cameron or 
"Wild Bill" Elliott. Science fiction fans, how- 
ever, can also recall Windsor on the hunt for 
prehistoric mastodons (Robert Lippert's The 
Jungle), contending with a living mummy 
(Abbott and Costello Meet the Mummy). 
falling under the spell of Salem's Lot and 
battling giant spiders in the credit she would 
like to have kept under her hat. the immortal 
Cat Women of the Moon. 

A product of Marysvale, Utah. Windsor 
(real name: Emily Marie Bertelson) attended 
Brigham Young University and trained for 
the stage under Maria Ouspenskaya before 
she began playing leading roles in B-pictures 
in the late 1940s. Her best work was in the 
film noir category, particularly her role as 
the manipulative, double-crossing wife of 
Elisha Cook Jr. in The Killing (which earned 

TOM WEAVER, veteran STARLOG corre- 
spondent, is the author o/They Fought in the 
Creature Features (McFarland. S38.50). He 
profiled Terry Moore in STARLOG #220. 



Between writing a book about her family 

and seeking future screen assignments, 

"life isn't dull," Windsor laughs. 



her Look magazine's Best Supporting 
Actress award). But Windsor also shone as 
the piano player who falls victim to serial 
killer Arthur Franz in The Sniper; handled 
guns and horses better than some of the guys 
did in her Westerns; and gave a needed lift to 
such campy low-budget features as Outlaw 
Women and Swamp Women. A veteran of 
more than 50 years of movie. TV and stage 
work, the incomparable Marie Windsor 



Marie Windsor 

remembers the worst 

picture she was ever 

in — and a few 

others, too... 



recalls all the credits she would probably just 
as soon forget in this STARLOG interview. 

STARLOG: How did you get the lead in The 
Jungle! 

MARIE WINDSOR: I guess my agent went 
to Robert Lippert or Lippert went to my 
agent, and I was very thrilled to get it because 
it meant this exciting trip to India. Lippert 
bought us around-the-world tickets 'cause 
they were cheaper than back-and-forth. and I 
left Los .Angeles by plane with Cesar Romero 
[STARLOG =146]. We met Rod Cameron in 
Hong Kong, and then the three of us left 
Hong Kong and went to India. We were sup- 
posed to land in Bombay, but the weather 
held us up and we had to go in through Cal- 
cutta instead. So we came through Calcutta 
as our entrance — that was the first night we 
stayed in India. We stayed in a hotel and 
Cesar and I went downstairs to have dinner. 
and a rat ran across our table [laughs]. That 
was a great beginning! 

We flnallv got down to Salem, India, 
which is about 100 miles inland from 
Madras. Salem had no hotels — well, they had 
sort of a hotel, but they were just rooms with 
hooks on the wall for people to bring their 
own hammocks. That didn't fit us\ But there 
was a wonderful man named Sundaram. the 
co-producer with Lippert on this picture. 
Sundaram turned his Modern Theatres stu- 
dios in Salem into living quarters for us — he 




Surrounded by the Cat Women of the Moon, 

Marie Windsor thinks it's one of the worst 

pictures she ever made. 



60 STARLOG/Zaniwry 1996 



turned every building into quarters for the 
stars and the crew. They put a couple of reg- 
ular toilets in some of the buildings, but I was 
in the writers' building and I had holes in the 
floor! We had wonderful food and an Indian 
cook who had been taught by Sundaram's 
English wife. One day on the menu it said 
IROISH STU — that was Irish stew [laughs]'. 
STARLOG: How long were you in India? 
WINDSOR: Seven weeks. We went on loca- 
tion, deep into the jungle, but we were called 
out of the jungle twice. At the same time we 
were in India, there was an International Film 
Festival going on there, and Gene Tierney 
was supposed to be there. But she had a ner- 
vous breakdown and couldn't attend, and so 
there was no one at the Festival to represent 
the United States except Frank Capra. Well, 
the State Department demanded that we 
come out of the jungle on two occasions to 
go to the Festival, to steal publicity away 
from the Russians. The Russians had been 
invited to bring 35 people, and they brought 
350 — they were spreading propaganda all 
through the fields. So. they halted production 
on The Jungle and we went to the Festival in 
Madras, and then we were asked to go again 
later; by that time the Festival was in New 
Delhi. We had wonderful times. We met 
Madame Pandit and Nehru, and I became 
very close friends with one of Madame Pan- 
dit's daughters. Rita, and it developed into a 
friendship which only ended a few months 
ago. when the dear darling died. It was a 
wonderful experience. 

STARLOG: What was William Berke. the 
director of The Jungle, like? 
WINDSOR: He was a wonderful little guy. 
and he worked so hard under terrible circum- 
stances. I later did another picture for him 
[Island Women. 1958]. and shortly after that. 
he left this world. He was a hard-working 
man. Then of course we had Clyde De Vinna. 
who was the photographer on it — he had shot 
the original Trader Horn [1931]. so he was 
an old hand, just terrific. And [associate pro- 
ducer] Ellis Dungan. our liaison man. was a 
brilliant and lovely man. He had lived in 
India for quite a few years and he had been 
the liaison man for some jungle pictures 
made by American producers. He knew 
everybody — he made arrangements with 
maharajahs. and every place we went, he 
arranged the location. He was so sharp and so 
agreeable, often under crazy circumstances! 
STARLOG: Did you ever have the feeling 
you were in danger out on these locations? 
WINDSOR: A couple of times we had 
cobras near our camp, and there were some 
exciting times as we would trek through the 
jungle to different locations. Sometimes it 
was easy because we would stay in what they 
call "government houses." We were staying 
in a government guest house outside the city 
of Mysore one night and we could hear this 
thump-thump- thump-thump- thump-ing. 
Everybody got up to see what it was, and it 
was a herd of wild elephants — this govern- 
ment house was built right on the edge of one 
of their trails, and they would take that same 
route every night, trampling through the jun- 
gle looking for fodder! Many people were 



r. 













Safari, so good: Windsor, Cesar Romero 
and Rod Cameron traverse The Jungle. 



anesthetic. They wanted a fight between the 
bear and the tiger in a big cage, and that poor 
tiger was limping around and he was in such 
pain. The bear didn't want to fight, and they 
kept giving him electrical shocks to stir him 
up. I photographed it with my movie camera, 
because I wanted to bring the record home 
and tell everybody what they were doing. But 
I guess they knew what I had in mind, 
because somebody stole my film. 
STARLOG: How did Rod Cameron and 
_ Cesar Romero cope with the working condi- 
tions over there? 

'■^ WINDSOR: Both of them were quite good 
g troupers about everything. Rod Cameron 
2 brought his wife, and she was. ..kind of a 
= strange girl. I remember we had a big argu- 
oment in one of the jungles 'cause Sundaram 
m gave a monkey to me. She went into a big fit 
I because she had asked for a monkey and 
°- nobody had given her one! Also, Rod and I 
fhad dated a couple years prior, so it was sort 
2 of a strange... relationship there, but every- 
body was very congenial. I hadn't known 
Cesar very well before then, but he was such 
a darling. Under every crisis, he was just so 



Abbott & Costello fan Windsor 

was "thrilled" to act opposite the 

funnymen. 




<% 



living in tree houses in that area, to avoid 
these wild elephants. 

We always had to be careful of the tigers. 
When we weren't in a government house, we 
would stay in tents. Then, they would build 
huge bonfires, to keep not only the tigers 
away but the elephants. 
STARLOG: You've spoken elsewhere about 
how shocked you were at the mistreatment of 
animals over there. 

WINDSOR: Oh. terrible — sometimes I have 
nightmares about it! They had an old trained 
bear, and the bear had an owner that you just 
knew was crazy about this bear. Well. I found 
out later that he had sold the bear to the com- 
pany in case the bear got killed. Then, they 
had a little tiger and they de-clawed the poor 
thing — and you knew that they did it without 

Although she enjoyed lensing The Day 

Mars Invaded Earth, Windsor never quite 

understood the plot. 




'■ 




I 





the part. I rented a piano and learned to play 
the tunes I was supposed to play in it. I didn't 
play them well, but at least the camera could 
come in on my hands and see I was using the 
right fingers. Anyway, when it was all over, I 
heard that he was very, very thrilled with 
what I had done. 

STARLOG: Was he a good director? 
WINDSOR: Oh. yes. fabulous. My scenes 
were with Arthur Franz: he and his wife and 
I all became very good friends. We used to go 
to each other's houses for dinner, and we had 
nice get-togethers. 

STARLOG: After you're shot, you fall 
against and shatter a plate glass window. Do 
you like to do your own stunts? 



Photographic evidence to the contrary, the Cat Women cast was a friendly bunch. 



calm, cool and collected; he rolled with the 
punches in every way. 

STARLOG: You later made another SF pic- 
ture for Lippert. The Day Mars Invaded 
Earth. 

WINDSOR: Yes. and I was fascinated by the 
fact that we used the Doheny estates mansion 
for the shooting. That's in the middle of Bev- 
erly Hills, and it's a very, very big mansion. 
We shot interiors and exteriors there. 
STARLOG: Did you enjoy making the 
movie? 

WINDSOR: Yes. that was fun. I've been 
very lucky, I've had very nice people to work 
with and happy casts. For one scene. I think 
they asked me to jump off a truck or some- 
thing — I don't remember exactly what they 
wanted, but I do know I was trying to get 
pregnant at the time and I was reluctantly 
doing things like that. 

STARLOG: The title really is a cheat— it 
gives the impression of a War of the Worlds- 



. "I loved the great big spider," Windsor says of 
her Cat Women co-star, "but they had a lot of 
trouble working it." 



type movie, but the Martians only pester the 
inhabitants of one house. And the same 
actors who play the humans play the Mar- 
tians! 

WINDSOR: And in a little dinky movie! 
The other thing I remember about The Day- 
Mars Invaded Earth is that [the plot of] that 
picture always confused me. 
STARLOG: What's your favorite type of 
movie to make? 

WINDSOR: [Laughs] I like Westerns— the 
indoor stuff! I love riding horses but I hate 
being out in the Sun. so I'm torn! Now I like 
drama and drawing room stuff, but the West- 
erns were my favorites back then. 
STARLOG: What are your recollections of 
The Sniper? 

WINDSOR: That was very interesting. This 
is hearsay, but I understand that [director] 
Eddie Dmytryk didn't want me in the movie 
to begin with. I don't know who talked him 
into it. but they gave me the part. Once I got 






The actress bent her knees rather than 
ask Dennis Hopper (as Napoleon) to 
stand on a box in The Story of Mankind. 

WINDSOR: Yeah. Things like that, stunts 
that are not too dangerous, I think it's impor- 
tant for the actor to do. That plate glass was 
just made of sugar glass, and I learned a long 
time ago how to do falls, so it wasn't too bad. 
I couldn't do it now, but I could do it then 
[laughs]\ 

STARLOG: Have you ever gotten hurt on a 
movie? 

WINDSOR: I don't think so. In The Narrow 
Margin, when the gangster [David Clarke] 
hit me and knocked my head against the train 
seat. I guess I didn't fall where I intended to. 
because I cracked my head on the wood 
instead of the padding. That stunned me pret- 
ty good! 

STARLOG: You have a reputation for being 
touchy on the subject of Cat Women of the 
Moon. Is that true? 

WINDSOR: [laughs] It is, because I think 
it's one of the worst pictures I was ever in, 
and I hate to be reminded of it! 
STARLOG: Going into it. having just done 
The Narrow Margin and The Sniper and 
some other good pictures — did you really 
want to make a science fiction movie, any 
science fiction movie at all? 
WINDSOR: I hate to admit this, 'cause it 
really isn't a very classy statement, but I 
never turned a picture down unless they 
asked me to stripl So I would take anything, 
unless it was too tiny. Now. I don't care how 
tiny, I just would like to work. 




STARLOG: On Cat Women, how long did it 
take to realize that you were in trouble? 
WINDSOR: Five minutes [laughs]'. The 
minute I walked on the set and saw that we 
were traveling to the Moon seated in desk 
chairs with wheels on the bottom! We were 
strapped into those chairs and off we went, 
into outer space! And I thought. "Gee. can't 
they figure out that these chairs would be 
rolling and floating around?" It was so silly! 
I loved the great big spider in it. that was fun. 
but they had a lot of trouble working it — 
there was a guy up on the catwalk running 
the strings, and one time a leg fell off the spi- 
der [laughs]'. They also had a tough time 
coordinating it so that it came down on us at 
the right time. We just laughed at it! 

I'll tell you another thing about Cat 
Women, it was just like another movie I did. 
Little Big Horn [1951] with Lloyd Bridges. 
Both these movies ran overtime, and in both 
instances the producers just pulled about six 
pages out of the script and said. "Stop." I 
can't remember what we lost in Cat Women 
of the Moon, but we sure lost six pages! 
STARLOG: Cat Women was shot at Sam 
Goldwyn Studios, on sets supposedly left 
over from Gary Cooper's The Adventures of 
Marco Polo. 

WINDSOR: [Laughs] Thar I didn't know, 
although I do remember we shot it at Gold- 
wyn. All of us just did it for the job; after 
reading the script, we all knew it wasn't 
gonna change the world and the movies, and 
that we weren't gonna get much credit for it! 
Victor Jory was in it and we were both on the 
board of the Screen Actors Guild at the time, 
so I knew him through that. Vic was a nice 
guy, vivacious and fun. very bright and inter- 
esting. Sonny Tufts was a nice, big fellow 
who tried to be very' friendly: if you want to 
know the truth. I don't think he ever cared 
much about acting. I was in another movie 
with him, The Parson and the Outlaw [1957], 
and I had a pleasant experience with him 
there, too. And then another nice old friend 
of mine. Bill Phipps. was in Cat Women. 
STARLOG: The director. Arthur Hilton, 
was a film editor who had been Oscar-nomi- 
nated. Was he much of a director? 
WINDSOR: I don't recall that he did a lot of 
directing: there were people there with 
enough experience that I guess he didn't have 
to direct them a lot. 

STARLOG: Was that the fastest that you 
ever knocked out a movie? 
WINDSOR: It was one of the fastest. Anoth- 
er fast director was Roger Corman, who 
directed me in Swamp Women [1956]. He's 
such a nice guy. but he's sure hard on you out 
on the location. When we made Swamp 
Women, first we landed in New Orleans, and 
Beverly Garland [FANGORIA #50] and I 
stayed in a hotel and found out there were 
bedbugs. So. Bernard Woolner. the producer, 
said, "Why don't you go up to the location 
right now?" The location where we stayed 
was one of those great big summer hotels 
where kids would come and stay. We had 
adjoining rooms, Beverly and I. They had 
linoleum on the floor, and by the bed, instead 
of a piece of carpet, there was just another 




Windsor and Victor Jory take time out from their Screen Actors Guild board duties to 
visit the Cat Women of the Moon. 



color of linoleum [laughs]'. We bought a bot- 
tle of vodka to bring up to the room — we 
were rather depressed about this whole 
thing — and when we both sat on the bed, it 
collapsed [laughs]'. That was our first 12 
hours, and it went downhill from there! 




t 



was very thrilled to get Tn%Juifgfe 
because it meant this exciting* trip to 
India," Windsar notes. 



STARLOG: Did you have any preconceived 
notions about Abbott and Costello — and did 
they live up to them? 

WINDSOR: When I did Abbott and Costel- 
lo Meet the Mummy, they were really darling. 
Costello asked me to lunch one day, in his 
bungalow, with a group of other crew people, 
which was nice. But I didn't get really close 
to either one of them, except they were both 
extremely nice to me on the set, and every 
time they had a chance, they graciously gave 
me a little tip about comedy. They seemed to 
be delighted with some natural sense I had 
that I must have gotten when I was on the 
road with Henry Duffy's Merry-Go- 
Rounders early in my career, playing straight 
woman to people like Sid Marion and Jay C. 
Flippen. 

STARLOG: Many of the actors who worked 
with Abbott and Costello remember pie 
fights and marathon card games and crazy 
nonsense like that on the sets. Did you see 
any of that' 1 . 

WINDSOR: Nope. Everybody who asks me 
about that movie asks me how Abbott and 
Costello were getting along — they were sup- 
posed to be fighting. But I never saw any of 
that. What I remember is that I was a fan of 
theirs, and I was so thrilled to get that part. 
STARLOG: And you say that you can "do" 
comedy? 



STARLOG//an«ary 1996 63 




STARLOG: Why didn't you play more nice 
girls and glamour girls? 
WINDSOR: My height has always handi- 
capped me. and my "look" with my promi- 
nent eyes. I look more like the madam of a 
brothel than I do the girl next door [laughs]'. 
STARLOG: You did run a brothel in Cham- 
ber of Horrors, with Patrick O'Neal. 
WINDSOR: I was only on that movie two 
days, and I think they could have gotten rid 
of me in one. I ran the brothel that Patrick 
O'Neal visits. Hy Averback directed it: I did 
some radio work for Hy. and maybe it was 
Hy who asked for me. 

STARLOG: You had another cameo-sized 
role in The Story of Mankind. 
WINDSOR: That's one that I did do in one 
day — all the actors who made guest appear- 
ances in that worked only one day. In my 



Windsor fights off Klaris (Eddie 
Parker) in the wrap-up of Abbott & 
Costello Meet the Mummy. 






According to Windsor, "! look more 
the madam of a brothel than 
1 do the girl next door." 



like 



really at the top of my riding at that point — I 
did a lot of my own stunts, and everybody 
was so helpful. Bill Elliott taught me how to 
twirl a gun and holster it real quickly, and 
other people took me out to a riding place 
and showed me how to do a stirrup mount 
with a gun in my hand. It was very good 
experience. 

STARLOG: What did you enjoy more- 
playing supporting parts in A-pictures or 
starring in B-pictures? 

WINDSOR: [laughs] Oh, I would rather star 
in B-pictures! 

STARLOG: In the 1970s, you had support- 
ing parts in Freaky Friday and in the TV 
movie Salem's Lot. 

WINDSOR: Gee. Freaky Friday was really 
a tiny, tiny part — I only had one day on that 
show, and I played a schoolteacher to Jodie 




WINDSOR: Yeah. / think so: I studied with 
Harvey Lembeck two years, in his comedy 
class. Interestingly enough. I got promoted to 
the top class, and Robin Williams was still in 
it. and Marilu Henner. too — their careers 
started to take off right about then. I think I 
only did one skit with Robin: I did a couple 
with Marilu. The last few months 1 was with 
Harvey, he said. "I wanna make you a bet. 
You're gonna have a comedy series within 
six months.'' So he believed in me — but it 
never came about. 

STARLOG: What did you think of Abbott 
and Costello Meet the Mummy when you saw 
it? 

WINDSOR: I thought it was done very well. 
And I thought I looked terrific [laughs] ! 
STARLOG: You were in a Science Fiction 
Theatre episode directed by Jack Arnold, and 
also on Batman with George Sanders as Mr. 
Freeze. Any memories of those? 
WINDSOR: I liked Jack Arnold both as a 
person and as a director and I saw him a lot 
through the years, because we had mutual 
friends. To tell the truth. I don't remember 
that Science Fiction Theatre, but Batman was 
a good set and I was thrilled to be on it. 
because Adam West was a friend of ours. I 
had met George Sanders before: when we 
were doing Batman, he asked me to have din- 
ner with him. but I didn't. He was quite a 
wolf, and I just had the feeling he wanted to 
climb all over me. (I didn't need that!) But he 
was very interesting and great to listen to — 
he had thousands of stories to tell. 




scene. I played Josephine and Dennis Hopper 
played Napoleon. I felt even then that Dennis 
was very talented. But I remember that, 
because of my height, when it came time to 
shoot. I bent my knees rather than asking 
Dennis to stand on a box. 
STARLOG: And Irwin Allen, the director? 
WINDSOR: Irwin Allen was a nice man, 
very bright, and I liked him very much — he 
had a great sense of humor. But I always 
thought he was a little ••square" at the same 
time, and I couldn't quite figure him out. For 
what it was, I thought Story of Mankind was 
very interesting. It could have been made a 
more important picture, but I guess it was 
OK. 

STARLOG: Which of your movies might 
have been a starmaking role for you? 
WINDSOR: The Narrow Margin or The 
Killing — it would have been one of those. 
STARLOG: Are those your favorite movies? 
WINDSOR: Yeah. And I have one other, a 
Western called Hellfire [1949] with Bill 
Elliott. It was a wonderful part and it was 
very well-written, and I played a male bandit 
in the beginning [laughs]. And, boy. I was 



Foster. It was fun to be in a scene with her 
because Jodie and my son, who is the same 
age as she. went to dancing class together 
when they were both little kids, and she was 
kind enough to remember me. In Salem's 
Lot. I played the ex-wife of Elisha Cook — I 
hadn't worked with him or seen him in 20 
years, and that was such a treat to see him 
again. Stephen King I never met — I wish I 
had. because he has gotten so famous! — but 
Tobe Hooper and I got very well-acquainted. 
In fact. I tried to fix him up with a girl friend 
of mine, but it didn't work out! He was real- 
ly a nice guy and — I think — a terrific direc- 
tor. 

STARLOG: Whose idea was it to reteam 
you and Elisha Cook in Salem's Lof. 
WINDSOR: One of the producers had the 
idea to put us together, maybe Richard 
Kobritz. By the way. Elisha Cook was just a 
wild-eyed, goofy guy. He was fun and he was 
warm and he liked to tell jokes — just a little 
bit nuts, a likable nuts. He would do crazy 
things he would tell me about: he'd be on 
location, and without telling anybody he 

(continued on page 66) 



64 STAKLOG/January li 



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Lawless 



Windsor 



Zoom 



(continued from page 53) 

"I think she could see Xena: she has seen 
The Rocky Horror Picture Show, and we're a 
bit less inhibited about those things here. We 
just had a festival which is like Mardi Gras, 
and I was surprised at how shocked our 
American friends were at all the naked 
breasts walking around on the main street, 
but that's New Zealand." 

It may be too early to discuss some of the 
highlights of Xena's first season, but Lawless 
says there are plenty of moments where 
everything seems to click. "You get that once 
or twice a day. You might see the playback, 
and you see somebody slug you on the head 
with a foam thing. They came nowhere near 
you, but it just looks fantastic because you 
dropped at precisely the right moment. 

"I've got to say, although initially they 
were never my favorite thing to do. watching 
the fight scenes is really rewarding. In fact, 
seeing them once the sound FX have been put 
in. I get the biggest kick out of them." 

The actress also wants Xena fans to know 
that she's doing a lot more of her own fight- 
ing these days. "They still use a double some- 
times, because some of the things are not 
only difficult but dangerous, with the flips 
and so forth. I have wonderful acrobatic dou- 
bles and a stunt double and a horse riding 
double. These women do the most amazing 
things, and beautifully, too. That's what I 
mean when I talk about this not being just my 
show. They all help to enrich the character, so 
it's really a huge team effort and I'm grateful 
to all of them for their hard work." 

With Xena and Hercules both shooting in 
the same Auckland studios, one might think 
there was a little good-natured rivalry 
between the parent series and its spin-off. 
"Not really." says Lawless, "because we 
screen at different times, so there's no point 
in being in competition. We don't really com- 
pete, because the flavors of the two shows are 
so distinct from one another. There are things 
that happen on Hercules that will never hap- 
pen on Xena. and vice versa. There's no point 
in competing. I also think we're working way 
too hard to be looking at each other's shows." 

Nonetheless, the two characters meet 
again in an episode of Xena. "We just shot it. 
and I think it has turned out great. It was so 
nice to work with Kevin again. It's really like 
an ensemble cast, because everybody knows 
their characters and you're not mucking 
around trying to find something in a scene, so 
filming went much faster." 

Should Xena: Warrior Princess turn out 
to be the same unexpected success as Her- 
cules: The Legendary Journeys last season, 
it's entirely possible that Lucy Lawless could 
be battling the forces of evil for many years 
to come. The actress considers that possibili- 
ty for a moment. "If you're going to play a 
character for a couple of years." she finally 
reflects, "then I can't think of a better charac- 
ter to play. She has such duality and com- 
plexity that I should consider myself a very 



(continued from page 64) 

would drive home 600 miles for a weekend! 
Or go fishing or something. He was lovely 
and odd. 

STARLOG: In 1981, you acted in a very 
obscure SF comedy called The Perfect 
Woman. 

WINDSOR: Oh. gosh, that was a cheap, 
cheap, cheap movie — it was made for cable, 
and it was shot on tape, if I'm not mistaken. 
Many of my old friends were in it. like Rudy 
Vallee and Cameron Mitchell, and [writers] 
Allan Sandler and Robert Emenegger are 
very, very nice people. The producer was 
Anne Spielberg. Steven's sister. It was a cute 



~~ *--;*-V- 









lucky actor if I do." 



Part of the fun of making The Jungle in 
India, recalls Windsor, was meeting 
dignitaries like Nehru. 

story where this fellow on another planet. 
Fred Willard. is a king who's going to have 
all his wealth taken away from him if he 
doesn't bear a son. He's too fussy, he won't 
marry anybody on the planet — all he does is 
sit in his room and look at TV from Earth. He 
sees "the perfect woman" on TV and he 
sends these two idiots, Barry Gordon and 
Peter Kastner, to Earth to kidnap this very 
feisty girl. I was the sort-of "premier" of the 
planet. 

STARLOG: Your last genre credit was an 
episode of TV's Tales from the Darkside. 
WINDSOR: That episode ["A New Lease on 
Life"] plays and plays and plays — I get so 
many residuals that they're down to about S6! 
I played a landlady who had an apartment 
house that ate people — I would get tenants in 
there, and then feed them to the building. 
There was a big mouth at the end of a hallway 
and when it got hungry, it let me know — and 
I would lose another tenant [laughs] ! 
STARLOG: What keeps you busy lately? 
WINDSOR: I'm very slow at it. but I'm try- 
ing to write a book about my life and my fam- 
ily. Life isn't dull around here. 
STARLOG: And, needless to say, you would 
still like to continue to act. 
WINDSOR: Oh, yes: I think the last thing I did 
was a Murder. She Wrote a couple of years ago. 
Acting is fun and I love all the people in the 
industry, and the minute I get in the car on my 
way to work, I'm a happy person. Of course, I 
wish I had become a big. sparkling star, but I 
can't complain because it has been a wonderful 
life and I've made a lot of good friends and had 
a marvelous time, and I really feel lucky to have 
been here. And the end is not yet! -^v 



(continued from page 58) 

rospect. we would have loved to have had 
Happy beamed up there with him," laughs 
Copp. "but cooler heads prevailed." 

Goodman reveals, only partially joking, 
that the predecessor to Captain Zoom was 
actually inspired by STARLOG. "This is a 
childhood fantasy of mine to be interviewed 
by ST4RLOG." he confesses. "I remember 
when I was in junior high school, there was 
an article in issue #10 or so on how to do 
homemade special FX. I got a camera from 
my Uncle Marvin and filmed a little space 
movie w ith my best friend, my cousin and my 
sister. With inflation, I think it cost as much 
as Captain Zoom'." 

Future Adventures 

There is a possibility of a sequel or even 
an ongoing Captain Zoom series. "We're 
talking about both right now," says Good- 
man. "The last democracy in America is syn- 
dicated television, so now we're waiting for 
the audience to decide whether this is some- 
thing they want to see. We're working on a 
sequel script now, because the studio had 
enough faith to commission it, so we're just 
waiting to see how the audience responds. 
Either way. we had fun!" 

The writers have considered ideas if Cap- 
tain Zoom returns. "Flash Gordon is the tem- 
plate." Goodman notes. "Alex Raymond's 
strip was about Flash Gordon coming to 
Mongo and uniting the people against Ming, 
and I think if we were going to do Captain 
Zoom as a series, we would do that with a 
comic spin. One thing that SF on television 
doesn't do well is create whole worlds — you 
go to a planet and meet five people, and they 
define the planet. Here we have the planet 
Pangea — we're going to be defining the dif- 
ferent races, some human, some not so 
human — like the underground race we see in 
the first two hours. It's going to be Captain 
Zoom's job to unite this planet." 

"The heart of this series would be this 
actor trying to fulfill the biggest role he has 
ever had. which is the role of the Promised 
One." says Copp. "And to the people of 
Pangea, he is their hero. There's a conflict 
between the guy inside and what he's all 
about — an egotistical coward, and yet having 
to lead these people and get comfortable as 
this revered leader." 

"There is also the conflict between Tyra 
and Captain Zoom." says Goodman. "Tyra is 
the real leader, and she must accept this vain. 
self-centered guy as the messiah!" 

No matter what the future holds for Cap- 
tain Zoom, its creators are proud of their 
work. "Even if we never do it again. I'm very 
happy with what we accomplished." says 
Brian Levant. "I'm supposed to be out doing 
features and stuff, but my heart is really in 
Captain Zoom. I've enjoyed every moment of 
it. particularly designing the ships, the 
weapons, the costumes and the world — and 
getting the imagination pumped up." 



66 STARLOG/Jawwrv 1996 




Scott Bakula discovers what Ro^ 

Thinnes always knew: The aliens 

are among us. 

By BILL WARREN 




\ 




Bk 






.'e the worm!" someone shouts 
| inside the vaulted cavern of Los 
I Angeles* Union Station. And the 
worm is moved. The worm is vital on this 
blisteringly hot August day. since it's the big 
duct for a aiaantic air conditioner chugging 




away outside the walls of 
the railway station. The 
two-foot mouth of the 
worm belches cold air 
over the cast and crew of 
The Invaders, a mini- 
series scheduled to air in 
November on Fox. 

And yes. it is a sequel 
to the classic Roy Thinnes 
TV series of the 1960s, 
and yes, Thinnes does 
appear in the film as 
David Vincent, after over 
25 years, still trying to 
stop the gradual invasion 
of Earth by hostile aliens 
who have disguised them- 
selves as human beings 
and infiltrated Earth's 
society on all levels. 
Although he's not in any 
scenes being shot on the 
day STARLOG visits, 
Thinnes is on the location, 
looking dapper and dash- 
ing. He chats amiably 
with tourists, and is clear- 



ly having a great time. 

This time, the star is the ultra-busy Scott 
Bakula. playing Nolan Wood. In the course 
of the four-hour mini-series. Wood does 
encounter David Vincent, who gives our new 
hero very important information — passing 
on the legend, as it were. 
However, if the mini-series 
does spawn a new weekly 
program, it won't feature 
Bakula, who's tied up else- 
where, but there's a chance 
that Thinnes will be at least a 
recurring character as the not- 
so-paranoid David Vincent. 
This mini-series was written 
by James (Forever Knight) D. 
Parriott and is being directed 
by the bouncy, enthusiastic 
Paul Shapiro. Others in the 
cast include Elizabeth 
(Jacob's Ladder) Pena, 
Richard (Battle Beyond the 
Stars) Thomas, DeLane 
(Dave's World) Matthews. 
Richard (Homicide) Belzer 
and Terence (St. Elsewhere) 
Knox. It's being shot on an 
accelerated schedule in the 
hot summer of 1995. and 
includes at least one favorite 

Is Jerry (Richard Thomas), 
Wood's son's stepfather, 
one of the Invaders among 
us? Quick, check his pinky 
finger! 

The Invaders, a four-hour 
Fox TV mini-series, brings 
together two generations of 
invasion fighters: David 
Vincent (Roy Thinnes) and 
Nolan Wood (Scott Bakula). 



science fiction location, Vasquez Rocks. 

The scenes being filmed in Union Station 
are near the mini-series' climax. Wood has 
learned of the Invaders' plan to detonate a 
poison gas device in the tunnels of the Los 
Angeles subway. When STARLOG arrives 
on the set. Bakula is in front of the cameras, 
making a very important phone call, the seri- 
ousness of which is undercut a little by the 
production assistant out of sight behind him. 
feeding Bakula the lines of the actor on the 
other end of the phone in a dry monotone. 

Through glass doors behind Bakula, the 
camera can see Jon (Hill Street Blues) 
Cypher, as a Presidential candidate, giving a 
speech about MetroRail and the subway 
before an interested crowd that includes a 
few camcorder teams and journalists with 
flash cameras. Again, reality intrudes upon 
the fiction of the scene: Cypher is actually 
not saying anything at all, mouthing unspo- 
ken words, but gesturing in a convincing 
manner. Maybe we would all be better off if 
more politicians made silent speeches. 

Bakula is deeply involved in the shoot, 
but can take some time out to talk. Nolan 
Wood, he says, "has just gotten out of prison, 
where he has spent seven years for man- 
slaughter. He was originally in the Air Force, 
and was a pilot with his own little commer- 
cial route from Los Angeles to Las Vegas. He 
started to have visions and UFO sightings, 
visions of Invaders dancing in his head — and 
almost everybody thought he was crazy, and 
he thought he was crazy, too." 

Wood was sent to prison, losing not only 
his business and his freedom, but his wife 
Amanda (Matthews) and young son Kyle 
(Mario Yedidia). when she marries Jerry 
Thayer (Thomas). When Wood is released, 
he still has strange visions of a Las Vegas 
tour bus. with glassy-eyed tourists, arriving 
not at Vesas. but on an abandoned air base 




68 STAKLOG/Jamtary 7996 



out in the desert. Figuring in his dream is a 
truck stop run by Amanda and Jerry — who 
Kyle mistrusts. 

Eventually, it's apparent that Nolan Wood 
is not your run-of-the-mill paranoid, and that 
all his weird dreams do have some basis in 
reality. "We find out in the course of the 
story." says Bakula. "that he was implanted 
by the Invaders, and was manipulated by 
them into killing this Harvard ecologist. who 
was on the verge of making great inroads into 
an environmental issue that was going to hurt 
the aliens" survival chances on this planet." 

After he gets out of prison, the Invaders 
realize Wood is still a problem, and they also 
need to deal with Dr. Josh Weber (Erik 
King). He and his nurse. Ellen Garza (Peha). 
have discovered that there is no match for the 
blood type of a victim of an oil refinery- 
explosion. The Invaders make it seem as 
though Wood has killed Dr. Weber, and has 
been injured himself in the shootout. While 
he's in the hospital. Ellen begins to believe 
that Nolan didn't kill Weber, and that Nolan's 
blackouts and tales of aliens match up with 
the suspicions she and Weber shared about 
the explosion victim. 

She helps Nolan escape. He heads for that 
truck stop managed by his ex-wife and her 
new husband, and has a horrifying encounter 
with aliens. But he also meets Kyle, who 
joins his attempt to thwart the aliens' plans — 
and both of them ultimately team up with 
Ellen, who has been having an adventure of 
her own. 

The Lone Voice 

There are a few differences between The 
Invaders mini-series and The Invaders TV 
series. Director Shapiro says that one of 
those is that the mini-series "is wittier. The 
aliens sort of roam Earth in this version dis- 
guised as pasty-faced Las Vegas tourists, who 
chain-smoke and eat steak and eggs. They do 
things that are really bad for you. right?" He 
bursts into laughter, but stays planted in front 
of the worm. 

What he means is that, as makeup FX 
designer Michael Burnett points out, "these 
aliens, when they're in alien form, cannot 
breathe oxygen: it's actually poisonous to 
them." This is. in fact, how young Kyle learns 
that his stepfather Jerry isn't just a cold- 
hearted creep, he's a cold-hearted creep who 
isn't even human. One night, the boy follows 
Jerry out to the garage, where he shuts the 
door and turns on the car — and sits 
there happily breathing the carbon 
monoxide. 

In Parriott's script, the Invaders are 
opposed to anything that might clean 
up Earth's environment — they love pollu- 
tion — and so that's why they're out to get 
Cypher's presidential candidate. As Bakula 
says. "A senator, who's running for presi- 
dent — and is in the forefront in terms of can- 
didacy — is also a big environmentalist. His 
policies and many of the planks of his plat- 
form will seriously hurt the aliens' chances 
on the planet, should he be elected. They're 
choosing to deter him, if you will, and get rid 
of him. So. I'm onto their plan." 




While in prison, Wood's wife, Amanda (DeLane Matthews), married another, taking 
Wood's son Kyle with her. Wood must reunite his family and keep the world safe. 



But why bring back The Invaders at all? 
Although it only ran two seasons on televi- 
sion, it is true that it has a following both here 
and overseas (in France, for example, it may 
be the most popular American series of all 



'Know that you're not crazy, 
know that this is real.' " 



time). But The Invaders wasn't anything like 
a hit way back when. The question of bring- 
ing it back, says Shapiro, is complicated, 
"but everything sort of has its own life — and 
then its next life. I think there's this 30-year 
cycle that's happening now that has to do 
with the '60s. It's us. it's our generation, the 
TV we grew up with. Now we're making the 
TV, so those early influences are bound to 
make a comeback, and this is one of them. 
"If you take the original show, and then 



filter it through 30 years of history and skep- 
ticism, and put it through our brain trust as 
we've grown into adults from when we were 
children in the '60s — this mini-series is that 
show filtered through all of those elements. 
This is a much wittier and weirder take 
on science fiction, on alien invaders, 
on people, in fact. The premise is sim- 
ilar, but after you get past that, it's a 
whole new ball of wax." 
One fragment of wax from the old show, 
of course, is Thinnes as David Vincent. 
"David is still tracking the aliens." Thinnes 
says, "and notices this character that Scott 
Bakula is playing, and realizes that he has 
been abducted and is an Implant: Invaders 
fans will know what that means. He's under 
their control, but he's unaware of it: he 
thinks he's having terrible nightmares and 
visions." 

This is what brings David Vincent into 



STARLOG/'/amw/v 7996 69 



contact with Bakula's Nolan Wood. ''David 
is following me a little bit." Bakula explains, 
"and has been monitoring my path, as he 
monitors all the aliens, and has known I was 
an Implant. He confronts me at one point, 
and basically says, 'You're not crazy. What 
you've been seeing, what you've been feel- 
ing, what you've been hearing, is real. And I 
have proof, because I've been trackin' them 
for 27 years. If you'd watched television in 
the '60s, you would know this,' " Bakula 
adds with a smile. "He passes on information 
to me. and says, 'Know that you're not crazy, 
know that this is real, and we have to do 
whatever we can to stop them. I'm going to 
do what I can, you do what you can, maybe 
our paths will cross again, maybe they won't. 
Good luck." And he gives me his manual — 
his talisman — and disappears into the night." 
Thinnes is pleased to be back in the role 
of David Vincent. "'It feels great; it barely 
interferes with my personal life. I show up at 
3 a.m., and I'm home by sunrise. It has been 
a very good shoot." He acknowledges that 
while it's true that The Invaders is the show- 
that people remember him most for over all 
the years since it was on, "I don't mind that at 
all. It was a great show — but I've done many 
other things. Eight other series that some 
people remember, a lot of movies, stage 
work, musical comedies. But whenever I see 
anybody's face light up, it's usually for The 
Invaders. Sometimes, even in a car that's 
ahead of mine, I'll see a hand come out the 
window, and there will be a stiff little finger 
on it — and I know it's somebody who 
remembers The Invaders'' 



Photo: Larry Watson 




The Pinky Finger 

In the original series, the Invaders could 
duplicate human beings (it was never clear if 
all Invaders were copies of specific humans, 
or if they only did that sometimes), but while 
they could get everything else exactly right, 
their little fingers were stiff, sometimes 
straight, sometimes curved. This idea, how- 
ever, was sometimes ignored or forgotten in 

"He started to have 

visions of invaders 

dancing in his head." 

certain instances. Mini-series director 
Shapiro acknowledges that "some of the 
Invaders have stiff fingers, but we haven't 
made that the presentational centerpiece of 
this at all. That's not really the point; this is a 
darker, weirder, stranger spin on the whole 
thing." 

Burnett did an appliance with a creepy- 
looking webbing under the little finger, and 
this is used at several points in the project; 
Thomas wears such an appliance. So does 
Invader Monk (Jack Kehler), when he's shot 
in the hand by Bakula's character. "They try 
to force the implanted Scott Bakula to kill a 
doctor who is just about to discover the 
aliens." Burnett says. "Scott fights it off, so 
Monk picks up the gun and kills the guy, then 
shoots Bakula and hands him the gun. Scott 
fights it some more, and shoots Monk right 
through the hand as he's leaving. There's a 
closeup of him bleeding, where I did an 
appliance with a blood tube." 

There were several areas of Bur- 
nett's principal involvement in the 
show. First and most 
notable, for Invaders 
fans, is that we finally 
see the aliens in their 
alien forms. In the origi- 
nal series (as related in a 
two-part piece on its 
making in STARLOG 
#207 and #208). there 
was some confusion over 
whether they looked like 
a cross between a squid 
and a seahorse, or were 
basically humanoid; the 
mini-series opts for the 
humanoid appearance, 
with wrinkled creatures 
that vaguely resemble 
the ancient humanoid 
briefly glimpsed in 
Earth vs. the Flying 
Saucers. 

Burnett has gone for 
an organic look to much 
of the aliens' hardware. 

According to Bakula, 
Wood "was implanted 
by the Invaders, and 
was manipulated into 
killing this Harvard 
ecologist." After seven 
years in prison, he's 
free. ..to run. 



working within the mini-series' limited bud- 
get. He and his team sculpted three separate 
alien heads that differ from one another the 
way human beings' heads do: this one's a lit- 
tle "bigger, that one's a little thinner, etc. Each 
alien wears an organic-looking breathing 
apparatus, and Burnett made four variations 
of that. "Each breathing mask," he says, "had 
different hoses: one had a single hose, one 
had a single hose that split into two; one had 
two hoses. By changing the paint schemes, 
and by rearranging the hoses and the differ- 
ent breathing masks, it looked like we had 
many different aliens." 

As Shapiro says, "In their raw state, the 
aliens are kind of aged, with rough skin and 
breathing masks like living organisms 
clamped on their faces. They can only 
breathe poisoned air. When they come to 
Earth, they implant Earthlings with this 
diode or crystal that goes into the head, 
which allows them to mind-control them. 
They do this by vibrating at a very high rate 
of speed, like a hummingbird. When the 
Implants have outlived their usefulness, 
they're then morphed into other aliens. 

"They go into this deserted Air Force 
hangar, and by electrochemo-luminescence 
and sound effects and all this stuff, they're 
morphed into Earthlings. We had 10 AT&T 
phone booths that had been all silvered out, 
and 10 corresponding gumeys with breathing 
body bags. The Invaders lie in the body bags, 
and the outmoded Implants stand in the 
phone booths, and there's this giant rip of 
orange light that causes them excruciating 
pain — the guys in the booths are howling. 
After each morph process, you see this 
organic body bag starting to breathe on its 
own. It's quite wicked." 

The body bags were clear bags that Bur- 
nett's team painted with veins to make them 
look more organic. "The bag was connected 
by hoses into an intermediary chamber 
between the bag and the booth. These bags 
would breathe as they morphed. The original 
person just disappears, while the alien goes 
into the world to replace the person they now 
look like. These people would be on a tour 
bus to Vegas, but instead, they would be 
taken to this airfield where all this is set up, 
and they would be replaced by their alien 
doubles. Scott Bakula sees this happening, 
then gets some people to come back with 
him — and now it's just literal phone booths 
there: everything else is gone." 

Then, there were the other organic-look- 
ing thingies. like a sea creature that was 
used for the implanting of the diodes. 
"There is a sort of face-hugger apparatus 
that grabs onto a person and immobilizes 
them." says Burnett. "The alien would take 
an implant gun with a little glowing chip on 
its end. and they would put that glowing 
chip inside the head. It was pretty cool. We 
used silicone skin material, which is the 
new stuff everyone's using for creatures 
now. The great thing about it is that it's 
translucent, so you could see the glow 
through the face-hugger, and could see the 
little light seem to go into the nose, and into 
the head." The Implant creature/devices were 



STARLOG'/awMn' 1996 




The invasion has begun, and a rag-tag team lead by Nolan Wood (Bakula) is the only thing that stands between human freedom and 
alien domination. 



puppeteered to wiggle nastily as they're 
clamped onto a victim's face, with their ten- 
tacles clutching the cheeks. 

The Mind implant 

One of those who gets implanted is Knox, 
playing Coyle. the cop of the piece. He 
becomes involved because Bakula is his pris- 
oner, and then escapes. "I'm committed to 
bringing him back in. Elizabeth Pena helped 
him escape." says the actor, "so I'm trying to 
bring them both in." 

But by the time of the Union Station 
scenes, "the aliens have implanted a device in 
my nose that puts me under their control, so I 
switch back and forth from being a cop pur- 
suing his fugitive to working the will of the 
aliens." 

Knox explains that both he and Bakula 
have taken care to play their characters dif- 
ferently when they're under alien control, 
and when they're running on their own. 
"That's tricky, technique-wise." says Knox. 
"When they want us to be under their influ- 
ence, we act one way. When we pull out of it. 
we're not sure what just happened. When 
they put the implant in. a woman was sedu- 
cing me; I was naked in her room. Next thing 
I know, when I woke up. I had the implant — 
so I forgot a lot." Knox is really enjoying 
makins The Invaders. He's delishted that a 



friend of his, a French film director, can 
recite the entire opening narration of the 
original series from memory — and. of 
course, in French. 

Bakula is clearly the central figure on the 
set. even if a passing train passenger refers to 
him as Dennis Quaid (a mistake that greatly 
amuses Bakula). He's the main star — the rea- 
son the show was bankrolled — so he could 
throw his weight around if he felt like it. But 
he's still relaxed, friendly and warm, an out- 
going man whose likable nature seems as 
genuine as his grin. Shapiro considers him 
"really fun; he knows his work inside and 
out. A consummate professional who knows 
the camera better than most cameramen 
know it." 

Burnett describes Bakula as "a real nice 
guy. The biggest sequence I did with him was 
when he was in this antique dentist chair that 
looked like a torture device. We were actual- 
ly in the morgue of a real hospital, a little tiny 
room with big. old, hot lights, very little ven- 
tilation, and it was at the end of a long day. I 
was putting slime on him. covering him with 
this face hugger, sticking things up his nose, 
and he was very nice about the whole thing." 

Bakula himself admits that when he 
meets people outside of show business, they 
approach him as if they like him. "It's really 
lovely to be there and aet that kind of 



response, and be reminded that there are peo- 
ple out there. Because the hard thing when 
you do movies and television is that you 
don't necessarily know; with television, it's 
the Nielsen ratings, with movies, it's about 
the box office. You don't necessarily put 
faces on that, and it doesn't seem quite as real 
when you do theater and you know people 
are out there appreciating your work." 

Mostly because of Quantum Leap. Baku- 
la has become identified with SF and fantasy 
as an actor. Some might — and do — resent 
this, but not Bakula. "I like it a lot. I find 
myself in a place where it's easy for me to 
believe it. to go there and act it. so I guess 
when I walk into the room to meet people on 
these things, they've already made the asso- 
ciation, and it's an easy role for me to 
assume. It's because I like the genre, and 
always have, and have done several of them 
now. So. I guess it's part of my fate as an 
actor." 

Unlike Scott Bakula and Roy Thinnes, 
this is Paul Shapiro's first brush with science 
fiction. "I'm having a ball." he says. "We had 
40 days to shoot: it's a bit Biblical. And now 
we have four weeks to cut four hours of TV." 
And then The Invaders as a mini-series will 
make its debut. Will the aliens then return 
again, pinky fingers at the ready, in a regular 
series? Time and ratings alone will tell, -4& 



STARLOG/'/amMrv 1996 71 




fla/agtf aa ©p ™ 




T 



here's no way to underline it— dwight Schultz, the acclaimed 
actor who shot to prominence as H.M. "Howlin Mad" 
Murdoch in The A-Team. is really a science-fiction fan. 
Of course, STARLOG readers know him best as Reg Barclay, the 
brilliant Holodeck-obsessed engineer occasionally seen on Star Trek: 
The Next Generation and recently on Star Trek: Voyager 
("Projections" ). He has also guested on Babylon 5 and The Outer 
Limits. And he has his own surprising opinions on the craft of acting. 

STARLOG: Everyone has come to know about you mainly as 
Murdock from the A-Team. What's your background in acting? 
DWIGHT SCHULTZ: I've been an actor for almost 28 years now. I 
worked strictly in the theater for 15 years in the United States. I went 
from city to city — Houston for a year, Princeton for a year, St. Louis 
for a year, New Jersey for two years, Baltimore, my home town, for 
a year. Then, I went to New York in 1976, and stayed there working 
on Broadway, off Broadway, until 1982 when I went to Los Angeles. 
In 1982-83, the first television work I ever did was The A-Team. 
STARLOG: Are you a Star Trek fan? 
SCHULTZ: I'm a big Star Trek fan. 
STARLOG: Even when you were younger? 
SCHULTZ: Yes! 

STARLOG: Who was your favorite? 

SCHULTZ: Out of the originals. I didn't have a favorite. I loved the 
relationship between — and I really mean this — Kirk, Spock and 
Bones. Those three. The balance of the relationship. The humanity, 
the failings, the fire that Kirk had. The sheer intellect of Spock. The 
passion the doctor had between the two of them. I don't think the 



By STUART BANKS 



Whether it's Barclay, Mad Murdock 
or Robert Oppenheimer, Dwight 
Schultz just likes to do the roles. 

show would have worked with one of them missing. 
STARLOG: How did you get the part of Barclay? Were you specif- 
ically chosen for it? 

SCHULTZ: This is my belief that this is the way it went. I was mak- 
ing a movie with Whoopi Goldberg called The Long Walk Home, and 
I told her what a big Star Trek fan I was. I asked her what it was like 
to work with Patrick Stewart. I knew Brent Spiner from New York and 
she said, (at this point he mimics Goldberg) "You gotta be on that 
show." She went back and told them. Before I knew it, I got a call 
from my manager asking me if I would like to do it. 
STARLOG: Do you actually enjoy science fiction roles, as opposed 
to normal, straight acting roles? 

SCHULTZ: I lore science fiction. It's what I've always wanted to do. 
It's my favorite genre. I grew up seeing every science fiction and hor- 
ror film that there was. I started off as a kid — I've always wanted to 
be an actor. But I spent hours and hours in front of the mirror putting 
on makeup. I went through more rolls of toilet paper and glue. My 
parents, they still have photos of me as a kid as this monster or that 
monster. I had a box of clay and I used to sculpt every monster that I 
saw. So, I was into this. I don't know if you remember Famous 
Monsters of Filmland. I collected those magazines each month. I 
drooled over them. And this is it. This is what really got me into want- 
ing to be an actor. 

sf ARLOG: Since The Next Generation, you've gone on to appear in 
Babylon 5. 

SCHULTZ: That was really fascinating, because it's precisely the 
opposite of Star Trek. Star Trek is shot on this big studio backlot. Very 
classy. Incredibly- 



classy sets. Huge 
budget. Babylon 5 
is shot in this 
warehouse. And 
most of its effects 
are done on com- 
puter — an Amiga, 
which I have. It's 
great. They're 
really neat peo- 
ple, particularly 
Jerry Doyle, a 
really interesting 
character. And 
Babylon 5 is the 
first thing he has 
ever done. He 
went from being a 
pilot, to a Wall 
Street broker, to 
an actor in a hit 
TV series. 
STARLOG: So. 
how do you rate 
Babylon 5, 



Star Trek has allowed Dwight Schultz to 
play all kinds of roles, from Cyrano de 
Bergerac to Reg Barclay— and he has 
loved every minute of it. 



\ 



S 



72 STARLOG/Zawwary 1996 




Photo: Robbie Robinson 

compared to Star Trek?. 
SCHULTZ: How do I rate it? Well, I like it 
a lot. It's right up there. It's the dark side, 
very different. It's very crowded, like Blade 
Runner. With all these strange faces and 
strange noises and different cultures clashing 
and bashing. That, probably, is more realistic. 
But Star Trek is idealistic. That's what it was 
meant to be: idealism. And there's room for 
that. I love Star Trek. Babylon 5 sometimes 
doesn't do it for me. Sometimes I want to see 
Babylon 5. Other times I want to see Star 
Trek: The Next Generation. And sometimes I 
want to see the old Star Trek. So it's like a 
feast, you know? 

STARLOG: Do you think you've been type- 
cast in "dysfunctional" roles since playing 
Murdock? 

SCHULTZ: No not at all. I went from play- 
ing Murdock in The A-Team, to doing Robert 
Oppenheimer in Fat Man & Little Boy, to this 
racist father in The Long Walk Home. I was 
not typecast. So, it's a question of what you 
like to do and what's available. But I've been 
fortunate not to be typecast. 
STARLOG: Do you find that playing the 
mad Murdocks and the Barclays give you 
more scope as an actor, rather than doing 
straight roles? 

SCHULTZ: It all depends. 
There's madness; the great roles 
are always mad. Always. 

I'll give you an example. 
Oppenheimer tried to strangle 
his best friend in Europe, when 
he was 20 years old. They 
thought he had dementia 



science fiction," raves Schultz, who 
artificially smartened in The Next 
eneratioris 'The Nth Degree," his favorite, 
it's what I've always wanted to do." 



mean, he was mad. Think of Ken Russell's 
movies. Think of the movies, the classic 
films, where in recent years all the central 
characters are, in essence, kind of mad. There 
is this madness that's a part of eccentricity. I 
love playing eccentrics. They're famous as 
personalities simply because they're so inter- 
esting, so out of the ordinary. Being out of 
the ordinary is something good. 
STARLOG: How much of yourself is there 
in the roles you play? 

SCHULTZ: There is always something of 
me. If I take the two things that I'm 
best known for in television, 
Murdock is what I want to be all the 
time. All right? And Barclay is more 
what I am. That's closer to me as a 
person, offstage in terms of life. 
STARLOG: Do you think Barclay 
the character is actually a contradic- 
tion in terms? 

SCHULTZ: Well, that's the way he 
was described when they wrote him. 
But you see, it really has to do with 
how brilliant he is. Can you over- 
look his social skills problem to get 
to his intelligence, his capability? 



As a kid, Schultz "spent 

and hours in front of the i 

putting on makeup. I 

through more roles of 

paper and glue." His yoi 

pastime has paid o. 



STARLOG: Many fans like the way 
he came across in "The Nth 
Degree." 

SCHULTZ: That was my favorite 
episode because of what happens to 
him and also what the writers did — 
they captured human failing and 
human experience. In the future. I believe 
we're going to be part human and part com- 
puter. That's going to happen. We're doing it 
now. We have cells, neurons are attachina 



themselves to chips in petri dishes. We're 
going to have artificial vision that's all com- 
puterized. 

STARLOG: Shades of the Borg? 
SCHULTZ: Oh, it's there. It's happening 
now. Think about it. Think of viruses that 
they use as computer switches. They're alive. 
Human beings see things before they happen. 
They always happen. Science fiction writers 
like H.G. Wells and Jules Verne did it. Think 
about what H.G. Wells predicted, and what 
came true. Then, go back and look at science 
manuals and their predictions and you'll find 
they're all linked. These people predicted the 
future. Not scientists. The only scientist who 
predicted the future, predicted it knowingly, 
was Albert Einstein. But he was a creative 
genius. Creative minds predict the future 





Photo: Danny Feld 



accurately. Scientists, although they create 
that reality, don't really predict it. 
STARLOG: SF writers do seem to be more 
open-minded. 

SCHULTZ: They see things intuitively. 
They make extrapolations that are from pre- 
sent world situations, that are more accurate 
than people who are so narrowly focused on 
the mathematical equation and how it applies 
to the scientific method. 
STARLOG: What SF shows do you like, 
apart from Star Trek and Babylon 5? 
SCHULTZ: Of course I love the old Twilight 
Zone. Black and whites. I did one of the new 
Outer Limits. It's a cheekier episode. It's very 
good quality. They're very good scripts. 
They're shot in Canada. I worked with a fab- 
ulous actress named Alberta Watson. 

• ••••••••••••••••»••••••••• 

STUART BANKS is a British writer. This is 
his first article for STARLOG. 



Photo: Stuart Banks 



STARLOG/Zamrary 1996 73 



STARLOG: Are there other parts in Star 
Trek you would like to play? 
SCHULTZ: I would love to play a 
Cardassian. I would like to play someone 
truly wicked. But deceptively so. I would like 
to play somebody who really professes love 
for everybody, and just deceives the hell out 
of them. Just like in life. I want to be able to 
play someone who can be truly hated. 
STARLOG: How do you feel about the lack 
of British-made science fiction, considering 
the demand for such shows as Doctor Who in 
America? 

SCHULTZ: It's very interesting. Going back 
to when the Cold War was at its height, there 
were two films made about doomsday. One 
was The Day After, which was American. 
And the other was Threads, which was 
British. Threads was absolutely incredible. I 
found that The Day After was boring. 
Threads knocked my socks off. There's a 
need for it. It's like ALIEN, which, to me, 
was the great science fiction/horror film. It 
was the essence of a great movie. 
Storytelling made you [the audience mem- 
ber] do 50 percent of the work. And there- 
fore, you were in there. It was just sensation- 
al. It was everything that you wanted it to be. 
The dark sexual aspect — there was nothing 
in that film that didn't have a sexual over- 
tone. And then there was the concept of rape. 
Everybody being violated by this thing and 
turning the body against your will forcibly. 
Every surface glistening. Slime dropping 
from the mouths. Things slipping in and out. 
People being killed off camera. When you 
hear them scream over a box, it doesn't 
sound like a scream: it could be a woman at 
the height of orgasm. I mean, those kind of 
things were mind-boggling, dark. They play 
games with your head because they're things 
which you associate, but they're jarring, 
because this is horror. You don't know what's 



actually going on. and what it looked like. All 
these things are happening to you in a senso- 
ry way. You're taking it in subconsciously. 
STARLOG: If you ever directed, what 
would you like to do? 

SCHULTZ: Well. I have directed, but only 
in the theater. I love directing. But I'm not a 
director in the sense that most people would 
assume. I have a passion for doing one thing. 
Or two things, you know. Some people want 
to direct all the time. They want to go from 
project to project. I don't. I just have ideas 
about doing certain things. And I want to do 
that. For instance, right now. I want to write 
a play. That's what I want to do. I've been 
thinking, I've had an idea for a three-charac- 
ter play, for about 10 years. In terms of 
directing, I have an idea for a film. It's a 
futuristic science fiction piece, but more of a 
sociological drama. If I write that, that's the 
type of the thing I would like to direct. I don't 




want to direct television, although I admire 
people who do it. 

STARLOG: Several Star Trek actors have 
directed episodes. 

SCHULTZ: Yes, and they love it. It's a great 
training ground. But it's not my forte. You 
have to have an awful lot of patience. 
STARLOG: What other projects are you 
currently involved in? 

SCHULTZ: I'm not doing anything right 
now. I do a regular Saturday radio program 
on UFOs with the man who actually started 
the show, Don Ecker. Don's wife, Vicky 
Cooper, is the editor of UFO Magazine. 
STARLOG: Do you find that SF literature 
has become too dogmatic in its approach, in 




Recently, Schultz 
appeared on Star Trek: 
Voyager playing the thorn 
in the Doctor's (Robert 
Picardo) holographic 
side, Reg Barclay. 



Fans loved 
Barclay because 
he was the flaw in 
the "perfect" Star 
Trek diamond. 
He was even 
afraid of trans- 
porting in "Realm 
of Fear." 



going for issues 
such as personal 
conflicts and emo- 
tional stories as 
opposed to purely 
action-related sto- 
ries, such as Star 
Wars! 

SCHULTZ: Well, 
that's what real sci- 
ence fiction is 
about. Our predica- 
ment. In fact. I don't consider Star Wars sci- 
ence fiction. It's more in line with fain' tales. 
I consider Invasion of the Body Snatchers 
science fiction/horror. There has to be a very 
important element as to how this technologi- 
cal change affects the human being. Demon 
Seed is another — living with the computer 
and being inseminated by a computer. When 
we are the center focus, then it becomes 
interesting to me. 

STARLOG: Do you think that the media 
portrays you in a good light considering how- 
some of those in public view are portrayed? 
SCHULTZ: Well, yes. Because the media 
doesn't portray me very much. I don't have a 
publicist. I don't seek publicity. I like to do 
the roles, but I don't want to be on magazine 
covers. I don't necessarily want to be recog- 
nized. 

STARLOG: Do you think that playing the 
same role for any length of time can be 
restrictive to an actor? 

SCHULTZ: Here's where I'm a little crafty. 
When I did The A-Team, I did it, knowing 
each week I would be something different, 
even though I was always Murdock. When 
we talked about Barclay, you know, the 
whole concept of him on the Holodeck, was 
that he could be four different characters, in 
one room. He could be somethina different 




ever}' time. It doesn't stay the same. It's not 
a continuation. So, in a sense, you see, there 
isn't a typing. I didn't identify myself with 
Murdock or with Barclay. The future lies in 
your ability to do other things. So many 
actors tie themselves to one thing, and it 
seems right at the moment. But ultimately 
speaking, you have to let go. 

I'm almost getting too old to do Barclay, 
because he's a character who has to change 
in a different way, or go back, or revert to 
what he was. You can't look back. I don't. I 
don't have any pictures upon the wall. If you 
walk into my house, you would never know- 
that I was in show business, except for one 
letter from Laurence Olivier up on my wall. 
You see, I have been in the homes of people 
who were very famous. It's incredibly sad 
that they've lived their lives on the wall. 
Actors have ups and downs. Always. There 
have been a number of actors who have put 
full-page ads in Variety, saying. "Please, 
somebody hire me." I'm not kidding. John 
Ireland, a wonderful actor who was in 
Spartacus, couldn't work for five or six 
years. I was unemployed for a year back in 
the '70s. I know how difficult it is. I know 
other famous actors who've been unem- 
ployed for three and four years. Dean Jones. 
And Dean Stockwell. He hadn't worked for 
three years, and I remem- 
ber he was desperate. He 
was on The A-Team and I 
couldn't believe he had 
not worked. And of 
course, things change, he 
did Blue Velvet, then his 




career took off again. That's an actor's 
career. 

Very few actors — some, but very few, 
only the mega-megastars — go from role to 
role to role, and they have their three or four 
years soaked up. You can see the actors in 
Hollywood saying, "I'll never do TV, ever." 
Take Charlton Heston. He said the same 
thing. But when he wasn't getting any roles, 
what did he do? Television. It's a failure to 
recognize reality, in a sense, because you're 
fortunate, so fortunate. There's so much 
good luck. The right role at the right time and 
you can work for 10 years. I know an actress 
who was at Yale one year behind Meryl 
Streep. She won every award that Meryl had 
won at Yale. She left Yale, went to New York, 
won an Obie award for the first thing she did. 
and then never worked again. Her career 
died. She's living in New York as a secretary, 
working once in a while doing a show here or 
there. She is a remarkable talent, and yet 
she's dying. For some reason, fortune and 
she didn't come together. I mean, that's it. 
STARLOG: Because you've worked within 
SF-TV are you looked down on by those 
within the acting profession? 
SCHULTZ: Well, you know, people look 
down on me because I was in The A-Team. 
But then, there are people who love me 
because I was in The A-Team. Whatever you 
do, whether it's burlesque, George Bernard 
Shaw or Shakespeare, you do it the best you 
can. People are going to look down at you 
whatever you do. That's the fact of it. But it's 
what you want to do. I was absolutely 
thrilled to do Star Trek. Look what has hap- 
pened to Patrick Stewart's career since The 
Next Generation. He can do anything he 
wants. Now, people may say they look down 
on him. Do you think they really look down 
on him? And do you know how many actors 
would like to be Patrick Stewart? Give them 
a break, and you'll hear a lot of people 
knocking him, because they're jealous. Me? 
Doing Star Trek was one of the happiest 
moments of my life. T§r 

STARLOGIJanuan- 1996 75 



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Garrett Wang is getting 

accustomed to being 

lost in another 

universe. 

By JOE NAZZARO 



A 



s Garrett Wang recalls, when he first audi- 
tioned for the part of Ensign Harry Kim. 
the naive young Ops/ Communications 
Officer on Star Trek: Voyager, he really had 
no idea of the show's potential enormity. If 
he had. says Wang, the nervousness factor of 
the audition might have been far greater. 

"I wasn't completely oblivious to it," says 
Wang, speaking from his trailer at Paramount 
Studios, where he's well into shooting on 
Voyager's second season. "I had seen all the 
films and several original Star Trek episodes, 
but I hadn't really seen much of The Next 
Generation." 

In the end. Wang auditioned for the role 
of Harry Kim no less than five times before 
snaring the part. By the fifth try. he decided 
to jettison most of the emotional baggage he 
thought the character should have, and sim- 
ply fell back on his instincts. "After each 
audition." he explains, "and sometimes even 
before, they'll say, 'This is what we want to 
see out of this character." The casting director 
may give you a hint about what the producers 
are looking for before you even seen them, 
and once you see them, they'll give you a hint 
as to what they want you to fine-tune before 
you see the Paramount brass. 

"For me. I think I fit their m.o. for Kim; I 
looked the age, they were happy with my 
general appearance for the role, and then it 





came down to how I portray the character. I 
made my own decision of how to do that; I 
knew Kim was the youngest one in the crew, 
but I didn't want to make him too naive. 
There had been a lot of description of his 
being green around the gills, the most inex- 
perienced of the crew, but it's also an easy 
mistake that an actor can make to come in 
and try to play it Gomer Pyle-style or Woody 
Harrelson in C/7e<?«-style; an aloof young 
guy who's getting taken advantage of. That 
tends to get old really fast, so you must estab- 
lish some layers and colors and put a little bit 
of a twist into it. I chose to establish a level of 
intelligence, and then layer other elements on 
as my secondary motivations. 



From the San Francisco of the future to 
the distant reaches of the Delta Quadrant, 
Garrett Wang finds adventure as Ensign 
Harry Kim on Star Trek: Voyager. 



78 STARLOG/January 1996 




"I think what runs 
through the character," 
Wang continues, "is he has 
this enthusiasm, and the 
fact that he's new to it all. 
That's where I chose to 
come from, a place of con- 
fidence and security, but I 
also brought in an element 
of the unknown, that he 
doesn't know what's going 
to happen next. That's pret- 
ty much a mirror of life: if 
you're thrown into a new 
situation, you're going to be 
a little tentative, and that's 
what I brought to it." 

Nervous 
Prologues 

In sharp contrast to the 
months-long search for a 
crew, the Voyager cast 
members clicked together 
quickly. "We had a luncheon beforehand, 
with the producers and the other actors 
except for the captain. They had just cast 
Genevieve Bujold as Captain Janeway, and 
she was in the midst of the hair and makeup 
scrutinization. so she couldn't even make it 
to that luncheon. [Executive producer] Rick 
Berman gave a little talk to us, we met each 
other briefly, which was our first introduc- 
tion, and it was really kind of formal. We 
were sitting around this large table, and 
everyone was really reserved, and it was new 
to us all, obviously, so we didn't know what 
was going on. 

"We just sat there and listened and got 
advice from Rick and various other people 
developing the show. Then, we had a set tour 
after that, where they brought us around and 
showed us all the sets. I remember leaning up 
against a wall they had just finished painting, 
and getting paint all over my T-shirt. 

"Because w r e started shooting right after 
that, there wasn't much time to get together 
and say, 'Hey, where are you from?" That 
came along the way, although I had actually 
met three of the actors before that luncheon. 
I met Ethan Phillips during the fittings. He 
was living in New York at the time and had 
come in for this. And then I met Roxann 
Biggs-Dawson during my sideburn/hair/ 
makeup tests. I was there when she first 
donned her Klingon prosthetic. I also met 
Robbie McNeill the day I did my first film 
test with full uniform and hair." 

Looking back on those first shooting 
days, Wang has very vivid memories of 
walking onto the Voyager sets, in full cos- 
tume and makeup. ""The first time I stepped 
on the set was not to be filmed for the show, 
but was actually that test. What they do is 
film you in uniform to see if your hair and 
everything else is right and how you look. 
You just sit there, and it's very intimidating. I 
was so nervous and was sweating profusely. 
The air conditioning wasn"t on and it was 
really hot. I remember being told, 'We're 
going to film you now just so we can see 
what you look like, but while you're doing it, 




■\xir£.w:jrSi".v: 



we want you to go ahead and pretend that 
you're playing your part.' I said, ' What?! ' 

"They said, 'Just say some stuff, it 
doesn't matter; say some lines you already 
know from the script, just talk.' That was a 
really tough experience, and I remember 
walking from one end of the Bridge to the 
other, and in the process of doing that, I 
tripped and fell flat on my face because I was 




Wang finds a little lovin' in "Prime Fac- 
tors." "That was the pleasure planet 
[episode], where Eudana was trying to 
seduce me, so that was kind of fun." 

so nervous. I kept thinking to myself. 'What 
am I doing here? What's going on?" It was a 
nightmare. 

"I guess the feeling I had was this: think 
about what it would be like if you woke up 



"To this day, the pilot has been 
my favorite episode," Wang 
says. " 'Caretaker' was about 
adventure and it was an 
adventure for me." 

one day and opened your eyes, 
and found yourself in an operat- 
ing room. You're the head sur- 
geon, you don't know a thing 
about medicine or surgery, or 
what you're about to do, and 
everyone is waiting for you, say- 
ing, "Doctor, please begin.' 
That's the feeling I had that day." 
Wang's first real day of shoot- 
ing on the two-hour pilot, "Care- 
taker," was just as nerve- 
wracking. Metaphorically speak- 
ing, if the U.S.S. Voyager had a 
swimming pool, then Wang was 
being thrown into it and required 
to swim immediately. 

"The first day in the produc- 
tion schedule was originally supposed to be a 
day on the Bridge when we depart from DS9. 
and the Captain says for the first time the 
immortal word, 'Engage.' In that scene. Paris 
and I walk onto the Bridge, and we're intro- 
duced to the First Officer. I go to my station, 
and the Captain says, 'Mr. Kim, this is your 
station: do you want to take over?' I say yes 
ma'am, and she says, 'It's not crunch time 
yet. Mr. Kim, I'll tell you when.' 

"My big line after that was when the First 
Officer says, 'Ready thrusters' and I say, 
'Thrusters ready,' and the Captain says, 
'Engage.' I just had two lines in that scene, 
but because they had just cast Genevieve, 
they changed the shooting schedule around 
so they would have more time for hair and 
makeup to get everything together, and 
decided that the first day of shooting would 
be a different scene, which happened to be 
my scene. 

''In fact, looking down the schedule, 
every scene that day was a scene with me. 
Here I am, the most inexperienced one of the 
entire cast in terms of years in the business, 
this is my first big role, and I'm the first one 
up to bat. I'm thinking, 'No. I'm the rookie: 
don't you want someone who has been on the 
team for a while?" But no, it was me!" 

Wang's comrade in arms on that first day 
was McNeill, whose character, Tom Paris, 
was discovering he wasn't exactly Mr. Popu- 
larity with Voyager's crew. "The first words 
uttered on film were actually with Robbie, 
because it was a scene with me and Robbie 
in the Mess Hall, when Paris comes in and 
orders tomato soup. All the other guys take 
off, and we have a little bit there where I ask 
him why he falsified reports. He actually got 
to say the first line on camera, which was fine 
with me. I wasn't as nervous as I was during 
the test, but I was still very nervous. 

"The guys who really helped me loosen 
up were the two actors I was sitting with at 
the table — the individual who played the first 
doctor, and the first officer who gets killed. 
Those two guys who dislike Tom Paris were 
sittins with me, and the whole time we were 



STAKLOG/January 1996 79 




shooting, they were cracking jokes and mak- 
ing me feel a lot looser. 

"After that scene was the exchange in 
Quark's Bar. which was another substantial 
scene for both of us. There was no real sitting 



According to Wang, in the beginning, "I 
knew Kim was the youngest, but I didn't 
want to make him too naive." 

back and cruising through, which you can do on 
some days, so I was very nervous. By the next 
day, the producers had seen the dailies, and it fil- 
tered down to me that they were very pleased 
with what I had laid down on the first day." 

Favorite Intermissions 

Despite the nervousness factor that was 
very much in evidence during those first few- 
days of shooting, Wang still looks at "Care- 
taker" as one of the high points of Voyager's 
first season. "To this day. the pilot has been 
my favorite episode. We went on location. 
"Caretaker' was about adventure and it was 
an adventure for me. I had so much fun." 

Looking back over his work on season 
one, Wang cites a number of other episodes 
that spotlighted Harry Kim in various ways. 
"I would say that 'Eye of the Needle' was the 
next episode that had a lot of exposure for 
Kim. I had a good time on that, and it was a 
good story. I thought there were some good 
levels in that one that I hit. 

" 'Prime Factors' was interesting, because 
that's where I came very close to actually 
having a romance. That was the pleasure 
planet, where Eudana was trying to seduce 
me, so that was kind of fun. 

"Whether a character looks good or not 
really depends on the lighting. There were 
several episodes where what you see of Kim 
is restricted to a lot of Bridge play. There's a 
lot of fluorescent lighting on the Bridge, and 
it's very unflattering for the people at their 



stations, meaning Robbie. Tim Russ and me. 
We're off to the side and get that really harsh 
fluorescent light, which makes us look like 
extras from a Boris Karloff film. In "Prime 
Factors.' I got that sunset-type lighting which 
looks great on anybody. .And I liked the scene 
where I'm being approached by one of the 
pleasure planet people about making a swap 
between our library and their technology." 

One of the most powerful Kim episodes 
was "Emanations." in which the unwitting 
ensign is transported to another dimension 
where the inhabitants believe him to have 
returned from their society's afterlife. Wang 
has mixed feelings about the story, written by 
Next Generation veteran Brannon Braga, in 
that the episode's potential might not have 
been fully realized in the time allowed. 

"That was a really tough episode for me 
to film. It was a very long and demanding 
episode, and I personally think that one could 
have been made into a two-parter. There were 
many issues and such a lot of debate back 
and forth in that episode that for me, the pac- 
ing became too slow. 

"I got very excited when I started reading 
that script. I liked the premise. I think it was 
an excellent story and an excellent script, but 
I was left with the feeling. 'Wait a minute, 
there's more that could have happened." 
Unfortunately, you're working under TV 
constraints, so in a one-hour episode, you 
only have 47 minutes to tell your story, and 
that's not much time. You really need a little 
bit more time. I think, and that episode could 
easily have been stretched into a two-hour 
episode. It could have been a superb, fantas- 
tic episode." 




80 STARLOG/ January J 996 



The actor is fascinated to hear that one of 
Braga's own biggest regrets about "Emana- 
tions" was not being able to follow Kim's 
death through the character's own point-of- 
view. "You mean showing what he's going 
through while he's in a dead state? That 
would have been amazing! 

"To be honest, the second episode we shot 
this season. 'Non Sequitur.' is also another 
one of Brannon's. Maybe that could have 
been combined with 'Emanations.' They 
could have used elements of both to make a 
two-fisted punch of an episode. 

" 'Non Sequitur' has a lot of action in it, 
and I flip back into an alternate reality, and 
you could easily see me dying and going 
back to Earth. I could have been in a mid- 
station before moving on to the next level 
after the death experience. Even Brannon 
agrees that there could have been more things 
drawn out of "Emanations." but overall I was 
happy with the episode." 

Possible Finales 

With "Non Sequitur" under his belt. 
Wang is happy that his character is continu- 
ing to develop in the second season. That 
said, he has one caveat to offer Voyager's 
production team. "My biggest worry after the 
first season was that one thing you will notice 
is that Kim always seems to be the one get- 
ting captured or disappearing. In 
'Heroes and Demons.' he disap- 
pears, and even though the episode 
revolves around the Doctor, it's still 
Kim's Holo-novel. but he's gone. In 
"Emanations." he has disappeared. 
In the pilot. I'm the one they show 
screaming his guts out. 

"There's a lot of stuff happening 
to Kim. and what I was a little wor- 
ried about was that not once during 
any of the first episodes did Kim 
engage in any type of physical 
activity. Everybody else had a stunt 
double at least once an episode. 
Chakotay, Paris. Janeway: all them 
had something happen where they 
got to punch, fight or blast away, but 
Kim never once pulled out a phaser 
to shoot somebody. He never once 
had to run and dive for something, 
which really made me think. 'Wait a 
minute, there needs to be a bit of 
action for this guy, for one episode 
at least!' " 

The actor concedes that each 
character should get his chance to shine, and 
thus he hasn't lobbied for more Kim-heavy 
episodes. In fact, he hopes to use his down 
time to explore a different aspect of the 
series. 

"That's always going to happen, because 
we shot fewer episodes than we expected to 
last season. There were 19 episodes and nine 
characters, so that's maybe two episodes per 
person that can focus on their character. In an 
ensemble cast such as we have, it's inevitable 
Tieone is going to fall by the wayside. 

""1 used to sa%. "Gee. I have one day on the 
Br.;;r." fauinow I look at it as. "What do I do 
in that spare rime, in that time that I don't 




The X-Files Deep Throat, Jerry Hardin, co-starred alongside Wang in "Emanations,' 
a tale of death and the afterlife scripted by Next Generation alum Brannon Braga. 



have a focus on me? I can better my off-set 
relationship with my girl friend: there are so 
many things I can do, but the latest thing, 
which I guess would be of greatest interest to 
you. is that I've decided that I'm now going 
to devote a certain amount of my time to 
writing. They're always in need of good sto- 



that — 'He's the convention king!' I've been 
described as the Marina Sirtis of Voyager, 
because Marina has done 100-plus cons." 

Should Voyager follow the warp signature 
of its predecessor Star Trek: The Ne.xt Gener- 
ation, it's entirely possible that the series 
could run into the turn of the century. That's 




ries, and that's something I used to do when I 
was younger."' 

Wang has also continued to show his sup- 
port for the series outside the confines of the 
Paramount lot. The actor has a thriving fan 
club (contact Insiders: P.O. Box 8258, Long 
Beach, CA 90808 for more info) and does his 
best to make himself available for conven- 
tions, where he can meet Trekkers. 

"I ended up being the first person to do a 
convention, and after I came back from sum- 
mer vacation, the running joke was, T heard 
you did 39 conventions while we were on 
break!' I was actually doing such a large 
amount that people were always joking about 



not a subject Garrett Wang wants to address 
at this point. 

"I don't think about that." says the actor, 
who prefers to ponder the w ; ork he's doing in 
the here and now. "The furthest ahead I think 
is probably a year, but not beyond that. I'm 
under the impression that I'll be here next 
year; I know that much, and I've just talked 
about what I want to immerse myself in, and 
other than that, getting my life straight and 
making sure everything's running smoothly 
outside of shooting. That's all I'm concerned 
with now. I just don't think about movie 
deals and the future with Star Trek XII or 
whatever." _&, 



STAKLOGi January 1996 81 



UNEff NOTES' 



There hasn't been any evidence to the contrary, so it's more 
than possible this could be true. Every year we hear of great 
holiday tragedies. Like the small boy who desperately wants 
a Daisy rifle for Christmas even though everybody warns him that 
he'll shoot his eye out. Nevertheless, indulgent parents or a slip- 
shod Santa present him with that very gift. And. of course, he 
shoots his eye out. 

I know that's exactly what 

happened to the young Plissken 
kid. 

Still, it's a season to be semi- 
jolly, this Christmas of ours, 
beginning as it does in late July 
so that we can get in our holiday 
shopping before it gets chilly. As 
always. I should be completing 
this year's X-mas purchases 
around January 4. Hey. why have 
a deadline if you can't miss it? 

Soon, it'll be time to hang the 
stockings — mine are all blue, 
then you never have to make a 
decision about which color socks 
to wear in the morning. It's like, 
should I wear the blue socks 
today or maybe the blue socks... 
or perhaps the blue socks? 

And remember to hang them 
with care next to a chimney, a 
phonograph, an eight-track tape 
player or some other outmoded 
piece of technology. Something 
Santa might want to take with 
him — sort of in free trade for 
what he might want to leave you. 

Milk and cookies? Sounds 
rather downmarket, don't you 
think? De classe. Homey. Shrimp 
cocktail and Mango Madness Snapple- 
better impression. Maybe a Twinkie. 

Every year, I promise myself I'll be better prepared for these 
incessant holidays. I'll stock up on egg nog and nutmeg. I'll 
address the Christmas cards no later than Halloween. I'll get the 
mistletoe drop-shipped in from West Virginia. I'll make sure the 
penguin has his distemper shots. And every year, reality intrudes 
upon the festivities and everything doesn't quite get done right, 
promptly or on time, but nevertheless life goes on. 

While I'm meandering around no particular subject this holi- 
day time — OK, stop the shouting. You can have Barabbas. Take 
the lawn chairs, too — I thought I would recommend a holiday gift 
to you all. I'm. of course, referring to magazine subscriptions. I 



often give them at Christmas — though not to the six magazines I 
edit, since I would get those for free and not even have to send a 
check or money order or the Wicked Witch of the West's hat and 
broom in and that would hardly make them a gift now, would it? 

Magazine reading promotes literacy (a wonderful idea in these 
days of video and computer games derived from everything), full 
employment (at least of those who work on magazines) and clean 
living (so to speak). But more importantly, since a magazine 
shows up in one's mailbox numerous times over a year, it's not 
just one gift, it's six or 10 or 12. That's a lot of present-type 
frequency for your gift-giving dollars. 

Anyhow. I heartily sueaest you eive magazine subscriptions 
this year to (if you wouldTike). STARLOGrCOMICS SCENE 



A Star Trek Christmas 
ornament you'll never see... 

EXPRESS THE JOY 
OF THE HOLIDAY 
SEASON WITH... 

Ferengi 
Santa 
Claus! 

PRESS A HIDDEN 

BUTTON AND HE 

BRAGS ABOUT HIS 

MATERIAL WEALTH! 






-that'll make a much 




and FANGORIA or to such favorite magazines of the STARLOG 
staff as Smithsonian. Spy, Movieline, Empire (the British month- 
ly), Premiere. MacWorld, American Histoiy. New York. Rolling 
Stone, Spin, Esquire, Modern Bride (Marc Bernardin's fave). The 
Comics Journal. Cinefantastique (our honorable competitor), 
Cinefex, Writer's Digest and American Cinematographer. There 
are all sorts of publications catering to all kinds of interests. Just 
check out a newsstand and you're certain to find several that 
might pique the imagination of friends or family members. 

In the meantime, from all of us, as we break out the party hats, 
dress up in the dwarf costumes and throw another pizza on the 
fire, happy holidays. 

—David McDonnell/Editor (October 1995) 



The STARLOG Line-Up on sale now: STARLOG PRESENTS #1: EERIE TV collects most of STARLOG's articles on The 
X-Files plus The Outer Limits and The Twilight Zone... STAR TREK: DEEP SPACE NINE #13 returns with more fourth-sea- 
son excitement as Michael Dorn and Louise Fletcher discuss the space station adventure. 

STAR TREK: VOYAGER #5 profiles starship captain Kate Mulgrew and Sharon Lawrence while writer/producer Brannon 
Braaa addresses his Voyager adventures. . .FANGORIA #149 chronicles the newest blood suckers: Vampire in Brooklyn. 
From Dusk Till Dawn and Dracula: Dead and Loving It (which director Mel Brooks discusses). 

COMICS SCENE #54 showcases at long last. Lois Lane — Teri Hatcher— as well as a Toontown legend in a lengthy inter- 
view with the late master of animation Friz Freleng (plus TUG & buster, the all-new animated Superman and more)... 
SCIENCE-FICTION EXPLORER #11 (on sale December 17) unveils all-new chats with Bruce Boxleitner, Gillian Anderson 
and others. . .look for STARLOG #223 at newsstands and magazine outlets January 2. 



82 STARLOG//tfm/a/T 1996 





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X-FILES Special #1 

Compiles issues 1 ,2 & 3. 
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shown.) $29.95 

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