In the Cetagendans, Lois McMaster Bujold has crafted a believably alien society with Byzantine rules of conduct and far more subtleties than are read- ily apparent.
Its characters res- onate with a depth too often absent from this genre and are refreshing in their conduct. Since that time, the baboon-like, quasi-telepathic aliens have been somewhat accepted, but this soon changes at one of the Aleutian enclaves in Greece.
As with Gwyneth Jones' other works, gender is extremely fluid in North Wind. Bella, for instance, initially regards itself as male, while its human servitor, Sydney Carton, perceives the Aleutian as female. Readers unprepared for these constant changes may be frustrated by the novel and its passive main char- acter. The book is set against the backdrop of a literal war between the sexes, an intriguing premise never really built upon.
North Wind demands concentration and focus of its reader, which is not necessarily a bad thing, but ulti- mately it resembles one of those '"Magic Eye" pictures. Find the image among the jumble and you'll enjoy it. Otherwise, you're left with a confusing mess. While most Vonahrish regard the natives of the city of ZuLaysa as little more than savages or ser- vants, Deputy Assistant Secre- tary Renille vo Chaumelle has a great respect for the peoples' cul- ture thanks to his upbringing.
He can also pass for an Aveshquian, a talent which his superiors plan to use in a reconnaisance mission to ZuLaysa's fortified temple, Riding To The Future - Various - GNP Crescendo 40th Anniversary 1954 - 1994 Sampler Volume Two: Rock (CD) Fastness of the Gods. Renille must gather information on the cult of Aoun-Father. A thinly veiled fantasy ver- sion of the British occupation of India. The Gates of Twilight is just lovely. Paula Volsky's lyrical prose and dialogue — spoken grandly yet credibly — makes the book a joy to read, and the char- acters are scintillate.
She makes Renille with all his ethical obligations and Jathondi, the well-spoken daughter of the native ruler, into very compelling protagonists. It is edited by the man who founded the Clarion Writers Workshop, the definitive educational experi- ence for those serious about writ- ing professionally in the genre.
The 12 Clarion alumni whose short stories are reprinted here follow up with essays on some facet of writing, as it relates to the story.
These essays are a wonderful look behind the scenes, and make the creative process a human activity — bring- ing us closer to understanding some of the talented people whose names appear below the titles of some of our favorite fan- tastical tales. Although the tones of the essays are inconsistent, with some authors taking it as an opportunity to pronounce favor- able literary criticism on their own work, generally the effect is satisfying.
Good literature, good advice, up close and personal. Compared to the cost of Clarion, this book is a bargain. The story follows the main character, Samantha Dooley. Dig- ging into VGL business, Sam's stubbornness eventually leads her to the alternate world of Solaris Seven as a Battlemech Samantha is a strong, likable and intelligent character — it's too bad she's stuck in such a lame book. The plot has her mired in a conspiracy that is never satisfactorily explained.
Her rise to Battlemech warrior is meteoric, and while adaptability is Sam's forte, credulity is strained. Nigel D. Findley writes some tight scenes and Sam has several good lines, but neither can carry the book. No Limits is obviously a series volume. Perhaps other entries will make better use of the interesting character and premise.
Kenny- Daughter of Magic by C. He's trying to get to know his five-year-old daughter while keeping everyone in the dark about her identity. On the run from assassins, a princess has shown up on the castle's doorstep, an old enemy with new magical abilities has reappeared and a miracle worker possibly allied with demons has everyone excited.
Dale Brittain has added another enjoyable installment to this series. New readers should have no difficulty jumping on this bandwagon. The princess-in- hiding plot is superfluous, but she has her moments. And though the demon denouncement scene seems to run overly long, both flaws are survivable.
The insecure Daimbert is as interesting as ever, but his preco- cious daughter Antonia might steal the series from him. Facing bankruptcy, Signy commits Edges to a mysterious commis- sion from the giant Tanaka cor- poration, plunging the group into conspiracy and murder. When Jared — Signy 's main lover — vanishes from Tanaka's fishing fleet. Edges must search frozen wastes and cyberspace, and play its part in determining the world's fate. Whiteout is a fine debut novel for Sage Walker, a beautiful evo- cation of Antarctica and the digi- tal realm of Edges.
Edges is particularly intriguing, a con- vincing computer-and media- based entity that transcends cyberpunk cliches. Readers will come to know each member of the group through shared artistic and scientific creation, quarrels, reconciliations and tragedy.
Walker seems to be arguing that good will and the right tools can save the world; Whiteout will make readers agree. Can she deliver the instrument to elven Queen Ariel before the demonic shape-shifting creature which- slew her family catches up with her?
Christie Golden has crafted a most impressive novel, peopled by realistic characters with all-too-human failings. Whereas other characters would shrug off the horrific events that befall them and those they love, Gillien is no "teflon hero," and Instrument of Fate is that much better for it. One could continue singing the praises of this stupendous novel, but far better that you dis- cover them for yourselves.
Hall Warrior Enchantresses edited by Kathleen M. Whether dealing with Riding To The Future - Various - GNP Crescendo 40th Anniversary 1954 - 1994 Sampler Volume Two: Rock (CD) historical figures like Cleopatra, Auour. Medea and Aethelflaed, or com- pletely fictitious creations, these stories never fail to bewitch the reader.
Particularly impressive are those contributions which trans- port one to unfamiliar locales. Diana L. This does not stop him from pursuing, in properly tailored raiment, merry adventures with his doughty, if disreputable, friends: Sir John Slitgizzard. They save maidens from goblins, scotch plagues and fight the vile Waldo the Usurper. Always, though, there's the slow, painful process by which Amatus becomes a good king, and a whole man. One for the Morning Glory is both a spoof of fairy tales and an honorable addition to fairy-tale tradition, for, despite its humor, the book has a strong, dark thread that makes it a touching fable of growth and loss.
Wisely, John Barnes does not resolve every mystery, and the ending, as happy as it is, should send read- ers thumbing through the book wondering if they really under- stood it. That's fine, for all good fairy tales should be read and reread. Murgen is an uncertain guide, his mind wanders in time between a grueling siege and a tragic pre- sent, with interludes in a limbo where he's tormented by a face- less foe.
After a slow start, the story- lines, particularly the siege and Murgen 's conflict with the treacherous Mogaba. Names like Shad- owspinner, Shapeshifter, Soul- catcher and Longshadow make it hard to recall who's killing who, and while Glen Cook has obvi- ously worked hard on his fantasy landscape, these impenetrable conspiracies, betrayals and end- less vendettas never become totally believable. The implication is that people who write about other worlds — science fiction writers — are crazy.
Joe Haldeman is not crazy. Any collection by one of the best SF writers living is a joy, and None So Blind is particularly notable because of Haldeman's afterwords to his stories and poems. They are deft comments on the issues of inspiration and experience in fiction. The afterwords are just frost- ing. Three of these tales have won World Fantasy, Nebula and Hugo awards, but all the stories are terrific.
Con- firming Haldeman's skill and versatility are two of his "story poems," "Fire, Ice. There's Errol Flynn stuff aplen- ty: ships blasting with broadsides of cannon, boarding parties and an armada to be scuttled, but the battle scenes have more brutality than derring-do, and the question is not will the Venerian privateers defeat tyrannical Earth, but rather: Has Stephen Gregg lost his soul while winning his plan- et's freedom?
As right hand to the rebel leader, Piet Ricimer, Gregg has killed countless times, and now lives only for death. Gregg's savior is merchant captain Sarah Blythe.
This picture of the price of heroism gives depth to the predictable plot, elevating the trilogy above "mere" adventure. Fireships stands on its own, but readers should definitely start with Igniting the Reaches and Through the Breach. The resulting quarantine tears the society apart, exposing RICE's hidden agenda. Shariann Lewitt's book concen- trates on the elaborate mind- games played by decadent poets, dancers and artists, all surround- ed by death.
And then there is RICE, the entity which clearly pulls the strings. And the game of chess, that ever-useful metaphor as a meeting ground between human and artificial intelligence. Memento Mori is well writ- ten, and its characters are clever- ly sketched out, however RICE is not anything we have not seen before. Worse, the atmosphere of jaded gloom and doom that per- meates the novel makes us not care about what happens. On the contrary. Exile's Song — which tells the story of Margaret Alton's return to Dark- over, the world of her birth, and her discovery of, and coping with, her laran inheritance — is among Bradley's best.
The themes are recurrent ones in the Darkover saga: the cultural clashes between Earth and the planet of the Bloody Sun, the exploration of Laran, the Comyn families, the legends harking back to the Ages of Chaos, etc. A word of warning: casual readers, or newcomers to the Darkover saga, will find this a hard book to fathom, as so much of it depends on Bradley's past tapestry of events and characters. The altered timeline in Child of the Eagle by Esther Friesner, flows from that event, and is not wholly of human cre- ation.
Brutus is guided, inspired, and bedeviled by the goddess Venus, who grants him pro- longed life and youth so he can work for a strong, just Rome. All she asks in return is one act of obedience that will change the universe. Friesner's latest novel is an intriguing fantasy that mixes a convincing depiction of histori- cal events and people with eerie moments of magic. Low key and episodic, it unfolds with the dig- nity of fable as Brutus struggles to reconcile duty and honor with the temptations and demands of the goddess.
The climax, when Brutus makes his last choice, is too melodramatic and marred by the sudden appearance of human magicians, but the touching, sen- timental epilogue confirms Child of the Eagle as an effective, off- beat novel. Schumack Magnificat by Julian Ma; Knopf, hardcover, pp. Magnificat is, paradoxically, the weakest book of the Milieu trilogy, because it does not seem to take enough time to deal with the truly cosmic events it der : c All the plot threads regarding the metapsychic Remillard family, the evil entity Fury which hides among them and, finally, Man rebellion, are well resolved, bu: towards the end, May has a much on her literary plate tha: Magnificat ends up reading mere like a long outline than a full- blown, developed novel.
Fans of May's universe will nevertheless be delighted by the conclusion to this remarkable saga. We can now but hope thai May will decide to eventually return to the Milieu and continu-e the story of the Remillards. Alex Munn, the head writer for a virtual reality space opera, b framed for a murder seemingly committed by a fictional serial killer he created for one of his shows. After escaping from jail he must find out who really com- mitted the murders and why.
The brief summary ab does not adequately convey the complexity of the plot of The Shift, which reads like a combi- nation of The Alienist and Mai Headroom. The Shift's relentless desire tc be on the cutting edge of things and its constant use of slang ma;, mean that it will age quickly, h also feels a little padded ar: overindulgent in places, but in remains a good, entertaining read.
Mail cannot be forwarded. Other fans and advertisers some- times contact readers whose letters are printed here. To avoid this, mark your letter "Please Withhold My Address. I take exception to Joseph B. Williford's Earth 2 letter in issue In his letter regarding fan interest in Earth 2, he stated that the Earth 2: Eden Advance fan club is the "main" Earth 2 fan club.
There are several other Earth 2 fan clubs, and the one I'm in- volved with. Internet mailing list: Email Earth2-request netsplit. There are no dues. Besides E2F, there are at least three other non-Internet Earth 2 fan clubs with their own distinct interests and focuses on Earth 2.
E2F has focused on writing letters which allow the networks to physically "see" who is watching their shows. This seems applicable to Earthies' discovery of E2 as well. It seems more and more people are find- ing out what a great show it is after the fact, and obviously much too late to satisfy NBC. I receive approximately 15 E-mail requests a month to locate video copies of episodes that fans have missed.
He should be writing for the movies maybe even the X-Files movie. Or perhaps he can become a novelist; the pres- tige is great, but the pay isn't comparable. Just ask Joe Eszterhas. Morgan, as X-Philes know, is the man also the Flukeman. The accomplishment is no mean feat considering the show is already, by nature, bizarre. He wrote the much-talked-about "Humbug" which character actor Vincent Schiavelli in STARLOG seems happy to be associat- ed withwherein Scully, along with encoun- tering generic "sports," eats a live bug.
He is also the author of "Clyde Bruckman's Final Repose. His best work to date is his latest outing. The event and its consequences are reconstructed with flashbacks filtered through various viewpoints of the principals and witnesses involved. The story is funda- mentally another variation on the venerable Akira Kurasawa film Rashomon. Each character has a different perspective on what actually happened. The episode is an atypical one for The X-Files; usually the paranormal is treated as normal, but in this exceptional instance, skepticism appears to have the upper hand.
True, nothing is definitely debunked or empirically disproven. Socratic extreme. There are no space aliens — at least not the highly publicized type that modern UFO lore would have us believe — only an incredibly elaborate bureaucratic cover-up replete with latex masks.
Man knows nothing about anything, and reality is shaky at best. Mulder is insane, and Scully has the interests of the govern- ment at heart. We are left with the surrealistic mystery of the Men in Black. And so on. The whole thing comes within a hair of parodying the TV series and the paranoid mentality. As a conclusion, existentialism is offered as an attainable "truth," the personal over the cos- mic.
It's another inspired inversion of a stan- dard. I, for one, would like to know just exactly how Star Trek: Voyager is doing in the ratings and as far as the fans go.
It seems any time you read an interview with Brannon Braga. Also, any Star Trek publi- cation praises Voyager for its original aliens and dramatic writing. Give me a break! Most of the aliens on the show are Anglo-Saxon Caucasians — with the exception of Tuvok — who either have long ears or some son of ridge on their nose. Granted, they only have 10 days to design all the makeup for an episode, but when you consider the fact thai the Ambassador Kosh suit from Babylon 5 took only two days to build, you've got to wonder exactly who at Paramount has his head screwed on backwards.
Am I the only one who thinks Voyager i - below par. At least they haven't screwed op Robert Picardo's character. If you ask me. Jerry Jones ms-jon04 vm. After reading Al Christensen's letter in issue speculating about all the possible uses of the holographic crew and his enjoyment of Holodeck stories.
I began to wonder about what we've seen of holotechnology in all its manifestations in the Star Trek Universe. How come, I wonder, when anyone uses the Holosuite or the Holodeck, they always visit an era that is in our collective past and they always skip over the three centuries that separate our time from the Star Trek Uni- verse? Did nothing of interest happen in the 21st, 22nd or 23rd centuries? Why, for exam- ple, is Captain Picard so interested in a s detective?
I understand that could be his person- al preference, but in all of the Trek Universe, why do nearly all characters refer to or have some interest in the 20th century or earlier while ignoring their own immediate past? Were there no strong, courageous females in the 22nd century? Isn't it convenient that Tom Paris has a hobby of studying old automobiles when Voyager discovers an old Ford pickup floating in space?
What I'm really getting at is that the writ- ers and producers of the Star Trek programs are ignoring years of history between Trek time and our time. Those years are in our future, but they are a part of continuing adventures in the Trek Universe. It is. It is the interviewer who writes the comments which surround the quotations, and who edits the text of the interviewee's spoken words.
Candid speech does not read all that gracefully when tran- scribed and must be smoothed out — in short, it must be edited, and this editing can make the speaker sound either foolish and incoher- ent, even malicious, or bright, witty and nice. Ian Spelling has made me sound very good indeed. He is a gracious, elegant and literate writer who has text-edited my words to make me more eloquent than I am, and he has char- acterized me with gallantry "ever the gruff, forthright and engaging conversationalist.
And while it was Ian Spelling who con- ducted the interview and prepared the text, it was STARLOG Editor David McDonnell and staff who allowed it so much space instead of cutting it to a sound bite, a gener- ous act considering how many other worthy subjects the space might have been allocated to. Thank you for your attention, and for your kindness; and a tip of the Hatlo hat to the readership. To his original film, director George Lucas has added five minutes of new material, including state-of-the art special effects.
To commemorate this epic motion picture event, STARLOG has adding to each of the three ,6 a different 8-page supplement devoted to the new material. All Righ ts Reserved. S6 if ordering all three. S12 if ordering all three. Account No. I hey were castaways reunited. Don Marshall was one of the marooned travelers in the Irwin Allen series and he was delighted to take part in The Fantasy Worlds of Irwin Allen, the Sci-Fi Channel's special devoted to the producer's career.
He has gotten himself back into great shape. Deanna Lund [Valerie] looks fabulous. If I hadn't seen a recent photo of him beforehand. I would never have recognized him. Although their defunct show has enjoyed international success over the years, the series sank into low-profile reruns domesti- cally until the USA Network replayed the show five years ago. Since then, fan clubs, conventions and media attention have increased, and Marshall is delighted.
I thought it was a great idea, but I didn't think there was enough of a fol- lowing. Now I'm finding out that there's more of a following than I ever imagined. Giants Log in Britain assist- ed with this interview. Don Marshall recalls getting small in the Land of the Giants.
His career plans took a detour during a hitch in the Army. I found that I could express myself through acting. To support him- self, Marshall worked as a mailman, milk- man and clothing salesman. Marshall made his acting debut in The Internsstarring Cliff Robertson.
Other films followed, including Shock Trec:- ment and Sergeant Ryker i. In "The Galileo 7," Mat- shall was cast as the intense Lt. Spock as the seven are besieged by fierce, spear-c. That's not workim for me. IT take care of the director.
Ximc-j gave me the freedom to do that. One of them, Braddock, a privaa eye story set inled Marshall to a work of really big people. I was the secom lead, an insurance investigator who was ver aggressive and athletic — jumping ove fences and stuff. Allen called my agent an wanted me to play Dan in Giants" Marshall had never heard of Allen befon and admits the fanciful premise of a gian world concerned him.
No matter what happened, the others could turn to him with whatever problems they had. I wrote down his childhood history, what his mother and father were like, where he went to college, why he became a pilot and so on. I do that with any character I play.
We had some obstacles to over- come as actors, with the special FX and so forth, but I think we did our jobs well.
The cast really liked each other, and that came across on screen. You can't fake that. I could relate to that. I had played football in the army and ran track in high school. There was also an episode, 'The Lost Ones' [with Zalman King as an Earth punk], where Dan grabs Zalman King and says he has no trouble dealing with guys like him, referring to Dan's growing up in a rough environment. Dan bettered himself by going to college and working his way up through life. That episode allowed me to show another facet of the character.
Tony Wilson [who developed the series' concept] was much more concerned with the human element. He liked my acting and wrote a couple of great scenes for Dan. Irwin Allen steered away from personal relationships and human emotions.
His Time Tunnel series was the same thing. The characters were dealing with what was 'out there' rather than what was inside. It was his show. He was a brilliant man and he made the series work. He came up with the ideas and got Riding To The Future - Various - GNP Crescendo 40th Anniversary 1954 - 1994 Sampler Volume Two: Rock (CD) off the ground. That got everybody uptight.
He especial- ly made the directors uptight, making them feel as if they didn't know what they were doing. The exception was Harry Harris. He was very protective of the actors and always knew what he was doing.
Where the hell am I supposed to look? Harry Harris helped us a great deal with that sort of thing. He really cared. Our cinematographer. Howard Schwartz, was the same way. We all worked very well together. The next day. When the castaways are trapped in a flooding cave, a giant's foot comes crashing through the ceil- ing, and they scramble onto the foot and are lifted to safety. We didn't have to react to an imaginary special effect. It was there.
We could only film that sequence once — or else go to tremendous time and expense setting it up again. We were really hanging on because we were lifted 15 feet high.
But I enjoyed those things. It was like being a kid again! The challenge was to pull those stunts off. When they're good, that brings you up too. Kurt always came up with new ways to play a scene. He was a very talented actor. I had always looked up to Sugar Ray and watched all of his fights growing up. He was a heck of a nice guy and we became good friends. He was a great fighter, yet he didn't have any standoffishness. He was just a beautiful man who was very new to acting and very eager to learn.
It made him very easy to work with. That was also one of our best scripts. When Giants entered its second season, the storylines teemed with themes of space travel, time travel, aliens, cloning, invisibility, under- ground cities, lost islands, robots and dooms- day devices.
Marshall feels too many of these fanciful themes unraveled the show's already- fantastic structure. The writers began placing us into these weird situations. On Voyage, they would run into a giant octopus and it's like. They're no longer dealing with each other, they're deal- ing with menaces from outer space.
Some of that was very good because our characters dealt with each other and with Dern, who was superhuman but normal-sized. What left me cold were some of the SF elements, like a device that you press and blink, you're sud- denly on Earth. That was too science fiction- al for me. It was a very cold show. Warren Stevens, the main guy, is a hell of an actor but his character was without emotion.
For me, there's nothing there, no human relationships. We lost some of the 'Earth' quality by dealing with these unfeel- ing beings from other worlds. I got letters from people who relat- ed to who I was playing. One fan wrote. T feel you. Had we gone another year.
Howard Schwartz was excel- lent with the camera, and we had some of the greatest sets ever created for television. All of the technical elements worked — the sound, the lighting and the special FX.
We had some of the best people in the world working on the show, and they made that planet seem real. The acting was good, but combine that with the technical excellence and you had a lure that worked.
I understood that the spe- cial FX were expensive and in those days; the effects literally had to be put together by many technicians. Land of the Giants was one of the first shows to use elaborate special FX, and it ended up costing us the show. Today you can press a couple of buttons on a computer and they're all made up for you. And I was extremely disappointed. The latter was a curious indictment of racial bigotry, with Marshall facing a bigot Ray Milland whose head has been transplanted onto the body of Rosie Grier.
Marshall deflects the campy film with a good-natured "No comment! When the show was over. I said to Kevin, 'Thank you. His engineering background came in handy when he developed a security system for automobiles.
Today, he's interested in tackling good dramatic film roles. I feel I have a lot to offer. I would like to see some human inter- acting between the people playing the roles, which will allow us more of an opportunity to act and to develop the characters.
He's appreciative of the interest in his work. I just want to say thank you for your loyalty. I think the movie will happen and that some of your wishes and dreams are going to come true. It's adjustable, so one size fits all. And the X-Files logo on the front. Deep Throat - When a pilot's missing wife calls in the FBI, Mulder and Scully are pitted against the considerable resources of a restricted air base. Eve - When two young girls living on opposite sides of the country lose their fathers in identical murders, Mulder and Scully wonder if there's a connection between the two cases.
But don't let the government know we have it! The ultimate reference to today's most fanatically followed television show.
Account Number Exp. Photocopies and written orders welcome. Engel, for his part, exclaims, "I'm punchy. Everybody at this point is close to hitting the wall. Director Roland Emmerich rang up Engel with whom he had worked on Moon 44 and Universal Soldier and told him the specifics of the movie's script, which, at that point, had yet to be written.
Smith understood the approach that had served Emmerich well on StarGate, employing a wide range of tradi- tional techniques miniatures, matte paint- ings as well as the more cutting-edge motion control and computer-generated elements.
We knew what CGI could do and decided to use it as just another tool as opposed to the main effect. Wtet n opportunity "We knew going in that we had shots where we could hang a model airplane on wires in front of a photo backing," explains Engel.
But even with that advance informa- tion, we knew from experience that stun would be constantly added. When Rolaai finds something that works, he wants more. We started with a lot of motion-ec-r-' ships and models and only added the cot puter-generated stuff as the look of t effects became clearer. The actual battle was a combination of motion-control airplanes filmed in front of either a foot model of the alien destroyer or a larger foot section of the ship. How do you keep a destroyer, which is supposed to be 15 miles wide, or a mothership, which is supposed to be miles wide, in perspective above a city?
Keeping things to human scale was tough. The earthlings, having discov- ered the way to get past the alien shields, are able to destroy the ships.
Then, we shot the destroyer hanging over the landscape with an airbrushed background behind it. For that shot, we needed to simulate the point-of- view of a jet fighter as it flies between the space beneath the mothership and the land- scape. For that we used a special low-profile motion-control camera and flew it through a space between the ship and landscape. Then, we took a piece of wood shaped like the rim of a destroyer and pushed it through the cloud to give us an idea of how the ship would look coming out.
We then put the foot de- stroyer model on a forklift and shot it coming through fog to give us the actual rim of the destroyer coming through the cloud. In post, we put the cloud and the ship together, added a city background which had been shot by second unit and added some bits of comput- er-generated elements.
Washington D. We had eight different cameras on the model and shot the effect in slow motion. The effect was shot in three different stages. First, we see the win- dows blow out, then the building shatters and finally, when the explosives go off, we see a fireball rising up to engulf the building. So, we set explosives underneath the model and, when we triggered the explosion, the camera caught the explosion coming toward the Capitol and engulfing it. Engel reports, "We had 10 explosions on that sequence and we shot it at a couple of angles.
One was looking up at the building while the ceiling camera gave us the image of the fire coming straight toward the camera.
Engel relates that the sequences were primarily miniatures mixed with live- action people shot in front of blue screen. The explosion was then filmed rising up through the street toward the camera.
Another element consist- ed of real people running past real cars in front of a blue screen and, finally, we flipped miniature cars with an air pressure cannon and put all three elements together. At certain points, we shot fireballs through the frame as the plane flew through. It was pretty complex stuff. Then, we rush it out to the stage and immediately end up blowing it to pieces.
Most of the things we made on this film only itad a life span of a couple of days. We're nowhere close to being a world record in terms of the number of shots. But ;'ve definitely had a lot to contend with. I would have bet she farm that the destruction sequences were i-omg to be problematic.
Instead, they were rhe first things to come together and fairly piddy. Engel admits "that's nice a? Many movies these days are doing everything computer-generat- ed, and there were predictions that the effects on Independence Day were going to end up costing twice as much as they did. Doing everything CGI was absolutely unnecessary.
We do use computer-generated images extensively and almost every shot has some digital elements to it. But in this film, com- puter-generated images carry about the same impact as models on fishing line. Still, he is more than willing to do it all over again. As Marine Captain and fighter pilot Steve Hiller in the summer SF blockbuster Independence Day, the sometime rap- per and former Fresh Prince of Bel-Air joins forces with Jeff Goldblum and Bill Pullman to try and destroy an alien mothership, thereby helping to thwart the greatest threat ever to mankind.
For Smith, tackling a starring role in the hig-budget epic was a dream come true. I'm a Trekkie, too.
Sci- ence fiction was always fun to watch. You laugh, you cry, and it has action. It has an ensemble cast. It's everything that you could want from a movie. I feel like the Jackie Robinson of worldsavers.
So, there has to be something else. Humans naturally gravitate toward the unknown. Things that we don't understand excite us. That's what it is about SF. You can actually see the planets and stars, but you can't get close enough to them to really know what's there. Willis, in his Die Hard adventures, had mas- tered portraying heroes, while Ford's playful performances as Han Solo in the Star Wars films were something to which Smith aspired.
As for Hanks and Williams, those two have successfully made the leap from TV actors Bosom Buddies and Mork and Mindy, respectively to major big-screen presences who now have their choice of roles. Willis plays heroes who don't want to be heroes. The last thing Bruce Willis wants to do [in the original Die Hard] is step.
If he could do anything to get out of stepping on it, he would. Ford kind of plays his heroes that way, loo," notes Smith. I want to be the guy who says, 'Why are you all shooting at me?
In the earlier days, people didn't trust the TV-to-movies transi- tion. Eddie Murphy was the person I really watched, just to see how the transition is made. The differences [between acting for the movie screen vs.
The film screen is so much bigger that you have to do less. On TV, everything is big. So, you have to pull it back on film. Emmerich, who directed Independence Day, explains that he and producer Devlin had Smith in mind to play Hiller as they scripted the film. He blew us away in Six Degrees, and Dean and I knew we would work with him," the director notes. He takes it all very seri- ously, but he's also very relaxed.
He can be serious and dark, but in a second, very funny. He can really just turn it on and off. That's part of what it takes to be a hero in film, the ability to go from serious to funny and funny to serious, and to take the audience with you.
Anyone who watches the desert sequence — in which Hiller drags an unconscious alien across the rugged terrain in a parachute, all the while berating his enemy with humorous, macho, pro- American taunts — can't help but be cer- tain that Smith improvised much of his dia- logue. Still, shooting some of his scenes was not exactly easy or fun. That desert sequence, for example, was filmed in Utah's notorious Bonneville Salt Flats.
The Sun was 10 times hotter. The days were longer. You don't know what you're doing because everything is special FX and I was out there with the alien," he recalls. A good 70 percent of my stuff in the movie is me by myself, so it was almost like stand-up come- dy. I could do what I felt in those scenes. I don't want to do it next time, but Dean and Once he got his orders from his command- ing officer Robert Loggia, insetWill Smith handled the action elements of Indepen- dence Day with no problem.
Roland were very open to it. I think it turned out very well. I did all of it sitting in a chair. There was nothing, so I was just trying to feel the scene. What was great about Dean and Roland was that they knew exactly what they wanted. They were so clear that I had a pic- ture of what it was going to be. But there were so many elements that weren't there that I felt almost helpless.
As Smith hinted, it's unusual to see an African- Ameri- can handed so vital a role in so big a film. Hopefully, he offers, it will be the start of a trend. He also comments on the fact that it's a black guy and a Jewish guy Goldblum who save the day. But Hollywood recognizes green. If you could put asses into the seats, they would put you in the movies, too," he argues. It wasn't discussed on the set. That's the way it should be in life, too. It was great to be in a situation where that wasn't something we had to deal with.
Jeff is Riding To The Future - Various - GNP Crescendo 40th Anniversary 1954 - 1994 Sampler Volume Two: Rock (CD) very interesting per- son. He's a music freak, so everything that happened on the set he related to a song.
His energy is so powerful. When he comes in, Jeff just brings this energy. Jazzy Jeff and the Fresh Prince, has a studio in his house and may at some point again try his hand at music, he intends to stick with making films for the foreseeable future. They were set up in They're starting to get old and they need a new member.
So, they recruit me. TV celebrity and now movie star — it would seem that Smith's career is a dream come true. That's when you get good at some- thing, when you enjoy what you do. I really concentrated on that and focused on it and then the TV show came from that. I worked really hard on The Fresh Prince of Bel-Air [which recently ended, by choice, after a six- year run].
I think I've focused really well on the things I was doing, and all the good things that have happened came from that.
Smith's greatest chal- lenge is a matter of keeping his feet on the ground, of not letting fame get the better of him. He doesn't see that as a problem at all. I enjoy people and having fun," says Will Smith, smiling again. If I had a record that was a hit. If it wasn't a hit, I didn't need that to say who I was. It was something I did for fun. If I put my all into it.
George Clooney contemplates becoming a Dark Knight. Schumacher, who has also directed such other genre pictures as The Lost Boys and Flatliners, readily accepted the invita- tion from Warner Bros, and should be on the set calling the shots on the new Bat-adven- ture as this issue arrives on newsstands.
We had no idea that Bat- man Forever would be the suc- cess it was, because we were the new team and you just don't know. I think the humor was the thing we were most successful with. They call them comic books, and I think we were able to bring a lot of humor to the franchise.
So, I hope we'll continue that. I also want to give peo- ple their full entertainment. Many of the problems with a movie like a Batman film is that there is expectation. A lot of that is from children. Kids really love to go to Batman movies, as much as the adults do.
My job is not to disappoint people. What can I say that's really accurate? Let's say this: I wanted George Clooney as Batman. Val wanted to do The Saint. I wish him well and I hope he wishes us well. The quote in US was an off-the-record quote that [the writer] printed and said, "Oops!
He pushed me around and I pushed him around, and then things got better. I have to tell you something. I am really tired of defending overpaid, overprivileged — and I'm probably one of them — people.
I don't know why there's this secret society in Hollywood where we protect these people. Is it because we're supposed to be so afraid that they won't work with us again? I don't mind high-strung, neurotic artistic behavior if it produces great quality acting. Some people need their processes to get to it. They need to be in a rage or they need to be in a funk or they need to be having a nervous breakdown in order to do the role, because that's their process or because some roles are very, very, very demanding.
I don't mind that at all. It's lateness, not knowing your lines and cruelty to other people that, to me, is absolutely the worst.
He did it. He did it for months and he should take responsibility. He was dismissive and condescending. First of all, he's really a fine actor. But he's also so cool-looking.
Wait until you see him in the Batsuit. He said he could fit into Val's suit, except that the codpiece need- ed to be made bigger. That's not my quote. That's George's. George is a lot like Chris. He's cool. Some people say, "What you see is what you get. He's a lot of fun. I've known him for years. He's already in character. What can I tell you? It's Mr. Freeze and Poison Ivy versus Batman and Robin. Uma Thurman plays Poison Ivy, who is the most beautiful woman in the world and if you kiss her, you die — like some women in Beverly Hills.
And some men! So, they link up to become a for- midable pair and take on Batman and Robin. Then, we introduce Batgirl [Alicia Sil- verstone]. There are so many teenage girls and female children who go see the Batman films. I thought it would be great for them to have a real, teenage superheroine. Michael Straczynski asked for a dozen or so conversational snippets that could be woven into various episodes, Ellison toured the lives of several B5 actors.
There was one with Jerry Doyle and Jeff Conaway that the writer cites as an example — a scene between security chief Garibaldi and his deputy Zack Allen, in which Conaway is pulling at his jacket, which does not fit well. This constant movement is seen by Doyle out of the corner of his eye, and as the scene progresses, he finally turns on him and says, "What is with you? Not only did Conaway find the Earthforce uniforms fairly uncomfortable from day one, but the actor has only recently started to feel at ease in his own skin.
First, I always joked about the uniforms, and how I looked in them. Though he finds that the costumes bind, Jeff Conaway sees working with Jerry Doyle and the rest of the Babylon 5 cast as a perfect fit. I certainly know how that feels! By the time events reach their zenith in "Point of No Return. And it gets into a real crux for me, because what am I going to do? I keep getting pushed by both sides, and the way I've always played this character has been that he doesn't think he's doing anything weird; he's just playing both sides.
His heart and loyalty is really with Sheridan and Garibaldi, but he keeps getting sucked in deeper with the money. Then, they start to put the pressure on, and I know what I'm doing isn't right, but I'm stuck there. First, he goes after the money, then there's a great-looking broad, and he figures, 'Maybe I can get laid! What I've basically been doing is a talk scene here and there, letting people onto the station, the occasional scene in customs, but there hasn't been much action for me.
Even though there's a hell of a lot of action going on as far as FX, there haven't been a great deal of big fight scenes. An eye exam at age seven put an end to that dream, so a few years later, he decided to become an actor instead. I did quite a bit of work as a kid, nation- al touring companies, stock and a couple more Broadway shows, some TV, radio, commercials. Later, he moved to LA and eventually landed the role of Bobby Wheeler, the semi-narcissistic actor- turned-cab driver in Taxi.
It was, 'We're going to pay you this money so you don't do television for anyone else. Who could know that almost 20 years later, Taxi would still be on television? When I walk down the street, people still say, 'Hey, Bobby! I did my work, but I'm a person who really likes to be involved. What I didn't enjoy was what the network was doing to change my character from what he was in the pilot to what I was forced into doing in the show. They wanted more of a hero-hero instead of an anti-hero, and the original character was definitely an anti-hero.
I was never really sure that was where it was going, but Don didn't have the kind of weight he has now, so he didn't want to fight CBS, and I just went along.
I really did enjoy doing the show. It's too bad that CBS programmed it into oblivion. They were pre-empting us left and right, and there's no way you can build a following that way. It's a period in his life Conaway isn't particularly proud of, but that doesn't stop him from discussing it with candor. That was part of what leaving Taxi was about.
I wasn't clear enough in my brain, so like a schmuck, I didn't think, 'Two more years, at least fulfill your contract and nobody will blame you if you want to leave after that.
I had a bad relationship going on, and was caught up in a whirlwind of Hollywood crap. I was in and out of my disease. I decided I didn't want to do TV anymore, so what real- ly happened was a lot of nothing for a long time. At one time, I thought money and success would fill this hole inside me, but when I had the success and the money, it was worse; the hole was bigger. Then, I thought the drugs would make the pain go away. Maybe I should have gotten more into analy- sis and gotten to the bottom of the problem, which was this hole inside me, so I could seal it up by taking life and living it.
I was looking everywhere else instead of trying to find out what the problems were. What I needed was a life. In But, Hollywood does not easily forgive, and Conaway found him- self starting virtually from scratch.
People in the studios were making appoint- ments, and that's where it's at right now. To Conaway, this was the old astronaut dream finally coming true, so he swallowed his pride, auditioned and landed the job. Zack Allen's initial appearance may have been minor, but the character continued to grow in popularity and air time in later episodes. When Conaway returned for the third season, his role had increased signifi- cantly.
I was offered a lot of money to go out on the road and do Grease, and I chose to do B5 for sub- stantially less money. I've done Grease before, and who really needs to do it again — but all that big green was waving in my face.
She's Just My Style. Don't Make Promises. Double Good Feeling. Main Street. Rhythm of the Rain. Something Is Wrong. Count Me In. Live in Los Angeles. Be My Baby. A Fine Fine Boy. Ringo, I Love You. You've Lost That Loving Feeling. Baby Don't Go. The Letter. Walkin' the Quetzal. All I Really Want to Do. I Got You Babe. Little Man. Living for You.
The Beat Goes On. Stand By Me. Half Breed. Take Me Home. Heart of Stone. Love Hurts. It's a Man's World. Living Proof. Take It Like a Man. Woman's World. All Time Hits. Beginners Love. Sweets for My Sweet.
Kind of a Drag. Don't You Care. I Call Your Name. What Is Love. Flower Power Cruise. Don't Make Me Wait. Georgia Music Hall of Fame. Hitch Hike. Why Don't You Love Me. Don't Blow Your Mind. Lay Down and Die, Goodbye.
Wonder Who's Loving Her Now. Chicken Incident. Earwigs to Eternity. Titanic Overture. Ballad of D Fry. Under My Wheels. I'm Eighteen. Luney Tune. My Stars. Public Animal. Billion Dollar Babies. Hello Hooray. Muscle of Love. Welcome to My Nightmare. Damned If You Do. From the Inside. Live at Capitol Theatre.
Give It Up. Spark in the Dark. Hey Stoopid. Love's a Loaded Gun. Nothing's Free. Halo of Flies, Riding To The Future - Various - GNP Crescendo 40th Anniversary 1954 - 1994 Sampler Volume Two: Rock (CD). Along Came a Spider. Cold Ethyl. Only Women Bleed. Live at Virginia Beach.
Hang On Sloopy. I Don't Mind. Come On Let's Go. Beat the Clock. I Got to Go Back. Teenage Love Affair. Guitars and Women. Live at the Ritz. Feelin' Alright. Live in North Sturgis. Ah, Sunflower Weary of Time. CIA Man. I Couldn't Get High. Super Girl. The Fugs.
Exorcising the Evil Spirits from the Pentagon. The Garden is Open. I Couldnt Get High. Johnny Pissoff Meets the Red Angel. Saran Wrap.
Slum Goddess. For Bernie. Back and Forth. I Just Didn't Have the Heart. Tribute to Buddy Holly. Shakin' All Over. All Right. Don't Act So Bad. Gonna Search. HeyGoode Hardy. Somewhere Up High. Very Far from Near. Friends of Mine. Minstrel Boy. No Time. These Eyes. American Woman. No Sugar Tonight. Share the Land. Dancin' Fool. Running Back Thru Canada.
Playin on the Radio. More Soul Than Soulful. The Mother Song. Children of the Future. Song for Our Ancestors. Brave New World. Celebration Day. Enter Maurice. Mary Lou. Fly Like an Eagle. The Joker. Composition: Johnny Guitar Watson. Jet Airliner. Circle of Love. Steve Miller Band Live! Wide River. Got You On My Mind. Baby's Calling Me Home. Live at Pacific High Studios. Silk Degrees. Lido Shuffle. We're All Alone. Live in Japan. You Got Me Cryin'. LP: 'Memphis'. Composition: Doug Brown.
Ballad of the Yellow Beret. With the Beach Bums. East Side Sound. East Side Story. Ramblin' Gamblin' Man. Brand New Morning. Smokin' O. Back In ' Beautiful Loser. Night Moves. Rock n Roll Never Forgets. Still the Same. Against the Wind. Old Time Rock n Roll.
Like a Rock. The Lonely One. Roll Me Away. Hey Gypsy. Turn the Page. It Ain't Me Babe. You Baby. Composition: P.
Happy Together. Composition: The Turtles:. Chunga's Revenge. Illegal, Immoral and Fattening. Good Lovin'. Lonely Too Long. Love Lights. Composition: Gerald Roslie. Mickey's Monkey. Slow Down. Composition: Larry Williams. You Better Run. The Young Rascals. A Beautiful Morning.
A Girl Like You. How Can I Be Sure. The Island of Real. Oh Those Eyes. Composition: Jerry Storch. You're Too Young. I Can't Make a Friend. Your Hasty Heart. Composition: Bert Sommer. Beside the Sea. Composition: Benny Earl. Composition: Otis Redding. A Sunny Summer Rain. I Don't Need Your Loving. Blood of the Sun. Long Red.
Dreams of Milk and Honey. Mississippi Queen. Theme for an Imaginary Western. Out into the Fields. Why Dontcha.
Live in Germany. Whatever Turns You On. The Leslie West Band. Live in Paris. No Name. Turn on Your Love Light. What'd I Say. Composition: Ray Charles. Issued Sep Composition: Willie Dixon.
Batman and Robin. Issued Jan From the LP 'Hour Glass':. Hanging Up My Heart for You. Norwegian Wood. Composition: Lennon-McCartney. Nothing But Tears. Now Is the Time. Composition: Gregg Allman. Out of the Night. Power of Love. Dewey Lindon Oldham Jr. So Much Love. Music: Carole King. Lyrics: Gerry Goffin. Don't Want You No More.
It's Not My Cross to Bear. Whipping Post. Live at Stonybrook. Composition: Jimmy Cox. Eat a Peach. Ramblin' Man. Composition: Dickey Betts. Brothers and Sisters. Live at Capitol Theatre Filmed concert. Live at the University of Florida. Seven Turns. Live at Woodstock. Hittin' the Note. Live at Beacon Theatre. Lost in a Whirpool. Diddy Wah Diddy. Frying Pan. Composition: David Gate. Live on Top Gear. Strictly Personal. Sure 'Nuff 'n Yes I Do.
Trout Mask Replica. Live at the Ludlow Garage. Bluejeans and Moonbeams. London Live in El Paso. Bat Chain Puller. Live at the Nouvel Hippodrome. Live at My Father's Place. Shiny Beast. Ice Creme For Crow. Pipe Dream. Psychedelic Lollipop. Basic Blues Magoos. Never Goin' Back to Georgia.
Gulf Coast Bound. We Ain't Got Nothin' Yet. I'm Goin' Home. Composition: Dann Klawon. It's Cold Outside. Changin' My Mind. No One Here to Play With. Composition: Phil Okulovich. When You Were With Me. Composition: Wally Bryson. Might As Well. Nobody Knows. I'm a Rocker. Composition: Eric Carmen. Last Dance.
Should I Wait. Composition: Dave Smalley. Go All the Way. Overnight Sensation. Play On. Starting Over. Blowing My Mind. Devil with a Blue Dress On. Gettin' It Down. Composition: Goldberg. Good Golly Miss Molly.
Blues for Barry And. That's Alright Mama. Composition: Arthur Crudup. You're Still My Baby. Composition: Harold Willis Chuck Willis. Cherry Jam. It's Not Just the Spotlight. I've Got to Use My Imagination. I Specialize in Love.
Nobody But You. Composition: Dave Burgess. You Made Me Fall. Composition: Barbara Robertson. Free Advice. Composition: Darby Slick. Someone to Love. White Rabbit. Composition: Grace Slick. Jefferson Airplane Takes Off. After Bathing at Baxter's. Surrealistic Pillow. House at Pooneil Corners. The Other Side of This Life. Filmed at the Altamont Free Festival.
Somebody to Love. Uncle Sam Blues. We Can Be Together. Composition: Paul Kantner. Live in Bath. Hot Tuna. Eskimo Blue Day. Live at Wally Heider Studios. Blows Against the Empire. Feels So Good. Composition: Jorma Kaukonen. Long John Silver. Live at Golden Gate Park. Live at the Greek Theater. A Beacon from Mars. Composition: Kaleidoscope. Side Trips. Newport Folk Festival. The Cuckoo. Lyrics additional: Saul Feldthouse. Lie to Me. It's Love You're After.
Composition: Saul Feldthouse. So Long. Composition: Allen Toussaint. A Journey with Michael Blessing. The New Recruit. What Seems to Be the Trouble Officer. Dream Girl. Take Me to Paradise.
Theme for a New Love. What Are We Going to Do? How Can You Kiss Me? Just a Little Love. The Monkees. Monkee See, Monkee Die. I'm Not Your Steppin' Stone. Pleasant Valley Sunday. More of the Monkees. Don't Cry Now. Instant Replay. Calico Girlfriend. With the First National Band. Silver Moon. LP: 'Loose Salute'. Look at Me. Nevada Fighter. Some of Shelly's Blues. The Amazing Zigzag Concert. The Prison. Daydream Believer.
I'm a Believer. Begin the Beguine. Yellow Butterfly. Pizza Hut Commercial. Last Train to Clarksville. Live Summer Tour. Got My Mojo Working. A Little Bit Me. Papa Gene's Blues. Live at Union Chapel. Live at the Arcada Theater. Randy Scouse Git. LP: 'Good Times! Shades of Gray. I Don't Know Why. The Stooges. Raw Power. The Idiot. Lust for Life. Real Wild Child Wild One. Ready to Die. Break Into Your Heart. And It's True. I Find I Think of You. Yer Album. James Gang Rides Again.
Walk Away. The Bomber Medley. Here We Go. Turn to Stone. Rocky Mountain Way. Ride the Wind. Country Fair. Welcome to the Club. Hotel California. New Kid in Town. Victim of Love. Life's Been Good. Old Wave. Live at Camp LeJune. Waiting in the Weeds. Analog Man. Live from Daryl's House. Funk Freak Out! Absolutely Free. Hot Rats. Apostrophe '. One Size Fits All.
Zoot Riding To The Future - Various - GNP Crescendo 40th Anniversary 1954 - 1994 Sampler Volume Two: Rock (CD). Joe's Garage. Sheik Yerbouti. Porn Wars. Jazz From Hell. Live in Barcelona. Reggae Improvisation in the Key of A. Issued in Germany on the CD '' in The Yellow Shark. Goody Goody Gumdrops. Collections of Thoughts. Indian Giver. Neon Rainbow. Cry Like a Baby. Sweet Cream Ladies. Deep Soul. The Lost Live Rollin' and Tumblin'. Fried Hockey Boogie. Pony Blues.
A Change Is Gonna to Come. On the Road Again. Texas International Pop Festival. Live at Topanga Corral. One More River to Cross. Human Condition. Kings of Boogie. Live at RockPalast. Friends In the Can. The Crystal Ship. The Doors. Light My Fire. New Haven Incident. Strange Days. Waiting for the Sun. Miami Incident. The Soft Parade. Absolutely Live. Break on Through. Morrison Hotel.
Roadhouse Blues. In the Eye of the Sun. LA Woman. Tightrope Ride. Get Up and Dance. Good Rockin'. American Prayer. Judy in Disguise. Permanently Stated. Back in the U. Bye, Bye, Bye. If I've Been Dreaming. Lost My Love Today. Prior issue Aug as the Other Tikis:. Anything Goes. Chattanooga Choo Choo.
First issue by the Glenn Miller Orchestra Come to the Sunshine. Feelin' Groovy. Both Sides Now. The Drifter. Witchi Tai To. Stand Back! Lights Out. Composition: Mandel. Wade in the Water. Composition: Sam Cooke. Senor Blues. Composition: Horace Silver. Baby Batter. Peruvian Flake. Lick This. Live with Canned Heat. One of the Guys.
Composition: MC5. Compositions: MC5. Kick Out the Jams. Back In the USA. Looking at You. High Time. Live in Bremen. Composition: Mosley. Murder in My Heart for the Judge. The Place and the Time. Ain't That a Shame. Ooh Mama Ooh. Treat Me Bad. Credited: Tim Dell'Ara. Truly Fine Citizen. Chinese Song. Composition: Skip Spence. Horse Out in the Rain. Composition: Lewis. American Dream.
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