Filling in that blank is a problem which every human has, but fans of science fiction and fantasy often have a problem which is much tougher than average. Science fiction and fantasy fans are not ordinary people. They have interests which are not common. They have minds which are not the everyday variety. They feel unusual, and they are unusual. The result is that they develop dreams which are outside of the mainstream — so far outside that they are often "unacceptable. After a while, these extraordinary dreamers begin to give up.
Maybe they are impractical — maybe they are unrealistic — maybe they are nuts. They cease to take their goals and values seriously and begin to settle for less! And when that happens, sadly, they begin to die. Oh, they may continue reading science fiction and fantasy, but it becomes just what so many accuse it of being — an escape from reality. Whereas, what it can be is an inspiration toward creating a lifetime reality as wonderful as fiction. So how do you fill in the blank? How do you decide what you want to be while you still have the will to fight for it?
First, you must get to know yourself. That requires that you spend some time alone. Second, discover what you love most. No matter how silly they may seem, discover the hidden ideas and passions which are unique to you. Open all those secret little compartments deep down inside yourself, and accept whatever you find. Third, think of a way to do what you love. Don't let your passions remain abstract wishes. Consider how you can bring them to life and get involved in the activity.
Fourth, think of how to make money doing what you love. Does a job category already exist for your passion or do you have to invent the job? Where might such a job be so valuable to others that they are willing to pay you to do what you enjoy? This sounds simple on paper, but make no mistake, doing it is extremely difficult.
In fact, this may be one of the most difficult tasks you will ever face. But it is also one of the most important. To spend your life doing what you love is the key to happiness, and that is worth buckets of sweat. The alternative is too horrible to consider. And why does this matter to me? Why do I write editorials and conduct conven- tion sessions designed to inspire you? Why do I care whether you fill in the blank? It is the people of extraordinary dreams who will add extraordinary things to our world — provided they don't give up. I may be the voice of encouragement which they desperately need to hear, but cannot find.
The fans of science fiction and fantasy can create the most incredible innova- tions — innovations which expand the universe in which I live and move all of us closer to the stars — while the innovators are enjoying life as happy humans. Reprint or reproduction in part or in whole without the publishers' written permission is strictly forbidden. STARLOG ac- cepts no responsibility for unsolicited manuscripts, photos, art, or other materials, but if freelance submit- tals are accompanied by a self-addressed, stamped envelope, they will be seriously considered and, if necessary, returned.
Fiction submissions will not be accepted. Second class postage paid at New York, NY and additional mailing offices. To avoid this, mark your letter "Please Withhold My Address. Just want to add both my praise and con- dolences to those already featured in Communica- tions concerning Max Headroom, the greatest TV series of all time, SF or otherwise. The program relied heavily on the ingenious style of two other earlier and remarkable futuristic genre productions, namely Ridley Scott's Blade Runner and Terry Gilliam's Brazil, but unlike either of those, Max Headroom contains something they didn't, Max himself, the brain- child of the future.
That was one of the things which made Headroom's shows so special. Max was so different and so new that, for most viewers, he passed through one eye and out the other simply because they couldn't understand the proper symbolic metaphors offered in each episode. Max was just plain damn fun, genuine entertainment. Are we the viewers going to allow true creative art like Max Headroom to slip through our collec- tive fingers while tripe like Designing Women is reinstated? Let our voices be heard!
I Write directly to: Here Do not send money order to above ad- dress. See subscription ad this issue. Inquiries addiessed to editorial offices only I delay your request. What a daring and shocking ending to a terrific first season for Captain Power. Having read in the March issue of STARLOG that one of the main characters would be killed in the final episode, it seemed possible, but unlikely, that Pilot would be the unfortunate one. First, she was loo useful and vital in the series, and the sole female member of the group.
In most storylines, writers have always steered away from killing off the sole female representative on the team. The only hint of Pilot's eventual demise was her grow- ing relationship with the Captain. Romantic rela- tionships can herald the end for one of the involv- ed characters. Instead, Scout was my bet for premature retire- ment.
Having the least defined background, role and character on the team, he seemed a shoo-in. His reference to Christmas trees as bad luck in Part I of the episode appeared to be good evidence of his candidacy. Imagine my suprise when I discovered that it was Pilot who was to be killed. Though disap- pointed that she was to be terminated, I must ap- plaud the writers for a well-written, exciting and powerful show.
Certainly this series is not just for kids, with its portrayal of such bold concepts as loss and self-sacrifice. Lastly, we seem to be seeing more and more women in science-fiction movies or media who are portrayed as valiant individuals who perform admirably in the face of death in the service of their comrades a la Vasquez in ALIENS and now. Please let the appropriate folks know that some adults do indeed enjoy Captain Power.
I am a year-old woman who began watching it out of curiosity after seeing it criticized on a news clip. It's hard to dislike a series that explains away a somewhat less-than-adequate set by having a per- son comment that things are "under construction. The action sequences are fine and the interactive portions never seem intrusive to me. I consider the effects good to very good, especially given Cap- tain Power's budget, and find the computer- animated creatures a real delight, both visually and in the manner in which they're integrated.
Soaron, of course, is my favorite. I get a great kick out of his slimy personality and the vain, fussy way in which he flits around. I'm just sorry that I didn't give Captain Power a chance earlier and missed so many episodes. For sheer entertainment, I enjoy it just as much as the new Slur Trek series, and some weeks — I enjoy it morel Jeanette M. I have become an avid follower of this series that is original and exciting not to mention its great sets and costumes with a great eye for detail.
Until now, my only complaint had been that, once again, the bad guys can't hit the side of a barn. Imagine my surprise and horror when watching the season finale to see the most interesting and complex character die. Jessica Steen, as Pilot, was an important and vital element of the show's ap- peal. How can Landmark Entertainment justify killing one of the co-stars to "prove" that this isn't just a kids' show!? If Jessica Steen cannot be written back into the show in some shape or form , I hope her con- siderable talent and appeal isn't wasted and that she can find work elsewhere soon.
Box Lafayette, LA Reading Captain Power creator Gary God- dard's comments confirmed my observations that much care went into making sure the series' quali- ty was not compromised by commitments to Mat- tel who deserve credit for respecting those con- cerns. I noticed that the show is produced in Canada: Bruce Mai B. Marshall Webster Groves, MO I am curious to learn the reasons behind the explosive demise of her character. After all the care that was taken to develop Pilot, it seems such a waste to kill her off.
Now, there is definitely a void in Cap- tain Power's team. It seems as if the writers didn't want to tackle the growing relationship they had been developing between Pilot and Power. The dialogue, usually believable, did become somewhat corny in Pilot's final episode, perhaps indicating the writers' discomfort.
Unfortunately, even if the writers come to their senses and realize Pilot should have stayed with the team, there is no way to bring her back and maintain the show's believability. I think the writers blew it along with Pilot. With all the hoopla surrounding Star Trek: I initially dismissed Captain Power as worthless kid-vid, meant only to sell toys just like most other programs geared for younger viewers.
Then one morning, I was faced with nothing better to do, so I gave Captain Power a chance. Imagine my surprise at liking it! Captain Power is definite- ly a step above average children's programming. Actually, it's a step above much of the "adult" programming shown in network primetime. If this is the future of kid-vid, I'm almost sorry I grew up.
Jason Bennion Riverton, Utah. It is not Dunigan or the other actors! I will miss the gutsy and talented Jessica Steen. What will she be doing, and will she be playing space golf with Tasha Yar? We regret the mis- interpretation — and we are also annoyed by it. As for Steen, she's co-starring in an upcoming fun. On behalf of Landmark Entertainment, let me offer my sincere apologies for the mix-up with regards to the photo which recently ran on the cover of your magazine. Captain Power and the Soldiers of the Future was a very complicated pro- duction and was produced under a fast-track schedule.
During this time, Mattel Toys required some key photographic elements for use on inter- national overseas toy packaging. At that time, contractual problems and schedules combined to make it impossible for the actual cast to spend a day posing for photos. So instead, Mattel had some doubles do the job, since it was never an- ticipated that such photos would be used for television promotion.
The urgency of the press deadline probably caused some of our staff to "fast-track" their efforts, and as such, things like this sometime happen. We will certainly be more careful on this end in the future. Please be kind enough to inform Bill Warren that the words "chollo" and "ocatillo" which he used in STARLOG 's "Journey to a World Gone Wild" article, page 73, first paragraph, fourth sentence are incorrectly spelled and should, instead, be printed as "cholla" and "ocotillo.
As a freelance writer and voracious reader, I sample many magazines, but there is one that I read every month, cover to cover. In no other magazine do I encounter such a sense of wonder, of limitless possibilities and such an innocent passion for dreams, fantasy, ideals. I applaud your professionalism and your enthusiasm for everything new and challeng- ing. I congratulate your writers for their thoroughness and inventiveness and your artists for their eye-catching covers and layouts. Thank you Kerry O'Quinn, for not giving us pablum; thank you staff, for keeping it fresh, young and adventurous!
How about a nostalgia piece about The Shadow! And while I'm at it: It would be great to revive Modesty Blaise. Let's see a piece about wild Ms. Blaise and her alter ego, Monica Vitti. Gisell Balido Address Withheld. Kerry O'Quinn is a great man with a one- liner: After all, the socialist Labour party has been out of power in England for the last decade or so.
Thatcher is at least as conservative as Ronald Reagan. Calling her socialist is as funny as calling Adolph Hitler a nice guy. But we all know O'Quinn was just leading us on. The tipoff's in the editorial's last sentence, where the word "do-gooder" is used in a derogatory fashion. Since doing good is obviously the best that a human being can aspire to, using do-gooder as an insult is O'Quinn's way of telling us that it's all a gag.
Yes indeed, that was a swell change of pace from all those other From the Bridge editorials. Stay with the Funny Tales, Kerry. There just isn't enough true humor in SF these days, and while "the world weeps with wars and terrorist and human suffering," we know what's really important: Finally, a quality program and believable fantasy blending to bring us a show that not only entertains, but educates.
Too many series these days put the em- phasis on action, chase scenes, etc. It's nice to watch a show which stresses interplay among the characters, and which gives the viewer a lesson from which to learn, whether good or bad. I would like to say to all those out there who don't watch Beauty and the Beast, you don't know what you're missing. There's a lot of ac- tion, but it's mostly about forbidden love. If you ever saw and liked Roxanne, Phantom of the Opera or any other show where the hero was facially deformed, you'll also like this one.
Within seconds the sphere appears to come to life. At first, with a dim glow, then getting brighter and brighter. Now open your fist, within seconds the sphere grows dimmer and dimmer as if to be cooling, until totally dark again. Unlimited possibilities for the science fiction or fantasy film buff. Alas, you hold the power of the universe in your hands. How does it work? Where does it come from? No, it's not powered by di-lithium crystals. What causes the mysterious glow? Is it chemical energy?
No, and it's not a light stick, either. Could electronics cause this magical wonder? Well, now days anything is possible. It operates from the energy within and works every time! Can be moved about. It will even work in your mouth! Complete, ready to work when you get it. Safe, easy 10 do and underpriced. Free catalog with every order. At least three, perhaps as many as five, upcoming SF movies mix one part menace with one part H 2 0.
Shake, stir and serve. It's oceans away in Leviathan, now being filmed overseas and maybe underseas by director George Rambo Cosmatos. Release is expected next year for this adventure in which humans encounter an infectious mutant menace under the sea. Stan Winston is pro- viding the FX. Somewhat in the Voyage to the Bottom of the Sea tradition, Deep Six involves a bunch of humans who en- counter an ancient, un earthly monstrosity underwater. A spokesman confirmed that The Abyss, which has not yet begun shooting, will involve underwater alien adventure.
Also joining the stream are the sequel, Co- coon II: The Return, and a prospective flick entitled The Rift. What initiated this watery SF mini-trend? Is something, somewhere, fishy? The Leviathan and The Abyss projects were first announced some time ago, and it's apparently just coincidence that all these movies are arriving, hook, line and sinker, at about the same time.
Brian Dennehy was able to re- arrange his schedule and find some time to appear in Cocoon II: Dennehy only has a cameo in this sequel, however. Also back is Herta Ware— who played Jack Gilford's wife in the first one, a character who passed away in Cocoon. Star Trek V, of course, has a subtitle: The next James Bond film is officially License Revoked. Despite last issue's report here, Batman hasn 't sold as a Saturday morning animated series after all.
Insiders speculate that such a series might be delayed until fall so as to premiere after the film version due for sum- mer release. A number of completed DEG movies were embroiled in distribution limbo, with their releases extremely uncertain. It's now due out shortly. Lance Henriksen is hitting the action trail in Hit List. It's a thriller focusing on a witness protection program. William Maniac Lustig directs. Jim Dan- forth is creating its matte paintings and some stop-motion effects. Jacques head a cast that includes an offbeat leading man: Rowdy Roddy Piper, wrestler-turned-actor.
Curiously, though it made a good deal more money than expected, The Never- Ending Story was never perceived by the public as a hit film in the U. It also cleaned up overseas. The first film only covered half of the novel; maybe this will tell the rest. Yes, there will be a Beetlejuice II. Tim Burton plans to direct it after he finishes Batman. And Michael Keaton will return as the ghost with the most.
A new thrill ride through the human body, which will give visitors a tour of the microscopic world of the human immune system, is now under construction as EPCOT Center's newest Future World pavilion in Disney's Florida park. Based on the same flight simulator technology that boosts Star Tours patrons at the Anaheim and Tokyo parks, this new "Body Wars" journey combines stunning anatomical images with the sensations of a high- speed race against time.
Bluth, however, won't be directly involved in An American Tail 2. Disney, meanwhile, is plotting out a sequel to its animated feature. This time, the cartoon heroes are off to new turf as The Rescuers: Car Wars presents love at first crash in the inevitable affair between an- droid and car saleswoman. Peter Berry and John Mister scripted.
He'll be back, really, in The Return of the Swamp Thing. At one time, this sequel to the Wes Craven movie was planned as a paycable project. Now, though, it's aimed for theatrical release. Jim Wynorski will direct with Georgia locations superseding the first flick's South Carolina sites. The whole company should be shooting now, off in the muck, making a movie. Those movies deemed especially tentative are denoted by an asterisk.
Schedule changes are reported in Medialog "Updates. Nightmare on Elm Street 4: Elvira, Mistress of Dark, Deep Six. A year-old, he wishes for more maturity— and mysteriously fastforwards outside to a new age while remaining young at heart. Penny Marshall directed the fantasy, now in release. Residents add sales tax. Catalogs are FREE with any order. The creative minds behind the new syndicated TV series War of the Worlds do. Wells' classic science-fiction tale. Strangis and creative consultant Herbert Wright who recently crossed the compound from the Star Trek: The Next Generation team are going through the mind-numbing process of casting War of the Worlds' four recurring roles no casting decisions at presstime.
They're fielding bids for what will be a steady optical special FX gig and collectively bemoan the fact that "we were definitely not ready for the writers' strike. The series will continue in that vein. What we've done is take away the Martian angle and made Mars merely a staging area for an unknown race from another planet. So, they're not actually from Mars. But that ele- ment aside, I believe we're being very true to H. It seems that the aliens didn't actually die from exposure to bacteria in our at- mosphere but, in fact, went into a state of hibernation.
After accidental exposure to nuclear radiation, the creatures awaken from their sleep and take up the battle where they left off. The Series aren't about to roll over and wave the white flag. Carrying the standard for the good guys is a group of four freedom fighters who will do battle with the aliens in what Wright describes as a "Vietnam-style conflict. Harrison Blackwood, an astrophysicist and the adopted son of the movie's Gene Barry character; Susanne McCullough, a microbiologist; Norton Drake, a Jamaican, wheelchair-bound radio astronomer; and Colonel Paul Ironhorse, the group's liaison with the military.
Also on hand in various episodes is actress Ann Robinson, reprising her film role as Sylvia Van Buren, now con- fined to a mental hospital, but available for informative "consults" when the heroes need her. Enter, The Enemy The series, to be filmed in Canada, will log a two-hour premiere and 22 one-hour episodes during its first season on the syn- dication trail.
Securing better than markets out of the box was a pleasant sur- prise. Delivering the goods in a believable fashion is shaping up as an undertaking. We reintroduce the alien fighting ship in the first episode and promptly put it to rest. We've basically transformed them from unstop- pable beings to outer-space terrorists which will make War of the Worlds a more equal fight. The War of the Worlds monsters have been empowered with the ability to take over human bodies through something that Strangis describes as "a kind of osmosis.
After a while, the human body will take on a zom- bie look and ultimately will be discarded. It gives the aliens a bit of an edge and it helps us keep what these creatures really look like a secret. The Series peo- ple are keeping true to their sources, what the creatures will look like is no big secret.
The spindly, three-fingered, one-eyed nasty glimpsed briefly in the movie is the alien.
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But you've got to remember that these things, at some point during their hibernation, came in contact with nuclear radiation. And, to make a long story short, they didn't store too well. We don't plan on ever showing an alien full-on. We don't want to lose the FX crewman Barney Burman labors to keep the Martians looking as hand-some as ever. In the book and the movie, the' aliens were such an advanced race that the Earthlings were no match for them.
We had to think of ways to make our heroes heroic and our bad guys vulnerable. In the first episode, the aliens would fly over in mystery of our monster.
But they are definitely more horrifying. We haven't skimped on their lack of beauty. Sturgeon, fresh off a stint on the updating of The Blob, is presently doing double duty, designing both the alien whose look, he claims is still in the formative stages and the zombified results of the alien takeover of humans.
It's not just the typical rot- ting flesh sort of thing that everybody has seen a million times. When an alien has been in a human body for a while, parts of its features begin coming through the human body, which has allowed me to do more subtle things. I'm in the process of taking molds of the arms and legs. Once a final design has been decided on, I'll be piecing individual parts together. The show will have effects, but it is also a series that my year-old must be able to watch.
Foreign orders, send U. If you do not want to cut our coupon, we will accept written orders. Thai's what movies are all about. That's why I like doing movies, no matter what the budget, that are big movies, that hopefully will lure people out of their couch potato existence and back into the movie theaters. He profiled Geena Davis in issue Sykes Caan , a bigot, dislikes his new partner because he's an immigrant.
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George Francisco Patinkin , the first of his race to be promoted to detective, is just try- ing to do his job. Stories of partners who don't get along, who stick together only because of their own selfish motivations, but who ultimately reach a mutual understanding and become "buddies" have been a Hollywood staple for decades.
He's an alien Newcomer, one of a quarter million new citizens Los Angeles adopted when their spaceship crash-landed in the Mojave Desert three years earlier. This isn't the first time that Hurd has been involved with projects that rework familiar devices in a science-fiction setting. Terminator — which Hurd terms "an epic love story about a love that transcends time" — is almost a futuristic version of a Hitchcockian "innocent on the run" yarn. There is an element to SF that allows us to expand our horizons and really stretch our imagination.
It's one of the areas where we're still able to do epics. We can't do epic Westerns anymore, no one seems to want to do those, so we tell them in a Star Wars. We've taken a racial thriller and told it in much broader terms, so I think Outer Heat has broader ap- peal. But moviegoers, suggests Hurd, might have had reservations about paying money to see just another cop flick. I can go home and watch it on the late show. Outer Heat is a film that you have to experience in the movie theater on a big screen.
Not all the projects that I have are science fiction, but obviously with my track record; I'm able to get those launched quite well and hopefully successfully for the distributor. The whole point of an allegory is to try to subtly affect people without just preaching to the convinced the way you would with a very strong polemic about racism and the perils of immigration," observes Hurd.
You don't see him practicing his craft. He becomes the character. It's so subtle that you aren't paying attention to all the little details that he brings to the role. And that's what Sykes needed. He has no family, he's estranged from his daughter, his partner has been killed and he has seen his world crumble around him.
We get that pathos without dwelling on it from Jimmy, who just incorporates it into his being. We then see him gradually evolve and become a trusting, caring human being again through the course of the story. Francisco with an incredible innocence that shines through any amount of makeup," Hurd comments. The character that he has created for Fran- cisco really comes through.
Mandy has managed to create someone that we trust and at the same time we know is really not one of us. Yet by the film's end, the au- dience accepts him as Sykes accepts him — as a true friend and partner despite the fact that he's an alien. He's absolutely riveting," notes Hurd, "even when he's off the set. He also has the most incredible blue eyes 1 have ever seen. There's just something about them that forces one to watch him. It's really important for a villain to have presence. Otherwise, he doesn't really seem to be a threat.
You can have a very charismatic villain, yet through his force of personality, you respect him and, at the same time, are terribly afraid of him. Most of Outer Heat's day shoot took place during the cold, damp night on the streets of Los Angeles. But, you don't have the same tension, the same energy level," she says. It comes through in the dynamics of what you see on the screen. Somehow, it's easier to create when you're out there in real places on real streets, no matter what the hardships are while you're shooting. There's much more camaraderie when you're out there in the elements.
You've seen several in- dependent companies go bust recently. There's every reason in the world to put your money behind a sure bet, and if you check the business that sequels do, it's really one of the surest bets around. It certainly can be used to a filmmaker's advantage to make a sequel. The biggest problem is that most sequels aren't truly advancing the story, but are almost remakes of the first film.
Every Rocky film might as well have been Rocky I. Nothing has really changed, the stakes don't change. James Caan is Sykes, a hardened cop on the trail of human and alien killers. Cameron didn't just give 20th Century Fox a hit picture, but also restored to the studio a commodity. But Hurd says she has no regrets. We knew that basically we had a very great amount of artistic freedom, but financially our remuneration would not be as great if we had done an original project. We gave the audience and fans a terrific and entertaining movie and we were able to make a film on a large budget— at least as far as we were concerned — and to do a really great special effects number.
At the same time, we knew that down the line, other people would be getting rich and that we wouldn't necessarily share in the wealth. It's terrible when filmmakers are disgruntled after they've had a wonderful opportunity that they would have killed for before it happened. Afterward, they want to renegotiate their deal and that's just unfair. You've got a wonderful opportunity, you know it and you make some compromises.
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Often, the compromises are financial. But what you get down the line is a better deal on the next film. Negotiations are still in progress and the producer is eager for the day she can an- nounce Terminator II as a "go" project. There's even a shot tentatively scheduled for Outer Heat of a movie mar- quee that reads Terminator III to clue the audience that this is the future. One way or another, it will be a film that Jim or I had something to do with. Whether or not it's Terminator has yet to be decided. The first film to come out of Tech Noir, the company co- ventured by Hurd and husband Cameron to produce their joint efforts and named after the glitzy dance bar from Terminator, The Abyss is a project that Hurd remains very secretive about.
It'll be a hell of a roller coaster with incredible dramatics, a very emotional piece. The Abyss is the best thing I've ever read, and I've read a lot of scripts. In addition to Tech Noir, Hurd heads up two other production companies. Pacific Western, the one backing Outer Heat, will produce "more mainstream films," accord- ing to Hurd.
No Frills, on the other hand, is the company Hurd has set up, she says, to sponsor "first-time filmmakers or those who haven't had the opportunity to do a film on a real budget — and to hopefully be a mentor for the next wave. Passion is what this industry's all about. You can feel it when you see a movie if the filmmakers have been passionate about their subject.
It's very hard for someone to do that with a project that they are introduced to after all the other elements are set. And what are the producer's final words of advice for filmmakers who hope to break in through No Frills. Not downbeat and gritty, but "positive and uplifting" — that's Goldsmith's music for Outer Heat starring James Caan.
But producers and directors bent on effectively setting the tone for their otherworldly visions inevitably end up dialing G for Goldsmith. Creep- ing up to the drawing board is an as-yet- untitled "Omen-like" supernatural feature and a musical backing for the underwater monster picture Leviathan. I had a real hard time watching the hand being cut off when 1 was scoring Psycho II. I guess, I'm just squeam- ish about those things. My work on Poltergeist is a perfect example. Most people saw that film as a ghost story and a horror story. I saw it as a love story and wrote the music with that emotion in mind.
I just look for the emotion. When I don't find those, it makes things more difficult. To date, he has seen only 45 minutes of the film, but it has been enough to give him a good vibration. There's a definite relationship between our two main characters and we will get some in- sight into racial tolerance. Sure, it's an ac- tion picture and a cop show, but what the music will point out is something very positive and uplifting rather than downbeat and gritty. As with Gremlins, his earlier collaboration with director Joe Dante, Goldsmith ran a gauntlet of emotions that saw a major or- chestra alternate with odd bits of piano and synthesizer on passages primarily dark but oddly quirky.
I tended to restrict the score when we're focused on the man inside the body. The trick was to keep the melodramatic feel going while avoiding the temptation to go completely over the top. I went for a lighthearted dramatic style that seemed to capture what Joe wanted. Goldsmith recalls spending five months composing "a very lyric? Unfortunately, the last straw they grabbed at was my music. I wrote my music based on what I read in the script and the film ultimately came out with a much darker tone.
My original score [which was heard on the European release] was uplifting and real- ly sang. The problem was that it ran con- trary to what the film turned out to be. But not with my eyes closed. I knew there was only one musical direction to take with the film: But even with those limitations, 1 found that I was able to do some interesting things. It was really gorgeous.
However, when the scene was cut in half, the piece lost some of its impact when I had to rework it to fit the edits," he winces. Up until the motion picture Runaway, Goldsmith had been a traditionalist, prefer- ring to work with an orchestra and string section. But he chose to change his tune with Michael Crichton's futuristic action film. Parts of what I came up with are pretty stark, but I think there's some real movement to what I did.
A strong loyalty to flesh and blood musicians. With them, I can do any kind of picture. After the human voice, they are the most expressive instrument I know. Entering the studio with an piece orchestra, a voice choir and no electronics to speak of, he created a monstrously lavish and progressive score, the impressionistic movements of which ad- ded supernatural tones to even a simple child's lullaby. Full-bodied arrangements and masterful use of the choir in a quasi- religious sense were two of the elements that helped Goldsmith capture an Oscar nomina- tion for Poltergeist.
He won an Oscar for his Omen score in Many of these same elements were pre- sent in the score for Poltergeist II but, as Goldsmith remembers, the thrill was gone. Things were being constantly edited and changed and when most of the child-grandmother relationship was cut, so was much of the human element to build the music on.
His work on Star Trek: The Motion Picture, which also garnered an Oscar nomination, stands head and shoulders as the classic example of needing it yesterday. The Motion Picture was plagued by a number of well-reported pro- duction delays that, in turn, kept Goldsmith from getting his hands on the film until dangerously close to its release date.
I called on Fred Steiner [a much credited TV composer who worked on the original Star Trek] for help and we ended up finishing the music three days before the film was scheduled to open in theaters. Rather than produce a Star Wars carbon copy, he forged an original musical road that mixed and matched or- chestration, percussion, electric guitar and the familiar Alexander Courage theme into a powerful but subtle blanket for the film.
TMP music has resurfac- ed on Star Trek: The Motion Picture and the music of Alexander Courage into the series. The score, quiet and slow-moving a la his work in ALIEN, was every creative nightmare the composer had ever had come to screeching life. I had great difficulty with that pic- ture because 1 couldn't get into the human side of any of the characters. Goldsmith's job, though, was complicated by the fact that most of the g animation was incomplete during his scoring o sessions.
Just as enjoyable was his time on Psycho II, a film that allowed Goldsmith to pay tribute to one of his heroes, Bernard Herr- mann who scored the original Psycho. It was also the first time since Runaway that Goldsmith felt ready to tackle a major elec- tronic score. The result was something as creepy and unpredictable as the character of Norman Bates. But as Norman's character continued to fluctuate and change, I made the music demented and schizoid to fit those changes. Goldsmith "made the music demented and schizoid" to reflect Norman Bates' chanainq character in Psycho II, a salute to his friend Bernard Herrmann.
Professor Chambers must retrieve it before its devastating power is unleashed! SATAN Seeking unlimited power and wealth through his demented scientific genius and an army of mechanical men, Doctor Satan battles The Copper- head, who is really Bob Wayne disguised by a copper mask and is determined to protect society from the evil Satan. Two Zombies persuade a renegade scientist to construct a hydrogen bomb to blow the earth out of its orbit.
A member of the Inter-Planetary Patrol must foil this plan despite incredible adversity. Vulcan schemes to get control of the Decimator capable of causing devastating earthquakes and plans to destroy New York City. As she faces another season on board the "Enterprise," the "Next Generation" empath is feeling— better. The Next Generation, I thought it was going to be wonderful to do. Then, as the episodes progressed, 1 realized that there was a limit to how many feelings you could have. We're doing 26 hours, but I don't think there are 26 feelings.
I've done that, gotten the T-shirt, the souvenir brooch, all the other stuff. Every time Troi opened her mouth, she sensed something. Instead of a challenge, I think it would have ended up being very limiting to just be that empath. It's not boring, but it was getting there. Obviously, I've repeated certain aspects of the emotion thing, but whenever I wonder 'When am I going to do something different?
Anyhow, I'm not bored yet. Nor are story points always supplied to alibi her absences. So, they ignore it. I don't think that works. I think that's going to happen more this next season. The first season, they had created this character and then dug a hole with the whole empathy thing, a hole they couldn't get out of. So, if I didn't have much to do in an episode, they would just totally write me out. And in November, I nearly fell into it and was covered over. Without going into that, I nearly got fired," Sirtis says.
There's nothing to do in LA anyway except eat and shop. When I have too much time off, I spend too much money and eat too much. We haven't gotten next season's contracts yet, but hopefully I will be in them all. They can't write for characters unless they know the characters well," she explains. In some scripts, anybody could have said certain lines. It didn't mat- ter. Lines didn't go with characters. Next season, he wants to have the emphasis not necessarily on the plot as on the way the plot affects the characters. Gene really feels he has a hook on my character now. He told me that he was rewriting stuff for next season to accommodate the new ideas he has for me.
And we'll all be getting together with Gene during the show's hiatus and tell- ing him how we see our characters develop- ing. Obviously, he'll tell us how he sees them developing. It's very rare in Hollywood for actors to have that kind of input into their characters' futures.
Most fans are happy to see Star Trek conti- nuing. They've seen the original 79 episodes umpteen times and it's just nice to have something new in the same vein as the original to watch. There are many who aren't necessarily science-fiction fans or original Trek fans. They watch The Next Generation because they like it. When you go back and watch the original Star Trek, it looks a little quaint because they didn't have the effects or all that razzamatazz of later shows. Many young people love our show because it's like watching a Star Wars film. I would hate to get up there and not be responded to, but I do get a response.
It gives me the thrill of a stage performance without having to learn any lines. People come up to me afterward and say you should use more of your own character in Deanna Troi. That's a huge compliment. If people didn't switch on their TV sets or buy your records or pay to see your movie, you might be looking at a dif- ferent profession in a few years.
So, to really not treat the public well is a bit irresponsible.
Michael Dorn isn't recognized. Brent Spiner sometimes is. I'm never recognized, unless I'm on my way home and still have my hair up," notes Sir- tis, who, cliche or not, looks nothing like Deanna Troi in person. It happens rare- ly enough to be exciting. And I love it.
But there's another side. Because of the show, I get invited to func- tions. When I arrive, they say, 'Well, who are you? The actress' two favorite episodes are segments quite familiar to Trek fans. I'm not one of those actresses who sits down and analyzes too much. I get my script and then I work on it. I learn my lines and I see what happens. That's totally op- posite to the way so many American actors work. They take pages and pages of notes. That doesn't work for me. I find if 1 do that, the performance becomes too re- hearsed, too analytical.
But if it works for you, that's what you have to do. In 'Skin of Evil,' 1 think 1 even sur- prised Joe Scanlan, the director, because I didn't do it in rehearsal. I did it on the first take. It threw him because he must have been thinking, this girl just isn't going to do this. Then, suddenly I did it. It was sad because it was Denise's last episode.
It was funny because she was back the next week, filming 'Symbiosis. At the episode's end, in a memorial service, a holographic image of Tasha Yar addresses each of her friends in turn. The hologram speaks to Riker and then to me. Jonathan and I were standing together at that point and I was sobbing because Denise did her off-camera lines to us for our reaction before she did her on-camera lines. Unfortunately, I started sobbing which got Jonathan very teary-eyed and set the tone.
Every time Denise looked at me, she just welled up because I was so sad that this was happening. No matter how many times I heard Denise do it, no matter how many takes, it still made me cry. There may be another hairstyle and costume change and further redefining of her empathic powers. Also, she's probably getting her own office, the better for psychiatric consultation. Cherryh and failure are strangers. She is among the most successful of science-fiction novelists, a woman in a genre traditionally dominated by men. Kesrith have won her a large following of dedicated readers. She has gained both critical acclaim as well as two Hugo awards.
In collaboration with Janet Morris, she has set sales records for "shared universe" anthologies with Heroes in Hell. Her signature has become the strong woman protagonist who controls not only her own life but often the destiny of planets. If science fiction is themutically about men and machines, her newest novel is about men as machines. Cyteen looks into a world of manufactured men, genetically engineered to the needs of society.
And in such a world where success or failure is predetermined by birth, who shall choose the design? My parents looked me straight in the eye and said, 'Do something to eat. Why did you choose science fiction over any other genre? Because it's what I've always read, and that's what I've always done. When I was a kid, Dad used to bring home Tarzan comic books and what-have- you as rewards for making good grades in school.
This was when I was back in first and second grade. I started reading im- aginative fiction. The mundane stuff just didn't appeal to me. I could always figure out what was going to happen, and there was no interest in finding out a conclusion I could already draw, so I launched off into the realm of imaginative fiction. It has always intrigued me. When we got our television set, I was 10 years old.
The first thing that I saw when we turned it on was Flash Gordon. They were running the old serials. Because the library didn't have much of it, magazines didn't have it, I figured there was only one way to get that sort of literature. I went to my bedroom with a pen and paper and started writing my "I assure you, there are many women ' reading science fiction.
I wrote a novel a year from the time I was Who influenced your writing style? Curiously enough, our library only had two science-fiction books — actual- ly imaginative fiction books — besides the great classics. One of them was by Anthony Gilemore, Spacehawk — a novel remembered only by Robert Heinlein and myself, for some odd reason.
I loved it, and re-read it recently and still like it. The other was Robert E. The minute I was admitted to the adult library, it took me only about 30 minutes to locate those without the card file. Some instinct just homed me in on them, so I read them until the pages must have fallen out. But, the writer who probably influenced me the most was Publius Virgilius Maro. I majored in Latin; again, that bent for imaginative fiction. Sophocles, Homer, and so on. So, I leaned in that direction. I never took a writing course. Did you get encouragement from friends, parents or teachers?
Is there a person who said, "I think you've got talent"? There were a few people. When I went into that room when I was 10 years old and started writing, I had written "Religion, properly, should be a study of the universe. My parents looked me square in the eye and said, "Do something to eat. At any rate, they gave me the most solid advice, which was absolutely essential. They didn't say, "You can't do it," they just said, "Do something to sup- port yourself. Please try your request again later. Serving as the founder and executive producer of Crazy Owl Films, Bill Freas has brought a number of major film and television projects to the big and small screens.
As a screenwriter and producer, he currently has various film and television projects set up with several international production companies, including Vancouver's Foresight Entertainment, Inc. Bill is also the author of works of short fiction published by domestic literary entities, and he has enjoyed tenure as a professional musician, composer, and arranger, setting up his company's music division, Crazy Owl Entertainment, in Are you an author?
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