Little Shoppe of Horrors #20 - Scream and Scream Again: The Uncensored History of Amicus Productions by Philip Nutman
Wow. Can you imagine waiting 23 years to see your labor of love realized? Constantly wondering if it would ever see the light of day. All this hard work you've put into it and then finding out it may never be seen or appreciated? I can only imagine that these are all thoughts and feelings that author Philip Nutman was experiencing while pouring his heart and soul into his "uncensored history of Amicus Productions".
Let's start with a little history of the author of the "book", as he still refers to it (and rightly so). Philip Nutman started his research and interviews for this book back in 1985. He has had the pleasure and opportunity to talk to and interview several of the key players that had a major or even minor role in the machine that made up the Amicus Empire. Everyone from Amicus producers/heads Milton Subotsky, Max J. Rosenberg, directors Freddie Francis and Roy Ward Baker, screenwriter Christopher Wicking, production designer Tony Curtis, film editor Peter Tanner and production manager Theresa Bolland. He has had an extensive career in and out of the horror genre. His credits include his own novel - Wet Work - and several well-known comic books, which include The Teenage Mutant Ninja Turtles, Halloween, The Omen: Save The Chosen, and Clive Barker’s Hellraiser. He also has written extensively for Fangoria, which everyone knows is the Famous Monsters of Filmland for the splatter generation.
On to the work we're reviewing here. Scream and Scream Again is truly a labor of love. You can tell from the Introduction until the very last page creeps up on you. It is honest, at times both unbiased and biased, and full of information that I'm sure many fans and followers of Amicus have been curious about over the years.
Each film is dealt with in quite a bit of detail. Nutman fills the pages with everything from interviews with the directors and actors to behind-the-scenes tidbits to how the film was received when it hit the screen. He does not treat the films like a fanboy carelessly trying to defend everything his favorite studio made like you would think might happen. He unapologetically tells you how he feels and how the film was looked at by the mass media at the time.
The background history of Amicus and its founders leans most heavily towards information compiled from hours and hours of interviews with Milton Subotsky, so at times it feels a little slanted towards his point of view. Apparently, Max Rosenberg had limited interest in getting his side of the story out and wasn't quite as accommodating as Subotsky was. It's also interesting to read directing regular Freddie Francis describe and share his opinion on many of the films, from his love for The Skull to his deep hatred of The Deadly Bees.
The pages are filled with wonderful visual aids to bring the films and background story to life. There are great production and filming pictures, rare poster and promotional art, and never before seen shots of the directors, actors, and producers who made these classic films possible.
This really is a must-have for any fan of British or classic horror. It truly is an exhaustive and thorough history of everything Amicus. It tells the story - from start to finish and even the aftermath - of the "other" British horror house of the 60's and 70's. Lastly, a great big thanks needs to go out to everyone who works for Little Shoppe of Horrors for putting out an extra issue this year and dedicating an entire publication to one of the most overlooked production companies in history. Find out how you can get your copy by going to www.littleshoppeofhorrors.com. (If you would like a copy signed by Nutman, drop him an e-mail at PhilipNutman@gmail.com).
Little Shoppe of Horrors - Scream and Scream Again: The Uncensored History of Amicus Productions Review
Interview with John Roger Barrie
We had the great pleasure to do an interview with John Roger Barrie, literary executor of H. F. Heard, whose 1941 novel A Taste for Honey was adapted into The Deadly Bees. Barrie runs the official Heard website at www.geraldheard.com.
AP: Have you seen The Deadly Bees on DVD?
JRB: Yes. Legend Films did a superb restoration job.
AP: The movie is based on the novel A Taste for Honey by H. F. Heard. I’ve read the book, which is a very smart, taut murder mystery.
JRB: A Taste for Honey sold more copies than any of Heard’s 38 major books, about half a million, which was a huge amount for its day. Christopher Morley and Boris Karloff praised it, among others.
AP: I understand the book will soon be reissued.
JRB: We’re aiming for this fall.
AP: The book’s main character is Mr. Mycroft. Is he intended to be Mycroft Holmes, Sherlock’s brother?
JRB: That remains a mystery. Heard never said. By the same token, he never refuted those who claimed it was Sherlock.
AP: Didn’t Heard write some other Mr. Mycroft novels?
JRB: There were two more, which we’ll eventually be reissuing. Heard wrote other fiction as well. His collection of eight short stories The Great Fog was just reissued last June.
AP: The Mr. Mycroft character does not appear in The Deadly Bees.
JRB: We’re careful to state that The Deadly Bees in very loosely adapted from A Taste for Honey. In many instances the setting, plot, and characters have been changed, so that the movie often bears little or no semblance to the book. Mycroft the investigator becomes Manfred the villain. The narrator Sydney Silchester morphs into Vicki Robbins. The rural countryside of Ashton Clearwater turns into Seagull Island. The wife and dog are stung to death onscreen, whereas in the book the wife’s death is related after the fact, while the dog—a mastiff, not cuddly little Tess—succumbed to only one bee. And so forth.
AP: Do you think Amicus Productions massacred the novel?
JRB: I would say the novel inspired the movie. But the movie they made is decidedly different from the book. Those who purchase the book should not expect to read about pop singer Vicki Robbins or Ralph Hargrove’s favorite pub.
AP: In the June 2008 issue of Little Shoppe of Horrors, Philip Nutman’s The Uncensored History of Amicus Productions reveals that the novel had been changed by Milton Subotsky of Amicus, then by Paramount, and then scripted by Robert Bloch. Then director Freddie Francis had a comedy writer rewrite Bloch’s script.
JRB: Well, that pretty much explains why the movie is not a strict adaptation of the book.
AP: How did the production come about?
JRB: Amicus’ Max Rosenberg first contacted the publisher of A Taste for Honey in May 1963 about obtaining motion-picture rights to the novel. Max stated that in about 1948 his partner Milton Subotsky had discussed with Heard the possibility of making a play from his novel. After all, Christopher Morley glowingly wrote in 1946, “A Taste for Honey is one of the greatest undramatized plays that has ever been written.”
AP: And so negotiations proceeded smoothly?
JRB: The extensive correspondence over negotiations indicates a fairly smooth ride, punctuated with a few bumps in the road. In October 1965, Heard and Amicus reached an agreement. By February 7, 1966 the principal photography had been completed. By then it was titled The Deadly Bees. It’s further documented that the picture went over budget due primarily to its being shot in Techniscope.
AP: What did Heard think of the movie?
JRB: Unfortunately Heard suffered a major, incapacitating stroke in October 1966 so, for better or for worse, he never saw the movie. For that matter, he never saw the February 22, 1955 ABC-TV adaptation of A Taste for Honey that was titled The Sting of Death, and which starred Boris Karloff.
AP: Many reviewers have trounced the film.
JRB: Not you. Not George Reis of DVD Drive-In. Sure, it has some hokey moments, and it’s a bit slow at times. But for what it is—the first-ever killer bees flick—it’s really not that bad. It’s grossed $3M since its release in April 1967. It served as a platform for Ron Wood’s first rock group.
I think that it was miscast in its genre. It’s billed as a horror film, but it’s not. If one views it as a mystery-suspense story set in a claustrophobic English hamlet, populated with characters who range from semi-neurotic to sociopathic, and featuring a few crazed bees, I think it holds its own.
AP: Anything you would like to say in closing?
JRB: When I spoke with Max in 2002, he referred to the book as “a splendid novel.” He’s right. I believe it’s time to rethink the movie. As you write in your review, “I think that the film deserves another look.”
A Taste for Honey book review
A Taste for Honey
Written by H.F. Heard
Blue Dolphin Publishing - 2008 edition
It really is amazing the things you learn late in life that you can't believe you never came across at an earlier age. A lot of times it makes me feel rather uneducated in the genre and world that I have prided myself on being involved and knowledgeable in for so many years. That's basically how the book A Taste for Honey hit me as I was reading it. There were so many things I learned from this brilliant piece of murder-mystery fiction. Sherlock Holmes had a brother named Mycroft? As a Holmes fan, I should have known this. How has this eluded me for 36 years? That was the first piece of information I learned that put me in my place. Also, author H.F. Heard worked with an editorial board at Oxford University with H.G. Wells, Aldous Huxley, and Julian Huxley. He worked with H.G. Wells! Now there's a reference for you.
A Taste for Honey is many things. It's a great crime story. A brilliant murder mystery. An education on the wonders of bees. A study of morality. All of these things make up the properties of this little novel. Did the author know what he was accomplishing? It's hard to know.
Without going into too much detail on all the events that take place in the book, here's a quick synopsis. Sydney Silchester is a lover of honey. He gets his honey from a local beekeeper named Heregrove. After Heregrove's wife dies from being attacked by the bees, all of the hives are destroyed. This leaves poor Silchester to find a new honey supplier. He finds one in the form of Mr. Mycroft. An interesting man, who seems to have quite a knowledge of investigation and also is a beekeeper. It is never revealed if this Mycroft is indeed Holmes' brother. From the extremely intelligent deductions and attention Mycroft pays to details, some have actually speculated that it is Holmes himself, using a different name to keep anonymity. Maybe he had moved to the country to escape the ruckus of an evergrowing modernized London. Who's to know, which only adds to the brilliance and mystery of the novel. To keep things simple, after a change of events, Mycroft and Silchester begin an investigation of Heregrove. Did he kill his wife? Is he trying to kill Silchester because he thinks he knows too much and is too suspicious? It's really almost too much to try to describe to you. You need to read it for yourself.
All I can say is, the novel is very intelligently written, as you would expect after reading the small bio on the author. His attention to detail is wonderfully done. It reminds me of Ian Fleming's descriptions of food and clothing in the James Bond novels. Every little detail and thought of the main character (this is written in first person from the point of view of Silchester) is delicately drawn out.
If you love love smart and well-written murder mysteries, my advice is to read this novel immediately. First published in 1941, it can definitely be regarded as a classic that many may have overlooked or never heard of. My advice is don't read the Forward before you read the actual story. It had what I would call some spoilers that might prove more interesting reading in hindsight. If you have trouble finding it or can only locate it at an astronomical price through Amazon or E-bay, it is actually being re-published by Blue Dolphin Publishing later this year. You can go to www.geraldheard.com for more info on ordering and the author's other works.
The Skull DVD Review
The Skull
Paramount Pictures Presents An Amicus Production
Restored by Legend Films
Starring Christopher Lee, Peter Cushing, Patrick Wymark, Nigel Green, Jill Bennett, George Coulouris, and Michael Gough
Directed by Freddie Francis
Screenplay by Milton Subotsky
Based on the story "The Skull of the Marquis de Sade" by Robert Bloch
Christopher Lee and Peter Cushing. What can be said? They were inescapable if you were a fan of British-based horror films in the late 50's to the mid-70's. They gave horror a classy and proper feel that somehow just worked brilliantly mixed with the terror and supernatural that surrounded them. A British horror film just had something missing if either one or both of the fine actors weren't in it.
The Skull was no exception. Directed by Freddie Francis and based on a short story by Robert Bloch, The Skull tells us the tale of Dr. Christopher Maitland, who has a bizarre fascination with the study of the dark side of human nature and the occult. He studies murderers, strange books, world religions, and anything else he can get his hands on to further his knowledge of the supernatural. He is given the opportunity to purchase the skull of the Marquis de Sade, which has a reputation of anyone who owns it going mad, committing violent acts, and dying in some miserable fashion.
Enter Christopher Lee as Matthew Phillips. Phillips happens to be the former owner of The Skull and he is an associate of Dr. Maitland. They have known each other for years and it seems that they have a type of friendly competition between them over who can collect and gain the most knowledge of the occult and supernatural. Phillips tells Maitland to get rid of The Skull immediately because it has a strange power that even he, a scholar of the weird and supernatural, is afraid of and knows how it can have an unusually strange hold on it's owner.
Of course Maitland scoffs at this idea and shrugs off the danger and begins studying the diary of de Sade and his skull obsessively. As he digs deeper into the madness of the diary, he begins to feel the evil forces that The Skull hides within it. He must find a way to gain control of his sanity and life before he is completely overtaken and falls under the possession of The Skull.
Peter Cushing's performance as Dr. Christopher Maitland is brilliant and well-performed, as usual. I don't know how it was done in an 85 minute movie, but his descent into madness and insanity is very convincing and somehow doesn't seem rushed. You truly can feel the battle that he is fighting within himself to keep control and not give into the evil that is trying fiercely to overtake him.
Christopher Lee as Matthew Phillips brings his usual charm and class to the role. He acts as the warning or omen to Cushing's Maitland with a foreboding tone. He comes across as truly sincere in his portrayal of the calm and somber Phillips. He doesn't go over the top in telling Maitland that he needs to get rid of The Skull. He does it in a very matter-of-fact manner - almost like he knows that The Skull is going to win in the end, but he still has to try.
Freddie Francis' direction once again is great. He has that flair for bringing terror to you from things you don't see instead of things you do. His use of what I call "Skullvision" is very well done and gives you a sense that there really is more behind this seemingly inanimate object than meets the eye.
I always find it interesting that Amicus and Hammer were willing to touch on subjects that at the time were taboo or not talked about in society. The Skull far preceded Rosemary's Baby or The Exorcist of using the subject of Satanism and spiritualism outright in a movie about the battle between good and evil. Looking at it from a historical point of view, it just seemed like they got to the heart of the matter instead of just saying "evil" or "bad". It was like this is possessed by the devil and we have to find a way to not give in to temptation and fight the good fight. I'm not trying to come off spiritual or as some kind of religious flag-waver, I just think that at the time it was something that wasn't done in the mass media.
Overall, The Skull is definitely a worthy watch and I would suggest that you check it out. It has great atmosphere and a good story mixed with the talented legends of British horror. Also, don't miss the great Michael Gough (Dr. Terror's House of Horrors, Horror of Dracula, the Batman movies, Sleepy Hollow) in a small role as an art auctioneer.
The digital transfer and cleanup were done extremely well by Legend Films. The picture is crisp and clean and the audio sounds great. I wish Legend could get their hands on every Amicus film and restore them for a giant box set. One can dream, can't they?
The Deadly Bees DVD Review
The Deadly Bees
Paramount Pictures Presents An Amicus Production
Restored by Legend Films
Starring Suzanna Leigh, Frank Finlay, Guy Doleman
Directed by Freddie Francis
Screenplay by Robert Bloch and Anthony Marriott
Based on the novel "A Taste For Honey" by H.F. Heard
The Deadly Bees is one of those movies that has gained a special place in cinema history as one of those silly films that the guys on Mystery Science Theater 3000 use as the butt of their many jokes. It really is too bad. I'm not entirely sure how it came about that this film has been looked upon so harshly over the years, especially on my first view of it on DVD.
The story follows a young music performer as she goes on holiday to escape the pressures of her busy schedule. Her agent sets her up to get some rest and relaxation by staying in a remote village far from the hectic pace of city life and the attention of the spotlight. The bickering couple she boards with is an interesting pair. The man has a particular interest in beekeeping that his wife dislikes quite a bit, so when her dog turns up stung to death, she immediately goes wild and tries to burn the hives down. This is just the beginning of the suspicious events that occur. One accident after another involving a swarm of bees begins to lead the starlet to believe that there's more to what's going on than what is seen on the surface. Her suspicions are fueled by another beekeeper that lives nearby and begins to question if there is a more sinister plot or reason behind these strange attacks of The Deadly Bees.
The special effects have gone down in history as quite the subject of ridicule. In my opinion, they are no worse than any of the other effects used at the time this film was made and released. Do some of the bees look like they've been pasted in or superimposed on to the film? Of course they do, but no more so than a lot of dinosaurs or monsters did at that time.
The acting is very well done. Everyone is convincing in their parts. The bee attack scenes are done well. The terror is well-played by the actors. The eccentricities of the two beekeepers are quite convincing and not annoyingly over-the-top as sometimes can be done.
The picture is very crisp and clean, which surprised me quite a bit. Legend Films did a great job restoring this film. I'm surprised they could have found a negative still in good enough shape to use as a master to get it looking this good. Most "B-movies" like these weren't exactly kept under the best of circumstances.
The sound is mono, but is good. Many people will probably get a kick out of the performance of The Birds at the beginning of the film, which featured featured a very young Ron Wood (The Rolling Stones, The Jeff Beck Group). This helps to set the tone at what period of time this film was done in.
Overall, I feel that The Deadly Bees has garnered a lot of negative attention over the years for reasons I cannot explain. The story was loosely adapted from a good piece of smart literature by H.F. Heard called "A Taste For Honey" (which is being put back out again and will be available soon) by a phenomenal book and screenplay writer - Robert Bloch (Psycho, American Gothic, Star Trek, The House That Dripped Blood) - and directed by a very seasoned and genre-defining director - Freddie Francis (The Evil of Frankenstein, Dr. Terror's House of Horrors, Dracula Has Risen from the Grave, Tales from the Crypt). I think that the film deserves another look and is re-evaluated for what it was at the time it was put out.
You can order the DVD by going to Best Buy's website. Also, be sure and visit www.legendfilms.com for more great restored classic films.
Peter Cushing & His Amicus Films by Christopher Gullo - Part Three
Here is the conclusion to Christopher Gullo's fascinating article on Peter Cushing and his roles in the Amicus films. Be sure to go to www.petercushing.co.uk to check out the book that Mr. Gullo wrote about Cushing and his life.
“Half the evil in this world is caused by confusing the written word with reality”--Peter Cushing as Doctor Pope (And Now the Screaming Starts, 1972 film).
And Now the Screaming Starts is an effectively creepy and atmospheric production. Oakley Court, the gothic mansion in the film, was commonly used by Hammer studios as well. The veteran cast moves the story along well, including Patrick Magee as the family physician and Herbert Lom as Henry Fengriffen, the bringer of the curse. The mechanical star of the film, the disembodied hand, is a relatively hideous little contraption, turning up time and time again to horrify young Catherine. Amicus had used a similar crawling hand in their first anthology venture, Dr. Terror’s House of Horrors, in the Christopher Lee segment fittingly entitled ‘Disembodied Hand’. Clues as to the curse are given away slowly to the viewer that heightens the suspense; the film also features perhaps the finest period costumes in the horror genre. Cushing’s character, Doctor Pope, is almost Sherlockian in his approach to the situation at the Fengriffen estate, for he states during his arrival, “Curiosity is necessary in my line of work.” He also attempts to analyze Catherine and Charles’ past in order to present a rational explanation for the ongoing events. This film was also the first time that Cushing would don a blonde curly wig which he referred to as making him look like Helen Hayes.
“The only way to conquer your fear of the past is to face it, even relive it if you have to”--Peter Cushing as Herbert Flay (Madhouse, 1973 film).
Madhouse (a.k.a. The Revenge of Dr. Death) would be the first film in which Cushing and fellow horror star Vincent Price would share equal time. They had previously worked together in Scream and Scream Again although they did not share any scenes nor meet during the filming. The film is really a tribute to Vincent Price; many of his previous films are spliced in to sub for old Dr. Death epics including The Haunted Palace, Tales of Terror, The Raven and The Pit and the Pendulum. In fact, special participation credit is given to Boris Karloff and Basil Rathbone, two of Price’s colleagues in The Raven and Tales of Terror. Also appearing in the film is Robert Quarry, whom AIP had been grooming as their new horror star. Even though the plot is nothing terrific, the interaction of Price and Cushing make the film worthwhile. The two veterans play off each other with ease and one wishes that they could have done more films together. The role of Paul Toombes was certainly no stretch for Price, but a horror actor playing a horror actor was an interesting idea despite being previously done by Boris Karloff in Targets. But the plot of having Toombes unsure of being the real Dr. Death fades rather quickly. After a short amount of guesswork, Cushing is the obvious culprit while doing the most with his character, such as sporting pancake white vampire makeup at a party during the film.
“The love of money is the root of all evil”--Peter Cushing as the proprietor (From Beyond the Grave, 1973 film).
From Beyond the Grave, a clever and frightening anthology, would also mark the second time Cushing served to help link together the different segments. Compared against Dr. Terror’s House of Horrors, the first anthology by Amicus, From Beyond the Grave manages to equal if not best its predecessor. Cushing’s role as the proprietor shines throughout the film. With a mustache and bushy eyebrows, Cushing’s proprietor is a seemingly benevolent old man whose possessed antiques rightfully dole out justice to those who would take advantage of him. Unlike Amicus’s Tales from the Crypt and Vault of Horror, the linking antique shop storyline is just as interesting as the segments, for the viewer is never sure what exactly will happen to the ill-fated customers. Cushing’s comments right before the segments are insightful thoughts as to what might happen to the customers: “Naughty, shouldn’t have done that.”
“Finally when the transmogrification is complete, the urge to eat human flesh is uncontrollable. Its appetite must be assuaged”--Peter Cushing as Dr. Christopher Lundgren (The Beast Must Die, 1973 film).
With a plot similar to The Most Dangerous Game, Amicus' The Beast Must Die is an entertaining romp that encourages audience participation. The film combines blaxploitation with horror, a sort of Shaft meets a werewolf with Calvin Lockhart as a poor man's private eye who provides all the action and most of the over-the-top acting. Amicus was probably hoping to strike gold again with another black actor as they did with William Marshall in Blacula. However, The Beast Must Die is graced by some excellent actors, most notably Cushing, Anton Diffring (Circus of Horrors, The Man Who Could Cheat Death) and Charles Gray (The Devil Rides Out), all of whom interact wonderfully and create a much more involved picture than allowed by the script. Cushing's Dr. Christopher Lundgren is portrayed as a virtual walking encyclopedia of all things related to werewolves; even his appearance resembles a wolf. In the film's publicity, Cushing revealed that he directed the make-up man to give him the appropriate 'werewolfy' appearance in order for his character to seem suspicious-looking. The film also features a one minute "werewolf break" in which the audience is challenged to identify which of the guests is the 'beast that must die.'
“It will bore through solid rock at a rate of seventy-eight feet per minute!”--Peter Cushing as Dr. Abner Perry (At the Earth’s Core, 1976 film).
Unlike Shatter, his last disappointing film for Hammer studios, rival Amicus studios provided Cushing with the opportunity to end their relationship with a bang. At the Earth’s Core was meant to appeal to the younger crowds and is a colorful and exhilarating film with plenty of action and comedic bits. Cushing’s character somewhat resembles his past incarnations for Amicus as Dr. Who, but here he invests Perry with a comedic overtone, shooting off one-liners and using his limber body for sight gags. Publicity pointed out that Cushing’s character was greatly different from many of those he had portrayed in films and added “Cushing is best known internationally in countless “horror” and “terror” movies as the creator of Frankenstein and numerous other roles whose macabre overtones are strikingly at variance with his quiet, well-mannered appearance off the set”.
Peter Cushing & His Amicus Films by Christopher Gullo - Part Two
Here is the second part of Christopher Gullo's fascinating article on Peter Cushing and his roles in the Amicus films. Be sure to go to www.petercushing.co.uk to check out the book that Mr. Gullo wrote about Cushing and his life.
“My whole life is centered around Edgar Allan Poe in every aspect”--Peter Cushing as Lancelot Canning (Torture Garden: Segment – The Man Who Collected Poe, 1966 film).
“Was she modeled from life?”--Peter Cushing as Philip Grayson (The House That Dripped Blood, 1970 film)
In The House That Dripped Blood, Cushing appeared as a character that would soon uncannily resemble his own personal life. This third anthology film by Amicus was definitely better than their last outing
Amicus’ adaptation of the Robert
“I don’t understand it, everyone was so kind. Now this, no work, no children, no one to make toys for”--Peter Cushing as Arthur Grimsdyke (Tales from the Crypt, 1971 film)
Tales from the Crypt was Amicus Studio’s stylish adaptation of the original 1950’s E.C. comics Tales from the Crypt and Vault of Horror. At the time, Cushing’s role as the elderly widower Grimsdyke in the segment “Poetic Justice” was an obvious yet incredibly moving take on his own sense of sorrow. With a few days growth of stubble and a woolen cap, Cushing created a character that was all too real. One cannot help but think of the actor’s own personal grief when watching Grimsdyke trying to communicate with his wife, also named Helen. His tortured existence at the hands of the Elliots is truly sad and was one of the best performances in Cushing’s career. Cushing’s appearance as the Grimsdyke zombie was horrifying, with black gauze for eye sockets, a set of crooked teeth borrowed from an old BBC Sherlock Holmes episode, and grayish makeup to complete the lifeless, rotting look. This would be the only time in Cushing’s career that he would don monstrous makeup, for he always wanted Helen to recognize him. For his emotionally powerful role as Arthur Grimsdyke in Tales from the Crypt, Cushing received the Licorne d’Or Award as the Best Male Actor of 1971 at the second French Convention of Fantasy Cinema.
“Am I correct in assuming that you can tailor a garment from any material of my own
By the time Amicus Studios made Asylum, their sixth anthology horror film, they had clearly mastered the format. The film benefited from an excellently assembled veteran cast, some clever stories by screenwriter Robert Bloch and the best linking story since the studio’s original foray into the format with Dr. Terror’s House of Horrors. The linking story had a young Dr. Martin (Robert Powell) arriving at the Dunsmoor Asylum for the incurably insane. There he has applied for a position as the senior houseman. But he is asked by Dr. Rutherford (Patrick Magee) to undergo a special ‘test’ before being hired--he must examine the asylum’s inmates and deduce which one was the former head of the institution. The segment with Cushing, The Weird Tailor, was not the best, which goes to the horrifying Frozen Fear, but worked because of the combination of the acting of Morse and Cushing that carries the segment from beginning to end. While Morse’s performance has a steady feel of constant worrisome, Cushing’s performance builds throughout, from being a mysterious figure to a desperate father willing to risk everything in order to bring his son back to life.
(To be concluded next week)
Peter Cushing & His Amicus Films by Christopher Gullo - Part One
Author Christopher Gullo has been a life-long admirer of actor Peter Cushing. He has spent the last four years collecting rare materials and conducting interviews with Cushing’s co-workers for his research on his book, "In All Sincerity...Peter Cushing". In the beginning of 2000, he took over the running of The Peter Cushing Association, a club for all fans of the great actor, which was created under the guidance of Peter Cushing’s former secretary, Joyce Broughton. Over the past couple of months, he's been compiling photos and info for the upcoming Amicus issue of Little Shoppe of Horrors. If you're interested in picking up a copy of his book, go to www.petercushing.co.uk. This is the first of a three part series on Peter Cushing and his roles in the Amicus films.
Mention the name Peter Cushing and Hammer Films usually springs into mind with such memorable Cushing performances as Baron Frankenstein and Van Helsing. But there is another studio that Peter Cushing was also closely associated with, that of Hammer’s rival – Amicus Films. Started by Max Rosenberg and Milton Subotsky, Amicus Films would become well-known for their tried and true formula of anthology horror films. The following list represents all of the films that Peter Cushing starred in for Amicus Films.
“The more exact translation would be terror, an unfortunate misnomer for I am the mildest of men; however, I sometimes foretell things which are frightening”--Peter Cushing as Dr. Schreck (Dr. Terror’s House of Horrors, 1964 film).
Dr. Terror’s House of Horrors was Amicus Studio’s first foray into the anthology horror film, pioneered by the excellent Dead of Night (1945), which was followed in 1959 with City of the Dead, their first horror hit starring Christopher Lee. Dr. Terror’s House of Horrors is a horror classic and one of Amicus’ best efforts. The rival of Hammer would turn out other anthology films with varying success, practically making the use of the format their very own. The format almost always guaranteed that at least one or two of the segments would prove popular and carry the rest of the film. This proved true in Dr. Terror with the best segment being Disembodied Hand with Christopher Lee playing a snobbish art critic who gets his just punishment for his actions. The only real problem with the film was that Lee’s segment was not held for the end. He is the only passenger who continually opposes Dr. Schreck’s (Peter Cushing) claims of fortune- telling and after he is put in his place, the last segment with Donald Sutherland loses some of its power since viewers know that everyone is doomed. With this aside, Dr. Terror’s House of Horrors proved popular at the box office and gave Cushing employment with another company from time to time.
“It’s all part of the unknown. The unknown is always intriguing”--Peter Cushing as Christopher Maitland (The Skull, 1965 film).
In the second production for Amicus after the popular Dr. Terror’s House of Horrors, Cushing would be given the plum role of an obsessed collector in this basically one character study. The Skull is definitely one of the more interesting horror films of the 1960s and it is a welcomed change of pace from the regular cast of movie monsters that were making the rounds. Of course, the Marquis de Sade was an actual person, which makes the film all the more creepier. Cushing’s portrayal as the inquisitive Maitland is the true centerpiece of the film; all the events are directly or indirectly aimed towards him. His character questions Lee’s Phillips on how the skull could possibly be the harbinger of death: “But how can a mere skull be dangerous? Only your mind makes it so.” The film also showcased the new ideas that Amicus would use to compete with Hammer, their established rival. Director Freddie Francis used an interesting technique as he shot some scenes from the viewpoint of the skull’s empty sockets to give ‘life’ to an inanimate villain.. An interesting aspect of the film is the 'Maitland' connection. Cushing's character is named Christopher Maitland, a name which is a death sentence in an Amicus film. The use of the name was the product of Milton Subotsky, but no one knows if there ever was a real Maitland that inspired such a curse.
“Anyone can understand science if they only put their minds to it”--Peter Cushing as Dr. Who (Dr. Who and the Daleks, 1965 film).
Dr. Who and the Daleks, based on the popular children’s BBC science-fiction adventure, was produced by Amicus although the name was changed to AARU by financial backers. The actor portraying the doctor on TV was William Hartnell, but it was decided that the film needed a more recognizable ‘name’ actor; the producers settled on Peter Cushing, one of their tried and true talents. As originally envisioned, Dr. Who was a renegade alien who traveled the universe battling evil wherever it existed. Hartnell portrayed the doctor as a grumpy but brilliant character who did not fear the unknown. For the film adaptation, Dr. Who was changed to an eccentric inventor on Earth and Cushing portrayed him as a dotty but kindhearted man. The film was obviously heavily influenced by the events of the time; lava lamps and a psychedelic sets served to create an ‘alien’ world. Like the TV series, the film also catered to children, with young Roberta Tovey as Susan, an inquisitive and spirited girl. The comedy relief comes courtesy of Roy Castle, whose Ian is constantly tripping about in displays of physical humor. Although Dr. Who and the Daleks did not quite measure up, an improved-upon sequel was instantly in the works.
“Just as time is regarded as the fourth dimension, so space is equally the fifth dimension, though space knows no boundaries and is completely timeless. Now, I’m sure that has made it perfectly clear”--Peter Cushing as Dr. Who (Daleks: Invasion Earth 2150 A.D., 1966 film).
Compared with its predecessor, Dr. Who and the Daleks, Daleks: Invasion Earth 2150 A.D. is a vast improvement in plot pacing and budget, due to the story line taking place on Earth which helped to trim costs and allow for better special effects. Indeed, the poorly-made forest sets of the first film are in stark contrast to the sets of the ruined city in this sequel which look impressive and have explosions galore. Peter Cushing and Roberta Tovey return as Dr. Who and Susan, pretty much identical to their last appearances. New to the cast are Bernard Cribbins and Jill Curzon, along with rebel leader Andrew Keir, all of which assist the movement of the plot with the exception of Curzon who does not add much. But it is Cribbins this time who offers the comedy relief; an amusing scene involves him trying to imitate a roboman. Even though this sequel improved upon the original film, future films were scrapped, due to poor receipts outside of England, for most people in America were not familiar with the characters so widely watched on the BBC.
(To be continued next week)
Stuck Review
The name brand of Amicus has always been synonymous for quality films of the horror and thriller genres. There are many fans of the classic horror films of the 1960’s, 1970’s, and even 1980’s that look back fondly on such films as And Now The Screaming Starts, The Beast Must Die!, Tales From The Crypt, Asylum, etc and smile about the quality and feeling of them.
27 years after Amicus last released The Monster Club starring Vincent Price and John Carradine, the great studio has been resurrected. Does Stuck stand up on it’s own with the other films in the Amicus canon? Absolutely.
I’m not going to spoil the whole storyline here, so I’ll just give you a brief outline of the story. Obviously, it’s based on the true story of a nurse out of
Stuart Gordon takes the story further. It’s as if he sat down and said – “OK, this is what I wished would have happened – bloody horrific justice will be served!” That’s the type of feeling the movie conjures in you.
Stuart Gordon has done an excellent job of getting you involved with all the characters and establishing their places in the film. The atmosphere of the film is one of dark surrealism. You actually can understand how the driver of the car and nurse – Brandi (Mena Suvari) - is reacting when she is making very rushed irrational decisions and trying to justify to herself her actions. Even though you know she’s making very bad decisions, you completely understand where she’s coming from in some sick way. Mena does an incredible job at realistically sliding from caring nurse at an old folks home to selfish attempted murderer. It’s hard to believe anyone can take a role through all those characteristic changes in a 90 minute film, but she does successfully.
Stephen Rea gains your sympathy immediately as the down–on-his-luck Tom. Life could not be much crueler to Tom in one day. He loses his apartment and gets to a job placement service only to find out he has to sit in line for 3 hours waiting for his appointment. When he does finally get called up by the placement officer, the guy tells him that his info was never entered into the computer and he would need to fill out his paperwork again and set another appointment. Now, how many people out there can identify with a situation like this? He then has to sleep on a park bench and is told by a police officer to leave or get arrested. All the poor guy is trying to do when Brandi slams into him is get to a shelter to sleep for the night. Rea does a good job with his character, making the transformation from desperate and hurt victim to driven self-preservationist to vengeful spirit. All he really wants to do is get out of that windshield and get some medical help. And he’s going to find a way to do it.
Overall, the film is very well done. It has a good pace and is completely believable. There is no suspension of disbelief needed for this film. It is completely rooted in believability. Amicus has done it again – I give this film two thumbs up.
Interview with Ingrid Pitt
Ingrid Pitt really needs no introduction. Anyone who has been a fan of gothic horror - be it Hammer or Amicus - is very familiar with her work and the classy charm she has brought to legendary films like The House That Dripped Blood, The Vampire Lovers, Countess Dracula, and others. We had the great opportunity to catch up with Ms. Pitt and as usual, she shared with us some of her great experiences in the classic gothic horror business and about her latest cameo in the new Hammer film Beyond The Rave.
Amicus Productions (AP): I would like to start off by saying thanks very much for taking the time to do this interview. It is an honor to correspond with someone who has been in such unforgettable and influential films. With that stated, let’s begin. How did you come about getting the role you played in The House That Dripped Blood?
Ingrid Pitt (IP): As far as I can remember it was because I guested on one of Jon's Dr. Who series and it had been fun. When the Queen of Atlantis was called for in The Time Monster he thought of me. So there I was.
AP: What was the shooting schedule like?
IP: Do they have those in Dr. Whos'? Oh you mean on THTDB? You are going back a long time and my memory is nearing its sell-by date but as far as I can remember it was all fairly amicable. Originally it was supposed to be a much darker story. That was before Jon got his fangs into it and turned it into a comedy.
AP: How was it working with John Pertwee?
IP: Wonderful. Always good for a laugh. He used to live in Barnes and I went to his place a couple of times before the film for some rehearsal. It always seemed to be a hoot. I also remember that his son Sean had just got a new tricycle and was scudding around the place. I had the bruises to prove it.
AP: Amicus Films are mistaken for Hammer Films a lot of times, for obvious reasons – they share some of the same actors, the gothic feel of the films, etc. What do you think separates and makes the two different?
IP: You're right about there being some confusion about what is Hammer and what Amicus. The picture of me rising from the coffin, fangs akimbo, is often used by the media to illustrate something about Hammer. Of course it is from THTDB.
AP: What were the differences that you noticed between being on an Amicus movie set and a Hammer movie set, if there were any?
IP: I suppose it's a cliche but Hammer was always a chummy company. Everybody had worked together for ages and they fitted together like a well oiled machine. They had to work together to produce film of the quality they did on the budgets they had. I didn't notice any particular atmosphere on the Amicus films. Everyone was friendly enough but there wasn't the bonhomie found 'at the other place'.
AP: You are legendary for being in some of the more “risque” Hammer Films – The Vampire Lovers, Countess Dracula, etc. Do you ever regret anything you’ve done or “shown” for a film? What do your children think when they see you in those movies?
IP: I think my movies were rather tame compared with what goes on at the moment. I've never had any problems about stripping off. I am entrenched in the ethos of 'if you have it, flaunt it.' You make me sound like a Porn Queen. Not that I have anything against PQs but the stuff I did was all in the best possible taste- as Kenny Everett used to say. If I have a regret perhaps it is that I wasn't asked to do more. When your body looks like you are wearing someone else's fat-suit it is wonderful to be able to blank out the present and think, those were the days. And the kids? They have no problem with it. They just roll around laughing.
AP: Why didn’t you repeat your role as the vampiress Carmilla / Mircalla in the second and third entries in the Karnstein Trilogy of films?
IP: I was working on Countess Dracula when they were being set up. I did read the scripts but they were nothing like Vampire Lovers and Mircalla was just part of the ensemble. Now I think I should have done them but then I was conjuring up delusions of grandeur and decided to pass.
AP: What is it like to wake up in the morning and know that you’re a part of something that is regarded as cinematic history and the foundation of gothic horror films?
IP: The only thing I think about when I wake up in the morning is what I am going to have for breakfast. I'm amazed that so many people think the films I did are still worth seeing all these years later. What is it - 48 years? Unbelievable! At Festivals I get grown men coming up to me and telling me that they met me in New York in 1975 when their father brought them to the show. Then they introduce me to their grand children.
AP: When most people think of the horror queens and women of Hammer Horror, you are the first one to come to mind. What are your thoughts on that?
IP: I'm very flattered. I remember some years ago seeing a poll of the 100 best remembered Horror actresses and I came in third. Can't remember who the other two were but I was mightily pissed off that I was third.
AP: You are involved in the new Hammer production, Beyond The Rave. What role do you play and what is the character’s connection to the events that occur in the film?
IP: Ah! Yes! A very good question. I wish I had a very good answer. I'm not sure what the diminutive of Cameo Role is but if there is one, my role in Rave from the Grave can be so described. Again it is very flattering that anyone thought enough of me to invite me to take part in the first Hammer film for 30 years. If you see it, try not to blink or you might miss me emoting.
AP: When it was announced that Hammer was beginning production on a new film, there was a real feeling of excitement in the air. When it was announced that it was going to be split up into parts on MySpace, there were a few disappointed and disgruntled fans. How do you feel about the way the movie is being released?
IP: I think it is innovative. Hammer became great by being innovative under James Carreras. I went to the screening expecting to be put off by the five minute segments. Luckily those that were screened hung together very well. I was surprised by the quality of the film and the way they had handled the Vampire lore. There was a film made in the US some years ago, I think it was called Lost Boys (or is that something from JM Barrie?) that even had a rave at the beginning. Rave from the Grave reminds me a lot of that film although that was played as a black comedy and Rave is all Vampire. I thought good things about it. I've tried to watch the episodes on MySpace and it does take a lot of getting used to. Hopefully it will be released on DVD soon and we will be able to see it in one bite .
AP: What was your favorite role in a horror movie?
IP: I quite enjoyed Countess Dracula. Lots of posh frocks and OTT acting. Downside was the amount of time it took to put the make-up on and take it off. On the days I was playing the old Countess I had to arrive at the studio at about 5.30 in the morning and sometimes I didn't leave until after eight o'clock at night. During all that time I couldn't eat so it was drinking and smoking all the time. Vampire Lovers was more relaxed and there were no night shoots as far as I can remember. Compared with some of the horror shoots I did in Spain it was all very civilised in England.
AP: What was your favorite role outside of horror films?
IP: I don't think I have a favourite. Where Eagles Dare with Clint Eastwood and Richard Burton was good fun. I also liked Who Dares Wins. I enjoyed having all those SAS men about the place. And I particularly like the fight I did with Rosalyn Lloyd. They wanted to bring in the stunt girls but we weren't having that. I am very proud of that scene. And the bruises were like badges of honour.
AP: How do you feel about the present state of the horror film industry?
IP: Not too keen on the slasher movies. I like a story that has some anchorage in reality. Or at least takes the time to shut out reality and indoctrinate the audience into the reality of the story. I think this was one of the great strengths of both Amicus and Hammer. It wasn't a matter of wham! bam! your intestines are on the plate, ma'am!. You had a premise for the story, the build-up and the resolution. I know I'm old fashioned - but that's how I like it.
AP: What kind of projects do you have going on right now? What are you keeping busy with?
IP: Main project is The Hammer Xperience. A tome taking the reader through the whole experience from the start in 1934, the company's various reincarnations and bringing the story right up to date. It was finish just before the company was taken over by Endomol. This has held the process of publishing it up a little as the book was commissioned by the old Hammer company and the new directors haven't given it the thumbs up yet. Plans to publish it for Hallow'een are still in place but time is marching on. I am also supposed to be making a film in America in August but that has gone a little quiet at the moment. In reality I have something like 54 projects out and about. Is that reality?
AP: Again, thanks for taking the time to do this interview. We appreciate you giving us a little information and background about your life and career.
Interview with Amicus Co-owner Julie G. Moldo
As promised, here is Part Two of our interviews with the new owners of Amicus. What better way to find out the future plans of the company than to go straight to the source? Julie G. Moldo would probably be considered the ultimate resource and most knowledgeable person when it comes to Amicus history. She has spent the last 30 plus years working for Amicus and it's first co-owner, Max Rosenberg. She even worked for him when he was no longer doing films under the Amicus name brand. She has now stepped up from her duties as production manager and secretary to being an actual co-producer of the new wave of Amicus films. We had the extremely wonderful opportunity to interview her about the history of the iconic studio and where she feels like it's heading from here.
Amicus Productions (AP): I just want to take this time to say thanks for doing this interview and I really appreciate your willingness to share with us your experiences working at Amicus.
AP: How long have you been involved with Amicus?
Julie Moldo (JM): Since 1977
AP: How did you become involved with Amicus?
JM: Max Rosenberg held certain rights to the Amicus catalog when the company was dormant. He opened his own office in Los Angeles in 1977. I was the production secretary on his first picture here; I intended to work for three weeks, and I stayed for more than twenty years.
AP: What was the first project you worked on for the company?
JM: “The Incredible Melting Man,” which was not an Amicus production. The first production under the banner of the “new” Amicus was Stuart Gordon’s “Stuck” (2007).
AP: From what I understand, you have basically been the overseer of the company in between owners and in its downtime? Is that an accurate description?
JM: Well, there wasn’t much downtime. Max passed away in June 2004, and Bob Katz and I began running (and owning) the company in March 2005.
AP: How did you become the caretaker (so to speak) for the Amicus legacy?
JM: I have a lot of information because I was involved with Max and Amicus for so many years —and I have a good memory. I was also a corporate director.
AP: What was happening behind the scenes of Amicus during the period of downtime?
JM: Max produced several films without using the Amicus name. I was usually credited as his associate producer. We ran a small independent production company: developing screenplays, optioning and purchasing stories and books, meeting with filmmakers and production companies, etc.
AP: From looking at a lot of the films you were involved in, it seems that you wanted to keep working on projects with Max Rosenberg. Was that the case and what led to that?
JM: I had a full time job working with Max. Besides, I had a lot of fun and responsibility with him.
AP: Over the years, several of the Amicus films have been released on DVD, but always through different studios and distributors. Has there been any interest from anyone to distribute the whole catalog and put them all out as some type of collection or set?
JM: I only know that Anchor Bay in the UK put out a coffin-shaped box set of five pictures.
AP: Does Amicus still own all the rights to the classic films?
JM: Our company, Amicus Entertainment Ltd. is going to use some of the classic titles to produce new pictures in the same style but with new stories.
AP: How did Robert Katz come into the picture?
JM: Max and I had known Bob for years. Bob is a huge fan of the Amicus pictures. When Max died, Bob and I decided to run the company together.
AP: How do you feel about the relaunch of Amicus? Do you want the new films that Amicus puts out to reflect its past legacy of horror and thrillers, or would you like to see it become more diverse? I know that there were films that originally came out through Amicus (It’s Trad, Dad!, Danger Route, A Touch Of Love) that weren’t horror or sci-fi oriented. Or is the plan already in place to keep the Amicus brand focused on horror and such?
JM: Horror was our original mandate, but Bob and I are also interested in many other genres. We have a diverse slate of pictures coming up, but our intention is to continue to produce interesting and unusual horror films in the Amicus tradition, too.
AP: Why have you continued working with Amicus all these years? What has kept you dedicated to the company?
JM: I enjoyed working with Max (as I said before), and the same goes for Bob. We’ve even made good pictures.
Interview with Amicus Co-owner Robert Katz
This is the first of a two-part feature interview with the new owners of Amicus Entertainment. We'll post the next part in a couple of weeks, which is with the other owner of Amicus - Julie G. Moldo.
We had the incredible pleasure to get a chance to interview new Amicus co-owner and producer Robert Katz. Robert has always been a very big Amicus and horror movie fan, so when he got the chance to take stock in the legendary studio, of course he jumped. For those of you not familiar with Mr. Katz' past work, let us catch you up. His qualifications for picking great projects and films to work on include Selena, Gods and Generals, Rough Riders, Gettysburg, and many others. His foray into the horror genre has only shown that he has made the same kind of quality decisions for Amicus projects as well, which include Stuck and the upcoming From A Buick 8. Read on to see for yourself what Mr. Katz has to say about the revitalization of Amicus and where he plans on taking it.
Amicus Productions (AP): First, I just want to thank you for taking time and doing this interview. I know you’re a busy man and I completely appreciate you sharing your thoughts with our readers.
Interview with EC Comics Editor / Artist / Writer Al Feldstein
Al Feldstein has led quite an extroardinary life and been involved in some of the most groundbreaking and historically important publications in the world. He is renowned for being the editor, writer, and artist for what is probably considered to be the most important horror and suspense comic book series ever - EC Comics. Those comics (and many of Feldstein's own stories) have spawned four major films and a long-running TV series, which is no small feat to shrug off.
He also was the editor of MAD Magazine for 28 years. During his tenure as editor, the magazine reached it's height of popularity and circulation, becoming one of the nation's leading satirical publications. He was responsible for hiring the artists and writers that made the magazine the success it's known for.
Mr. Feldstein was kind enough to do an interview with us and share some of his thoughts on the two classic Amicus films that were based on the EC Comics publications. He also shared some personal views about what it was like to deal with censorship and other issues over the years.
Amicus Productions (AP): First off, thanks for taking time to do this interview. You were very instrumental in the success of both the EC Comics and MAD magazine. Both have been known to cause some controversy over the years. Both are known to be very subversive and have an inner meaning and message to them. Why did you get involved in something that had a message or meaning to it versus just some kind of “safe” humorous cartoon work or writing?
Al Feldstein (AF): First of all, I must take great exception to your branding E.C. Comics and MAD Magazine as “subversive”!
If attempting to educate our readers to the presence of racial and religious intolerances in our country...if alerting them to the dishonesty of some law enforcement officers and politicians...and if demonstrating to them the insanity, absurdity and mendacity of most of Madison Avenue advertising claims...and if attempting to encourage our readers to think for themselves is subversive...then I am guilty.
As to your question...
I grew up during the Great Depression. I saw my Father's business collapse, watched the near-destruction of my Parents' marriage and witnessed the loss of our home.
And living through all that made me a socially conscious individual and a devout Liberal.
So I naturally tended toward that kind of material.
AP: What was it like dealing with censors and having someone tell you that comic books and art were the cause of childhood problems and deviant behaviors?
AF: It was disgusting! It was a time of abject fear and suppression...and it amazed me and frightened me that such reactions could actually become reality.
It was in the midst of The Cold War...with our country and
Is it any wonder that they were questioning the wisdom of their elders and reacting to their possible fate.
AP: Did you know at the time you were working with EC and MAD that they were special and would be groundbreaking? Did you have that “feeling” that it was something different?
AF: We were aware of the growing movement toward social and cultural reform taking place in those days, and eagerly joined it in delivering the message.
AP: When you were editing, writing, and doing art for the EC horror comics, were you purposely trying to push the envelope of acceptability at that time or were you just doing what you wanted to do? What about with MAD?
AF: I never deliberately attempted to “push the envelope of acceptability”...and was only doing what I felt right.
AP: How did you feel when you were approached about Amicus Productions doing a film based on the different horror comic series you worked on and wrote for? What was your initial reaction?
AF: I was not personally involved in Amicus Production's approach to Bill Gaines about doing a film of my stories.
AP: Were you familiar with director Freddie Francis’ other film work, such as the Hammer movies? Did you feel he would be a good fit to bring the comics to life?
AF: Since I was not involved in the initial negotiations, the question is moot.
AP: Were you excited about them picking one of your stories to adapt for the “Tales from The Crypt” film?
AP: How do you feel about the adaptation of your story? Do you feel it was translated well to film?
AF: For the most part, I was pleased with the adaptations of my stories and that their translation to film were well done.
AP: How did you feel about the way they changed the “character” of the Crypt Keeper in the film?
AF: I hated it! My CryptKeeper was a gnarled, weird old man...not a “Monk” or “Friar” or whatever he was depicted as in the film.
AP: How do you feel about the overall outcome of “Crypt”? Do you like it?
AF: It was okay...considering the times and the censorship pressures prevalent.
AP: What is your favorite section of the film?
AF: I had none.
AP: How did you react when you were approached about Amicus doing the sequel and calling it “The Vault of Horror? Obviously, that meant that the first one was deemed a success and they felt they had something they could build upon.
AF: I was again delighted when Bill Gaines apprised me of the deal for the “Vault” movie.
AP: Did you get any input into the stories that were chosen for “Vault”?
AF: None! I was not consulted...nor, do I believe, that Bill Gaines would have permitted the Amicus people to consult with me.
AP: Were you familiar with Roy Ward Baker’s previous film work, such as the Hammer movies? How did you feel about the choice of him as director?
AF: No comment.
AP: Did you have any direct dealings with the writing of the scripts or the way they handled the stories for the two films?
AF: None...as answered above.
AP: Did you visit the sets of the films? If you did, how was the experience?
AF: Hey, I was living and working in
AP: How do you feel about the overall outcome of “Vault”? Do you like it?
AF: Again, I was disappointed with some of the self-censorship restrictions imposed by the film-makers.
AP: How long has it been since you’ve seen either film?
AF: I have no idea.
AP: The art you do now is very different from what you were doing with EC. Was there any reason for the change in styles or subject matter? Was it a personal challenge to see where you could push yourself artistically?
AF: My lifetime careers have been varied. I was a comic book artist, writer and Editor...then I was the Editor of MAD Magazine...and then, after I retired, I went back to my first love: Fine Art...painting.
AP: How do you look on the days of EC now? Would you have changed anything you did if you could?
AF: There are too many to list here.
AP: What are your thoughts on the state of the world now in contrast to the world at that time? I know that’s kind of an open-ended question and a little broad, so basically just share with us some differences in the cultures of the different time periods – now and then.
AF: C'mon. Gi'me a break! To answer your question fully and completely would take far more time than I have allotted to your interview.
AP: Again, thanks for doing this interview and it is an honor to be able to take some of your time. Anything you would like to say in closing?
AF: I hope that what I have written in answer to your questions satisfies you.
To find out more about and see Mr. Feldstein's other artwork, go to www.alfeldstein.com.
