Imagi-Movies Vol 1 No 2 ( Winter 1993)

64 Pages·1993·24.4 MB·English

by  Cinefantastique

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"/magi-Movies should be a ... 'can't miss' proposition for B-film the-scenes articles about working with little money are fine, re
addicts," says my learned colleague at sister publication Femme viewing films according to their budget is a bit absurd, with its im
Fatales. Unfortunately, he falls into the trap of using "B-film" to plication that audiences are somehow getting more for their mon
mean- well, I don't know what it means, and neither does any ey. Maybe this form of reviewing makes sense in legitimate the
one else. Like the word "race" (when used to signify a group of atre, where lavish stage productions charge higher ticket prices,
people), t~e term is one which everyone uses but no one defines. but when one invests seven dollars in a movie ticket, the budget,
As Roger Corman (the so-called "King of the Bs," who actually quite simply, doesn't matter. The bottom line is that, as much as
never made a B-movie in his life) points out for the umpteenth possible from now on, films will be covered in these pages be
time in a recent interview, B-movies were the less expensive bot cause they are worthy of our attention, not because they are
tom halves of double-bills in the '40s, shot on major studios. The cheap.
closest equivalent we have today are made-for-TV-movies, That does not mean we will ignore low-budget or obscure
which are also studio projects without hefty above-the-line costs. films; we will cover as broad a spectrum as possible: big and lit
So why object to using the term to mean "low budget"? Be- tle, old and new. The basic model for /magi-Movies is the old
cause no one uses it that way anymore; instead, the phrase has Cinefantastique, before its pages became glutted with STA R
degenerated into an ill-defined pejora- TREK. Each issue will try to balance
BY STEVE BIODROWSKI
tive. This started when William K. Ever coverage of new projects with retro
son, in Classics of the Horror Film spectives on classics, and we will try
tagged THE EXORCIST a "B-film with a to provide as much critical perspective
budget." In a 1979 article entitled "Hol as possible, even if that ruffles a few
lywood's Scary Summer," Newsweek feathers. You might say IM will be a
picked up on the usage in reference to synthesis of CFQ, Film Comment. and
ALIEN. And even a Femme Fatales Film Threat (but without the latter's
editorial referred to BASIC INSTINCT sophomoric attempt at "attitude"}.
as "an expensive B-movie." The impli If we have a mandate, it is to cover
cation of all of these statements is that worthwhile material that does not get
B-status has less to do with budget into CFQ or FF. A glance through the
than something intrinsically disrep contents of this issue will reveal
utable in the material. No one has ever names like Dario Argento or Barbara
called SEX, LIES AND VIDEO TAPE a Steele that you might have expected
B-movie in spite of its low cost; instead, to see in one or the other publication.
Two generations of genre talent. DRACULA'S Florine
it's an "art" film, because it's not sci- But don't bother looking in these
Kendrick end director Gordon Hessler (rfght), celebrate
Halloween with your Ill editor.
ence fiction, fantasy or horror. pages for "press kittens" willing to doff
So why are we genre enthusiasts continuing to use a phrase their clothing for a little free publicity. We will profile people, men
which implies that cinefantastique is automatically suspect, no and women, because they have contributed significantly to the
matter how well done? I have no idea, and that's why you won't genre, not because they look good in lingerie. Also, it's safe to
be seeing the term in the pages of this magazine anymore. De say that IM #1 will be the last to waste so much space on Stephen
pending on what's accurate and appropriate, words like "inde King. With Anne Rice's INTERVIEW WITH A VAMPIRE going be
pendent," "exploitation" or "low budget" will be used. fore the cameras, it's time we set our sights on a writer with con
All this is by way of saying that /magi-Movies will not be a siderably more talent. If there's an overriding principle to IM, it is
"can't miss" proposition for so-called B-films. I simply do not sub "Emphasize the positive, but don't hesitate to be negative." We
scribe to the romanticized notion of low-budget filmmakers as want to find space for work that amazes genre fans, whether or
artists uncorrupted by Hollywood bucks. In truth, they're mostly not it's as popular as JURASSIC PARK. At the same time, we
hacks waiting for their big break into the majors, which has not shouldn't be afraid to take an iconoclastic approach to "Brand
(and probably will never) come. Furthermore, although behind- Name Horror" that no longer deserve brand name loyalty. O
VOLUME 1 NUMBER 2 "The Magazine of Movie Imagination" WINTER. 1993/94
6 50-FT. WOMAN 34 BARBARA STEELE
Daryl Hannah stars in a '4feminisr remake She's the "Queen of Horror" to fans
of one of the worst science fiction films around the world, so why hasn't she
ever made. I Article by Mark Altman appeared in that other magazine?
I Interview by Christopher Deitrich & Peter
8
TRAUMA Beckman
Dario Argento, the Italian Master of
44
Mayhem, tries to break into the American THE DAY DRACULA DIED
market. I Article by Alan Jones Hear what actor Christopher Lee had to
say while making the seven Hammer films
11 page&
TRAUMATIC that established him as the world's best
Actor Brad Dourif talks about working post-Lugosi Dracula. I Article by Randy
Palmer
with Argento, the latest in a long line of
genre appearances. I Article by Edith
Sorenson 46 CYBER EDEN
Lee stays active in the genre with this
14
CLIVE BARKER Italian virtual reality fantasy./ Interview by
Bill Kelley
The '4future of horror" does lunch at
Paramount to celebrate the HELLRAISER
Ill video release, and describes 50 MvsrERv SCIENCE THEATRE
his future plans. / Interview by Jay If you love to dis bad movies, you'll relate
Stevenson page 16 to the crew of the Satellite of Love, who
know how to put those cinematic turkeys in
16
LIVING DEAD 111 their place. I Articles by Steve Biodrowski
Those brain-eating zombies return once and Dan Persons
again, courtesy of Brian Yuzna. / Articles
by Steve Biodrowski and Dennis Fischer
IMAGI FEATURES
28 TICKS
5
'50s-style big-bug horror returns to the SINISTER SENTINEL
screen in this effective sleeper. I Article by Mark Altman gives the latest news on the
Alan Jones and David Salter television front.
Page 34
31 NECRONOMICON 54 REVIEWS
Producer-director Bruan Yuzna opens H.P.
Lovecraft's famous book of terror./ Inter 55 CINEMA
view by Steve Biodrowski
56 lASERDISC
32 HOUSE OF HORRORS
57 VIDEOPHILE
Curator Cortland Hull fights the power at
Universal to keep his "Witches' Dungeon,
A Museum of Classic Horrors" open every 60 THE SCORE
Halloween season./ Interview by Bram
Eisenthal Page so 62 LETTERS
Publlaher: Frederick S. Clarke. Editor: Steve Biodrowski. Bureaus: New Yo~ Dan Scapperotti. Los Angeles/ Mark A. Altman. London/ Alan Jones.
Contributors: Peter Beckman, Christopher S. Dietrich, David Del Valle. Bram Eisenthal, Mario Falsetto, Dennis Fischer, Judith P. Harris, Karen L Joslin, Bill
Kelley, Anthony P. Montesanto, Randy Palmer, Dan Persons, David Ian Salter, Edith Sorenson, Jay Stevenson. Editorial Operations Manager: Elaine
Fiedler. Editorial Production: Lisa Tomczak-Walkington. Production Associate: Ruth Kopala. Circulation: Staci Richardson.
PHOTO CREDrTS· C1987 ABC (58), C1993 E. Alexander (22T. 238); C castle Rock (558}; Naomi Kallman (6): Michael Kienitz (508); RUlh Leitman (588); Cliff L.li>9c>MiBO {78); C1990 Morgan Creek (Ron
Pt1llips 11T);CNBC (5T);C1993 Nea01011ico11Ams(LeYonPanan31). C1988 NewWolid (151); ~Nesle (SOT); C1989 Paraincuil (PeCSr Sorel 57T); Keith Payne (158); C1992 Trf...Star(54T);C1993
Urwtwsal (32-33T. 33TR. 368); C1993 Wamet Bros (Dale RoOlnecte 60T. 44T. 451). Adam Yoon (228). ACKNOWl.EOGEMENTS: David Del Vale, (Del Vale Arctwes), lbion Ms, Tony Tremblay. V.C.E.
IMAGl-MOVIES (ISSN 1069-5095) Is published quarter1y at 7240 W. Roosevelt Rd., F0<est Parlt. IL 60130. [phone]. Second class postaQe pending at FO<est Partc. IL 60130 & additional
mailing offices.POSTMASTER: Send address changes to IMAGl·MOVIES, P.O. Box 270. Oax Partc, IL 60303. Subac:rtptlona: Four Issues $18. (Foretgn & Csnada: Four Issues $2t.) St~le copies
when purchased from publisher. $8. RNll Dtatrtbutlon: In the U.S. by Eastern News Distributors, 250 W. 551.h St, New Vor11, NV 10019. [phone]. In Great Britain by Trtan Distributors,
P.O. Box 250, London E3 4RT. Phone: [phone]. SubmlNlona or artwor1t and at1k:les ere enClOUraged, but must be aClCOf1lpanied by a self-addressed, stamped envelope.
Contents copyright c1993 by Frederick S. Clat1ce. IMAGl-MOVIES (TM) Is a proprietary Trademark. PRINTED IN USA.
4
TELEVISION EDITION
There was a time when writing a October to tub-thump the 15th an
column about science-fiction televi niversary of BATTLESTAR:
sion was just a more sophisticated GALACTICA. Despite those who
s o u n ding way of talking about would thumb their noses at the
STAR TREK as nauseam. Fortu 1978 sci-tier. the more well-re
nately, for fans whose hunger for spected NEXT GENERATION
compelling and innovative sci-fi is boasts several GALACTICA alums,
not satiated by a 24th century bill of including production designer
fare, the 1993/94 television season Richard James. who served as art
boasts some intriguing alternatives. director on BG, and helmer Winrich
to the NEXT GENERATION star Kolbe, who not only directed "Bal
trekkers. tar's Escape" but was an associate
• NBC's big-budget SEA producer on the pilot. Even Q, John
QUEST is the network heavyweight de Lancia, had a two-line part in
in the one-hour drama arena. Un BG's "Experiment in Terra." Says
fortunately, despite lavish budget, Kolbe of his stint." I didn't hang
expansive sets. and polished CGI around for the one-hour episodes,
effects, the story of a futuristic sub because we couldn't deliver the lev
marine exploring and protecting the el of quality that the pilot promised.
Earth's oceans appears to be a In those days, it took weeks to do
The two-hour pilot of SEAQUEST DSV sailed past LOIS & CLARK: THE
turkey. Its two-hour premiere, writ NEW ADVENTURES OF SUPERMAN, but will future episodes sink or swim? the opticals, and you couldn't main
ten by Rockne O'Bannon and Tom tain that. A couple of space shots
my Thompson, is a rehash of every as the human race colonizes the come to the party and see these was it-everything else had to be
tired and true genre cliche ever other 80% of the earth." fantastic people and the great cast done with the characters, and the
seen on the tube and even throws e Battling SEA QUEST for the that we have, they'll stay." scripts weren't geared for that." Ac
In the feuding ex-husband and wife airwaves and not the oceans, is • It's a thrill being a cartoon cording to Steven Simak's new
team of THE ABYSS for good mea LOIS & CLARK: THE NEW AD freak," says actor Joe Piscopo book GALACTICA: REVISITED, the
sure. Despite the lackluster start, VENTURES OF SUPERMAN, a de about his role as the Dogfather on 35 Cylons cost about $3500 each,
NBC and Steven Spielberg's Am cidedly updated version of the clas the all-new, talking PINK PAN and the director of "The Young
blin production company remain sic mythes. "In the comic books and THER, in which Matt (MAX HEAD Lords" episode marched 20 of them
optimistic about the series' future. the features, the main thrust is that ROOM) Frewer gives voice to the through a swamp, permanently
The man responsible for sal Superman arrives in Metropolis to titular classic laconic hep cat. Adds sidelining the old rustbuckets when
vaging SEA QUEST is David Burke, fight for truth, justice, and the Amer Piscopo of his voiceover gig, "It's they filled with water and other as
veteran of WISEGUY, CRIME STO ican way and takes on a disguise as the thing to do in Hollywood. It's sorted goop.
RY AND TRIBECA, some of the a mild-mannered reporter," says se quick and it's fun." Watch out Joe, •Tamilyn Tomita, Blaire Baron
small screen's best dramatic fare. ries creator Deborah Joy LeVine. that's what they were saying about and Patricia Tallman are out; Clau
Joining the show after Rockne "In our version, what we have is a Heidi Fleiss- t.mtil recently. dia Christian (as the Russian sec
O'Bannon's departure (for personal young man by the name of Clark •Bravo is reairing the classic ond-in-command), Julie Nickson
reasons) and Tommy Thompson's Kent who really wants to live a nor MAX HEADROOM series as part of (as Commander Sinclair's new
resignation (after allegedly repeated mal life, even though he did come their TOO GOOD FOR TELEVI main squeeze), and Andrea
ly clashing with Roy Scheider over from another planet , and who does, SION series, which last unearthed Thompson (as the telepathic Lyta
the show's tone), Burke Is the man in the course of the pilot, find a dis TWIN PEAKS for the TV Lynch Alexander) are in-in orbit, that
who will be responsible for whether guise for himself, in the Superman mobs. HEADROOM. which predat is- in Warner Bros' new weekly
the show sails- or sinks. "The outfit, so that when he needs to, he ed WILD PALMS-and virtual reali syndie ottering, BABYLON 5, which
course I set is different than the can help people." ty, for that matter- is one of the premiers this January. That means
course set by other people," he says, Cast as the man of steel is most unfairly overlooked sci-tiers in our sister pub's "Women of BABY
planning to eschew the one-dimen 90210 heartthrob Dean Cain, an the history of the genre. If you can, LON 5" piece is zero for three.
sional comic book tone of the pilot by ex-pro football player, and the catch it when it airs this fall. Could there be a Femme Fatales
focusing on boldly exploring the un curvy Teri Hatcher is a liberated • Universal tries to outdo Para curse? Mark Altman
dersea world where no sub has gone Lois Lane. The writers are pushing mount with their syndicated action
before. "I lean much closer towards the MOONLIGHTING-like chem network programming. Starting in The Innovative MAX HEADROOM re
runs this fall, on the eclectic Bravo's
Bob Ballard, because I'm really fas istry, and Robert Butler, a veteran January, the studio unspools four
"Too Good for Television" series.
cinated by the science. I wanted des of that romantic comedy, is a cre two-hour telefilms, including
perately to write something I could sit ative consultant on the new show. William Shatner's TEK-WAR nov
and watch with my children." As for Supe's battle with Spiel els with Greg Evigan as Jake
Science consultant Dr. Robert berg's super sub, Joy LeVine com Cardigan, Shatner's two-fisted
Ballard is quick to point out that he ments, "I think that there will be hero. Other genre fare includes
finds the dramatic possibilities in people who will turn on the show John Landis' FAST LANE, a sci-fi
traversing the earth's seas far more because it is Spielberg, but I think KNIGHTRIDER in which two un
compelling than charting stellar that LOIS & CLARK brings so much likely heroes get a supercar from
seas in other futuristic series. more to the public. There's a histo spacey aliens, and Sam Raimi's
"We're really exploring the last fron ry there, and I think people feel that updating of HERCULES.
tier- and I think it's the ocean," history. They want their kids to •From our "Believe It or Not"
says Ballard. "What you're going to watch the show the way they file: Seattle-based fans threw a
see Is people going under the sea watched the show. I think once they huge shindig in Los Angeles this
5
HBO-TV remakes one of the greatest
science fiction posters of the 1950s.
Mark Altman wasn't story at all. In the original,
~Y
she was a bit of an alcoholic and a
Why remake a film if the best shrew, and in our version my char
thing about it was its one sheet? In acter is very passive and demure
the case of the infamous AT T ACK and quiet at first, and then evolves
OF THE 50 FT. WOMAN, writer Joe into a more self-confident, as
Dougherty (CAST A DEADLY SPELL) sertive woman."
believes it was a chance to improve In order to pad out the first film's
on an inept original. "The classic sparse running time, Dougherty in
quote is John Huston's: 'You don't co rpo rated another plotline in
remake the good ones; you remake which Nancy Archer's (Daryl Han
the bad ones and fix them. With all n ah) father, Hamilton Cobb
due respect to the Woolner Bros., 50 (William Windom), attempts to
FT. WOMAN needed a lot of fixing." have his daughter incarcerated in a
According to the spinmakers at mental asylum and secure her
Home Box Office, where the telefilm business interests for himself.
will premiere in December, the cult Much of the rest of the film, includ
classic has been updated with a dis ing Nancy's unfaithful spouse Har
tinctly "feminist twist." It seems hard ry's marital infidelities, are faithful
to believe that the '50s original, to the original movie. And even
which consisted of Allison Hayes be though it's the '90s, fans of our sis
ing enlarged by radiation from a fly ter publication, Femme Fatales,
ing saucer and trampling over a town will be sad to know that Archer still
in search of her two-timing husband, manages to cover herself with at
is the fodder from which morality tire suitable to ·sos sensibilities.
plays are spawned. The film shot for 38 days of prin
Star Daryl Hannah, a woman who cipal photography in and around
has suffered the very indignities and Los Angeles, with a post-produc
o.yl ........... In ..t llll rale of ..O'a ATTACK OF TIE
abuses the film reportedly tackles, tion period of eight days of minia-
FFTY FOOT WOMAN, .. 1l1gedly ........ rwiortdng of
comments, .. It's a comedy first of all. one of ..v .y WOf9t IC:lel.ce fiction movtee ..-IMde. ture shooting and three days of
It has a message in there that could blue-screen filming. Overseeing
be called 'feminist' if you want to call it could be broken down to the line, 'We the special effects was Fantasy ll's
that. Basically, it's supposed to be fun." don't understand it. We'd better kill it."' Gene Warren Jr. (TERMINATOR II),
According to the writer, however, the While Dougherty admits to a certain who resorted to traditional effects tech
special effects-laden film depicts the fear affinity for the original film, snidely com niques to visualize Hannah's startling
of feminist empowerment by many males. menting, "If you saw the movie at the transformation.
wsince it comes out of the '50s, you're right hormonal point in your life, Nancy ·we didn't have a lot of money, but it
dealing with male paranoia," says Archer sticks with you," Hannah was less was my intention to use the kind of ef
Dougherty. "It's saying that, to a lot of men, familiar with the 1958 anti-classic. fects that are very old: forced perspec
any woman who's empowered is mon "I'd seen the poster and the t-shirt, tive and splits, which have been used
strous. It isn't saying that somebody who fi but I didn't see the [original] film until for 40 or 50 years," says director
nally gets empowered is vicious and hor halfway through production," she Christopher Guest (THE BIG PIC
say~.
rendous. It's got nothing whatsoever to do .. , was surprised the film was'"'only 45 TURE). wwe didn't have the money to
with the reality of the situation. Most '50s minutes long and that there wasn't the go to computerized effects afterwards,
science fiction movies were like that, and it same story as ours. In fact, there really and there is a different look to this."
6
Top: The new ver9lon delMl's 90IM of the action only promlMd by the orlglnll pomr. Right: ............
,.. .i z.a 1twt ... la not In a .....1 8 of CLOSE ENCOUNTERS OF THE THIRD KIND.
Several scenes utilized forced per ther's swimming pool. In addition, com
spective, including one in which the en plete miniature sets were built for her cli
larged Nancy Archer dines with her six mactic rampage through the city. Al
foot husband (Daniel Baldwin). Hanriah though Hannah had worked with pros
was placed on a platform 15 feet in the thetics in SPLASH, which took nearly
air in front of a miniature barn, surround five hours to apply, the precision of this
ed by models of trees and a truck, which film's visuals, she found, were nearly as
make her appear huge during close time consuming ...W hen we were shoot
ups. In two-shots, she was in the fore ing the miniatures, we spent a lot of time
ground, speaking to Baldwin, who was because the lighting had to match ex
atop a real truck, 25 feet in the distance. actly the lighting of the real town. That
The technique was also used for a stuff seemed to be the most difficult and
scene in which Archer bathes in her fa- continued on p11ge 11
•
r1ento,s
r 1 0
The giallo director delves into
the depths of his own soul.
a clue in the last throes of
By Alan Jones
dying), but this was
A long-suppressed hos dropped in favor of a more
pital malpractice surfaces specific motivation. These
from the depths of a mani disparate themes and out
ac's subconscious, marking rageous plot lines, including
a group of medics for mur a seven-year-old boy mur
der in Dario Argento's dering his neighbor and a
TRAUMA. Argento popular hallucinogenic berry unlock
ized the giallo violent thriller ing hidden memories, finally
format in Italy with THE came together as TRAUMA
BIRD WITH THE CRYSTAL when Argento enlisted the
PLUMAGE, CAT O'NINE collaboration of T.E.D.
TAILS, FOUR FLIES ON Klein, whom he knew as ed
GREY VELVET and DEEP itor of Twilight Zone maga
RED. Fans will recognize zine and author of the hor
many familiar themes and ror novel Ceremonies. It
stylistic links to the latter was from Klein's seventh
film; however, Argento pre draft screenplay that Argen
fers describing his $7 mil to shot TRAUMA in and
lion probe into the dark side around Minneapolis last
of brain disorders, drug ad summer, with Asia Argento,
diction, altered mental Piper Laurie, Frederic For
states and gynecological rest, Christopher Rydell,
gore as "Deep Soul," ex Brad Dou riff, juvenile actor
plaining, "Usually, my sto Cory Garven and DALLAS
ries come from articles in Poe111g with • figurine .... pl9ya • s-t In the actress Laura Johnson. (Ar
newspapers or things I hear ~· paycM 111, Piper L.aste ..... A&n'• gento buff Bridget Fonda
domlnl lrlilg rnoehlr, .. peychlc Adrt81• ..
on the streets. Not this time. originally had the latter role,
It's from deep down inside my starting point for a suspenseful but bowed out after "creative
self." whodunnit." differences. j
Argento began thinking The early treatment was Asia is Argento's daughter
about TRAUMA in 1989 while known as MOVING GUILLO by DEEP RED star Daria Di
wrapping TWO EVIL EYES, TINE, a reference to the mur colodi, who also co-wrote
the Edgar Allan Poe two-parter der weapon; later, it was reti SUSPIRIA. Having recently
he co-directed with George tled AURA'S ENIGMA, after won raves for her role as a
Romero (who dubbed him the the anorexic protagonist who sexually abused teen in the
"Gauguin of Terror"). During a holds the key to the killer's Cannes Festival hit CLOSE
short break in Boston, Argento identity. Originally, the murder FRIENDS, Asia notes, "Dario
was brooding over an anorexic er was obsessed with the said he was really jealous I'd
niece. "It's a terrible mental ill French Revolution (hence, the worked with practically every
ness," he says. "It's a call for decapitations and a startling Italian director, apart from him.
attention with many dark psy scene, embroidering on the In honesty, I was worried
chological connections, and I apocryphal Marie Antoinette scared to death, actually
thought it would make a good tale, wherein a head whispers about doing it. He was so
8
mean to actress Cristina! Mar
sillach while making OPERA-
1d idn't want to be put in that
position. It's been a lot better
than I was expecting, and he's
never shouted at me once."
On location at the Irvine
Park suburb in the Mini-Ap
ple's twin city of St. Paul,
where the key illusion conceal
ing the assassin's identity was
secretly shot in the "Seance
House," Argento proudly de
scribed his daughter as the
"New Anna Magnani." Another
person impressed with Asia's
abilities was Piper Laurie, who
confided to Argento that she
was a naturally gifted actress.
"Don't tell her that, for heav
en's sake--she'll be impossi
ble to live with!" was Argento's
shocked reply, according to
Laurie.
An Oscar-nominee for
CARRIE and Golden Globe
Hiding his t.c:e behind the heads of his
winner for TWIN PEAKS, Lau
latest victims, the 9lrial killer Is
rie plays Aura's domineering
gllmf>98d but not ldeotlfied.
mother, psychic Adrianna Pe
trescu. "Horror is not my fa Laurie locked horns with her
vorite genre, and I'd barely director only once, over what
heard of Argento before being she considered an alarming
offered the part, she remarks. script change. "He wanted the
n
"But I had a good learning ex murder weapon to sever my
perience with DePalma on head through the mouth, she
n
CARRIE. I never knew where recalls. "That wasn't in the
the camera was going, and it script I first read and contractu
greatly enhanced my perfor ally agreed to do. I preferred
mance, adding another dimen the simpler decapitation
sion above what I was doing." method, less inventive for
She adds, •The TRAUMA Dario, perhaps, but right for
script is very intriguing, and me." Otherwise, working with
Dario's extraordinary camera Argento was a dream. "The
movements are unlike any best directors are the ones
thing I've ever seen before. I'm who hire the correct people for
anxious to see the finished the job and leave them to do
film, because it will be ex it," she points out. "Dario falls
tremely unusual, visually." into that bracket." In truth, Ar-
Left: During a seance, Adrianna claims her psychic powers have reveaJed the
Identity of the murderer. Bottom: Argento directs Laurie In the scene.
9
is infectious."
Steadicam operator Kirk
Gardener is one of the crew
members who was willing to try
out any Argento suggestion.
"Thirty percent of TRAUMA is
spontaneous Steadicam," he
says. "Many shots were at floor
level, with huge closeups of
door knobs and knives when I
doubled as the killer subjec
tively. The visuals act as clues
to the maniac's identity, more
than the script in many ways."
Helping Gardener achieve
these fluid, low-level swoops is
the production design of Billy
Jet, which not only allowed
space for camera movements
but also cheated size. "Every
thing from the 'killer closet' to
the 'cellar prison' were raised
a foot and designed to hide the
maniac's face until the very
end," according to Jet
These trademark Argento
flourishes are not based on the
saturated color palette of
Aura Petrescu (Asia Argento) and David Parson (Christopher Rydell) find themselves trapped In the killer's lair.
SUSPIRIA, according to cine
gento was slightly in awe of his Judd because he wanted to depressing and gloomy. The matographer Raffaele Mertes.
star. "She's incredible," he work with one of his favorite exteriors are contrasting bright "Dario loved my use of natural
says. "Piper just opens her actresses. Only when he told blues and yellows. It's mostly light for THE DEVIL'S DAUGH
mouth and this wonderful light, his nephew, a die-hard Argen experimental and my darkest TER [which Argento produced]
language and performance to fan, that he was working on film to date." Just prior to and asked me to come up with
flows out!" "some movie called TRAUMA TRAUMA, Argento directed an a believable film noir look for
Appearing in TRAUMA with another Italian" did he re air deodorizer commercial, in a TRAUMA-sophisticated, real
solely as a result of Laurie's alize the significance of the Ar replay of directing a Fiat promo ity, with a touch of.fantasy."
performance is Frederic For gento name. Judd runs the before starting OPERA. "I Mertes created a '40s-style
rest, star of five Francis Ford clinic where Aura, taken for her made it solely to test a new mi monochromatic look by using a
Coppola movies. Having never eating disorder, is given an ex cro-louma crane that simulated special printing process called
heard of Argento, Forrest took otic psychotropic fruit to jog flight from a butterfly's point of EMR, "that washes down col
the role of psychologist Dr. her memory about her parents' view," he explains. "It's a tech ors, like the effect you get turn
murder. "I'm definitely in the nique I used in surprising ways ing down the color adjustment
On location, Dario Argento and crew mad doctor tradition," remarks here, too. That's why American on your television set."
line up a POV shot of a hat box.
Forrest, who could be seen technicians are the best in the "Everything you'll see in
which contains more than a hat
walking around downtown Min world. In Italy, they are unwill TRAUMA is saying something
n eapo Ii s at all hours to get ing to try anything new; in the new and profound," according
used to a neck brace he insist States, they say, 'Sure, go to Argento. "Because it focus
ed on wearing as part of a ahead,' and their enthusiasm es on internal emotions, I
backstory he invented for the
character. "I know it made Vision obscured by rain, Aura, like many Argento protagonists, catches a
deceptive glimpse of the killer, but can't quite remember what 9he saw.
Dario speechless, but that's
my Stanislavsky training," he
says. "I feel the neck brace
subliminally gives the impres ..
( 1
sion Judd wants to keep his
head on his shoulders. Some
of my lines are extraordinary
the monologue about the head
containing the soul, for exam
ple-but I'm honestly not
camping it up. I'm playing it
dead straight."
"Every TRAUMA shot
means something," says Ar
gento. "All the interiors repre
sent the human body, the
warped psyches of the charac
ters, and are purposely cold,
10