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February 1986 |
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(outside U.S. - add $5.00 each for postage) |
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Although Barry Longyear's
futuristic story of survival and friendship in an unwelcoming environment
seemed an ideal film property, the process of bringing Enemy Mine
to the screen would prove anything but ideal. The need for
intricate alien makeups, bizarre scenery and dogfighting spacecraft
automatically earmarked the project as an especially challenging
one - rendered even more so by the replacement of the
original director in mid-production. Ultimately, however, the film
would come together under the direction of Wolfgang Petersen
who orchestrated both the demanding live-action shoot and an international
assemblage of multitalented effects people. Article by Janine Pourroy |
During the opening years
of the twentieth century, when the art of filmmaking was being developed
on an international scale, the German cinema promptly established a sungular
identity for itself - an identity shaped largely by the fact
that its prime innovators seemed possessed by an insatiable fascination
with the fantastic. Tasked with subjects ranging from epic fantasy to futuristic
science fiction, German technicians were among the first to explore and
exploit the magical capabilities of the motion picture camera. Article by Rolf Giesen |
Writer-director Tom
Holland conceived of Fright Night as a contemporary
tribute to the traditional vampire film, complete with all affectations
of the genre. But instead of employing the simplistic techniques of yore, Holland
was determined to utilize state-of-the-art special effects to their fullest.
Undaunted by a relatively meager budget, Holland and Columbia Pictures
turned toRichard
Edlund and Boss
Film Corporation with a unique challenge to produce an array of high-quality
illusions - everything from flying bats to snarling man-beasts - all for
an unprecedented bargain price. Article by Jennifer Benidt and Janine Pourroy |
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