Jack the Giant Killer (1962) is a United Artists feature film starring Kerwin Mathews in a fairy tale story about a young man who defends a princess against a sorcerer’s giants and demons. The film was loosely based on the traditional tale “Jack the Giant Killer” and features extensive use of stop motion animation. The film was directed by Nathan H. Juran and later re-edited and re-released as a musical by producer Edward Small.
Producer Edward Small re-released this film as a musical. Songs were dubbed onto the soundtrack. Some of the footage was doctored to make it look like some of the original cast were singing rather than speaking their dialog.
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This was producer Edward Small’s attempt to cash in on the huge success of The 7th Voyage of Sinbad (1958). He even hired the same director (Nathan Juran), hero (Kerwin Mathews) and villain (Torin Thatcher).
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The film was unreleased in the UK until 1967 and then received cuts for an ‘A’ certificate to edit the witch attack on the ship, Princess Elaine being attacked by the giant, and Jack’s fight with the dragon.
The Beast from 20,000 Fathoms is a 1953 science fiction film directed by Eugène Lourié and stars Paul Christian, Paula Raymond and Cecil Kellaway with visual effects by Ray Harryhausen. The film is about an atomic bomb test in the Arctic Circle that unfreezes a hibernating fictional dinosaur, a Rhedosaurus, that begins to wreak havoc in New York City. It was one of the first monster movies that helped inspire the following generation of creature features, coining it with the atomic age.
Vera Miles and Paul Picerni appear in the trailer for this film, but not in the film itself.
While visiting his friend Ray Harryhausen on the set, Ray Bradbury was given a copy of the script (which was going under the working title “Monster From the Sea”) and was asked if he could possibly do some rewriting on it. After reading the script, Bradbury remarked about a scene in the story (which featured the monster destroying a lighthouse) that seemed very similar to a short story that he had published in “The Saturday Evening Post” several years earlier called “The Beast From 20,000 Fathoms”. Bradbury’s story was about a dinosaur that destroys a lighthouse. The next day Bradbury received a telegram offering to buy the film rights to the story. After the sale, the films title was changed to “The Beast From 20,000 Fathoms”. Years later when Bradbury had his story reprinted he changed the title to “The Fog Horn”.
The dinosaur skeleton in the museum sequence is artificial. It was obtained from storage at RKO where it had been constructed for Bringing Up Baby (1938).
The “Coney Island Amusement Park” in the film is actually The Long Beach Amusement Park in Long Beach, California. The production was able to film at the park from 10 p.m. to 3 a.m.
The film is based on a short story by Ray Bradbury.
This film (which was inspired by the successful 1952 re-release of KING KONG) was the first film to feature a giant creature awakened or mutated by a Nuclear Bomb.
Deleted Scene: The 2003 DVD release reveals one shot of the Rhedasaurus that was omitted from the final film. That shot can be found in the trailer for “The Black Scorpion” (in special features) about 1/2 through the preview. (Spoiler: The Beast is walking, breast high, toward screen right. The background shows 2 buildings; one of them with fire escapes. Superimposed title card states, “You’ve thrilled to the terror of The Beast From 20,000 Fathoms.”
When the radio announcer is reading the news about the monster’s rampage through New York, various shots of the city are shown, mostly with panicked citizens in the street. When the announcer mentions the situation at Times Square, the accompanying footage shows the Palace Theater, whose marquee reads “Judy Garland – Live and in Person.”
Warner Brothers bought the film from producers Hal E. Chester and ‘Jack Deitz’ for $450,000.
Before the film was sold to Warner Brothers, it contained an original music score composed by Michel Michelet. Execs at Warners felt Michelet’s score wasn’t powerful enough so they replaced it with an original score by David Buttolph.
Some film aficionados might recognize Alvin Greenman, the first character to speak after the narrator, and the first to notice the beast on on the radar. Six years earlier he played Alfred, the Macys Janitor in Miracle on 34th Street (1947). TV aficionados though might recognize the second character to speak. Playing the part of Charlie is actor James Best, best remembered for his role as Sheriff Rosco P. Coltrane from “The Dukes of Hazzard” (1979).
This was said to have been one of the inspirations for Tomoyuki Tanaka to go ahead and film Gojira (1954).
When the streets are being cleared once the beast comes ashore in NYC, films appearing on various theater marquees are “Detective Story”, “Come Fill The Cup” and “Across The Wide Missouri”.
During the octopus/shark sequence, some of the footage was obviously shot in an aquarium, because some of the octopus’ suckers are gripping the glass.
Poltergeist is an American horror film, directed by Tobe Hooper, produced by Steven Spielberg, and released by Metro-Goldwyn-Mayer on June 4, 1982. It is the first and most successful of the Poltergeist film trilogy, and was nominated for three Academy Awards.
The franchise is often said to be cursed, because several people associated with it, including stars Dominique Dunne and Heather O’Rourke, died prematurely. “The Poltergeist Curse” has been the focus of an E! True Hollywood Story.
The film was ranked as #80 on Bravo’s 100 Scariest Movie Moments and the Chicago Film Critics Association named it the 20th scariest film ever made.The film also appeared on American Film Institute’s 100 Years… 100 Thrills, a list of America’s most heart-pounding movies.
The hands which pull the flesh off the investigator’s face in the bathroom mirror are Steven Spielberg’s.
The weird way the family members descend the stairs at the beginning of the film was created by having the actors walk backward up the stairs and playing the film in reverse. The same effect was used later in the movie during the scene showing video playback of the ghosts.
Steven Spielberg worked on Poltergeist (1982) and E.T.: The Extra-Terrestrial (1982) literally back to back. Principal photography on Poltergeist ended in August of 1981, then Spielberg took a few weeks off and began work on E.T. Spielberg also supervised the visual effects for both films simultaneously (which were produced at Industrial Light & Magic under the supervision of Richard Edlund and Dennis Muren). Once post production work on Poltergeist began in early 1982, Spielberg was in total control. He was responsible for the editing of the film (Spielberg’s usual editor Michael Khan edited this film while Carol Littleton edited E.T), the final sound mixes and loops, the supervision of the visual effects, and the selection of Jerry Goldsmith as the composer of the score. Poltergeist and E.T opened to theaters nationwide only a week between each other during the summer of 1982, Poltergeist on June 4th and E.T. one week later on June 11th. Spielberg later said “If E.T. was a whisper, Poltergeist was a scream”.
The sign at the Holiday Inn reads, Welcome Dr. Fantasy and Friends. Dr. Fantasy is a nickname for producer Frank Marshall.
Heather O’Rourke, who played the little girl Carol-Anne, and Dominique Dunne, who played the teenage daughter, are buried in the same cemetery: Westwood Memorial Park in Los Angeles. Dunne was strangled into brain-death by her boyfriend in 1982, the year of the film’s release. Six years later, O’Rourke died of intestinal stenosis.
The film was originally given a R rating, but the filmmakers protested successfully and got a PG rating (the PG-13 rating did not exist at the time).
When writers Michael Grais and Mark Victor first met with Steven Spielberg, they were being hired to write the film that eventually became Always (1989). When Spielberg happened to mention he also had an idea for a ghost story, Grais and Victor said they’d rather write the ghost story than Always and that’s how they got this job.
The crawling steak was done by using a real steak which was laid over a slot cut between the tiles in the counter top. Two wires were fastened to the bottom of the steak and a special effects operator, hidden under the counter, simply moved the wires to make the steak crawl like a caterpillar. A similar operation was done when Diane presents to Steven the chairs that move across the room by themselves. A wire was fastened to one of the chair’s legs under the set. An operator first wobbled the chair with the wire, then dragged the chair across to its destination.
Shirley MacLaine was offered a starring role in the film, but backed out in order to make Terms of Endearment (1983).
The shot of the chairs that position themselves in the amazing balancing act on the table was all done in one take. As the camera panned along with JoBeth Williams, who was getting some cleaning materials, several crew members quickly set an already organized pyramid of chairs on the table, then took the single chairs away before the camera scrolled back. See Goofs entry.
The Rams (then Los Angeles Rams) vs. Saints football game seen near the beginning of the film, is taken from a Monday Night Football game in 1980.
The scene in which Diane opens the bedroom door and is met with a fearsome scream was the first to be filmed.
The scene in which Marty hallucinates in the bathroom was the last to be filmed.
Both of the terrors that plague Robbie came from Steven Spielberg’s own fears as a child, a fear of clowns and a tree outside his window.
Steven Spielberg and Tobe Hooper wanted virtually unknown actors to play the Freelings because they wanted to add a realism to the family that would off-balance the ghost story. They felt that if the audience watched well-known stars, then it would take away from the realistic feel of the characters.
The swirling, flickering lights coming from the closet during the rescue scene were achieved using a very simple effect by having an aquarium full of water in front of a spotlight. Then a fan blew on the surface of the water to make it swirl.
The house used to film this movie is located in Simi Valley, California where it still stands today. The family who owned it when this movie was filmed still live there today.
In addition to the two times that the Beast appeared in the movie (the face that appeared in the closet and the creature that guarded the kid’s door), the script had it appearing during the scene where the family and investigators are looking at the tape of the manifestation. The giant ghost that they saw visually slowly resolved itself into the image of a face of a cruel old man: the man we know in the later films as ‘Reverend Henry Kane.’
A common translation of the German word “Poltergeist” is “rumbling spirit”.
During all the horrors that proceeded while filming Poltergeist (1982), only one scene really scared Heather O’Rourke: that in which she had to hold onto the headboard, while a wind machine blew toys into the closet behind her. She fell apart; Steven Spielberg stopped everything, took her in his arms, and said that she would not have to do that scene again.
The movie’s line “They’re here!” was voted as the #69 movie quote by the American Film Institute (out of 100).
Drew Barrymore was considered for the role of Carol Anne, but Steven Spielberg wanted someone more angelic. It was Barrymore’s audition for this role, however, that landed her a part in E.T.: The Extra-Terrestrial (1982).
In reality, Craig T. Nelson and JoBeth Williams are only 14 and 11 years older than Dominique Dunne, who plays their teen-aged daughter.
Stephen King was briefly approached to write the screenplay. It would have been the first written by King directly for the screen, but the parties could not agree on the terms.
Footage from this movie was used in a 2008 DirecTV commercial.
When Steve Freeling first meets with the university paranormal specialists, he states that his wife, Diane Freeling, was “32” at the time, and their eldest daughter, Dana, was “16”. Thus, Diane was only sixteen years-old when she gave birth to Dana.
Though on-screen credit goes to Tobe Hooper, a wealth of evidence suggests that most of the directorial decisions were made by Steven Spielberg. In fact, Spielberg had wanted to direct the film himself, but a clause in his contract stated that while still working on E.T.: The Extra-Terrestrial (1982), Spielberg could not direct another film. Members of the cast and crew, including Executive Producer Frank Marshall and actress Zelda Rubinstein, have stated that Spielberg cast the film, directed the actors, and designed every single storyboard for the movie himself. Based on this evidence, the DGA opened a probe into the matter, but found no reason that co-director credit should go to Spielberg.
[WILHELM SCREAM] When the TV plays Go for Broke! (1951), one of the soldiers screams.
On top of the master bedroom television set sits an Atari Video Computer System console with its two joysticks; later known as the Atari 2600.
Frankenhooker is an American black comedy horror film that was released in 1990. Very loosely inspired by Mary Shelley’s novel Frankenstein, the film was directed by Frank Henenlotter and stars James Lorinz as medical school drop-out Jeffrey Franken and former Penthouse Pet Patty Mullen as the title character (who wears a fatsuit in the beginning of the film).
Beverly Bonner plays “Casey”, a character that appears in Basket Case (1982), Brain Damage (1988), and Basket Case 2 (1990), all also directed by Frank Henenlotter.
The brain with the eye in the beginning of the film is based on the advertisements for The Brain That Wouldn’t Die (1962)
The hooker talk show is a parody of _”The Morton Downey Jr. Show” (1987) [TV-Series 1987-1989]_
The interior of the Franken family garage is intentionally four times as large as the exterior, as specified in the screenplay.
Director Cameo: [Frank Henenlotter] on the train that Frankenhooker takes to Manhattan, standing by the door holding a newspaper.
A family in the movie is called Shelley…after Mary Shelley, the original author of Frankenstein.
Writer/director Frank Henenlotter improvised the basic story at a pitch meeting. After getting the okay to make the picture, he then wrote the script for the movie.
Louise Lasser had just recovered from being sick and hence could hardly speak when she shot her scene talking to James Lorinz. Lasser redid all her dialogue in a post-production recording session.
Star Trek III: The Search for Spock is a 1984 motion picture released by Paramount Pictures. The film is the third feature based on the Star Trek science fiction franchise. After the death of Spock (Leonard Nimoy) during the events of Star Trek II: The Wrath of Khan, the crew of the USS Enterprise returns to Earth. When James T. Kirk (William Shatner) learns that Spock’s spirit, or katra, is held in the mind of Leonard McCoy (DeForest Kelley), Kirk and company steal the Enterprise to return Spock’s body to his home planet. The crew must also contend with hostile Klingons, led by Kruge (Christopher Lloyd), bent on stealing the secrets of a powerful terraforming device.
Paramount commissioned the film after positive critical and commercial reaction to The Wrath of Khan. Nimoy directed, the first Star Trek cast member to do so. Producer Harve Bennett wrote the script starting from the end and working back, and intended the destruction of the Enterprise to be a shocking development. Bennett and Nimoy collaborated with effects house Industrial Light & Magic (ILM) to develop storyboards and new ship designs; ILM also handled the film’s many special effects sequences. Aside from a single day of location shooting, all of the film’s scenes were shot on Paramount and ILM soundstages. Composer James Horner returned to expand his themes from the previous film.
The Search for Spock opened June 1, 1984. In its first week of release, the film broke Indiana Jones and the Temple of Doom‘s gross records, making $16 million from almost 2,000 theaters across the United States. It went on to gross $76 million at the domestic box office, toward a total of $87 million worldwide. Critical reaction to The Search for Spock was mixed. Reviewers generally praised the cast and characters, while criticism tended to focus on the plot; the special effects were conflictingly received. Roger Ebert called the film a compromise between the tones of the first and second Star Trek films. The Search for Spock was released on multiple home video formats, including VHS, DVD, and Blu-ray high definition discs. Nimoy went on to direct The Search for Spock‘s sequel, Star Trek IV: The Voyage Home.
The villains of the film were originally intended to be Romulans, but upper studio management wanted Klingons to be used since they were better-known enemies. By the time the decision was made, the Romulan ship was already built and they did not want the expense of replacing it. However, since the TV show had already established that the Klingons and Romulans had shared technologies and ships in the past (for exactly the same real-world cost-cutting reasons), the idea of Klingons using a Romulan-style vessel was not a problem.
Although not mentioned on-screen, the novelization establishes that Saavik was half Vulcan and half Romulan. A scene cut from the previous film, Star Trek: The Wrath of Khan (1982), also established this but can not be considered canon. Leonard Nimoy seemed to have directed Robin Curtis to portray Saavik as a full Vulcan.
Leonard Nimoy does the turbolift voice in the scene when Scotty says “Up your shaft”, while exiting the Starship Execelsior. The end credits lists the voice under the alias Frank Force.
Production was endangered by the great fire at Paramount. William Shatner helped fight the fire and rescue a crewmember before firefighter reinforcements arrived. Shatner said that his motivation for doing so was purely to save a day on the shooting schedule, as he had a make a deadline to be available for shooting on a new season of “T.J. Hooker” (1982).
When the Enterprise enters space dock at the beginning of the movie, just before Uhura comments on the Excelsior’s appearance (“Would you look at that!”), another docked ship can be seen, in shadow, at the upper left corner of the screen. This ship is one of the alternative models that was considered for use as the Excelsior. This alternate model also makes several appearances in “Star Trek: The Next Generation” (1987), usually as a wrecked ship or piece of space junk.
The shot of the Enterprise approaching Spacedock is later re-used in various episodes of “Star Trek: The Next Generation” (1987) with the Enterprise-D overlapping the original Enterprise (Another cost-saving method often used with Star Trek).
Grace Lee Whitney, who played Janice Rand, Kirk’s yeoman in season one of “Star Trek” (1966) and returned as transporter chief in Star Trek: The Motion Picture (1979), makes a cameo appearance during the Enterprise’s docking sequence. She is the red haired officer in the spacedock lounge who shakes her head in disapproval as she sees the ship’s damage.
Tribbles, a popular creature from the “Star Trek” (1966) episode ‘The Trouble with Tribbles’, make a cameo appearance during the bar sequence where McCoy tries to hire a ship.
Gary Faga plays the security guard who Kirk knocks out; he also played the airlock technician that Spock gave the Vulcan nerve pinch to in Star Trek: The Motion Picture (1979).
This is the first Star Trek ‘episode’ to be directed by a member of the Star Trek cast. Leonard Nimoy also directed Star Trek IV: The Voyage Home (1986) and William Shatner directed Star Trek V: The Final Frontier (1989). This would later become commonplace on the various Trek TV series: Jonathan Frakes directed Star Trek: First Contact (1996) and Star Trek: Insurrection (1998) as well as fourteen television episodes over three Star Trek series. LeVar Burton directed twenty-nine episodes over four Star Trek series. Other Star Trek actors who went on to direct their castmates were Patrick Stewart, Michael Dorn, Gates McFadden, Avery Brooks, Rene Auberjonois, Alexander Siddig, Andrew Robinson, Robert Duncan McNeill, Roxann Dawson, Robert Picardo and Tim Russ.
The self-destruct codes for the U.S.S. Enterprise apparently haven’t been changed in decades, as they are identical to those in the original series episode “Let That Be Your Last Battlefield”.
Nicholas Meyer, director of Star Trek: The Wrath of Khan (1982) was originally asked to direct, but refused because he thought that Spock’s death should have remained final. He later directed the final film of the original series, Star Trek VI: The Undiscovered Country (1991).
The Excelsior was supposed to debut in Star Trek: The Wrath of Khan (1982) and be identified as newly-promoted Captain Sulu’s first command. This plot line was dropped and Excelsior saved for this film. Sulu would finally take command of her in Star Trek VI: The Undiscovered Country (1991). The ship design would be reused for the USS Enterprise-B in the Star Trek: Generations (1994).
The USS Grissom bridge was the USS Enterprise bridge redressed with pink chairs, and the bar where Dr. McCoy tries to charter spaceflight is the redressed Enterprise sickbay.
As in the previous Star Trek film (Star Trek: The Wrath of Khan (1982)), the movie includes the famous “Space, the final frontier” monologue, spoken by Spock. As in the previous film, the words have been changed slightly, referring to seeking out “new life forms” instead of just “new life”. This was the final use of this modified version of the monologue.
The few Klingon phrases that James Doohan introduced in Star Trek: The Motion Picture (1979) was used by Marc Okrand as the basis for the Klingon language in this film. Okrand’s Klingon language became a fully realized fictional language, and would be the basis for all future Klingon dialogue in future movies and television shows (as well as an obsession to become fluent in for hardcore Star Trek fans.)
The spacedock orbiting Earth is supposed to be five miles tall – making it easily observable from the surface. The actual model itself was 6 feet tall.
Chekov makes a remark in Russian to Scotty about the security breach in Spock’s quarters. Translated, he is saying, ‘I’m not crazy! There it is.’.
The uniforms worn by the security guards are the same uniforms from Star Trek: The Motion Picture (1979), but they’re worn with the new red Starfleet uniforms, and a dark green turtleneck, which represents the security division.
This film marks the first appearances of the Excelsior class vessel, the Oberth class vessel (namely the USS Grissom), and the Klingon bird-of-prey. The models were reused as other, similar ships in numerous episodes of “Star Trek: The Next Generation” (1987) and “Star Trek: Deep Space Nine” (1993).
James Goldstone was considered to direct the movie before Leonard Nimoy asked to direct.
The USS Grissom is evidently named after real life astronaut Gus Grissom, who was killed after the Apollo 1 spacecraft itself was destroyed on 27 January 1967.
Edward James Olmos was Leonard Nimoy’s original choice for the role of Kruge. However, executive producer Harve Bennett preferred Christopher Lloyd. Nimoy finally cast Lloyd because he came off more operatic and physically intimidating.
One of the boys who plays young Spock, had to wear brown colored contact lenses to match the color of Leonard Nimoy’s eyes as the boy’s natural eye color was blue.
In the scene where Kirk meets Admiral Morrow for a drink to discuss taking the Enterprise back to the Genesis Planet, an abstract hanging sculpture can be seen on the wall behind Morrow. The sculpture is in fact one of the miniatures of the Epsilon IX station from Star Trek: The Motion Picture (1979), which was made of acid-etched brass.
When Dr. McCoy declares his full name, the “H” stands for Horatio. Horatio Hornblower was Gene Roddenberry’s model for Captain Kirk. David Andrew McCoy is his father’s full name, according to the novelization of Star Trek V: The Final Frontier (1989).
As explained by William Shatner in Star Trek 25th Anniversary Special (1991) (TV), there was tight security on the set to minimize theft, as incurred on Star Trek II. Picture ID badges, codes and the works were used so much that Shatner quipped it was like Paramount’s real-life “Mission: Impossible” (1966).
The chirping on the Tricorder (especially when Sulu scans after the Enterprise is destroyed) comes from an audio remote control device for the Radio Shack (“Realistic” label) answering machine. The remote control was able to be used away from home, over the phone to signal the answering machine (through electronic chirping sounds) to play back massages or carry out other functions.
Christopher Lloyd, who is most famous for playing Doc Brown, inventor of the time machine in the Back to the Future (1985) trilogy, plays the Klingon captain who’s ship is taken over by Kirk and his crew. In the next movie, Star Trek IV: The Voyage Home (1986), Kirk ironically uses this same ship to travel back to the 1980s, near the 1985 date that Brown first used his famous DeLorean time traveler.
Christopher Lloyd, who played the Klingon Captain Kruge, also played Jim Ignatalski on the classic television show “Taxi” (1978). In one particular episode, a television executive is in his cab and Jim says he loved the show Star Trek. Jim added that he didn’t like the leader of the Klingons because the writers had him say things a “real Klingon just wouldn’t say.”
When the crew is standing on the bluff supposedly watching the flaming Enterprise hulk, they were in fact watching a tennis ball mounted on an overhead boom microphone. The shot had to taken many times because not everyone was watching it at the same time.
When Kirk calls out to Kruge, the Klingon commander has his head in his hands. According to the original storyline, Kruge is not mourning the loss of his troops, he’s humiliated because Kirk was more cunning than he was. Through Kirk’s apparent suicide, Kruge has been beaten and shamed.
The young Spock was voiced by Frank Welker. Welker and Nimoy would go on to share the role of Megatron/Galvatron in The Transformers: The Movie (1986). Welker would also provide numerous voices in Transformers: Revenge of the Fallen (2009), directed by Nimoy’s cousin, Michael Bay. Nimoy himself was offered the title role as well, but it is not yet known if he accepted.
It was Director/Star Leonard Nimoy who conceived the distinctive design of the Klingons’ Bird Of Prey. At a preproduction meeting with Industrial Light And Magic, Nimoy posed his arms and hands to demonstrate the vessel’s wings as they ultimately would appear in the final film. The DVD documentary, “Space Docks and Birds Of Prey”, revealed that the physique of a bodybuilder in the “crab” pose, emphasizing the trapezius muscles, was also the basis for the ship’s aggressive stance. Finally, the script, at the time when it was received by ILM, established that the Bird Of Prey was definitely a Romulan vessel, commandeered by Kruge. With that back story in mind, the feather-like pattern on the ship’s underside was a direct tribute the original Bird Of Prey as it first appeared in the 1966 original series episode “Balance of Terror”. Though the final version of Star Trek 3 (and subsequent star trek films and TV episodes) refer to the ship as purely of the Klingon fleet, the Romulan plumage-detail was never lost.
Marc Okrand had to update the grammar and vocabulary of the Klingon language several times when actors would get the line wrong and it was deemed easier to re-write the language than re-shoot the scene.
In a June 2009 interview, Christopher Lloyd said that the role of Klingon Commander Kruge was among one of his favorite roles he ever portrayed in his acting career.
Close to the end of the film, after landing on Vulcan. While Spock’s body is being carried up the long staircase to begin the fal tor pan ritual, the “maidens” carrying Spock are not actually touching him. They are actually holding their hands above him, effectively levitating his body to the alter.
The Brood is a 1979 Canadian horror film written and directed by David Cronenberg, starring Oliver Reed, Samantha Eggar and Art Hindle. It was filmed in Toronto and Mississauga, Ontario. In 2004, one of its sequences was voted #78 among the “100 Scariest Movie Moments” by the Bravo Channel. The Brood was named 88th on the “Chicago Film Critics Association’s 100 Scariest Movies of All-Time”. The film was Cronenberg’s first major success.
A novelization was written by Richard Starks.
David Cronenberg wrote the film following the tumultuous divorce and child-custody battle he waged against Margaret Hindson. Cronenberg also said that Samantha Eggar’s character, Nola Carveth, possessed some of the characteristics of his ex-wife.
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This Island, Earth is a 1955 American science fiction film directed by Joseph M. Newman. It is based on the novel of the same name by Raymond F. Jones. The film stars Jeff Morrow as the alien Exeter, Faith Domergue as Dr. Ruth Adams, and Rex Reason as Dr. Cal Meacham. The film was one of the first major science fiction films to be made in Technicolor. In 1996, This Island Earth was also edited down and lampooned in the film Mystery Science Theater 3000: The Movie.
When initially released, the film was praised by most critics, manyciting the special effects, well-written script and eye-popping color (prints by Technicolor) as being its major assets.
Many criticscite the special effects as the strongest element in This Island Earth, which were ground breaking for their time and are considered by many film buffs to be comparable to modern special effects.
The film was one of the last films to use the three-strip Technicolor filming process. Even during production, the film’s special effects were shot on the more conventional Eastman color process, which most studios had already adopted.
Star Wars Episode V: The Empire Strikes Back is a 1980 American space opera film directed by Irvin Kershner. The screenplay, based on a story by George Lucas, was written by Leigh Brackett and Lawrence Kasdan. It was the second film released in the Star Wars saga, and the fifth in terms of internal chronology.
The film is set three years after the destruction of the Death Star. The villainous Darth Vader and the elite forces of the Galactic Empire are in pursuit of Luke Skywalker, Han Solo, Princess Leia Organa, and the rest of the Rebel Alliance. While Vader chases Han and Leia across the galaxy, Luke studies the Force under Jedi Master Yoda. Vader uses Luke’s friends to set a trap for him, leading to a fierce confrontation between the black-armored Sith and the young Jedi which ends with a shocking revelation.
Following a difficult production, The Empire Strikes Back was released on May 21, 1980, and initially received mixed reviews from critics, although it has since grown in esteem, becoming one of the most popular chapters in the Star Wars saga and one of the most highly rated films in history. It earned more than US$538 million worldwide over the original run and several re-releases, making it the highest grossing film of 1980. When adjusted for inflation, it is the 12th highest grossing film of all time.
In the asteroid scene, one of the asteroids is actually a shoe. The rumor is that George Lucas asked the SFX people to redo the scene so many times that they got annoyed and one of them threw in their shoe.
Another of the asteroids is actually a potato. It appears just as the Millennium Falcon first enters the field. Two asteroids travel from the top left to the bottom right corner of the screen. Just after the second asteroid leaves the screen a third one appears in the top left corner. This is the potato.
Lighting for SFX was so strong that several models melted.
The AT-ATs were inspired by the walking machines in H.G. Wells’s “War of the Worlds” and their appearance was based on gantry cranes which are used in most shipping ports in the USA. Walking patterns of elephants were studied to make the movements seem as realistic as possible.
Further scenes with the Wampa were shot, and later cut. R2-D2 encountered one within the Rebel base, where it was killed by troopers. Later, the beasts were lured into a prison within the complex. In the completed film, a medical droid is seen examining the wounds of a tauntaun killed by a Wampa, and Princess Leia mentions the “creatures” while discussing the Imperial probe droid. A scene filmed but cut had Han, Leia and C-3PO running through a corridor. Han went to take a short-cut through a door with a sign on it, but Leia warned him “that’s where those creatures are kept”. They run off, but not before C-3PO rips off the sign, hoping that the stormtroopers will enter the room. They did. A few seconds of this last scene can be seen in the theatrical trailer on the DVD.
The blasters used by the stormtroopers were constructed from Sterling L2A3 Mk 4 submachine guns.
There seems to be many stories behind Alec Guinness and his role as Obi-Wan Kenobi. In George Lucas’s original treatment (When it was ALL one story instead of a trilogy), Obi-Wan lives throughout the whole story (A fact confirmed by Lucas in the DVD Commentary). However, Obi-Wan ends up getting killed off in the first film (Star Wars (1977), Episode IV: A New Hope). There are many stories as to why Lucas changed it. There are some stories that either Guinness demanded that Obi-Wan was killed off so he wouldn’t have to appear in any sequels or Lucas did it on his own much to the bitterness of Guinness. In the Star Wars (1977), Episode IV: A New Hope DVD Commentary, Lucas says that he felt it was a waste of Guinness’s talents to have him stand beside Leia in the control room during the Death Star battle (as it was scripted) and too outlandish to have the elderly Obi-Wan join the dogfight. So he killed off Obi-Wan in order to spur Luke on to going into Jedi training and defeat the Empire. In any event, when it came time to make Star Wars: Episode V – The Empire Strikes Back (1980), in which Luke begins his training, Lucas drew from the “ugly creature with mystical powers” mythological archetype (as he did when creating Star Wars) and created Yoda as Luke’s new Jedi master. Eventually, Alec Guinness was lured back into the role of Obi-Wan when he was promised more money. Therefore creating the “force spirit” motif that remains throughout the rest of the films, including the new trilogy.
The only Star Wars film not to gross $300 million domestically.
In the DVD commentary, Carrie Fisher relates that during some of the London filming, she stayed a house rented from Eric Idle. Idle and the Pythons were filming Life of Brian (1979) at the time. One evening, Idle had a small party, including Harrison Ford and The Rolling Stones, and served a potent liquor (which the Pythons had been distributing to extras on their film, to help boost morale) that he referred to as “Tunisian Table Cleaner”. They stayed up most of the night drinking and having fun. The first scenes shot the next day were the arrival at Cloud City, which she says helps explain why she and Ford were so happy in those scenes. Idle is said to be pleased that he had a small hand in how the finished film turned out.
Originaly, the scene where Han rescues Luke on Hoth was to have been filmed at Elstree Studios, and only Mark Hamill was needed on location in Norway. But when a blizzard made it impossible to film anywhere but near the hotel, Harrison Ford was summoned to Finse, anyway. Unable to travel by train, he arrived in the engine compartment of a snow clearance vehicle.
Carrie Fisher traveled to the filming location of Finse, Norway, even though she was not scheduled to take part in any outdoor scenes.
The Dagobah set needed to be elevated to give Frank Oz and three other puppeteers room to control the Yoda puppet from below. For proper interaction, Mark Hamill was given an earpiece so he could hear Oz doing Yoda’s voice. On numerous occasions, Irvin Kershner would give a direction to Yoda by mistake and Oz would have to remind him who to talk to.
Original start date of shooting at Elstree was slated to start in March 1979 but was delayed for three months because at that time, set 3 of the studio which was used for The Shining (1980) was burned down and had to be rebuilt at a higher scale
About twenty minutes into the movie there is a shot in the Hoth base control room in which we hear Han’s voice over radio describing what’s left of the probe droid. One of the background sound effects in this shot was taken from the Canadian shortwave time signal station CHU, which can be heard at 3.330 and 7.335 MHz.
Director Irvin Kershner provided the voice of Darth Vader himself in the temporary mix of the film, before James Earl Jones recorded the final version.
For the 2004 DVDs, the scene with Darth Vader and the Emperor were redone replacing Clive Revill with Ian McDiarmid who played the Emperor in the rest of the series. The dialogue was re-recorded with Ian McDiarmid and James Earl Jones. Some additional dialogue was added.
The scene in the Cloud City apartment where Han Solo enters to tell Princess Leia that the repairs on the Millennium Falcon are almost complete played out differently in the finished film than it did in the original script. There, Han Solo (Harrison Ford) is lounging around in the apartment when Princess Leia (Carrie Fisher) enters, having changed from the white combat clothes she wore on Hoth to the brown dress and having her hair done up differently. In surprised reaction to how she’s dressed, Solo attempts to flatter her (“You look beautiful. You should wear girls clothes all the time.”) and Leia teases him by mentioning Luke; the scene ended with them sharing a kiss. The film was originally shot this way, but director Irvin Kershner felt it wasn’t coming out right, so he re-shot it to appear as it does in the finished film. Excerpts of how the scene was originally filmed can now be seen on the special edition DVD.
Having Han Solo frozen in carbonite was (at least in part) due to the fact that they were not sure that Harrison Ford would return for a third film. When the original Star Wars (1977) was made Carrie Fisher and Mark Hamill were signed for a three picture deal, but Harrison Ford refused. Ford even requested George Lucas to kill off Solo, since the character had played its part already, but Lucas refused, saying that he still had a heroic part for Han Solo to play in Star Wars: Episode VI – Return of the Jedi (1983).
Production difficulties meant that the film went over budget by $10 million.
The biggest grossing film of 1980.
Second unit director John Barry joined the film after quitting Saturn 3 (1980) following a dispute with that film’s star, Kirk Douglas). Barry died of meningitis during production.
Director Harley Cokeliss, who was a friend of Frank Oz having worked with him on “The Muppet Show” (1976), visited the set towards the end of filming when the production team were struggling to get everything in the can before they ran over schedule. Cokeliss was hired on the spot as an additional director and is credited as one of the Second Unit Directors.
Irvin Kershner initially turned down the opportunity to direct the film as he felt that it would be too difficult to top the success of Star Wars (1977). He took the job when his agent convinced him that he shouldn’t pass on the opportunity to make a sequel to one of the most popular movies in history.
Principal photography lasted over 170 days, the longest shoot of any of the “Star Wars” movies.
Several crates of simulated snow as seen on the Hoth Hangar set were taken along to Finse, Norway, just in case there was not enough real snow lying about.
The entire Millennium Falcon was built live size for the first and only time for this installment (only half of the spacecraft was constructed for Star Wars (1977) and just part of it was used for the deleted sandstorm scene in Star Wars: Episode VI – Return of the Jedi (1983)). It measured 65 feet in diameter and 16 feet in height with a mandible giving it an overall length of 80 feet. The Falcon’s weight was 23 tons.
The Millennium Falcon was constructed in a hangar at Pembroke Docks where great flying boats were made in the 1930s. It was brought to Elstree studios, London in sixteen interlocking sections by a convoy of trucks. After reassembly, the Falcon was floated into position on the then brand new Star Wars stage by means of compressed air pads similar to those used on hovercraft.
Eight Artoo Detoos (R2D2) were used in the making of Star Wars: Episode V – The Empire Strikes Back (1980). Kenny Baker used two that were lighter and more comfortable than the ones from Star Wars (1977). Three were dummy versions which could be damaged and another three were remote controlled.
A total of 16 sets of Luke’s combat outfit (aka “Bespin fatigues”) were made.
Producer Gary Kurtz’s wife Meredith organized a picnic on the Dagobah set for the wrap party on Friday, August 31 1979.
During principal photography it remained unclear if Sir Alec Guinness would return as Obi Wan Kenobi. Guinness was suffering from an eye infection at the time and was still a bit upset about the last minute decision of his character being killed off in Star Wars (1977). He finally did agree and worked one day on the film: Wednesday September 5 1979
In order to avoid sharing creative rights, George Lucas decided to avoid using a major studio to finance this film. Instead, he bankrolled the $33 million production himself, using a combination of his profits from Star Wars (1977) and a bank loan. Although the move was risky, it paid off several times over. Lucas recovered his million investment within three months of the film’s release. He then showed gratitude far beyond the Hollywood norm, by sharing the profits with his employees (nearly $5 million in bonuses).
To preserve the dramatic opening of the Star Wars movies, George Lucas insisted on moving all the credits to the end of the film. However, although the Writers’ Guild and Directors’ Guild had begrudgingly allowed this on Star Wars (1977) (because that film wasn’t expected to be very successful), they resented the trend being continued on this film. First they tried to pull Empire from release, but were unsuccessful. They then fined Lucas heavily, and tried to fine Irvin Kershner, but Lucas paid all the fines himself (nearly $250,000). Lucas then bitterly dropped his membership in the Writers’ Guild, Directors’ Guild, and the Motion Picture Association of America, a move that has hindered his hiring choices on later films (see also Star Wars: Episode VI – Return of the Jedi (1983) and Star Wars: Episode III – Revenge of the Sith (2005)).
The carbon freezing chamber is the only time in the original trilogy that Darth Vader and C3PO can be seen on screen together.
A total of 64 sets were constructed for the movie.
Irvin Kershner’s involvement in the movie lasted a total of two years and nine months from start to finish.
The sound of Darth Vader’s shuttle door opening is reportedly a recording of a whole block of Alcatraz cell doors slamming shut.
The scene where Solo was hit by the toolbox as well as hitting the control panels were improvised on the set. At first, the crew were afraid of shooting it, but Irvin Kershner finally persuaded them to do so, saying “Come on, that’s fun. Let’s do it!”
The two other scenes, which are the swamps of Dagobah; and the asteroid’s creature (which has the Millenium Falcon) was done on the same sound stage used for the interior backgrounds of the Echo base in Hoth
The scenes where R2-D2 is submerged in the mud pool were shot in George Lucas’ unfinished swimming pool. Most of the crew were hidden under the water and the entire sequence was shot by George Lucas himself.
Luke cuts off the Wampa’s arm. C-3PO loses an arm when blasted by the Stormtroopers. Darth Vader cuts off Luke’s hand. See also Star Wars (1977) and Star Wars: Episode VI – Return of the Jedi (1983).
A scene where Darth Vader’s shuttle lands in his Star Destroyer’s landing bay, after his light saber fight with Luke, was added to the Special Edition. This was actually an unused scene from Star Wars: Episode VI – Return of the Jedi (1983)
More scenes of the AT-ST Imperial “chicken walkers” were filmed, but George Lucas decided that the larger AT-ATs were more menacing and impressive. He later realized that the AT-STs would work better in close quarters, which led to using them extensively in the forest battle in Star Wars: Episode VI – Return of the Jedi (1983).
Billy Dee Williams had previously auditioned for Han in Star Wars (1977).
The incident where R2-D2 accidentally electrocutes himself by mistaking a power outlet for a computer terminal was taken from the novelization for Star Wars (1977).
For the Special Edition, Vader’s “Bring my shuttle” line has been replaced with, “Alert my Star Destroyer to prepare for my arrival.” Sound designer Ben Burtt has confirmed that this is actually a line performed by James Earl Jones that was recorded for use in Star Wars (1977), but never used.
The following characters “have a bad feeling about this”: Leia. See also: Star Wars (1977) and Star Wars: Episode VI – Return of the Jedi (1983).
Jeremy Bulloch, who plays Boba Fett, is producer Robert Watts’s half-brother.
Denis Lawson plays Wedge Antilles. Wedge was not originally scripted to appear in this film, but intense fan interest prompted George Lucas to include him. See also Star Wars: Episode VI – Return of the Jedi (1983).
Leigh Brackett succumbed to cancer shortly after completing her first draft of the script of the film.
The voice-over line “The first transport is away” during the Rebel evacuation was re-recorded by ‘Mark Hamill 1997 for the Special Edition release.(I)’.
Mark Hamill’s wife gave birth to their first son (Nathan Hamill) early one morning, and Mark went straight from the hospital to shooting. This was the day they filmed the shots of Luke hanging by the weather vane below Cloud City, on Bespin.
After an extra fell sick, Jeremy Bulloch (Boba Fett) was called in as a replacement to the Imperial Guard who escorts Princess Leia and pulls her into the elevator after she screams “Luke! It’s a trap!”. He’s the same Imperial Guard who is captured by Lando Calrissian’s men.
In the original script when Lando is about to lead Han, Leia, and Chewie into the trap set by Darth Vader, Lando offers his arm to Leia, as a gesture to lead her down the hallway and she accepts it. Harrison Ford ad-libbed Han coming up behind Leia and offering his arm to her at the exact same moment to imply that Han was jealous.
Carrie Fisher stood on a box for many of her scenes with Harrison Ford in order to make up for the height difference and have her appear in the frame with him. Carrie Fisher is about a foot shorter than Harrison Ford.
Luke is upside-down at the beginning (Wampa cave), in the middle (training on Dagobah), and at the end (below Cloud City). He uses the Force each time.
The shots where Luke uses his Jedi powers to retrieve his lightsaber from a distance were achieved by having Mark Hamill throw the lightsaber away and then running the film in reverse.
Darth Vader’s costume was more detailed in this film, including the flashing red lights on his chest box. A new Millennium Falcon (32-inches long) was built for this film and has two additional landing gear boxes on its underside. As a result, the original Star Wars (1977) model (5-foot long) was modified and given the extra landing gear bays and was used for all FX scenes of the Falcon in a landed position.
The concept design for Cloud City was originally created for Star Wars (1977) (as a floating Imperial prison), but was never used. The design was recycled for use in this film.
The lightsaber fight scenes set in the carbon freezing chamber tend to focus on Luke. This is because during many of the shots, Bob Anderson (Vader’s fight double) was not wearing the Darth Vader helmet, as it made it difficult for him to breathe.
Mark Hamill had to bang his head 16 times on the ceiling of Yoda’s hut before the director was satisfied.
During the filming of the Battle of Hoth, the Echo Base troops were actually Norwegian mountain-rescue skiers. In exchange for participation in the film, Lucasfilm made a donation to the Norwegian Red Cross
George Lucas was so impressed by Frank Oz’s performance as Yoda that he spent thousands of dollars on an advertising campaign to try and get him an Oscar nomination for Best Supporting Actor. Lucas’s campaign ultimately failed because it was felt that a puppeteer wasn’t an actor.
Han Solo is the only non-Jedi/Sith in the entire original trilogy to ever use a lightsaber when he cuts open the tauntaun’s belly.
For the Dagobah scenes, Mark Hamill was the only one listed on the callsheets as an actor. Everyone else was listed as crew.
George Lucas decided that a battle on an ice planet was necessary because he felt that it was easy to “cheat” in space, because the background was black and you could hide errors easily. With a white background, the effects crews would have to work much harder, and the effects would be much more impressive.
The book “Star Wars: The Annotated Screenplays” reveals that, when the script for this movie was first written, the idea of it being “Episode V” of a 6 (or 9) part serial had not yet been established, and it was at one point called Episode II.
The AT-AT Imperial walkers were all animated through classic stop-motion techniques, except for the scenes where they fall, for example the walker which is “tripped up” by cables and falls on its face, or the one that Luke throws a grenade into, which falls on its side. These were filmed in real-time with precision-timed mini-pyrotechnic charges.
Most of the rebel ground troops in the Hoth battle were Norwegian extras. Because they didn’t speak any English, Irvin Kershner had to “act out” what he wanted them to do, by pointing in the direction of the “enemy” (which wasn’t visible during shooting) and demonstrating the recoil motion he wanted for the blaster rifles.
With the exception of being sucked out of a Cloud City window, Mark Hamill did all of his own stunts.
Most of the extras in the snowy battle scenes on the ice planet Hoth (shot at Finse, Norway) were Norwegians. One of the extras – Tom Egeland – would later become the chief news editor for one of Norway’s largest TV networks, as well as a critically acclaimed mystery writer, one of the others – Arve Juritzen – would become one of Norway’s best known TV-personalities (hosting eg. “Vil du bli millionær?” (2000), “Big Brother Norge” (2001)).
Yaphet Kotto was offered the role of Lando Calrissian, but turned it down because he believed he would be killed off and it would be difficult for him to find work after that.
Producer Gary Kurtz came up with the title for the movie.
Producer Gary Kurtz directed the scene in which Luke flees the Wampa ice cave. Kurtz took over John Barry’s second unit duties after Barry suddenly died on the set, and until his replacement, Harley Cokeliss, arrived.
Temuera Morrison who played Jango Fett in Star Wars: Episode II – Attack of the Clones (2002) re-dubbed Boba Fett’s lines for the 2004 DVD.
As Yoda and Obi-Wan urge Luke to stay on Dagobah to finish his training, Luke pulls a snake from his spaceship. Irvin Kershner assured Mark Hamill that the snake was harmless, though it did bite him during one take.
The only Star Wars Original Trilogy film that does not take place on the desert planet Tatooine (although it is mentioned by name at the end of the film). Tatooine also appears in Episodes I, II, and III, making it the only planet that appears five times in the entire saga.
At 30, has the lowest body count of the entire Star Wars saga.
One of the first ideas for Lando Calrissian was to have him as a clone who survived the Clone Wars who leads legions of clones on a planet they settled on. Another idea had Lando as the descendant of survivors of the Clone Wars, born into a family who reproduced solely by cloning. Originally, his name was “Lando Kadar”.
One of the bounty hunters that Darth Vader hires to find Han Solo, IG-88, can be seen in the Cloud City. IG-88 is a droid, and his dead body is sitting next to a furnace in the room where C-3PO is dismantled.
WILHELM SCREAM: Heard twice in the film. Once during the battle on Hoth as a rebel soldier and his laser gun dish explodes. And right before Han is going to frozen in the carbonite. As Chewie, in a fit if rage, throws a stormtrooper of the ledge (barely audible).
The sound of R2-D2 moving was produced by recording the sound of a car window motor in operation.
The sound of the Tauntauns was produced by recording the sound of an Asian sea otter named Moda.
The sound of the snow swirling on Hoth was produced by recording surf sounds and then alternately increasing and decreasing the volume.
The entire sequence with the Wampa attack was designed to explain the difference in appearance of Mark Hamill, who had been in involved in a car accident in between shooting and had a large chunk of his nose missing. Noticeably, Kershner does not show much of Hamill’s nose before the Wampa attack. The scene, however, was part of the story before Hamill’s accident.
Voted #8 in Total Film’s 100 Greatest Movies Of All Time list (November 2005).
Kurt Russell auditioned for the role of Han Solo.
Darth Vader was ranked #3 on the AFI’s list of 50 Greatest Villains
This is the first film to have a 5.1 surround sound mix.
Production was stopped at one point following the death of production designer John Barry. Norman Reynolds took over Barry’s duties.
Yoda’s appearance was originally designed by British makeup artist Stuart Freeborn, who based Yoda’s face partly on his own and partly on Albert Einstein’s, as his eyes are supposedly inspired by the latter. Yoda is voiced by Frank Oz. In the original Star Wars trilogy, he is realized as a puppet (controlled by Oz).
In an interview with Cinescape magazine, director Irvin Kershner said that he thought the first film was trashy and how he had no interest in films with special effects. However, he was won over by George Lucas, although Kershner was determined to make the film more about characterizations than hardware. Kershner spent several months working on the script, pushing the writers into humanizing the characters more (something that Lucas has often been criticized for failing to do).
Gary Kurtz was initially reluctant for Lucas to hand over the reins to another director. It was only because Lucas trusted Kershner, his former teacher at USC, that Kurtz agreed to the move.
Despite having his dialogue rerecorded by Ian McDiarmid for the DVD release of the film, Clive Revill is still credited as “Voice of Emperor” in the DVD version’s credits.
The chasm deep in the heart of Bespin in which Luke and Vader have their lightsaber duel was created using a matte painting. The same strategy was used in the original film in the scene where Luke and Leia blast Stormtroopers across an inactive bridge.
When shooting on location in Norway, a fierce snow storm hit the hotel where cast and crew were staying. This would have normally halted filming, but director Irvin Kershner thought these weather conditions were an excellent opportunity to film the scene where Luke wanders through the snow after escaping the Wampa cave. He did this by sending Mark Hamill outside into the cold, while he and the cameraman stayed and filmed inside the hotel’s front hall.
When Han Solo is about to be frozen, Princess Leia says, “I love you.” In the original script, Han Solo was supposed to say, “Just remember that, Leia, because I’ll be back,” but at the time of filming, Harrison Ford wasn’t entirely certain he did want to come back for a third film. There is a recurring legend that his line, “I know”, was ad-libbed; however ‘Alan Arnold”s book “Once Upon A Galaxy: A Journal of the Making of The Empire Strikes Back” includes a transcription of the discussion between Ford and Irvin Kershner in which Ford suggested the line.
Howie Weed, an ILM staffer who assisted in designing the Wampa costume for the Special Edition, was cast as the Wampa for the film after he was used as the model for the costume. As he is 6 feet tall, the ice cave set for the re shoots was built with a height of 4 1/2 to 5 feet to create the illusion of the Wampa being closer to 8 or 9 feet in height.
In the Hoth command center, Han references “That bounty hunter we ran into on Ord Mandell”. “Rebel Mission to Ord Mandell” was released in 1983 as an NPR radio drama, and later on 33 1/3 LP. It starred the voices of many of the original cast.
Jim Henson, a friend of George Lucas, was offered the role of Yoda. Henson turned it down, but suggested it to Frank Oz.
It was rumored that Billy Dee Williams (Lando Calrissian) was bothered by the fact that there were no black people featured in the original Star Wars (1977) film. The story goes that Williams approached George Lucas and complained that the film had a complete dearth of African-American characters. Williams had touched on a long-standing debate in Hollywood about casting black actors in science-fiction movies. Lucas, unaware of this oversight, offered the role of Lando to Williams.
Voted #3 On Empire’s 500 Greatest Movies Of All Time (September 2008)
Boba Fett’s action figure was originally to have had a rocket-firing mechanism, but after a child choked to death on a similar toy, Kenner dropped the mechanism and made the rocket stationary. A trace of the rocket launcher survived to the completed toy, however, as there is a rectangular area on the backpack in which the rocket launcher would have been embedded. The version with the mechanism is now considered the longest-running unobtainable action figure; contrary to popular belief, it was never sold to the public.
The bounty hunters are never referred to by name. Every time Boba Fett is referenced, he is called “the bounty hunter”.
Yoda’s iconic manner of speech (i.e: “begun the war has” and things like this) is actually most always what you get if you translate English literally from Latin.
It has been widely rumored that Luke’s injury early in the film was included to explain the difference in Mark Hamill’s appearance, as a result of a car accident he had been in shortly after the release of the first film. In fact, however, that scene was already in the early drafts of the script before Hamill’s accident.
Was filmed at the same studios as Stanley Kubrick’s The Shining (1980). Author Stephen King visited the set, and many aspects of this film affected King’s later work. Irvin Kershner was nicknamed “Kersh” on the set. King’s novel [i]It[/i] features a character named Mrs. Kersh, who sounds like Yoda. King’s fifth Dark Tower novel, [i]Wolves of the Calla[/i], features a messenger robot similar to C-3PO. In his revision of the first Dark Tower novel, [i]The Gunslinger[/i], a town formerly known as Farson is renamed Taunton. Writer Lawrence Kasdan went on to direct Dreamcatcher (2003).
This movie featured the first appearance of the Emperor whom appeared as a hologram to Darth Vader. The ‘Emperor’ was actually portrayed by an elderly female stand-in with a hood and heavy makeup. The yellow, Dark-Force eyes were in fact chimpanzee eyes superimposed over the stand-in’s eyes to give the Emperor a less-human, more unworldly look. The Emperor’s voice was provided by Clive Revill who provided the voice only and not the appearance.
Spacehunter: Adventures in the Forbidden Zone is a 1983 pulp, action-comedy, science fiction film. The movie stars Peter Strauss, Molly Ringwald, Ernie Hudson, Andrea Marcovicci, and Michael Ironside. The film’s executive producer was Ivan Reitman, (producer of such films as National Lampoon’s Animal House and Ghostbusters), and it was directed by Lamont Johnson. The film had an adventurous music score composed by Elmer Bernstein.
When the movie came out in theaters, parts of it were shown in 3-D and the film became part of the 3-D movie revival craze of the early 1980s.
The movie is about a bounty hunter who goes on a mission to rescue three women stranded on a brutal planet and meets a vagrant teenage girl along the way.
The “tape machines” were on loan from Brainstorm (1983), which was being filmed on an adjacent set.
While it was common for 3-D movies to also be released simultaneously in flat versions, the two versions of this movie were shown at different ratios. 3-D prints were projected at 2.35:1, while flat prints were only 1.85:1. Thus, the flat widescreen DVD version from Columbia TriStar is correctly presented at 1.85:1 and not 2.35:1, as erroneously listed on the DVD case.
Tower of Evil, also known by the title Beyond the Fog in the United States and Horror of Snape Island and Horror on Snape Island in Canada, is a 1972 British horror film. It is also known by the title of . The film is regarded by horror fans as being ahead of its time, as it crosses old world Gothic themes (dark setting, mythical superstitions, gloomy atmosphere) with many elements of the modern slasher film (elusive killer, bloody murders, sexually active characters as victims). The film was shot at Shepperton Studios in Shepperton, Surrey, England, UK in 1971.
Robin Askwith is dubbed.
John Hamill is dubbed.
Dennis Price was only required for one day.
The film was re-released in the US under the title “Beyond the Fog”. The reason for the new title was an attempt to capitalize on the success of John Carpenter’s horror film The Fog (1980).
Originally released in Britain on double bill with Hammer’s Demons of the Mind (1972).
For the films fiery finale stuntman Mark McBride had to be set ablaze while wearing a fire-retardant suit. While the suit protected McBride from the flames he suddenly passed out on the burning set, because the heat nearly suffocated him inside the suit. The shocked crew members rushed in and saved him.
Originally the character of Brent wasn’t included in the script. He was wrote in just before shooting when the studio brought in Bryant Haliday to star.
Star Jill Haworth was reluctant to appear in the film. In an interview with the actress she stated, “I remember in Horror of Snape Island (Tower of Evil) my character stumbles upon five dead bodies and I had to say with a straight face, ‘Oh the police aren’t going to like this’ and the crew just kept laughing every time I said it.”
The film was titled “Der Turm der lebenden Leichen” for its German release. Translated into English the title is “Tower of the Living Corpses”, although the film features no zombies at all. However, when the film was re-released to German theaters at the high point of the zombie craze in Germany during the early 1980s, it was re-titled “Devil’s Tower – Der Schreckensturm der Zombies” (“Terror-tower of the zombies”) and two scenes were re-dubbed, so that the actually catatonic girl from the beginning of the film speaks of zombies whenever the camera does not show her lips.
First released in the US on double bill with Tales of the Bizarre (1970).
The films Italian title “Perché il dio fenicio continua ad uccidere?” translates to “Why Does the Phoenician God Continue to Kill?”