A Sci-Fi Swarm and Horror Horde: Interviews with 62 Filmmakers

Description

In this jam-packed jamboree of conversations, more than 60 movie veterans describe their experiences on the sets of some of the world's most beloved sci-fi and horror movies and television series. Including groundbreaking oldies (Flash Gordon, One Million B.C.); 1950s and 1960s milestones (The War of the Worlds, Psycho, House of Usher); classic schlock (Queen of Outer Space, Attack of the Crab Monsters); and cult TV favorites (Lost in Space, Land of the Giants), the discussions offer a frank and fascinating behind-the-scenes look. Among the interviewees: Roger Corman, Pamela Duncan, Richard and Alex Gordon, Tony "Dr. Lao" Randall, Troy Donahue, Sid Melton, Fess Parker, Nan Peterson, Alan Young, John "Bud" Cardos, and dozens more.

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Customer Reviews

Required Reading For Classic Sci-Fi and Horror Fans
Tom Weaver's books are for those people who love all of the sci-fi, horror talent who made these wonderful movies and yet you never hear much about the person themselves. For those who continue to watch the "Creature Features" type movies which always bring a smile to your face and a fond memory, then his books are for you.

It is amazing how the studios such as Republic, AIP, Allied Artists, etc. could make these films on very tight budgets (often under $100K) and fast schedules and yet many years later are still great viewing. His interviews are always very informative and enjoyable. Obviously, he has the respect of both the interviewee and this reader. The people who are interviewed are those you may see in "Starlog," "Classic Images," or a select fan magazine but no where else, especially mainstream TV. Yet without their contributions, these movies would not exist. His researches in tracking down these gifted but often unappreciated people, much less being able to get an inverview, never cease to amaze me how he does it.

To anyone who has ever attended a Sci-Fi convention, watches what is considered a "cult" movie over and over and never gets tired of it, or heard his interviews on recent DVD releases such as "Queen of Outer Space," his books are always a welcome addition to my library. I became hooked on his books when he interviewed superb writer Ken Kolb in a previous book. He wrote classic TV shows such as the "Wild, Wild, West," and "Have Gun Will Travel." Fortunately, Mr. Kolb is interviewed again for this book.

I am thankful Mr. Weaver was able to obtain interviews of talented people such as Fess Parker, Tony Randall, House Peters, Jr., Whitey Hughes, and so many others who unfortunately have passed on. To hear their story of how they worked under often dreadful conditions makes me even respect them more due to what they were able to produce on screen. The 62 people interviewed show what creative talent can accomplish that still endures to this day. To see the person's name in the credits of a classic movie or TV show now has a deeper meaning after reading the interview.

For an fun but sometimes sad (Ib Melchior's experiences of having his efforts stolen) book to read, hard to put down, and can hardly wait for Mr. Weaver's next, this is a must have for your library.

2010-06-25 (Los Gatos, CA) | Helpful Votes: 1 | Rating: 5

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ANOTHER GREAT BOOK FROM WEAVER
I always get excited when I see a new book by Tom Weaver because he's simply the best there is when it comes to great interviews. What makes him so exceptional is that he interviews people who don't normally get interviewed. If you're not a fan of horror and Sci-Fi films of the 1930s to the 1960s, chances are you may not know a lot of these names and that's part of Weaver's charm. He gets the inside story from people who are usually only too happy to share their experiences in these great films.

This book features 62 more interviews to engage and excite fans. Weaver's interviews are not structured in the usual question and answer style but his subjects basically share their reminiscences with the occasional prompting from Tom. In a bit of a departure from previous books, this one features several "Memories of..." chapters where various actors and filmmakers share their thoughts on a particular subject, including Boris Karloff, Bela Lugosi, and Lon Chaney, Jr. Earl Bellamy, Assistant Director on 1943 Columbia monster mash "Return of the Vampire" discusses working with Lugosi as the horror legend once again played a vampire. In typical Lugosi fashion, he truly believed he was the character while on the set. Bellamy talks about Lugosi giving the crew tickets to see him perform in the stage play "Arsenic and Old Lace". The play was awful and Bellamy and the others wanted to leave but Lugosi had given them tickets in the front row, guaranteeing they stayed to the bitter end.

Weaver scores a bit of a coup with a short interview with the reclusive Fess Parker. Parker starred in one of the first great post-atomic bomb films with 1954's "Them!" and would go on to TV success playing both Davey Crockett and Daniel Boone. Among the tidbits that Weaver gets parker to reveal is the origin of his name, "Fess".

It's interesting to see the five degrees of separation you sometimes get in Hollywood. Alan Young, star of 1960s sitcom "Mr Ed", shares his memories of the great Universal Films make-up artist Jack Pierce. Pierce actually worked for a short time on the show before being let go. Young reveals how Pierce loved to talk about the good old days and how hard Piece took it when he was let go.

Weaver has a lengthy interview with Gary Conway, star of one of the most underrated Sci-Fi shows of the 1960s, "Land of the Giants". Created by Irwin Allen, the show was basically a rip-off of another Irwin hit, "Lost in Space". Like that show, Giants finds a group of space travelers who get lost when they pass through a space warp and end up on an alternate Earth where the people are 12 times the size of the ship's crew. Conway shares his memories of working on the large-scale sets and with props designed to make the travelers look the side of action figures.

Other interviews include Tony Randall on his role in fantasy film "The 7 Faces of Dr. Lao"; Richard Kiel on his role as the mute giant Voltaire in "The Wild, Wild West"; Lisa Davis in the classic 1950s B Sci-Fi film "Queen of Outer Space"; and B-film master Director Roger Corman discussing his 1960 feature, "The House of Usher".

Must have reading for fans of this great era of films!

2010-06-11 (Michigan) | Helpful Votes: 1 | Rating: 5

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Universal Horrors: The Studio's Classic Films, 1931-1946

Description

Revised and updated since its first publication in 1990, this acclaimed critical survey covers the classic chillers produced by Universal Studios during the Golden Age of Hollywood Horror, 1931 through 1946. Trekking boldly through haunts and horrors from The Frankenstein Monster, The Wolf Man, Count Dracula, and The Invisible Man, to The Mummy, Paula the Ape Woman, The Creeper, and The Inner Sanctum, the authors offer a definitive study of the 86 films produced during this era and present a general overview of the period. Coverage of the films includes complete cast lists, credits, storyline, behind-the-scenes information, production history, critical analysis, and commentary from the cast and crew (much of it drawn from interviews by Tom Weaver, whom USA Today calls "the king of the monster hunters"). Unique to this edition are a new selection of photographs and poster reproductions and an appendix listing additional films of interest.

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Customer Reviews

Great research, but a little disappointing
I love the depth of research in this book, with even minor films such as "She-Wolf of London" receiving lavish treatment. Great pictures of Universal's European street, and stills and publicity photos from the movies. The appendix of the Shock Theater television package, with ad lines, in wonderful.

It's disappointing when an otherwise oustanding book has some problems. I feel that there are three serious negatives.

(1) Inclusion of non-horror films. Of the 85 movies treated, about 20 don't belong, including the Sherlock Holmes series. This bloats the book. There is an appendix that lists near-misses and that seems like the right place for these films.

(2) Missing coverage of some late 1940's and 1950's classics. It makes sense to start with the 1931 "Dracula," althought this cuts out some silent gems such as "Phantom of the Opera." But I'd love to read about Abbott and Costello's encounters with Frankenstein, the Mummy, and the Invisible Man, and the Creature from the Black Lagoon trilogy.

(3) Small print. A book is an aesthetic object, and this one has some strengths (nice hardcover binding and quality paper), but the small print is a nuisance.

I feel that the negatives (1), (2), and (3) could be fixed simultaneously by jettisoning the non-horror films and extending the period of coverage to, say, 1931-1959, including a few late 1940's and 1950's Universal classics.

Finally, the book needs a careful proofreading, as there are many sentences with typos.

Thanks to the authors for what they have accomplished. May we please have a perfect third edition?

2010-04-13 (Kirksville, Missouri, U.S.A.) | Helpful Votes: 1 | Rating: 4

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Treasure chest for every fan of classic monsters :)
This is one absolutely unbelievable book. I think McFarland & Company publishes fantastic books. You check their website to see more interesting titles. Universal Horrors is one big book with many pages of fantastic texts. It covers every movie starting with Dracula (1931) and finishing with The Brute Man (1946). You get many background production informations for every movie, little tidbits on crew and actors. There are also some black and white photos inside but nothing special. What makes this book important is coverage of so many movie in one volume. I think if you want to start with something light to give you an overview of the classic monsters than first get Universal Studios Monsters: A Legacy of Horror and then go ahead with this book, but don't miss it. It is fantastic peace of work. Enjoy :)

2010-01-17 (Sarajevo Bosnia and Herzegowina) | Helpful Votes: 0 | Rating: 5

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A little much, both price-wise and opinion-wise
A valuable addition to any horror fan's library. Outside of the classics, it does throw in a lot of films that I would question being included in this book. However, the authors would've done well to tone down their opinions a tad -- for pete's sake, many of these films are meant to fill out the bottom of a double-feature bill, which doesn't make them candidates for over-the-top critical analysis. One has to take these films for what they are and leave it at that.

2009-12-07 (Colorado) | Helpful Votes: 0 | Rating: 3

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A little over expensive but fun
A VERY comprehensive review of all the Universal horror films from 1931-1946. It gives a detailed synopsis of the plot and all the actors in it down to the minor roles. However I question some of the choices here. ALL the Sherlock Holmes films are listed. I consider them mysteries--not horror. Still the info about the actors and plots were interesting. Also, the authors have very strong opinions on aspects of the movies and I sometimes felt like I was being bullied into listening to them...and agreeing with them. I really disagree with them on quite a few films (especially "Son of Dracula") so it makes it frustrating reading ocassioanlly. Still the selection of photos are great, it's very enjoybale reading (more or less) and it certainly is comprehensive. A little pricey but most horror fans will find this somewaht invaluable.

2009-10-07 | Preppy (Malden MA) | Helpful Votes: 0 | Rating: 4

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Too Much Sherlock Holmes
The book could have been shorter and less expensive if the authors hadn't decided to put Sherlock Holmes movies in the collection. I'm not sure would Holmes has to do with Frankenstein, The Wolf Man, The Mummy, etc. I'd rather see a book that has horror movies of the era (whether Universal, Columbia, etc.). This book ran too long, and it is not strictly horror movies.

2009-08-07 | Tom L. (Loveland, CO) | Helpful Votes: 2 | Rating: 3

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I Was a Monster Movie Maker: Conversations with 22 SF and Horror Filmmakers

Description

Phil Brown, who played Luke Skywalker's uncle in Star Wars, said, "In my long life in films, there are ones I'm proud of and those I'm not proud of. The Jungle Captive and Weird Woman fall into the latter category." House of Wax co-star Paul Picerni was fired by the film's director when he refused to put his head in a working guillotine during a climactic fight scene. Packed with wonderful tidbits, this volume collects 22 interviews with the moviemakers responsible for bringing such films as This Island Earth, The Haunting, Carnival of Souls, Pit and the Pendulum, House of Wax, Tarzan the Ape Man, The Black Cat, Them! and Invasion of the Body Snatchers to the movie screen. Faith Domergue, Michael Forest, Anne Helm, Candace Hilligoss, Suzanna Leigh, Norman Lloyd, Maureen O'Sullivan, Shirley Ulmer, Dana Wynter and many more are interviewed

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Customer Reviews

B MOVIE EXTRAVAGANZA!
Tom Weaver proves again why he is one of the most knowledgeable people in the business when if comes to genre films with "I Was a Monster Movie Maker". In this book Weaver presents 22 interviews with Sci-Fi and Monster movie makers both behind and in front of the camera. While a fan, Weaver's interviews are never "fannish" in nature. He not only knows the talent but knows their work, often times, it seems, better than the subject themselves.

Phil Brown is best known as Uncle Owen from Star Wars, but did his first film back in 1941. Brown admits to taking the Star Wars role because "it was a job" and he had no idea what it was about, although he says George Lucas' genius was evident from the beginning. It's also interesting that Brown did a move (The Weird Woman) with Lon Chaney Jr. back in the 1940's. While he fondly recalls Chaney, he never joined him in his morning "spirits".

Candace Hilligoss discusses her role in one of the most atmospheric and underrated low-budget horror, "Carnival of Souls", and how she was forced out of the eventual remake even though it was largely her idea. She would eventually be offered a cameo but turned it down.

One of the best interviews was with Maureen O' Sullivan, best known as playing Jane in a number of Tarzan films. Still sharp as a tack, she relates a number of amusing anecdotes about playing Jane including stories about the skimpy jungle outfit and how she refused to do a nude scene in a silhouette. She also said that despite the rumors, there was never a romance between she and Tarzan co-star Johnny Weismuller.

Another fantastic interview was with Ray Walston. Walston played Uncle Martin in the hit 1960's series "My Favorite Martian" but many people probably don't know that he played Renfield in the Broadway stage version of Dracula with Bela Lugosi. Walston has some wonderful stories about being out on the town drinking with Lugosi, who, ever frugal, would bring his own flask of scotch. Walston was positively ecstatic to relate how Lugosi told him he was the best Renfield he had ever had. High praise indeed!

Shirley Ulmer also has some interesting stories about Lugosi from the set of "The Black Cat" where her husband Edgar was the director. She talks about the tension between Lugosi and Karloff and the grueling 16 hour days of filming to get the picture done on time.

Other interviews include Dana Wynter from "Invasion of the Body Snatchers", Yvonne Lime from "I was a Teenage Werewolf", Phyllis Kirk from "The House of Wax" and Michael Hoey, the Director of legendary "B" film "The Navy Vs. the Night Monsters." This is another outstanding effort from Weaver and a first rate production by McFarland Books.

Reviewed by Tim Janson

2005-09-29 (Michigan) | Helpful Votes: 1 | Rating: 5

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More excellent interviews...
Genre interviewer extraordinaire, Tom Weaver, is back with his first book since the celebrated John Carradine: The Films. I Was A Monster Movie Maker collects 22 interviews with various genre personalities, the majority of whom may not immediately ring bells with even the most knowledgeable of genre fans. All of these interviews have appeared in abridged versions in various magazines; here they are printed in their entirety.

The range of interviewees range from the easily recognizable: Maureen O'Sullivan, Norman Lloyd, Phyllis Kirk, Dana Wynter, and John Kerr--to the downright scratch-your-head-and-ask-who? variety: Booth Colman (Dr. Zaius on the Planet Of The Apes television series, Karloff's Thriller), Nelson Gidding (screenwriter of The Haunting), Suzanna Leigh (The Deadly Bees, Lust For A Vampire), and Joan Weldon (Them!), among others. Filmographies are included for all performers.

Among the many treats to be found: O'Sullivan's days as Tarzan's Jane and the revelation of whether there was any romance with Johnny Weissmuller; Wynter's discussions on the 1956 Invasion Of The Body Snatchers, and Kevin McCarthy; Candace Hilligoss' very frank opinions concerning the Carnival Of Souls remake; the always interesting Norman Lloyd's remembrances, especially those of Hitchcock; Phil (Uncle Owen) Brown's recollections of his getting his role in Star Wars, meeting George Lucas, and anecdotes of Lon Chaney, Jr.; Paul Picerni and Phyllis Kirk (in what are clearly the best of interviews done with these two stars) share trips down memory lane, relating tales of making House Of Wax (Picerni's story of filming the guillotine scene is priceless), Andre' de Toth, and Vincent Price; Nelson Gidding's discussion on bringing The Haunting (original version) to the screen; and Ray (My Favorite Martian) Walston talks of working with Lugosi.

In too many interviews, the reader only gets a rapid-fire question and answer session, with no sense of any real interest being generated by either party. Weaver's strength, however, is his ability to get his subjects to really open up. The reader feels that there is a real conversation between two interested parties going on, rather than a rote asking/answering of questions. Perhaps it's his genuine interest in his subjects; perhaps it's his years of experience; perhaps it's his research and preparedness (he often knows more about his subjects' careers than the subjects themselves can remember!). Regardless of Weaver's secret, we get a depth, interest, and even excitement out of the subjects--not to mention the wealth of memories and anecdotes--that one seldom finds elsewhere.

Downsides to the book? I could find only two, and they are small, one (perhaps both) out of the hands of the author. First, that cover! Second, my usual complaint with books by McFarland: the price. Like all McFarland books, IWAMMM is nicely produced and certainly worth the price, but still more than likely out of the price range of many of the monster fans the book is written for.

I Was A Monster Movie Maker is typical first-rate, high quality product readers have come to expect from the author, and is the latest in a long line of his acclaimed interview books.

2002-06-07 (Chicago, IL USA) | Helpful Votes: 3 | Rating: 5

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Poverty Row Horrors!: Monogram, Prc and Republic Horror Films of the Forties (McFarland Classics)

Description

Poverty row horror films were usually inexpensively (some would say cheaply) produced with writing that ranged from bad to atrocious. Yet these movies with their all-star horror casts (Carradine, Lugosi, Karloff, et al.) and their ape men, mad monsters, devil bats and white zombies still have a loyal audience 50 years after their release.

Essays contain full filmographic data on the 31 horror chillers made by the three studios from 1940 through 1946 and are arranged by year of release. Each entry includes the date of release, length, production credits, cast credits, interview quotes, and a plot synopsis with critical commentary. Filmographies for prominent horror actors and actresses, from John Abbott to George Zucco, are provided in the appendices.

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Customer Reviews

BRINGING LIGHT TO THESE LITTLE KNOWN FILMS
Poverty Row films make today's direct-to-video films look like "A" features. Shot on the tiniest of budgets and often completed in a matter of a few weeks, these films were the bottom of the barrel in 1940's Hollywood and yet somehow many have survived to considered cult classics in the horror genre, This is largely due to the stars of these cut-rate cheapies such as Bela Lugosi, Boris Karloff, George Zucco, and others.

Tom Weaver, perhaps the foremost expert on these films is the man behind this fantastic book detailing all 31 poverty row horrors produced by Republic, Monogram, and PRC studios. The 31 films are listed in order of release date beginning with "Boys of the City" in 1940 and ending with "Spookbusters" in 1946, both East Side Kids/Bowery Boys films. For each film Weaver provides complete cast and credits, run time, release date, and a lengthy plot synopsis. Weaver gives his expert analysis of each film as well as informative anecdotes. Snippets from reviews of the day are also included.

Among the films featured are: "The Ape", Boris Karloff's only true poverty row film shot in just one week. This gem must be seen to be believed. One can only imagine how the distinguished and proper Karloff must have felt parading around inside a gorilla suit.

Of course the king of poverty row was Karloff's rival Bela Lugosi. Lugosi did nine of these low-budget offerings including "The Devil Bat", "Invisible Ghost", "Black Dragons", "The Ape Man" and "The Corpse Vanishes". One can only feel for Lugosi who needed the work and always gave his fullest in every performance no matter how ridiculous the script was. In an appendix, Weaver along with other luminaries such as Forrest Ackerman, Joe Dante, and Gary Svehla of Midnight Marquee magazine rate all of Lugosi's poverty row films and give their opinions on his best...and worst!

One of my favorite films that Weaver covers is "King of the Zombies" which was intended to star Lugosi as the evil Nazi doctor but he was already committed to another film. Great black character actor, wide-eyed Mantan Moreland steals the show hands down and deservedly, is the only one in the cast who gets good mention for his comedic performance.

Other films in the book are George Zucco vehicles "Fog Island", "Dead Men Walk" and the "Mad Monster". The book also spotlights some of the truly little known poverty row horrors: "Strangler of the Swamp", "The Face of Marble", `The Girl who Dared" and more.

Weaver brings his vast knowledge and intelligent writing to this book. He never fails to surprise me with interesting notes about films and their stars.

Reviewed by Tim Janson

2005-12-14 (Michigan) | Helpful Votes: 8 | Rating: 5

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good read! worth waiting for a reprinting!
Great film reviews and data about these low budget horror films. Good writing, detailed plot summaries and detailed facts. These movies often had far out plots and bad acting, but Mr. Weaver gives them credit where due (original monsters, better than usual direction, or original premises). He also tells of the dizzying heights of absudity they reach . Really good write-ups and highly recommended.

2004-04-07 | Helpful Votes: 2 | Rating: 5

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Weaving Gold from Poverty
Tom Weaver does good horror history. Fifty years hence, anyone doing a history of the Horror Film will find himself resorting agan and again to the ouvre of Thomas Weaver. Besides his numerous and valuable Interview books as well as his groundbreaking work in UNIVERSAL HORRORS, Weaver has undertaken an important task in writing about the Poverty Row Horror films produced by Republic, Monogram and PRC. As usual for Weaver, the book is methodical and well written. While also an entertaining and informative read, the book will probably be the definitive research tool for the films covered and the studios discussed for the foreseeable future. As "poverty row" productions, there was some danger of these films "falling through the cracks" and vanishing into the mists of time but, through the auspices of Weaver, the films have not merely been saved but canonized. And, with Weaver, one knows that POVERTY ROW HORRORS is accurate. An excellent book with the only flaws being the brevity that Weaver handles such important films like NABONGA and WHITE PONGO.

2000-10-13 | Helpful Votes: 3 | Rating: 5

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It is the book that inspired my name!
That this book should be out of print is a travesty. Synposis of 31 "horror" films from PRC, Monogram and Republic are mixed with behind the scenes info, anectdotes and factoids that make this a true necessity for the low budget 40's horror fan. Additional appendices provide info on music, filmographies, "borderline" films and "experts" ranking of the major Monogram entries.

1999-11-10 (San Francisco) | Helpful Votes: 7 | Rating: 5

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Science Fiction and Fantasy Film Flashbacks: Conversations with 24 Actors, Writers, Producers and Directors from the Golden Age

Description

As a 12-year-old, Richard Eyer costarred with Robby the Robot. In Robinson Crusoe on Mars, Paul Mantee’s costar was a monkey named Barney who received billing as "Mona, the Woolly Monkey." Actress Randy Stuart played the wife of The Incredible Shrinking Man. Alan Caillou wrote the original pilot outline for television’s The Six Million Dollar Man. Asked to look over the final script six months later, he noticed that exactly one of his lines was being used (and that out of context) and that 27 writers were being given writing credit!

Tom Weaver—author of Attack of the Monster Movie Makers, Science Fiction Stars and Horror Heroes, They Fought in the Creature Features, and Interviews with B Science Fiction and Horror Movie Makers—returns with a new collection of interviews that go behind the scenes of Golden Age science fiction, horror and fantasy filmmaking. Among the interviewed are Casey Adams, John Badham, Antony Carbone, Robert Clarke, Sidney Hayers, Lewis Allen, Gene Evans, Alex Gordon, Jackie Joseph, Ken Miller, John Moxey, Arthur Ross, Arianné Ulmer, Debra Paget and Edward Dmytryk.

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Customer Reviews

Brief Flashbacks
Tom Weaver is well known a number of expertly written books and articles on genre cinema. Here he collates two-dozen highly readable conversations with some of the more off-kilter characters of exploitation and genre films.
What I like about the book is primarily its focus on the forgotten and little known filmmakers. Weaver is undeniably an expert in his field, but don't expect any deep-probing questions here or analysis for that matter. He's more interested in the where/how/when side of things, which is fine if all you're after is a nostalgic trip down the memory lane.
Still, this should be quite an invaluable resource for more serious scholars of classic sci-fi and fantasy cinema, since many of the interviewees have rarely been interviewed (such as director Lewis Allen for example).

2008-03-25 | Film Codex (Sydney, Australia) | Helpful Votes: 1 | Rating: 4

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Eye on Science Fiction: 20 Interviews with Classic SF and Horror Filmmakers

Description

The march of the monster movie makers continues in Tom Weaver's ninth book of in-depth interviews with the men and women who made the horror and sci-fi favorites of the 1940s, '50s and '60s. Actors (including Mike Connors, Brett Halsey, Natalie Trundy and Richard Kiel), writers, producers and directors recall legendary genre figures Lugosi, Chaney, Jr., Tod Browning and James Whale; films ranging in quality from The Thing to Macumba Love and Eegah; behind-the-scenes tales of cult TV series (Twilight Zone, Batman, Lost in Space, more) and serials; and, of course, the usual barrage of outlandish movie menaces, this time including the Fly, Flesh Eaters, Monolith Monsters, ape men, voodoo women and spider babies! And all in the candid, no-holds-barred style that has made Weaver "king of the interviewers" (Classic Images)!

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Customer Reviews

For dedicated fans of great old-time science fiction
Eye On Science Fiction by movie expert Tom Weaver presents twenty interviews with classic science fiction and horror filmmakers, including Herman Cohen, Alex Gordon, Beverly Washburn, John Hart, Robert Nichols, William Wellman, and others. Black-and-white photographs enhance the candid, open testimonies that span science fiction and horror fantasy subgenres, generations, artistic interpretations, interacting with stars, and the ever fickle and evolving desires of the movie-going public. Eye On Science Fiction is a very highly recommended reference and resource for academic Cinematic Studies collections, especially fun and informative reading for dedicated fans of great old-time science fiction and horror movies.

2003-12-13 (Oregon, WI USA) | Helpful Votes: 1 | Rating: 5

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