A BIRTHDAY FOR PAPA GEORGE

My bank account is typically as barren as the sands of Tatooine. That's partially because of my continuing donations to George Lucas and his beneficiaries.

No resentment here. Really. I'll gladly give. Repeatedly.

Although being financially challenged found me stitching together a random excuse for a meal last night instead of dining out, I still managed to think of Papa George on his 69th birthday.

No, I didn't bake a cake in his honor. But that's not saying I didn't think about it.

Here's a link to a story I wrote for MTV Geek about just that. The Severed Wampa Arm cake is the bee-zomb:

http://geek-news.mtv.com/2013/05/15/george-lucas-birthday-top-5-best-star-wars-birthday-cakes/

I also talked to Anthony "C-3PO" Daniels a couple of weeks ago. Here's a link to that jibba jabba:

http://geek-news.mtv.com/2013/05/03/may-the-4th-be-with-you-c-3po-anthony-daniels-interview/

Ralph Bakshi

Legendary animator Ralph Bakshi has a fresh coat of paint. Although he hasn’t had an animated feature film spring from his pen since 1992’s “Cool World,” that’s about to change.  

Bakshi is back in business with “Last Days of Coney Island,” an animated tale about an NYPD detective and the seedy denizens who make up his world. Bakshi and his son, Eddie, have been raising money via a Kickstarter campaign, and have garnered nearly $175,000 and counting. That’s $10,000 more than his original goal. Even actor Matthew Modine, a longtime Bakshi fan, committed his voice to the picture once he heard of the animator’s plans. 

Bakshi’s fan base began when he changed the landscape of feature animation with the release of “Fritz the Cat" in 1972. A trail of nine other animated films followed including “Lord of the Rings” and “Wizards.” His collaborations proved to be as colorful as his animation cells. Bakshi has had the opportunity to work with other fellow legends including Dr. Seuss, Frank Frazetta, Stan Lee and the Rolling Stones. 

Q.: When you made “Fritz the Cat” in 1972, what made you think the world was ready for an adult-themed animated film?

A.: There’s a lot of talk today about was the world ready? What’s the hottest property? What do I do to make a million? That wasn’t my concern. We grew up in the ’50s, a lot of us artists. And the artists who grew up in the ’50s were much more concerned with what turned them on. I mean, money wasn’t an issue, not there’s anything wrong with money. ...Money wasn’t the reason guys were doing comic books, because it was the worst paying job in the world. Money wasn’t the reason I was animating, I just loved to animate. So when I read the “Fritz the Cat” book and lots of underground stuff, I loved it and I wanted to do it. There wasn’t any consideration if the world was ready for it. Who cared? That’s an issue now, and it’s still my position. If you run around wondering what the world cares about, there are very little breakthroughs that are going to happen. The world was not ready for “Fritz the Cat.” I got the hell beat out of me, including [“Fritz the Cat” comic book creator] Robert Crumb, who beat the hell out of me. I took a lot of heat. It has since made a hundred million, billion dollars. ...What I’m saying is, if you’re an artist and you’re going to wonder what the world cares about, you’re going to have to do something you don’t care about.

Q.: You basically created adult-oriented animation. What do you think about being regarded as an icon in that way?

A.: First of all, I wasn’t trying to break ground. The fact that my pictures are playing to new generations of kids has stunned me. ...All of these kids continue to watch my movies and find them. I keep getting emails from kids who are 20, 21. I can’t believe I did this. Everything is brand new to them. I’m very, very appreciative of the whole thing. It made me feel like I had done something. I went back to try and sell a movie to Hollywood. Recently I felt like doing an animated movie. I had been painting and drawing, but I felt like doing a movie. I got very nostalgic. So I went to Hollywood to sell a movie. It’s called “New American Blues,” which discusses who we are today. I went to two companies and they both threw me out. They both said they didn’t want the movie, it’s too adult, nobody would like it, and there’s no merchandising. My mouth dropped open. These are major animation companies making major films today. I was kind of stunned. Then I went to one company that does children’s films; big company, I’m not going to mention the name. I told them I wanted to do “Wizards 2” and “Wizards 3,” because it was always was done as a trilogy. They got excited, because they had heard about “Wizards” and all the animators love that movie. ...They go in and screen the movie. They tell me it’s too dark. I said, “What are you talking about too dark? I got lots of laughs in that film. Of course it’s dark. It’s about where our world is today.” Our glaciers are receding, the oceans are screwed up, there are terrorists everywhere, which is what “Wizards” was all about. I thought I nailed it. I said, “You’re telling me it’s too dark, but the world is that way today.” They said people don’t want to see that. So I left with my hat in my hands. This is the icon and idol going back. You’d think I would walk in and they’d jump all over me. They didn’t even buy me lunch. ...I have spoken, believe it or not, to Peter Jackson, who did the live action “Lord of the Rings,” about doing “Wizards” as an animated feature. ...To answer your question, I don’t feel much like an icon [Laughs].

Q.: Long before Peter Jackson, you were the first to tackle “Lord of the Rings.”  How challenging was it taking on something as beloved as “Lord of the Rings”?

A.: I did it for two reasons. First of all, I personally love Tolkien. He’s the greatest fantasy writer who ever lived. I wanted to do something that would stop the controversy. In other words, I was very tired, very beat up. It was very hard trying to keep the studio afloat. Paying the animators was hard. All of this was on my back. I owned my own company. So I wanted to do something that would allow me to take what I believed would be a rest. It was someone else’s work: Tolkien. Plus I loved Tolkien, so I wouldn’t have been selling out. And everyone said it would be impossible to make. But I had this idea of rotoscope --this is before computers-- that would give me the chance to make it. ...It turned out to be an extraordinarily hard film to make physically, probably the hardest thing I’ve ever done in my life. It’s probably the reason I’m not animating today. I had to go to Spain and shoot an entire live action movie, which was my idea. The actors were all in costume. And that was as difficult as shooting any movie. Then I was sending stuff back to Hollywood to be animated and rotoscoped. I went to England to record the voices. ...So the physicality was enormous. Then there was the deadline, which was too tight. They forced me to make the deadline, which I think hurt the edit. The whole thing was physically exhausting. Shooting in Spain, recording in England and animating in L.A. It was the straw that broke the camel’s back with me. 

Check out Bakshi’s official website here: www.ralphbakshi.com

"Battlestar Galactica" and Richard Hatch

After “Star Wars” took everyone to a galaxy, far, far away in 1977, fan boys and fan girls had their heads in space. The next year ABC threw its hat in the ring with the sci-fi series, “Battlestar Galactica,” which drew its own legion of fans. Its popularity ran so deep that it was re-imagined in 2003 with a TV mini-series and subsequent series on Syfy.

Actor Richard Hatch appeared on both, the first time around as Captain Apollo and as Tom Zarek on the later series. Hatch has taken a great interest in the “Galactica” mythos having co-written a series of “Battlestar Galactica” novels.

Q.: You’re a regular at sci-fi conventions like Atlanta’s DragonCon. What do you think about the phenomenon of these types of conventions?

A.: I think the world has discovered what I and many, many other fans of sci-fi and fantasy discovered many eons ago. Sci-fi conventions are probably the most fun, the most out-of-the-box, entertaining week or weekend you’ve ever had in your life. It’s for the whole family. The studios and networks have discovered it, because they can market to their niche audiences. And you get people from all walks of life, all ages, all backgrounds. Some of the most amazing human beings on the face of the planet go to sci-fi conventions, although I’m sure a few of them wouldn’t admit it. But I love this genre, I love “Battlestar,” I love visionary sci-fi stories, I love anime, I love fantasy. And plus I love great writing, great acting, great drama. What’s not to love?

Q.: I understand lots of funny incidents went down on the set of the original “Battlestar Galactica.” You’re known to share these tales at DragonCon.

A.: We had so many stories. There were so manny funny things that happened, especially late at night when everybody’s exhausted, and we’re living on hot popcorn and hot sake on the backlot of Universal. ...It took forever for the actors to get in the Cylon costumes. And once they got into those costumes, if they had to go to the bathroom, they would have to plan way ahead of time to get out of those costume to make it to the John. So we had more than one Cylon not make it. And that was a very, very, very uncomfortable experience for some of those actors who were in those costumes. I think one of them lost his balance, because he was in such dire need to get to the bathroom. He fell down and hit the Cylon in front of him, he hit the Cylon in front of him, and it knocked down a whole row of Cylons. 

Q.: You also had monkeys on the set of the original “Battlestar Galactica,” right?

A.: That was always funny. We called it little monkeys in bondage, because they were stuck in these mechanical suits that were part robotic. Basically the trained monkey could move and react to the situations. I’m sure that wasn’t the most comfortable thing for a monkey. So they had three monkeys sharing time in their little jail cells. Whenever they could, they tried to get out of those outfits. And whenever an explosion or something went off, they would just freak out, jump out of those costumes and run around the rafters of the sound stage. We would spend a couple of hours trying to get them back down. 

For more on Richard Hatch, go to www.richardhatch.com.

My Favorite Movie Posters #2

The recent blog regarding my passion for posters, specifically those of the movie kind, reeled in a bit of attention across the Interwebs. So today I’m back to plaster more sweet nothings of poster love.

“The Thing”

Drew Struzan is definitely the undisputed king of late 20th century movie poster art, and he continues cinematically brushing his way well into the current millennium. I own several of his prints, including the “Star Wars” poster I mentioned in a previous post. While that’s my most treasured Struzan piece, I hold a special place in my heart for my original “Cannonball Run” one sheet, which was signed by director Hal Needham. Although Struzan’s work is iconic across the board, from the Indiana Jones series to the Harry Potter flicks and beyond, there’s one piece in particular that’s equal parts haunting and exquisite. I’m talking about his poster for “The Thing,” John Carpenter’s horrific sci-fi yarn, which drips with isolation, paranoia and plenty of gore. Struzan’s interpretation practically gives you chills by capturing the film’s icy setting. And the beam of light bursting from the face of the nondescript man adds the same air of mystery Carpenter dishes out on film. Last summer Mondo released a 26” x 38” screenprint of the original art from Struzan himself ($250) and a limited run of glow-in-the-dark variants ($350). They’re going for serious green on eBay. However, if you have heavy disposable income, you can buy actual Struzan poster paintings via his website. The original art for the “Back to the Future III” poster will run you $150,000.

“White Lightning” 

Growing up in the South in the ’70s, Burt Reynolds movies were as much a part of my steady diet as fried chicken and Krispy Kreme. A few years ago I found myself amassing a collection of posters tied to his movies, including “Gator” and “Sharky’s Machine.” Arguably my favorite poster of the bunch is 1973’s “White Lightning.” Like many exploitation films of that era, the art is bold, brash and extremely well done, right down to little details such as the exploding car headlights. My only gripe is the small photograph of a shirtless Burt plastered on top of the bottom left corner of the art. Although it takes a little bit away from the poster’s overall thunder, the predominant artistry found here is so fantastic that all is forgiven. I’m still keeping my fingers crossed on landing a “Smokey and the Bandit” one day, and I try not to covet the autographed one I’ve seen hanging in Tom Brown’s office at Turner Classic Movies.

Roger Rabbit Posters

When “Who Framed Roger Rabbit” splashed into cineplexes during the summer of ’88, I was hooked. I must’ve seen the thing nearly a dozen times on the big screen. I’m reminded of that every time I find myself reciting much of the dialogue when revisiting the film at home. I own several different Roger Rabbit posters, including the original one sheet and a Struzan-painted piece telling audiences that it’s “Time to Toon in Again.” I took the latter to heart and absorbed all the details director Robert Zemeckis put into the picture. This included the mock posters that hung in the office of R.K. Maroon, the head of Maroon Cartoons. The posters depicted various fictitious Roger Rabbit and Baby Herman cartoons the studio would’ve put out with titles such as “Herman’s Shermans” and “Babes in Arms.” An entire set of reproductions of those posters were released to the public later that summer, and I snagged them. Although they’re not worth much at all (you can find them on eBay for $20 or less) I’m still crazy about them. I even hung “The Wet Nurse” poster in the bedroom of my two youngest kids back when they were little bundles. 

"Murph: The Protector"

I’m all about cinematic escapism, but nothing can quite compare to an unbridled inspirational story on the big screen. 

The latter can be found in the documentary “Murph: The Protector.” In the Afghan mountains, in the midst of blazing gun fire and insurmountable odds, Lt. Michael Murphy, a Navy SEAL, gave his life for the sake of his team. The film opens throughout the country this weekend.

I interviewed the Atlanta-based producer of the film, Joel Shapiro, and the article appeared in yesterday’s Atlanta Journal-Constitution. 

You can read below or see it online here: 

http://www.accessatlanta.com/news/entertainment/atlanta-businessman-helps-tell-heroic-story-on-fil/nWwcK/

ATLANTA BUSINESSMAN HELPS TELL HEROIC STORY ON FILM

By Jon Waterhouse

For the AJC

Atlanta-based businessman Joel Shapiro knows investment management. But the business of making movies?

He’d be the first to tell you he’s no Spielberg.

When a business associate asked him to watch a documentary about a heroic Navy SEAL and consider investing in the project, Shapiro laughed it off. Yet, after viewing the film and wiping away the tears, he knew he had his latest personal investment.

The film tells the story of Lt. Michael Murphy, a Navy SEAL who sacrificed his safety and ultimately his life in 2005 for his team during a fierce gun battle in the Afghan mountains. He won the nation’s highest military award, the Congressional Medal of Honor, for his actions.

Because of the efforts of Shapiro and his fellow producers, “Murph: The Protector” will open Friday 22 on 180 screens nationwide, and four in metro Atlanta.

But don’t expect Shapiro to go all Hollywood and pop out of a stretch limo, his eyes shrouded in shades, when attending the private red carpet screening Thursday at Regal Atlantic Station.

“It would be great to be a producer of a huge hit, but this is more than that,” Shapiro said. “This is about getting the right story told, and showing that there really are heroes left in the world.”

The screening benefits the Children of Fallen Patriots and the Navy Seal Foundation. When “Murph: The Protector” launches throughout the country, a portion of the proceeds from the film will go to the Lt. Michael P. Murphy Memorial Scholarship Foundation.

Q.: The film touched you on an emotional level, which led you to helping fund the picture. How do you think the movie is going to touch the viewing audience?

A.: It’s a documentary, but I’ll tell you it’s for little kids, adults and everyone in between. It really is a story of an American hero, and it’s one you don’t hear that often, for somebody to sacrifice their life for the greater good. It’s just rare that you ever get to see an authentic hero. …People walk away and say, “Wow, what a great person, and what a great military we have, those people who serve our country, first responders.” It really does show the quality of people we have in our country. …If people walk out of there without tears in their eyes, I’ll be surprised.

Q.: Were you shocked at how the movie touched you?

A.: I really was. I came in there somewhat callous. I didn’t know what to think. Then I watched it, and my wife and I were crying. It’s one of those movies. You see what those guys really do for their country and all of us, and their stories really never get told. So I said, “This has to get out.” With that, I got involved.

Q.: The film will be showing exclusively at Regal Entertainment Group Theatres throughout the country? What’s next?

A.: We’re hoping it goes from Regal to a nationwide audience. We’d love to see kids watching it in schools as a history lesson.

My Favorite Movie Posters #1

Since my mid-teens I’ve been a lover of movie posters. Although I rarely plop down cash for celluloid-themed paper these days, I still have a sizable collection. Portions of it hang on my walls, while others are rolled up in tubes in storage waiting for the day they can emerge from hiding and become displayed proudly.

Since it’s something I’ve yet to cover on my blog, beginning today I’ll periodically share my love for movie poster art, spotlighting pieces out of my collection and those I wish I had. 

“Star Wars” Style D

This remains my favorite movie poster of all time, partly because of its design and partly because I have one in my possession. Affectionately known in the poster collecting world as “the circus poster,” it was whipped up for the 1978 summer rerelease of the film. It comes from the hands of artist Charlie White III and legendary poster artisan Drew Struzan. Rumor has it that it’s one of George Lucas’ favorite “Star Wars” posters, and he reportedly has the original artwork hung in his home. The peel-back, weathered effect not only makes it super unique, but super cool to boot. 

“Attack of the 50 Foot Woman”

Although I’m not lucky enough to own one of these, I did, however, have a reproduction hanging in my teenage bedroom. Reynold Brown knew how to create a sensational B-movie poster, and this time he was allowed to get a bit saucy for this 1958 sci fi/horror flick. Sure, it oozes with sex appeal, but it’s all in the perception. The image of a giant female (actress Allison Hayes), scantily clad or not, crushing cars in King Kong fashion is the epitome of girl powered feminism. 

“Mad Monster Party”

Legendary fantasy artist Frank Frazetta is responsible for the promotional poster tied to this 1967 Rankin/Bass stop-motion animated classic. No, it doesn’t look like a Molly Hatchet album cover, but it’s a goodie. Wish I could say I have one. Although it’s only black and red on a white background, Frazetta’s monstrous creations are an absolute hoot, and it’s a great depiction of what this movie is all about. If all of the famous monsters of film land got together from some raucous revelry, it would look something like this. Although iconic "Mad" magazine artist Jack Davis designed the characters, it was Frazetta's work that landed on the poster. To learn more about the poster and the film as a whole, open up a copy of “Rankin/Bass Mad Monster Party,” the definitive backstory written by my pal Rick Goldschmidt. You can buy a copy here: www.miserbros.com.

Back in Time with Christopher Lloyd

Like most folks who were teens in the '80s, I know exactly what 1.21 gigawatts of electricity means. And I don't need a souped-up Delorean to get back in time.

All I have to do is pop the "Back to the Future" film series into the Blu-ray player, and I'm 15 all over again.  Along for the ride, of course, are Marty McFly and Doc Brown. The latter role in this time-traveling sci-fi classic was played by the great Christopher Lloyd. He arguably stole the show as the frizzy-haired inventor who sends McFly (Michael J. Fox) 30 years into the past.

From "One Flew Over the Cuckoo's Nest" to "Who Framed Roger Rabbit?" to "Taxi," I've always loved the off-kilter Chris Lloyd. So here's an excerpt from an interview I had with him. 

Q.: Your role as Doc Brown in “Back to the Future” is something that seems to keep coming back, whether it’s video games or other projects.

A.: It’s amazing, because back when we did the film and it was released we were just hoping it would have a good run. And then the sequels came up, two and three, and it just doesn’t die. [Laughs] It just keeps manifesting itself in one way or another, and it’s a delight. It’s especially gratifying that so many generations [have enjoyed the movies.] Parents come up to me who were children when the film first came out 25, 26 years ago. And they now have kids who have seen it and are as enthralled by the trilogy as they were. So it just keeps running along, and it’s wonderful to see so many people loving a film that meant a lot to them. Many people come up to me who saw the film when they were young, 10 or 12 years old, and they say it changed their lives and gave them a direction. It’s just great to see that and be involved in a project like that.

Q.: Why do you think “Back To The Future” has such staying power?

A.: Time travel is a universal fantasy I’m sure we all have. At one point or another we think, “Gee, if I could go back to this or that time in the past, or if I could just jump ahead 50 years or 300 years into the future to see what that would be like.” It’s kind of a universal fantasy and the film kind of answers to that. And then there’s the relationship between Doc Brown and Marty. It’s a classic mentor relationship. There’s this young man who has this older guy who fascinates him because of his spirit of discovery and the excitement of that. Finding out about new things and new ways life can be lived I think is another great universal situation. And it’s a family picture. There are the time travel aspects between Doc and Marty, but Marty has a family. And we see that family evolve. It’s got a lot going for it.

Q.: Now I read that out of the three “Back To The Future” films, the third one is your favorite, because it’s a Western and a love story.

A.: That’s right. Doc meets somebody he falls in love with, something he did not include in his life. His life was [about] inventing things, being a scientist and inventing time travel. So he had no time for romance. And then bingo, out of the blue comes this lady, and he’s just blown over by her, totally smitten. So that’s a lot of fun. ...And it’s a Western. Westerns are always exciting with horseback riding and all that business. So out of all the three that was the most fun for me being Doc.

Joelanta: Locked and Loaded

Perhaps one of my favorite annual geeky events takes place this weekend on March 17. Joelanta is an Atlanta-based G.I. Joe and action figure toy show that not only fires a blast of nostalgia, but warmly introduces new generations to the fun and joy of toy collecting and customizing.

So what makes Joelanta different than your average con? It’s the people behind it. You won’t find a troop of more kind hearted hobbyists than the Joelanta organizers. These aren’t a group of toy-hoarding collectors looking after themselves with their snake eyes firmly fixed on profits. These are genuine sweet-spirited people who welcome everyone with sincere hospitality. And every kid through the door at the Marriott Century Center walks away with a free toy.

The event starts early on Saturday, March 16. Those who snag the Commander’s Package not only get an exclusive figure and other goodies, but score access to Saturday activities including the Joelanta Film Festival, the lobby parachute drop and a concert by toy-loving rock band Radio Cult.

The toy show itself takes place on Sunday, March 17 with oodles of dealers, and special appearances by G.I. Joe comic book mastermind Larry Hama, G.I. Joe comic book artist Tom Feister, and pro wrestling stars Raven and my pal Amy “Lita” Dumas. Guests can peruse the dealer’s room from 10 a.m. until 4 p.m. It costs $6 to attend, but if you come in costume, admission is on the house.

All of this talk of Joelanta has bits of G.I. Joe trivia floating around my cranium. Here are a few:

Yo, Joe!

Hasbro, the makers of Joe, have brought several celebrities into the world of G.I. Joe. Rocky Balboa, the beloved boxer brought to life on the big screen by Sylvester Stallone, was to join team Joe in 1987. Rocky made a cameo in Marvel's G.I. Joe comic book to promote his entrance into the Joe ring. Negotiations, however, fell flat after Stallone lent his image to Coleco's Rambo toy line. A prototype figure was made, and a rendition was drawn by Herb Trimpe and a filecard was written by Larry Hama. If you have a chance to chat with Hama at Joelanta, see if you can jog his memory.

Joe Gets Rowdy

WWE wrestling legend Sgt. Slaughter was enlisted into G.I. Joe in the ’80s and immortalized as an action figure, and in comic book and animated form. The Official G.I. Joe Collectors’ Club resurrected the wrestling theme at its 2007 International G.I.Joe Convention in Atlanta. An exclusive figure depicting wrestling icon Rowdy Roddy Piper was offered, and Piper was on hand at the convention to sign figures for guests. These figures are known to go for astronomical bucks on eBay, and they currently range in price from $250 to $1,000.

“The Lieutenant”

The G.I. Joe toy line was inspired by a TV show called “The Lieutenant,” which ran on NBC from 1963 to 1964. The series starred actor Gary Lockwood and was created by Gene Roddenberry, the man behind “Star Trek.” Interestingly enough, Lockwood’s character’s middle name was Tiberius, the same middle moniker of Captain James Kirk on “Trek.” 

That Scar

G.I. Joe 12-inch figures are known for having a scar on their right cheek. Yet, it’s more than just the mark of a tough guy. It was the only way Hasbro felt it could trademark the face. Names originally considered for G.I. Joe include Salty the Sailor, Ace the Pilot and Rocky the Marine.

Learn more about Joelanta and order a Commander's Package here: www.joelanta.org

Elvira

Actress Cassandra Peterson single handedly changed the horror host world forever with the character Elvira, the queen of TV horror hostesses. Add to that a career that continues to be filled with amazing experiences. She’s worked alongside everyone from Federico Fellini to Pee-wee Herman to Cheech & Chong. And when she was a young Las Vegas showgirl, she even stole a kiss from Elvis Presley. Those who have never seen Peterson host horror flicks as Elvira can check out “Elvira’s Movie Macabre,” her most recent TV series, which is available on DVD.

Q.: You’ve been portraying Elvira for 30 years now and you look fantastic. What’s your secret?

A.: I actually sleep in a jar of vinegar and get pickled. That’s pretty much all you can do. Actually I eat pretty healthy and I exercise a lot, so that’s pretty much my secret.

Q.: You stick to a vegetarian diet, right?

A.: Yeah, and I got to say it really works out. I’ve slipped from time to time, I must say, but I mainly eat a vegetarian diet. It works for me.

Q.: What sort of exercise regimen do you keep up with?

A.: You almost said exorcise regimen. I do a lot of head spins and I barf green pea soup. Actually I go about six or seven days a week, and I do lots of spinning, and I do a little weightlifting, and a lot of walking. I just keep really busy working out, because I’ve got to stay in that dress. Let me tell you, one little inch added to your waistline and you’re not getting in that dress.

Q.: And that dress is the number one selling female costume of all time. So what’s the greatest compliment you’ve ever received regarding the character?

A.: Good heavens, I don’t know. I’ve received a lot of really good compliments from a lot of people. Maybe it would be from Michael Jackson saying, “I just love your character, Elvira.” ...I’ve gotten a lot of compliments from celebrities, and that’s always very special, especially when you’re a fan of theirs. 

Q.: I also understand you were a close friend of Vincent Price.

A.: I was. And I was going to say the other best compliment came from Vincent Price really liking and respecting --I don’t know if that’s the right word-- my character. That was a big deal for me, because I grew up with him as my idol. I loved Vincent Price as a child. So for a compliment to come from him, I could hardly believe it. ...My favorite Price movie without a doubt is “House on Haunted Hill.” That movie scared the living daylights out of me when I was a kid. I loved it and I hated it, and it had a huge impact on me. And later all of the Poe movies he did with Roger Corman; “The Tomb of Ligeia,” “The Pit and the Pendulum,” “House of Usher.” Those movies had a big impact on me. And the last movie I did around 2000 was called “Elvira’s Haunted Hills” and it was based on those three movies. So I did a little homage to those films and to Vincent Price. 

Q.: You lovingly poke fun at horror movies. But do you have a film that legitimately scares you the most?

A.: I do. You know, it’s funny. I can’t even sit all the way through this movie. It’s “The Exorcist.” There’s something so insanely creepy about that movie to me. I actually went to a screening of that movie at Grauman’s Chinese Theatre with Linda Blair herself. I sat next to her. And about three-quarters of the way through the movie I said to her, “Linda, I can’t deal with it anymore. I can’t sit next to you. I’ve got to get out of here.” So that’s pretty bad when you have to leave a horror movie and you’re Elvira. But I still count that movie as the scariest one I’ve seen. 

For more information on Cassandra Peterson and Elvira, go to www.elvira.com.

A Different Kind of 'Star Wars'

The “Star Wars” film phenomenon is really like no other. Despite the criticized prequels, the much maligned changes George Lucas made with his ’97 special editions and other fan squabble, the near limitless throng of fans just keeps on growing. 

Some “Star Wars” devotees have taken huge steps in fandom, including those who spend countless hours creating their own edits of the films. Sure, there are fan edits of other movies out there, but none seem to garner the same passion and intensity as the “Star Wars” flicks.  

Thanks to my pal, Travis Gamelin, I’ve taken a peek at a few, and to say I was blown away is an understatement. These projects are not only incredibly impressive, but should certainly quench the thirst of fans as they await the arrival of the new trilogy.

“Star Wars: Revisited”

A technical wiz who goes by the name Adywan has created what some are calling the definitive version of “Star Wars: Episode IV - A New Hope.” The changes and tweaks he’s made to the film are exhaustive, and it took him two years to do it. The more than 250 changes include Han Solo shooting Greedo first and impressive CGI work in the Cantina scene. The latter features brand new facial movements given to the bar’s rubber-faced clientele, which are seamlessly added to the movie. Adywan color corrected the film, re-mastered and restored shots, re-composited special effect shots, and created entirely new sequences. This is definitely what Lucas’ special edition should have been, and Adywan is now working on edits of “The Empire Strikes Back” and “Return of the Jedi.” I can't recommend this one enough.

You can read a list of the changes here: http://swrevisited.wordpress.com/anhr-change-list/

“Star Wars ’30s Serial Edition”

George Lucas has always said that one of his big influences was the cliffhanger sci-fi serials of the 1930s. A fan editor known as The Man Behind The Mask took that to heart and has condensed the entire six-part saga into two films, each about an hour and a half in length, and transformed them into black and white serial-style productions. The voices and sound effects have been removed, dialogue cards have been added, and John Williams’ score dominates. “Star Wars ’30s Serial Edition: Part One” features the whole prequel trilogy condensed into one film. It actually results in a far more pleasant experience than the original prequels, and the black and white look helps remedy that distracting CGI gloss. The biggest bonus may be the fact we don’t have to hear Jar Jar Binks at all. Even his gibberish is replaced with correct English on the dialogue cards. I’ve yet to see “Part Two,” which sandwiches the original trilogy into one chunk, but I imagine it’s a fantastic and interesting way to experience “Star Wars” in a different way.

“War of the Stars: A New Hope Grindhoused”

With this edit, The Man Behind The Mask morphs “Star Wars: Episode IV - A New Hope” into a C-grade exploitation flick.  A cheesy soundtrack, blood splatters, a distressed print look, the addition of deleted scenes and more make this a whole different movie going experience. Even some snarky James Earl Jones dialogue from other movies has been added here and there to make Vader’s lines cheeky. Darth Vader’s eyes even glow an evil red when he’s getting down and dirty. While it doesn’t improve on the original, it’s a complete blast to watch. 

Things I Can't Afford

I’ve come to the point in my life where stuff is just stuff. I don’t covet my neighbor’s Jag or my friend’s 72-inch 3D TV. I’m simply content cruising in my minivan and watching Netflix on my conservatively sizable Samsung.

I must admit, however, that sometimes I have that urge to splurge. Despite my ability to keep my compulsive collecting at bay and appreciate what I have, my mental databank does in fact keep a few fantasy items on file just in case I hit the lottery or find an uber deal on Craigslist.

Here are a few:

Multicade

I grew up in the ’70s and ’80s, the heyday of video arcades. I held countless fistfuls of game tokens, heard endless bleeps and bloops coming from the machines, and developed a solid case of Pac Man fever. That’s why I’m jonesing for a real deal arcade machine to nestle in the corner of our den. You can keep your XBox 360 and all that fancy shmancy stuff. I wanna go old school with a video game cabinet packed with 60 games in one. They’re out there. You can play Donkey Kong one minute and Centipede the next. Most are around $1,500, but I found a guy on Craigslist who builds them for as low as $650. Santa, can you hear me?

Here's a link to some pricey ones I've found: http://www.multicades.com/

Wampa Rug

Like most “Star Wars” geeks, “The Empire Strikes Back” holds a special place in my nerdy heart. My favorite scene? I have several, but I always get a burst of nervous excitement when Luke is attacked by the giant Yeti-like Wampa creature. Luke eventually slays the beast courtesy of his trusty lightsaber, and the idea that this beast was eventually transformed into a rug is probably one that many fan boys have fantasized about for years. I can’t say that I have, but I recently found out you can own a geunine Wampa-skin rug. I can't quite justify shelling out $130 bucks for one, and I doubt my wife would be willing to wear the slave Leia costume like the chick in the photo. Oh well, a guy can dream.

You can find it here: http://www.thinkgeek.com/product/e071/

Bandit Trans Am

The summer of ’77 may have been the season of “Star Wars,” but the roar of Burt Reynolds’ Trans Am in “Smokey and the Bandit” took my attention away from the exploding Death Star, at least for a moment. “Smokey” is one of my all-time favorite flicks. So while most middle age dudes dream of being behind a Mercedes or an Escalade, I’d rather have a black Trans Am. I’d prefer a 1977 vintage with t-tops, but I’d take anything up to ’81. Since I dress up like Burt Reynolds as the Bandit in a country music tribute band, it would be super sweet to be behind the wheel of one when pulling up to a gig. I've seen show-ready ones for as high as $25K, and those are way out of my reach. I've got a long way to go, and a short time to get there. For now, however, I’m still Mr. Soccer Mom heading Eastbound and down in my Town & Country.

It's Morris Day Time

It’s a sure sign I’m aging when the music I grew up with is now classified as “oldies.” Yet, I always seem to slip back into my youth when I hear the sounds of my teen years, particularly from the early ’80s Minneapolis funk rock era, the heyday of Prince, The Time and their cohorts.

The film “Purple Rain” was a right of passage for me. It was sexy, rocking and a bit dangerous. Because of its success, Prince was firmly placed on his rightful throne, and the soundtrack will go down as one of my all-time favorites.

But it was someone else who arguably stole the show from Prince in the movie. That was Morris Day, frontman for The Time. It’s a performance that still holds up to today.

His image of a primping, sometime-comedic gigolo with mike in hand and a glide in his step helped solidify ’80s R&B hits (“Jungle Love” and “The Bird”) into crossover pop successes.

These days he’s still performing and recording, and I had a chance to talk with him before one of his Atlanta stops several years ago. 

Q.: So what’s the difference between your onstage persona and the real Morris Day?

A.: The onstage image is a culmination of everything energized and shrunk down to an hour-and-fifteen-minute package. ...I like to think that that side of me is the up side and the side that likes to have a good time. ...But of course as with anybody, there’s all the personal facets and other sides. A lot of people get disappointed when they see me in public because I’m not sliding sideways into the room and doing “The Bird.”  That’s the person they want to see. They don’t want to see a person who’s got something on their mind and on a mission to get the car serviced.

Q.: Could you ever have imagined that “Purple Rain” would be remembered as an ’80s pop culture classic?

A.: It was such an innocent effort on everybody’s part. Prince was like, “We’re going to make a movie.” And everybody was like, “OK.” He started lining up acting classes and dancing classes. ...And I got kicked out of acting classes for always cutting up just like back in my school days when I’d get kicked out of class for the same kind of thing. And it turned out that that kind of cutting up is what worked for me in the film. So that was kind of my revenge to the acting teacher who kicked me out of class.

Q.: How did your life change after the movie?

A.: For us it was just a complete life-changing experience from the way people treated us. You hear that probably a lot from musicians who get a hit record. In a town like Minneapolis where nobody knew who you were and you were broke and everything costed you money, all of a sudden everybody’s letting you in for free and giving you free drinks. And when you finally have a little money in your pocket, you don’t need free stuff anymore. Then everybody’s trying to give you free stuff. We had hundreds of extras on the movie. I did alright meeting women, but I had to work to get a girl interested. Then all of a sudden we walked past all of the extras and folks are going crazy. The whole game just kind of flipped overnight from the start of the movie to the finish of the movie when it took off and was a hit. Then all of a sudden our songs are all over pop radio around the clock. The whole thing was a life-changing experience. 

Q.: Looking back would you have done anything differently?

A.: Had I known it was going to be a big hit, I would have asked for more money. I didn’t get paid much. And most of the money I got paid, I ended up paying my band in salary to keep them. So I think contractually I would’ve definitely done some things differently, but other than that it was a good time and just a segment of my life. I’m an individual who believes things go as they should go. And I think I’m on a course, and I feel like there’s still great things to come.