Naken prat - nakenprat Arkiver - marcus-design.eu

Les også: Krever at «pornoprinsen» etterforskes. Jeg forsøkte å få hjelp, men de kunne like gjerne latt være å svare meg, sier læreren fra Østlandet. Sjokket var stort da åringen og flere venninner i mai i år oppdaget at private bilder fra en hyttetur var publisert på det kontroversielle nettstedet Nakenprat.

Toppløsbildene hadde barndomsvenninnene tatt av hverandre sommeren , bare for tull og gøy. Dette er jo faktisk et overgrep, men vi satt igjen med følelsen av å bli oversett, sier åringen. Forrige måned avslørte VG at Bjørn-Endre Andersen fra Askøy har bygget opp og drevet den kontroversielle nettsiden Nakenprat og et tilhørende nettverk av pornosider.

Les også: Flytter pornonettsteder til skatteparadis. Foto: Privat. Og så skulle jeg komme og si at puppene mine ligger ute på nettet, sier hun. Trolig har en av brukerne på Nakenprat stjålet bildene gjennom fildeling på internett.

Umiddelbart sendte hun en e-post til administratoren på Nakenprat og ba om at bildene skulle slettes. Les også: Lanserer statlig kontroll med nettet. Hvor er dere fra? Hehe nei da, skal ikke bli innpåsliten her. Bare send meg link til tråden så skal jeg få de fjernet jeg.

Men nakenposering skjer ikke i et vakuum. Menn er vant til kvinner som kler av seg og fremstår som tilgjengelige. Både gjennom pornoindustrien og pornoindustriens påvirkning av kultur og samfunn. Kvinner som kler av seg er ikke noe unntak, det er regelen. Når politisk aktive kvinner kler av seg seksualiseres rollen som kvinnelig politiker.

Å tro at en kvinne som poserer avkledd eller naken ikke oppfattes som et objekt er en liberalteoretisk øvelse som totalt underslår maktstrukturer i samfunnet.

Det er lite makt i å være et objekt. Sannsynligvis er det flere som sist uke fikk med seg at den nakenposerende Sp-politikeren er dominant fetisjist enn hva hun heter. Slikt selger. Noen har tatt til ordet for at det er flott med nakenposering  fordi nakenhet skal være noe naturlig. Visst skal nakenhet være noe naturlig, noe vi helst har et avslappet forhold til.

Men vi snakker ikke om bilder i en naturlig sammenheng, som solslappe pupper en sommerdag på stranda eller svette kropper i badstua. De som trur at poserende modeller gjør det lettere for åtteåringer å kle av seg i garderoben etter gymmen, kan gå inn på badet, kle av seg og hoppe opp og ned mens man vekselvis ser på nakenposerende kvinner i et glanset blad og sitt eget, naturlige, nakne speilbilde.

Denne artikkelen ble først publisert hos bloggkollektivet MadDam tidligere i dag. Nettstedet du nå besøker blir i stor del finansiert av annonseinntekter.

Basert på din tidligere aktivitet hos oss, vil du få annonser vi tror kan interessere deg. Vi bryr oss om ditt personvern Dagbladet er en del av Aller Media, som er ansvarlig for dine data. Les mer Jeg forstår. På den måten har han kunnet tjene millioner på den enorme trafikken som det kontroversielle nettstedet Nakenprat har skapt.

Prisen for én måneds tilgang til bilder og video på betalingssidene, er drøyt kroner. Foto: Hallgeir Vågenes. Alle sidene i Bjørn-Endre Andersens pornonettverk er registrert i utlandet. Det gjør det tilnærmet umulig for norske myndigheter å kontrollere hvem som står bak. På et av forumene for pornobakmenn forteller også Andersen at han jobber med porno på heltid, og at han ved utgangen av fjoråret hadde om lag ulike domener.

Under et alias forteller han at han tidligere jobbet 12 til 13 timer om dagen, men at han nå har trappet ned og kun jobber 7 til 8 timer daglig. Selbo er advokaten som i Høyesterett i , på vegne av redaktør Stein-Erik Mattsson, fikk fjernet pornosladden fra norske blader og tv-skjermer. Andersen ønsker ikke å snakke om Nakenprat så lenge han ikke blir lovet full anonymitet.

Jeg vil høre hva dere har å legge frem av dokumentasjon, sa Andersen Foto: Privat Foto:. Hvor mange adultdomener - nettsteder med pornografisk innhold - eier du og dine selskaper? Disse nevnte adultdomener er parkerte domener ment for domenespekulering, altså salg. Fire uker før denne artikkelen ble publisert ble Bjørn-Endre Andersen gjort kjent med at VG har avslørt at han er mannen bak Nakenprat og det tilhørende pornonettverket.

VG har ønsket å få ham i tale slik at han kunne få svare for den offentlig debatt som Nakenprat har reist. VG er ukjent med om Bjørn-Endre Andersen i disse ukene har foretatt omdisponeringer i sin forretningsvirksomhet.

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Now you can own a full-color reproduction of a Hildebrandt masterpiece, personally signed by the artist. Start your art collection today with this important piece. ZIP want to cut coupon, write order on separate piece of paper. Piease ailow 4 to 6 weeks for delivery. Page The Exclusive Interview! May, luly, Aug.. Y, Volume 3, llssn 01 1 II.

All rights reserved. Reprint or reproduction of any material inpanor In whole without written permission from the publisher isslrfctly forbidden. Second class postage paid at New York, N. Second class postage pa id at New York. FANGORIA acceplsnoiesponsibiliiyfbrunsoliciledmanuscrlpls, photos, ait, or other materials, but if freelance submittals arc accompanied by a self- addressed, stamped envelope, they will be seriously considered and.

Printed in the U. Rick Baker Part 2. Junk Videol Page Stephen King Interview! For Advettlsins Infonnation: We have been pleasant- ly surprised here at the enthusiastic response that this poll has attracted. We always knew that you were the wisest and most discriminating magEizine readers in the world after all, you read Fango , but now we have concrete evidence that you are thoughtful connoisseurs of horror novels and nonfiction as well. That brings us to an editorial question about which we would like to consult you, literate readers.

In the past, we have generally confined our interviews with horror authors to those writers whose work has been adapted to the screen. Now we cue considering stories on authors who are known only to those people who have come across their work in its original book form.

Let us know what you think. Speaking of books. It pains me deeply to bring up my next topic. Such as I have done. Well, excuse me, but I beg to differ. Fango readers are literate, well-rounded people.

See your own Dave Everitt as a commando leader who smokes cigars and smiles a lot! See a Fango stock-room clerk as a black guy with a mohawk! Do it today! Then ask yourself, "Which magazine tastes best? Plen- ty More! On Set: Carpeiei's The Thing. T - Cronenberg on Wdeootome; Savin! South New York. Send cash, check or money order drawn lo Starlog Press.

Dear David, I was thrilled to read your editorial in Fango However, the passing of your moustache is a great loss to all sci-fi fans the world over. At any rate, 1 was honored by your editorial and your great sacrifice. DocumeRtary of the Dead. If memory serves, this name appears in the opening credits. To Mr. Unfortunate- Lady Dracula. It seems that the companies represented by wore a Dracula cape bequeathed to Edward D.

This has caused 4. Rubinstein, and the Both movies begin inside a cemetery vault, as tional comedy or what. Perhaps if enough readers get toldthealmostunbelievable. Now 1 tell a Bob Bonner fibn from gathering dust on some shelf. Thisisastoryofthoseii Smithers, B. Stephen the profesional name of Stephen C. Apostolofi, head of S. Wood wanted to do a monster movie, while Mr. Stephen preferred to make a skin flick— and so they ended up making a picture in which the monsters were played by exotic dancers!

This creative compromise notwithstanding, Orgy of the Dead still has the look and feel of an Edward D. Wood, Jr. There is one incredible scene in which the I camera pans too far to the right and reveals the I back of a giant, unfocused left hand, apparent- ly holding up a flag to prevent lens flare.

Dear Dr. Cyclops: Apparently thegood doctor has only one ear as well, judging from his mention of the soundtrack music in Video Gems' The Crawling Hand. Wise up. The Bowery Boys were and still are a lot of fun to watch. Being just a year-old punk myself. Huntz Hall Satch was interviewed on the David Letterman show recently; maybe you guys could talk to him when you do your article! Greg Vetter! The Windy City. Not too light, not too dry. Stronger than dirt.

Snap, Crackle, Pop. Ask the man who owns one. We are driven. Our subscribers-only newsletter is in its last year! In , it will be a thing of the past, treasured by collectors. Space limitations may force late listings into next issue. First come, first served. Enclosed S1 5. Last year I attended about 20 science fiction, comics and other types of conventions— more than one a month— all across the country, from Seattle to Mem- phis to Toronto just north of the border.

I had a great time! I talked with scores of fans, met new friends, and learned a lot. But this year 1 will attend only three conventions. Some ofyou already know the reason why. Our publishing company has teamed up with Creation Conventions, an organization that has been producing fan events for over 10 years. We decided to combine their expertise in managing live gatherings with our expertise in pleasing fans, and to produce a series of major conventions that will be unique, worthwhile and tons of fun!

Right from the start, I was determined that any con with our magazine names at- tached would have to be different. And they will be. Even the name is different. They will be there to meet you, the readers, and talk with you in person. You see, my most profound goal for the Official STARLOG Festivals is that we create an emotional structure to the whole weekend, so that you will leave feel- ing refreshed, informed and inspired.

If you remember reading my account of the Ultimate Fantasy, you know that 1 have had some rotten experiences at poorly-run conventions. I guess we off have. Recently, we asked you, our readers, to give us ideas on what kind ofconvention you want, and we have combined those responses with my own ideas, and those of my staff and the Creation people. This is not the kind of gathering you attend just for one day.

Come, join us for the entire weekend, stay at the hotel, and put yourself in our tender, loving hands. Tickets will be strictly limited, so 1 suggest you make plans and reservations right now see address in ad, this issue. Hopefully, the best of times. Anyone that is proud of be- ing a weirdo needs his brain looked at more closely.

Since everyone else gets a chance to ex- press their music and movie tastes. Maybe we could put Osxy on the cover and really tick this guy off Groups like Quiet Riot and Iron Maiden are Just terrible; the music they play is the worst any ears could hear.

Vince Cornelius Owens Rd. Get away. Uncle Bob's favorite! Dear Assassin! Cohen's mutant baby epic! Coscarelli film! Amazing Colossal Man. Horror Planet'. Payment In US funda only! Martin T he "madman of rock" didn't come by that title easy. Ozzy Osbourne began his his career in the late 60's, as one ofthe founding members of Earth, a group that soon became known as Black Sabbath, one of heavy metal's true pioneer outfits. Sabbath not only helped to establish the basic ideas of h.

As part ofthe show. Needless to say, parents and Beatles fans alike were shocked and alarmed at the Satanic pose taken by this new crop of heavy metal kids. Were they kidding, or what? And, even ifthey were kidding, isn't mocking the devil the same as mocking religion itself?

More recently, Osbourne quit Sabbath, but that hasn't stopped his reputation for quirky behavior. In , hewas signed as a solo act by Epic Records; at his first meeting with the company's top brass, the Ozz pulled a dead pigeon out of a paper bag, and bit its head off. Supposediy the record execs were quite shocked, and ready to terminate Osbourne's contrart then and there. It's said that his manager had to do a lot of managing to smooth things over with the record honchos. The story of the rocker's geek-like behavior got out to the rock press, and it didn't seem to hurt Osbourne's image any.

Then, during a concert in Des Moines in , a member of the audience threw somethingon stage. To Osbourne, it look- ed like a toy— a rubber bird. It seemed a good idea to play along with the gag, so the Ozz picked it up and bit into it.

Instead of getting a mouthful of rubber, Osbourne again felt the sickening crunch of tiny bones as he bit off the head of adead bat. Again, this time by accident he'd played the geek. And, again, the story got played up by the rock press, though most reporters neglected to mention that the in- cident had been accidental; as far as they were concerned, it was just old Ozzy, the madman of rock, playing that role to the hilt.

It didn't feel that way to Osbourne, though, who had to endure a painful series of rabies shots for his error. During his tour of the U. Animal cruelty and satanism were regarded by these groups as a regular part of his act, which of course they had never seen.

Robert Hilburn ofthe L. Times reported on a meetingof one such group, which had seen Osbou rne's act after they had fai led to stop it: The next morning, several of the con- cerned ministers gathered to hear a report on the show. It brought me a lot of publicity when i needed it. Butithasbecomelike a nightmare. It's like an LSD trip. You take a tablet and it's fun at first, but you can't turn it off. Why are these people picking on me? Why don't they pickqt Vincent Price?

He must have been in 9D films with all kinds of Satanic references. That change arrived this year, when he appeared, on the Bark at the Moon album cover and in the video for the title track, as a werewolf. Osbourne's logic here is pretty clear— if no one believed he was play-acting as a satanist, maybe they will finally recognize Ozzy the Werewolf as a creation of the purest fantasy.

Osbourne and company began combing the country in search of the right makeup man for the job, when one of their contacts recom- mended Greg Cannom, who headed the makeup crew for The Sword and the Sorcerer, and had cut his teeth, lycan- thropically speaking, as a key crewmember on The Howling.

Initially, Cannom was put off a bit byOzzy's "madman" reputation; that changed, however, when he met Osbourne. This « requiredthelayingof veryfinehair. We were sur- 5 prised to learn that, in the U. At the time, S Yagherwas a resident of Centerville, Ohio. Shostrom prepares to do his thing.

The miracle of makeup foils the brain surgeons in Psychotherapp. Cannon confirmed that his young assis- tant, who made Osbourne's teeth and finger extensions, was the same Ohio youth, now relocated to L. Also in the U. In England, Janice Barnes tied the in- dividual hairs to lace hairpieces for Osbourne's body, which she also applied.

Mark Mayling served as Cannon's assistant at Shepperton Studios for the album cover shoot, and on location for the video. Cannon is particularly pleased with the skill andthespeed displayed by Turner and Barnes on the exactirig hairwork.

It was one of the most spec- tacular buildings I've ever seen, and one of the scariest. Hundreds and hundreds of vast, empty rooms and vaulting hallways.

I'd hate to be in there at night. One of my main disappointments with the video was that they reallydidn't make very good use of that fabulous building.

Cannom's face is the very last image in the film, which fades on his close-up. As for Osbourne, we wonder whether his werewolf ploy will work as a lesson to his critics in the nature of fantasy. Or will the words of Bark at the Moon again ring true?

I know what they find Is in their mind It's what they want to see. In contrast to the Ozz, the Ramones nevergivethe impression ofbeing confus- ed about their image and identity. Forthis bunch of regularjoes who have made good and made plenty of good music, I might add , the Psychotherapy video is a logical extension of such past works as Teenage Lobotomy, I Wanna Be Well and, of course, their classic Bad Brain. I ask you — who has ever said it better?

The quality of the video made to accom- pany this work has already been attested to by our colleague and medic. Cyclops issue Of interest to us here is Mark Shostrom, who, along with Anthony Showe, designed and executed the film's striking makeup effects. Our readers will become better ac- quainted with Shostrom in a future issue; his career has just recently gotten into gear, with credits to come on several films slated for '84 release, like Fall Break, Courage {.

Shostrom's entry into the wide world of rock video makeup came while he was working at an L. Delia was far more open to input by the makeup artists than mostfilm producers. We threw the ball around for several hours, and came up with the scenario of the Teenage Dope Fiend— the TDF, as Frank liked to call him — on the table about to be given a lobotomy, when his head splits open and this 'alter ego' emerges.

It was still too gory fora lot of people; when they screen- ed it for MTV, people walked out and said there was no way they could show it. If you look carefully when the corpse-psychiastrist is on, you can see a bulge rising in one corner. And there was also a brief cutaway for the opera- tion scene, where the surgical team is a bunch of rotted corpses.

The work for that consisted mostly of taking some old heads off my shelf and throwing some shit on them. For actual shooting, Shostrom manipulated the puppet while Showe worked the cables that opened Den- nis' head.

Their only assistant was Miles Liptak, who helped with the casting. Also, it's a very small proportion of films that can use or require special makeup. Rock videos, just by the nature of the music, have great possibilities for visuals of all kinds, including makeup. Taking the rock video phenomenon to its logical conclusion, it probably won't be long before groups start attempting to re-create their hit videos, live on stage. Imagine, for instance, the Rolling Stones interrupting a performance of Undercover of the Night to engage in a heated on-stage gun battle!

Of course, such theatrics have been a part of rock concerts since the first time James Brown fainted. In the late 60's, rock-as- theater reached such crests as Arthur Brown'sflamingheaddress, the obscenity arrest of Jim Morrison and the day Ziggy Stardust was born or hatched.

For close to a decade, rock's leading dramatic troupe has been noneotherthan The T ubes, a musical ensemble composed primarilyofformerart students. Though the group successfully entered the mainstream of recorded rock with their 1 hit "She's a Beauty," in the mid's their live stage shows were viewed by many as the leading edge of rock's avante garde. Tubes Video , have always been enormously expensive to mount. Early on, the group found a bargain in Rick Lazzarini, a year-old makeup enthusiast.

Another character, glitter rock king Quay Lewd, sported 1 3-inch plat- form shoes built by Lazzarini these are still in the act. In a sequence that anticipated Videodrome, Waybill would ram headfirst into a Lazzarini-built TV set, coming up with the set stuck on his head, distorting and magnifying his features. On special oc- casions, Lazzarini would join the groupon- stageduringthefinale, to dance about in his own "anatomically correct" complete with genitals apesuit.

Lazzarini's otherwise-normal teenage lifestyle prevented him from touring na- tionally with the group, but he worked with them throughout the state of California, where the group enjoyed its greatest popularity. Jeopardy's zombie bride and Syd Ter- ror catch op with some floe reading.

T wo years after the completion of Deep Red in 1 , Argento left the giallo field and went heavily into the supernatural with the stunning Suspiria, an Italian word meaning "whispers. Using an old Technicolor process and four- track magnetic sound for the film's major playdates, Suspiria was an amazing experi- ence which left you with your eyes popping and your ears bleeding!

Shear- rives in torrential rain just as another student comes rushing out in fear. The terrified girl goes to stay with a friend, saying the Aka- demie is evil. At her friend's apartment oc- curs a horror set-piece which has few equals as the girl is attacked, dragged through a win- dow and repeatedly stabbed, then tied around the neck with telephone wire and dropped through a skylight.

Her friend below is impaled on a falling wooden strut and has her face bisected by a piece of glass. And that was all in the first 10 minutes! To Susy's horror the witch proves to be still alive and waiting for Susy in the college. As if the movie's high gore count wasn't enough there was rumored to be a missing scene in the movie's release print, one so ut- terly gross it was omitted from all the export versions.

Suspiria was a worldwide success and if you were lucky enough to see it with the four-track sound then you can confirm that it was quite an experience.

This was a very different film compared to your earlier work. Why was this? Daria Nicolodi: We were fascinated by the idea of the supernatural, the European super- natural. We spent a lot of time going around Europe and studying the background, lots of places and towns in Germany and Switzer- land with a history of black magic.

Dario Argento: In Dorna in Switzerland they have a strange community called the Rudolph Steiner Community set up in an im- mense house.

Nicolodi; They study, apparently, rhythms and dance and magic. That place was the in- spiration for Suspiria. Fang: You had the music recorded before the film started shooting and had it played on the set. Argento: Yes, I wanted the cast to really feel the terror. We did a lot of shooting late at night in very empty sound stages with the music playing.

Itwas very effective— even I was affected by it. I did the same thing with Inferno. Fang: Where did you find Jessica Harper? Fang: Do you like DePalma's work? Argento: Yes, his earlier films were better than the last one. Blow Out. There was more inspiration. Now he seems to want to make just big Hollywood movies.

That's the danger for workingfora big American company, the film just gets out of hand. Fang: Why was the film mixed in four-track stereo? The sound was astounding but it was only for certain cinemas. Argento: I studied using Dolby and then decided that four-track is better, the sound is much more powerful.

More expensive but the sound is excellent. I also used out-dated old Kodak stock, a formula nearly 40 years old. Then when the film was processed itwas processed using the old three-pack process, again very old and never used these days. You can alterthe look of the film in the lab by those means. The same process was used a lot in the early 50's, as in War Of The Worlds. Republic Films and their Trucolor'. Very striking. There's no more left anywhere in the world.

Except in China. Their film industry still uses some three-pack. Al I the old processing and printing machines were sold to China some years ago and the old stock went with it. Fang: You'll have logo to China if you want it.

Argento: Maybe. I'm thinking about it. Nicolodi: Some of our films have been shown in China. Argento: Yes, I'm only the second Italian directorto have his movies shown in China, They debated it but fi nal ly let them be shown. Fang: You two worked together writing Suspiria and Inferno. How do you collaborate? I added the world of dan- cing and mystique which is specifically feminine and can be seen in the film, which is different from Dario's other films.

I think that's my input. Argento: Daria's feminine world. Fang: Actually there are very few males in the cast. Argento: Yes, only really three.

Nicolodi: And Pavio, the Rumanian. Argento: He was the big servant with the horrible teeth. Fang: Is ittruethatyoufound him working in an Italian post office. Argento: Yes, that's true. Ital ian post offices can be strange places. This is incredible, how do you know all this? Fang: There's a scene reputed to be cut from all the export prints where the servant is cut in two by a falling sheet of glass and his organs tumble all over the floor. Can you confirm this?

Argento: No, that scene was never shot, we never wrote it. Nicolodi: We ended the film with the Black Mass and the burning of the building but never any scene with the servant.

Fang: Just a rumour. Argento: Sounds good, perhaps we should put it in. Argento: Yes, that's incredible, that's absurd! A ridiculous thing to do. People would be very surprised when they saw it. It is a realistic movie whereas Suspiria is fantastic. In Dario Argento had a hand in what many people regard as one of the most im- portant horror movies of the decade, George Romero's Dawn of the Dead. This classic needs little introduction to Fango readers but Argento's role in the production is very in- teresting and worth illuminating.

How did your collaboration with George Romero come about? Did you originally contact him? I like his work and one day we arranged to meet in New York and talked and talked and talked. Fang: How did you work together— your styles are totally different? Argento: I wrote the screenplay with George and then worked on the music with Goblin.

George is a very great friend of mine. We do work differently but the spirit is no different. Before we wrote I traveled around theCarib- bean islands to study the stories of the zom- bie legends and myths.

George works the American way, I the European way, but to- gether we worked very well. He has a big soul, he's a fantastic man, just fantastic. We wrote the screenplay together in Rome and had a wonderful time. Fang: You had control ofthe European cut of the film. What changes were made for that version? Argento: Very little. Nothing big. I used more Goblin music and much louder. George mix- ed his cut very quietly.

In France it opens next month after five years of being banned by the censor. Nicolodi: The censor in France never allowed the film to come out. Eight times it was submitted and each time he said no, not even with big cuts.

Argento: Now with several cuts and a "softer" version it's finally being released. Fang: It was shown at the Paris Fantasy Festival about four years ago and the au- dience went berserk over it. Argento: The audiences are great there. They dance and yell and throw paper planes and things at the directors on the stage.

There's nothing wrong with it, they're just having a good time. They love films and they show theiremotions. I like that sort of reaction. It's like being at a rock concert. Inferno, made in , remains unre- leased in the Slates. In London it played for only two weeks in a coupleof cinemas with minimal advertising despite being another blockbuster hit in Europe.

This second part of Argento's supernatural trilogy concerns a neo-Gothic mansion in New York which was designed by the archi- tect Varell i who was also an expert in the oc- cult. After his sister. The building is the home of the Mother of Darkness herself and she confronts Mark in a figure of Death in the fiery finish.

Again Argento's set-pieces were breathtak- ing, including Rose IreneMiracle searching for her brooch in a flooded cellar and the character of Kazanian, a crippled bookseller who, when drowning the cats who bother him in Central Park, comes to a nasty rat- covered end by a mudbank. Do you feel bad about their handling of the film?

Argento: Oh yes, very bad. It's a very long story with Fox and what they did to Inferno. Halfway through shooting the picture the management at Fox changed and the new management boycotted all the films that were being produced by the previous board. Not only Inferno but several others, they didn't want anything to do with them.

Fang: Could you, like with Deep Red, buy it back from Fox? Argento: No, we've tried, it's theirs. Nicolodi: Other companies have made offers to buy it from them but they won't sell. They just leave it on the shelf.

Fang: It was only shown in Britain fora cou- ple of weeks. Argento: It's sad, very sad. Nicolodi: Dario says that perhaps it will have a longer life because of this. Maybe in a cou- ple ofyears they will change their minds and it will be shown. Fang: There's a line in Suspiria which says, "Magic is all around us;" that doesn't seem to be the same theme in Inferno. Argento: No, Inferno is about a different form of magic, not about witches. It concerns the sorcerers who use alchemy for gain rather than evil.

It's a subtle difference. Fang: There's a scene in it where Kazanian is drowning cats in Central Park and another in The Bird with the Crystal Plumage in which an artist eats cat stew!

I take it you don't like cats? Argento: No, no, I like them! But in Crystal Plumage the artist likes them too. He likes to eat them! He likes them very much! Fang: For Inferno you used Keith Emerson to write and play the score. Was Goblin busy?

I like Keith's work very much and he isa friend of mine and he happened to be available. Nicolodi: A lot of musicians and bands are very busy in advance for a long time. It's all a matter of timing. Argento: 1 write a picture and I want to get started quickly.

It's impossible to wait around until one musician has time to write a score. Sometimes you have to find someone else. It was the last film Mario worked on before his death. Do you think he had a great influence on the type of horror cinema we have now? Argento: Yes, very much. In the 50's and 60's he was making the sort of films we are seeing now.

Hewasavery important figure in horrorfilm history. Now LambertoBavahasgoneonto direct Macabre which is an excellent film; he's carrying on the family tradition. Lam- berto was also assistant director on Tenebrae. Whereas Argento can take up to three years on a movie, Lucio Fulci, a fellow Italian best known in the U.

Fang: What do you think of Fulci's work? Argento: He has so many films he hasn't got the time to really work on them and perfect them. At any time he's editing one, writing another, and shooting a thirdi I quite like some of his films but he must get really con- fused sometimes!

Fang: Fulci has a habit of using the same actors in different films, like a repertory com- pany. You don't; do you just like using dif- ferent people every time? Argento: I like to change; different plots need different casts. Fang: Inferno is very open-ended. Will you make the third part of the trilogy? Argento: Not immediately, but hopefully soon. It'sverydifficuittopreparea movie like that. Nicoiodi: We've finished the script for the third but there are a few things we are still workingon to perfect the project, a couple of special effects and locations, that sort of thing.

Argento: The third part will deal with the Mother of Tears. Argento: No, that's not meant to be a film joke or hint. It's not important to me to keep the same actress in the role. The idea is the same but perhaps the character can change her appearance, who knows? Fang: Daria, you worked with Mario Bava in Shock. What was he like to work with? Nicolodi: He was quite old then and not very well but he was magnificent, like an older brother, but not like an old man.

Fang: It's a very subtle film compared to some of his others. Was he easy to work with? Nicoiodi: Oh yes, he made everything easy and everyone enjoyed being on the set, he made the atmosphere like playing a game and not making a film. He was marvelous. Fang: There is almost a visual reference to Shock in Tenebrae when John Steiner is kill- ed with an axe. The same thing happens him in Shock.

Nicolodi: Yes, John says he hates working with me; each time he meets me someone hits him with an axe! Informative Workshops! Giant Merchandise Emporiums! Monster Make-Up Oemonstration! Stump our SF Trivia Team! Auction of rare SF Collectables! Create a Comic Book!

SF, Fantasy, Space Artshow! Venus Of Evil. It may be shown in America on cable. Argento's latest is Tenebrae, a return to the giallo style that first made him so popular, Anthony Franciosa plays Peter Neal, a famous thriller writer in Rome forthe launch of his latest book called, cleverly enough, Tenebrae.

The film opens with an unseen figure reading from the book: "He realized that every human obstacle, every humiliation could be swept away by the simple act of an- nihilation: Murder. Fang: It's been three years between Inferno and Tenebrae. Frlberg Akademic of SuspMa. While Neal is flying to Rome, a young shoplifter has her throat cut and her mouth stuffed with pages of the book by the familiar black-gloved maniac. Neal, his secretary Anne Daria andhisagentBuimer{ ohn Sax- on startto receive phone calls from the killer as his victims multiply, including Tilde Mirella D'Angelo a lesbian journalist and her loverand Christiano Bruni John Steiner , a TV interviewer.

The razor-killer's methods get a whole lot messier when he switches to an axe for his activities. Argento sets upa climax of truly stunning which has the screen, literally, awash in blood as the killer is revealed in a ingenious twist. Audiences leave one either gasping or feeling faint.

Argento: We were in Los Angeles, working on writing another film at the time and this crazy man started to persecute me. Nicolodi: He started giving Dario phone calls at all times of the day and night and one time we took a taxi and found a written message in it that he wanted to kill Dario. We never knew how it got there. And so the story of Tenebrae came about. Fang: The themeof Tenebrae is "to kill with- out reason is true horror" and it seemed this man had no reason to want to kill you.

Argento: Absolutely, none. Nicolodi: Dario thought that perhaps this man loved him very much and perhaps that was the reason. He loved him but he wanted to kill him. Very strange. Perhaps he liked the filmstoomuch. Atthe beginning he was very nice on the phone, this man. And then he started to turn horrible. Fang: The film contains an amazing scene where the camera travels all over the exterior of a house, over a roof and through the win- dows in one shot.

How was this done? Argento: I used a Louma crane, a wonderful device; it makes the camera able to go anywhere. Itwas also used on Friday fbe 3tb Part 3. In Crystal Plumageyou have the camera going down a character's throat at one point. Argento: Yes, that's called a "snorkel" camera. Like a long tube, used in hospitals for stomach examinations. I like trying out new equipment. What's the point of technology if you can't use it and experiment with it.

Fang: Inseveralofyourfilms there's a gay red herring. Are you trying to get gay charaaers accepted as the norm ratherthan stereotypes? Argento: No, not really. I'm very interested in portraying homosexual men and women in my films because I'm interested in their lives and their problems.

In Tenebrae 1 used a woman in the flashback sequences who was in facta hermaphrodite, truly. We did it before Dustin Hoffman! Fang: The cast-list names her as "Eva Robins.

And that's not a rumor, that's true. Argento: Yes, but he was perhaps too young. I spoke to him about it but 1 wanted the char- acter to be very bel ievabie. He was perhaps too youngto bean internationally successful writer.

Fang: One last question. What comes after Tenebrae? Argento: Ahhh. I cannot tell you. Fang: A secret? Argento: No, no. Not a secret. I just don't know yet. Fang: Will it be another three years? Argento: Perhaps two. Neighborhood parents were getting restless, and it might have only been a matter of time before the P.

The gore had to go— but what other makeup creation could inspire the same immediate sense of reality fostered by a well-rendered gore makeup? Taking a leaf from the notebook of his friend makeup man Bob Burns, Baker de- cided to build himself a first-rate gorilla suit. He said, 'Why don't you look them up? Maybe you can get a job there. For several years, the youngster had been ex- perimenting in stop-motion animation with the family Brownie.

Joe dolls fighting each other, or build a model castle and blow it up at the end of the movie — all the usual stuff," says Baker. Mine were al I shot in continuity, entirely cut in the camera. However brief his stay. Ooopel I fooled, there! His prartical experience in making puppets for the show reinforced his skills in moldmaking, and introduced him to the wonders of foam latex— his work before that time had mostly been in slip rubber.

If there was a single event that cinched Baker's choice of career, once and for al I, it was the time that his parents decided to take a trip east, to New York, "I was born there, and they were going out to visit relatives," Baker recalls.

But I got the nerve up, photographed some paintings and a bunch of my masks, including a copy I'd done of his Quasimodo makeup for the TV series Way Out. I sent those, with a nice little fan letter and said that I'd be in New York and really wanted to meet him.

Had n« "it Still seems miraculous to me how quick- ly he replied— within the same week I wrote to him, I received his reply! Aside from the faa that he generously praised my work, and said that he would be very pleased to meet me, he sent me a picture of a test for the Lit- tle Big Man age makeup that he was working on atthe time, and an imperfectfoam casting from the Quasimodo makeup.

That was Craig Reardon; we got together and became pretty good friends. But when I got to his house, he handed me a notepad. I said, 'What's this for?

It was the most incredible day in my life. Sal EST. Minimuir Outside U. SOoostage lor the first 10 items or 2St oKb additional 1 0 items or less. Stndv these photos carefully! Yon never know when yon, too, may be called upon to bnild an Octamant Dick's on one of the first days of a two-week trip, so when 1 came out of there, I Just couldn't wait to get back to California to try out some of the stuff I'd learned in that one day!

I'd send pictures of what 1 did to Dick, and he'd send me letters of constructive criticism and advice — quite a lot of correspondence, which helped me a lot. Eventually, during his second year at the local junior col- lege, Baker received his first feature film assignment. The project was Octaman, writ- ten, produced and directed by Harry Essex, screenwriter of Creature from the Black Lagoon.. Sherman was going to do it, but then Flesh Cordon came along, and he passed the assignment on to Bill Hedge.

Bill was going to do it, but then he got a chance to work on Flesh Cordon, too, and he passed it on to me. Dougwas still working at Clokey 's, so he had a fu 1 1 time job and I was still a full-time student. They gave us six weeks and about a thousand dollars to get this octopus-man suit done. We worked over weekends, and it was a real experience. Bill Hedge was planning on doing the entire suit in slip rub- ber, which would have weighed a ton, and wouldn't look so good either. The main obstacle to using foam was the curing pro- cess, where you have to heat the foam up to degrees; itonly takes a halfan hour to cure foam at , but ittakes much longer to get the molds up to temperature.

So it occur- red to me, maybe we could sculpt it directly in foam, without molds— just spatule it on, let it gel a bit until it can take some sculpting, decorate itwith a few veins squeezed out of a syringe, and then cure it in a makeshift plywood oven.

So that's what wedid. I don't know if that had ever been done before. While it was Baker's first film, it was the last for 50's star Pier Angeli, who died shortly after production from a barbi- tuates overdose. For Baker's part, he was none loo pleased with the silly-looking de- sign he'd been given to work with, and, as filming progressed, he became more con- vinced that the filmmakers had little idea of what they were doing. It was a disillusion- ing experience, to the extent that, before Oc- taman, I feitthat working in film would mean working with people who share your en- thusiasm and the desire to do good work.

I found out differently. When I was 1 4, 1 showed some of my masks and drawings to the business representative of the makeup union, and he tried very hard to discourage me. Secondly, you've got a lot of monster stuff here— and nobody makes a livingout of mak- ing monsters. So why don't you just give up. I'm going to be a makeup artist and you're not gonna stop me.

And his second feature was a much more pleasant experience, work- ingfor the first time with John Landis on Lan- dis' first feature. Schlock a. The Banana Monster. I said, 'I'm currently employed on a feature, making an octopus-man suit, but Td certainly like to talk with you. A ndy Warhol earned the tag "underground filmmaker" in the 60's by pointing his camera at the Empire State Building for eight hours. But for producer Sandy Howard, going "underground" to make Secrets of the Phantom Caverns has the literal meaning of sending his cast and crew deep into two of America's largest caves for the type of location setting that no studio can duplicate.

A fantasy-adventure about a military ex- pedition's discovery of a long lost subterra- nean tribe of Lemurians, Secrets of the Phan- tom Caverns could have been shot far easier on studio sound stages, sparing the produc- tion company nearly all of the logistical night- mares they encountered in Alabama's Cathedral Caverns and the sprawling Cum- berland Caverns in Tennessee.

But it was realism Howard was after, even within the context of this pulp-flavored tale scripted by a former comic book writer, so he gamely proceeded to send cast members Robert Powell, Timothy Bottoms, Richard Johnson, and newcomer Lisa An Officer and a Centleman Blount to the two southern caves where over 80 percent of the filming would take place.

For each day on location, a person crew was needed to hand-carry eight tons of equipment over a mile to reach the under- ground filming sites. At least the Cathedral Caverns provided solid ground for the crew to travel across; reaching the out-of-the-way locales selected in the Tennessee cave, how- ever, required production personnel to balance along a two-and-a-half foot wide ledge for most of the way!

Yet Howard has no regrets about his deci- sion to go underground, and maintains that the caves give his film "a special beauty and grandeur that has taken over one million years to develop, and which no Hollywood set could ever dare hope to recreate.

Best known for his roles in The Last Picture Show and The Paper Chase, Bottoms points out that the caves provided a By Donald Farmer setting where "everything is absolutely real, and you get an invaluable scope of what this film is really about.

Bailey— whose effects work has been seen in Blade Runner, Tron, and Star Trek: The Motion Picture, is slightly less laudatory, "Frankly, I underestimate the dif- ficulty of shooting in the caverns," he admits. The story begins in South America where explosives expert Clayton "Wolf" Wolfeon Robert Powell is spying on a remote mercenary training camp. His discovery leads to a frantic chase and, once safe.

Director Don Sharp tests the bite of the Phantom Cavema creature. In the background is creature designer Tony Gardner. Arriving at the Army's Omega Base Camp in Spain, Wolf learns that his assignment is opposed by a group of anthropologists Richard Johnson, Anne Heywood, and Lisa Blount who insist that the blasting should be delayed until they can explore the un- chartered caverns.

Major Elbert Stevens fTimothy Bottoms , the base commander, orders the scientists to leave, but Wolf per- suades him that their expertise might come in handy. Before a full scale exploration can be launched, Stevens orders two of his men to carry the sonic tester down into the caves for a trial run.

As they descend deeper and deeper underground, the soldiers are un- aware that their movements are being watched by a ghostly white figure, just as they have no way of knowing that the sonic tester's low-frequencey waves will leave their observer in agonizing pain.

When the soldiers fail to return, a follow- up team joined by Stevens, Wold, and the anthropologists sets off to find them and recover the sonic tester. The further they travel, the explorers find an increasing number of relics and cave drawings which point to some kind of underground civiliza- tion. They also face increasing danger as they find the savagely beaten corpse of one of the missingsoldiersand encounter a huge dragon-like lizard that lunges at them from the shadows.

All this time, the anthropologists are becoming slowly convinced that they may have stumbled upon the lost civilization of Lemuria, thought to have been destroyed over 50, years ago. Their suspicions are confirmed in a startlingly abrupt way as the team suddenly finds itself surrounded by a group of Lemurians, who leap out from crevices and behind twisting rock forma- tions to capture the explorers.

The anthro- pologists also see how centuries of underground living have caused the Lemurians to evolve into a race of albino- like creatures with glistening white skin and protruding, domed foreheads.

Intrigued to find if the intruders are the equals of his own race, the Elder orders Wolf and the Prime Hunterto square off in a duel to the death. Wolf manages to pin down the hulking Lemurian, but shocks the entire tribe by refusing to kill him.

Having demonstrated that his people mean no harm to the Lemurians, Wolf and the anthropologists seize the opportunity for a quick escape. But Major Stevens is still determined to make the sonic tester opera- tional. Sein Ziel war es, einen Raum, in dem Studenten an der Universität, um eine gute Kommunikation und teilen Inhalte einfach über das Internet austauschen zu entwerfen.

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