Jim Wynorski - They Came From Outer Space.pdf - Jim Wynorski - widez2

THEY CAME FROM

OUTER SPACE

JIM WYNORSKI (editor)

It takes some of the better-known science-fiction movies (some of them so bad that it might be better if

they never had surfaced, some so good that you will wish, even if the movie can no longer be had, to

watch it) and gives you the stories upon which these movies were based.

After each story is a full credit run for the screened movie, including actors, special effects people,

director, camera personnel, etc. Required reading for movie buffs, old and young.

DOUBLEDAY & COMPANY, INC.

Garden CiTy,New York

Library of Congress Catalog Card Number 80-2249

To HARLAN ELLISON, who started it all!

Thank you.

FOR AID, SUPPORT AND COMFORT, A SPECIAL THANKS TO: Terry and Bill Wynorski,

Esther and Andrew Varga, Forrest J Ackerman, Ellen Asher, Marlene Connor, Mark McGee, Ron “The

Collector” Borst, Mark Frank, R.

J. Robertson, Denetia Arellanes, L. Q. Jones and Dr. Paul Johnston.

ACKNOWLEDGMENTS

by Popular Library, Inc. Reprinted by permission of the Harold Matson Company, Inc. Who Goes

renewed 1968 by Conde Nast Publications, Inc. Reprinted by permission of the author and the author’s

agents, Scott Meredith Literary Agency, Inc.,845 Third Avenue,New York ,New York10022 .

Smith Publications, Inc. Copyright renewed 1968 by Conde Nast

Publications, Inc. Reprinted by permission of the author’s agent,

Forrest J Ackerman, 2495

Glendower Avenue,Hollywood ,California90027.

Reprinted by permission of the Harold Matson Company, Inc. Deadly CiTY by Ivar Jorgenson.

Ackerman,2495 Glendower Avenue,Hollywood ,California90027 .

permission of the author and the author’s agents, Scott Meredith Literary Agency, Inc.,845 Third

Avenue,New York ,New York10022 .

by arrangement with The Ackerman Science Fiction Agency,2495 Glendower Avenue,Hollywood

,California90027 .

arrangement with Forrest J Ackerman, who is holding a check for the heir/estate,2495 Glendower

Avenue,Hollywood ,California90027 .

The Seventh Victim by Robert Sheckley. Copyright ) 1953 by Robert Sheckley.

Reprinted by permission of The Sterling Lord Agency, Inc. The Sentinel by Arthur C. Clarke. Copyright

1950 by Arthur C. Clarke.

Reprinted by permission of the author and the author’s agents, Scott Meredith Literary Agency, 845

Third Avenue, New York, New York 10022.

Inc. Reprinted by permission of The Ackerman Science Fiction Agency,

2495

Glendower Avenue,Hollywood ,California90027.

Reprinted by permission of and by arrangement with the author and the author’s agent, Robert P. Mills,

PICTURE CREDITS

DR. CYCLOPS, Courtesy of Universal Pictures.

THE THING FROM ANOTHER WORLD, Courtesy of RKO General Pictures.

RIGHTS ReSERVED.

EARTH, Courtesy of Allied Artists.

THIS ISLAND EARTH, Courtesy of Universal Pictures.

INVASION OF THE SAUCERMEN, Courtesy of The Samuel Z. Arkoff Company.

THE TENTH VICTIM, Courtesy of Avco Embassy Pictures Corp.

Courtesy of New World Pictures, Inc. A BOY AND HIS DOG, Courtesy of LQ Jaf Films.

CONTENTS

THE TURKEY THAT ATTACKED NEW YORK an introduction by Ray Bradbury

Foreword

DR. CYCLOPS by Henry Kuttner (filmed as DR. CYCLOPS, 1940)

WHO GOES THERE? by John W. Campbell, Jr.

(filmed as THE THING FROM ANOTHER WORLD, 1951 )

FAREWELL TO THE MASTER by Harry Bates (filmed as THE DAY THE EARTH STOOD STILL,

1951 )

THE FOG HORN by Ray Bradbury (filmed as THE BEAST FROM 20,000 FATHOMS, 1953)

DEADLY CITY by Ivar Jorgenson (filmed as TARGET EARTH, 1954)

THE ALIEN MACHINE by Raymond F. Jones (filmed as THIS ISLAND EARTH, 1955)

THE COSMIC FRAME by Paul W. Fairman (filmed as INVASION OF THE SAUCERMEN, 1957)

THE FLY by George Langelaan (filmed as THE FLY, 1958)

THE SEVENTH VICTIM by Robert Sheckley

(filmed as THE TENTH VICTIM, 1965)

THE SENTINEL by Arthur C. Clarke (filmed as 2001: A SPACE ODYSSEY, 1968)

THE RACER by Ib Melchior (filmed as DEATH RACE 2000, 1975)

A BOY AND HIS DOG by Harlan Ellison (filmed as A BOY AND HIS DOG, 1975)

THETURKEY THAT ATTACKEDNEW YORK

an introduction by RAY BRADBURY

EVERYONE KNOWS how you make a pearl: feed a grain of sand to an oyster and hope the oyster

gets wondrously ill.

Everyone thinks they know how to make a motion picture: feed the right story into aHollywood dream

factory and hope for similar, oyster results.

Easier said than done, as can be witnessed by reading the stories in this collection, then sitting in a dark

theater for days, viewing the calamities—and sometimes the beauties—that came from ingesting ideas

and cranking them through a camera. A few pearls here and there, but, more often than not, as in the

case of The Beast from 20,000 Fathoms, the camera swallowed the dinosaur and birthed a titmouse.

More of my very personal reactions later.

Why am I up front here writing about these stories and the films that arose from same? In many cases I

read these stories years ago when they were first published. I knew some of the authors well. I have seen

most of the films, many of them a half dozen times. I have been at the premiere performance of at least

four of the films included here.

But long before that my cinema training began with a maniac mother who had to be dragged from silent

movie theaters, after late matinees, by a hungry husband or a son sent to fetch mama home. More often

than not the son forgot why he had come and stayed with mom for one more rerun.

During those hideaway hours I fell in love with the hideous beauties created by Lon Chaney and the

brontosaurs in The Lost World who fell off cliffs and landed on me. When Nemo’s submarine, run by

Lionel Barrymore, surfaced in MGM’s The Mysterious Island, I surfaced with it and read Jules Verne

the next day. When the futuristic dirigible in Fox Films Just Imagine sailed overManhattan , I was up there

in it. In 1935, when Cabal in Things to Come told me to head for the stars, I listened, I flew.

Why is it important to put together a collection like this one? First off, to show how material from one

medium can cross-pollinate another.

Then, quite often there is the shock when one discovers that the original story was better than the film

that grew from it. Finally you realize that in many instances you could remake the story as a new film,

base it more closely on the original story, and wind up with a motion picture that would hardly resemble

the first cinema version.

“Who Goes There?” by John W. Campbell, Jr., is a fine case in point.

Someone really ought to reread this story and then go make a proper film based onCampbell ’s

evocative concept. The Thing, popular as it was, finally wasn’t quite good enough, was it?

Similarly, there are rumors that Twentieth Century-Fox may make a sequel to The Day the Earth Stood

Still. If they do, they would be wise to reread Harry Bates’s “Farewell to the Master” before doing so.

They might well decide to stuff his pages directly into the camera.

The Beast from 20,000 Fathoms is probably the worst of the lot. My story, from which it was

supposedly drawn, actually appears for only a few minutes in mid-film and then mercifully vanishes.

How, you ask, did this come about? Why did I let the producer/ director ruin my tale? The facts are

simple enough—and fairly amusing.

Ray Harryhausen, the animator of the prehistoric beast in The Beast from 20,000 Fathoms, grew up in

Los Angeles, where we met in 1937, and talked about nothing but dinosaurs. Our dream was to make a

film together one day, I to write it, Ray to animate the lovely creatures.

In early 1952 I got a telephone call from aHollywood producer asking me to come by to look at the

Jim Wynorski - They Came From Outer Space.pdf

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika: