Interview: Arnold Kunert on the 50th Anniversary DVD of "20 Million Miles to Earth"

20 Million Miles to Earth DVDArnold Kunert is the friend and agent of Ray Harryhausen, the legendary stop-motion animator and special effects wizard. In the past Arnold was interviewed at TheoFantastique in general on Ray’s work and career. In the following interview Arnold made some time to talk specifically about the colorized 50th anniversary edition of Ray’s classic film 20 MILLION MILES TO EARTH.
TheoFantastique: This film has been a favorite of Harryhausen fans for decades since its release. The disc of special features in this anniversary edition includes commentary from folks like Rick Baker, John Landis, Tim Burton and other giants of Hollywood in fantasy films. So the film resonated with the well known members of its audience over the decades as well as among many more rank and file fans. It seems to stand out from other science fiction films from the same timeframe as well. Can you discuss some of the elements and features of this film that seem to make it memorable for fans? Continue reading “Interview: Arnold Kunert on the 50th Anniversary DVD of "20 Million Miles to Earth"”

The Art of Ray Harryhausen: Interview Part 2

Ray Harryhausen’s epic s-f fantasy film, EARTH VS THE FLYING SAUCERS saw him destroy the White House and other sacred American monuments in Washington, D.C. during those long and dreary McCarthy era-years. It has been re-issued and restored in a colorized version on Columbia DVD, just in time to remind us that our own McCarthy era will last another year, until there is a new occupant in the White House.
Ray Harryhausen will be celebrated by the Art Directors Guild at a gala tribute on Feb. 16 at the Beverly Hilton Hotel, where he will receive an honorary outstanding contribution to cinematic Imagery award from the Art directors guild of America.
It’s notable that previous Guild recipients of this award have all been directors. They include, Steven Spielberg, Terry Gilliam, Zhang Yimou, Clint Eastwood, Blake Edwards, Robert Wise, Frank Oz, Norman Jewison and John Lasseter.
Ray Harryhausen is the first special effects artist to receive this award, and probably the first recipient to actually have acted as an art director on all of his films, as can be attested by his storyboards, drawings and paintings on view in his book, The Art of Ray Harryhausen.
While in California, Mr. Harryhausen will be making several personal appearances in February. You can find a listing dates and locations, along with part two of my interview with Ray Harryhausen, below the fold.

  • Friday, February 15, 2008: Hollywood Collectors Show – Burbank Airport Marriott Hotel – Burbank, California.
    Ray will be on hand to sign his books, DVD’s and art prints. Friday only.
  • Saturday, February 16, 2008
    International Ballroom, Beverly Hilton Hotel

    Ray will be in attendance to accept the Art Directors Guild’s Cinematic Imagery Award.
  • Sunday, February 17, 2008: 3 p.m.
    Every Picture Tells A Story gallery and book store
    Montana Avenue, Santa Monica, California

    Ray will be on hand to sign his books, as well as his latest limited edition art print, a fabulous pre-production drawing Ray executed showing Sinbad battling a group of terrifying Bat People, a scene that was originally planned for the The 7th Voyage of Sinbad, but was not used in the final film.
  • Sunday, February 17, 2008: 5 p.m
    American Cinematheque presents at The Aero Theater – Live commentary on Ray Harryhausen’s The 7th Voyage of Sinbad
    Any Ray Harryhausen fan in Southern California will surely want to attend this event, as it will feature a star-studded cast of Ray’s associates giving a live commentary to this screening of The 7th Voyage of Sinbad. Featured effects artists will be Dennis Muren, Randy Cook and Phil Tippett, while actors from Ray’s films on hand will include, Kathyn Grant, John Philip Law (from The Golden Voyage of Sinbad), and Joan Taylor (from Earth Vs. The Flying Saucers) along with film historian Arnold Kunert.
  • Wednesday, February 20, 2008
    Rafael Theater -San Rafael, California

    Ray ventures north to where Willis O’ Brien began his stop motion experiments in San Francisco before Ray was even born in 1920, and where stop-motion animation still flourishes. He will appear for a discussion of his films and career with Matte World principal Craig Barron, Tippett Studios head, Phil Tippett and ILM’s dean of special effects, Dennis Muren, along with film historian Arnold Kunert. Ray’s books and DVDs will be available for purchase and signing.
  • Saturday, February 23, 2008: 2 p.m.
    Dark Delicacies Book Shop – Burbank, California

    Ray will on hand to sell and sign his books, his latest DVDs and various other Harryhausen items.
  • Monday, February 25, 2008: 7:30 p.m.
    Mystery and Imagination Book Shop – Glendale, Californi

    Ray will be here to sign his books, DVD’s and other items.


[NOTE: Part One of this interview ended with Harryhausen discussing his early working making stop-motion short subjects based on fairy tales.]
LAWRENCE FRENCH: Did you attempt to copy the movement of any famous actor’s for the fairy tale characters?
RAY HARRYHAUSEN: Yes, in The Queen of Hearts I tried to give the Queen a Bette Davis walk. When she enters the room for the first scene, if you look at it, it’s based on Bette Davis’s type of walk. Miss Davis was always a very impressive actress. I put a little bit of Marie Wilson (Satin Met a Lady, Boy Meets Girl, My Friend Irma) into the Queen as well – you may not remember her, but she was known as the dizzy blonde. And the King of Hearts was based on Leo Carrillo (History is Made at Night, Horror Island, The Cisco Kid). For King Midas, I based the genie that comes out of the coin on Conrad Veidt. He was my favorite villain after I saw him in The Thief of Bagdad. And some of Mother Hubbard’s gestures came from my aunt, who was Germanic, and whenever she got excited, she’d throw her hands up in the air and shake them, so I reproduced that for Mother Hubbard.
LAWRENCE FRENCH: You used some very nice tracking and dolly shots in the fairy tales that are actually much more prominent than the camera movements you used in your feature films.
RAY HARRYHAUSEN: I had tracking shots in One Million Years, B.C. but I usually tried to avoid pan shots and things like that in the feature films, because it would take too much time. I could do that for the fairy tales, because I was working on my own time. I had a good tracking shot of Little Red Riding Hood when she was walking through the forest and also of the wolf. For that, I built a set about ten feet long right in my garage and I used a simple track. It was just two pieces of two by four with a sled on top of it. For each frame I would slide the camera over a little bit after I animated the character.
LAWRENCE FRENCH: The detail in the fairy tales is amazing. They have lots of animated birds flying through the scenes, as well as some nice layers of mist in the background sets.
RAY HARRYHAUSEN: I used the birds because I felt it helped to enliven the scene. I thought it would be much more effective, rather than just having a static scene with nothing happening. They were also a hangover from King Kong, where the birds were flying in front of Skull Island. And I had also seen Alexander Korda’s wonderful movie, The Jungle Book, which had those jungle backgrounds, so I used pieces of glass with little mists of white paint on them, to give an added depth to the backgrounds.
LAWRENCE FRENCH: Was the Guadalcanal short you made while you were in the army ever shown anywhere?
RAY HARRYHAUSEN: No. It was made in my spare time at night to show how you could use stop-motion photography to do a training film. I showed it to Frank Capra, and although he was impressed with it, the army never used it. At the time, I was working with Frank Capra in the Signal Corps and our post was at Western Avenue and Sunset, so I was able to live at home and work on Guadalcanal in my spare time.
LAWRENCE FRENCH: Where did you get the tanks and other models you used for the army vehicles in Guadalcanal?
RAY HARRYHAUSEN: All the tanks and boats I bought at the five and dime store. Except for the steamroller, which I had to build from scratch and the bulldozer, which was made from a model kit. The palm trees I had left over from Evolution. I used one foreground painting, which is obviously a painting, but shooting in 16mm you had a difficult time carrying the focus, because the painting was so close to the camera and in the background was the table where the action took place. To get a depth of field I stopped way down to f16 on the camera lens and took 30 seconds for each frame of film that was exposed. I originally used all canned music for the soundtrack, records of Stravinsky, Max Steiner and Howard Hanson, but we couldn’t get the release for that music for the DVD, so John Morgan and Bill Stromberg have composed new music for it.
[Special Note: Stromberg and Morgan have just re-recorded the fabulous Bernard Herrmann score to Harryhausen’s Mysterious Island on their new Tribute film scores label. It’s a must have soundtrack CD for anyone who loves the combination of Harryhausen and Herrmann.]
LAWRENCE FRENCH: The earliest test on the DVD shows a cave bear fighting a woolly mammoth, made when you were only 16 years old.
RAY HARRYHAUSEN: Yes, I had to learn by trial and error and through experimenting, and I did the cave bear in black and white with a camera I had borrowed from a friend. The animation was very jerky because all the armatures were made of wood. I went to the five and dime store and brought some wooden beads and used them to screw together wooden boards for the arms and legs of the animals, but they would ratchet, so you couldn’t get very smooth animation. It was shot in my backyard, in the sunlight, so it looks like time-lapse photography, because you can see the shadows moving across the scene and the wind blowing the canvas in the background. By the time I did the fairy tales I had gotten photofloods to light the sets, which I could turn off while I animated. I had a pedal that I’d step on, and the pedal would turn the lights on and off, so I could animate the shot and then shoot the frame.
LAWRENCE FRENCH: The Evolution test footage shows off your early fascination with dinosaurs to great effect.
RAY HARRYHAUSEN: Well, ever since I was a small boy the dinosaur hall in the museum had been one of the most fascinating things for me. I used to make little dioramas of the La Brea Tar pits in clay, and after I had seen King Kong it was quite startling to me to realize you could make dinosaurs come to life. So I began making Evolution as an experiment in 16mm, after I had become so enraptured by prehistoric creatures. It was shot at silent speed, 16 frames per second, which was much faster than I would have preferred. But my idea was to show the evolution of the world, which was very ambitious for an amateur. But after I saw “The Rite of Spring” segment from Fantasia I abandoned Evolution because it covered the same ground I wanted to cover, and I thought, “How can I compete with Disney?” But all my early tests came in handy afterwards as a demonstration reel.
LAWRENCE FRENCH: After the Evolution test, you didn’t work with dinosaurs again until Irwin Allen’s The Animal World—and a couple shots in that were very similar to what you did in Evolution—such as the way the allosaurus leaps into the scene.
RAY HARRYHAUSEN: Yes, I used some of the same angles for The Animal World, and we used two cameras to shoot the animation for that picture, but Irwin Allen didn’t use the same shot I had used in Evolution—the one where the allosaurus leaps over the camera. Instead, he used a side shot where the allosaurus leaps in from the right side of the frame.

Cavemen battle an allosaurus in ONE MILLION YEARS, B.C.

LAWRENCE FRENCH: After doing The Animal World you didn’t work with dinosaurs again until you made One Million Years, B. C. for Hammer. Before that, did you ever try to get Charles Schneer interested in making a dinosaur film?
RAY HARRYHAUSEN: No, because we were always doing pictures with very tight budgets. We were able to get a better budget from Hammer for One Millions Years, B.C. That was their 100th anniversary movie and they spent a little more money than they usually did. We went on location to the Canary Islands, shooting mostly on Lanzarote, which had many bleak and desolate landscapes that were made of pure volcanic rock. They lent themselves quite well to re-creating the landscapes of a prehistoric world.

The Art of Ray Harryhausen: Interview, Part 1

Ray Harryhausen and his films probably appeared on the cover of Cinefantastique more than any other person in the history of the magazine, so I thought it would be nice to update CFQ’s extensive past coverage of Harryhausen’s career with this interview which covers three of Ray’s recent projects: his two beautifully illustrated volumes from Billboard Books, written with Tony Dalton, An Animated Life and The Art of Ray Harryhausen, as well as his fabulous collection of shorts and fairy tales,  Ray Harryhausen – The Early Years.
LAWRENCE FRENCH: After years of keeping your effects secrets under wraps, what led you to be so forthcoming in your autobiography of your work in movies, An Animated Life?
RAY HARRYHAUSEN: I bare my soul in the book, don’t I? Everybody else is baring his soul, so I thought I might as well do it, too. You never know when the world may be coming to an end. A comet could hit the earth.
LAWRENCE FRENCH: Since you actually started working on the book before the millennium, was that also a factor?
RAY HARRYHAUSEN: You could put it that way. But I think it’s always been a mistake to tell people how things are done, because then it’s no longer attractive for them. So in the Film Fantasy Scrapbook I didn’t want to talk about the details—that was the point. Half the charm when I first saw KING KONG was I didn’t know how it was done. There were no books available at that time on stop-motion. In fact they tried to hide that stop-motion was a single frame process. I knew it wasn’t a man in a suit, but it wasn’t until later on that I discovered the glories of stop-motion. But nowadays everybody tells you everything about the picture before it’s released and I think it spoils everything. It allows you to start picking the scenes apart.
LAWRENCE FRENCH: That’s true, because if you didn’t know that Todd Armstrong’s voice was dubbed in JASON AND THE ARGONAUTS, you’d never give it a thought. But when you know his voice is dubbed, it becomes much more noticeably, even though it’s dubbed very well.
RAY HARRYHAUSEN: Yes, we had some very good dubbing for Jason, but the reason for that was because Todd Armstrong’s American accent was a little too strong for all the British accents we had in the picture. So we got an actor (Tim Turner) who narrated a British TV series, A Look at Life to do the voice of Jason. Did you know we also had to dub Gia Golan’s voice in THE VALLEY OF GWANGI?
RAY HARRYHAUSEN: Yes, she was from Poland and we found she had a rather thick European accent, so we got another actress to dub her voice.
LAWRENCE FRENCH: How did you work with Tony Dalton in writing the book?
RAY HARRYHAUSEN: After doing the Film Fantasy Scrapbook way back in 1972, I started doing this one on my own, but as I wrote it I found I was saying the same things over and over again, so I thought, “I better get somebody else in to help me.” So Tony Dalton and I sat down and discussed things, and we went through the archives and did a lot of research. During that whole process I remembered a lot of things I had forgotten about.
LAWRENCE FRENCH: It’s nice that you can remember everything in so much detail, because you joke about not even being able to remember what happened to you last week.
RAY HARRYHAUSEN: Yes, but luckily some of the films are more vivid in my mind than what happened to me last week.
LAWRENCE FRENCH: Your second Billboard book, The Art of Ray Harryhausen, focuses on all of your pre-production drawings, storyboards, models and bronzes, which are all quite beautifully reproduced.
RAY HARRYHAUSEN: Yes, after Tony Dalton and I went through the archives, we found we had so much material we decided we could make two or three volumes, and since it’s a companion volume to An Animated Life we wanted to keep it in a similar format. Now, after doing the second book, we found we still have so many extra pictures, that we’re going to be doing a third book, but it won’t be out for a couple of years. It will be a history of stop-motion animation.
LAWRENCE FRENCH: I imagine you were a big movie fan when you were growing up.
RAY HARRYHAUSEN: Oh, yes. My parents were great cinemagoers and they took me to the theater when I was very young. I remember seeing the first THE LOST WORLD that Willis O’Brien made and I must have been sitting on my dad’s knee, because I couldn’t have been more than five years old. And I saw many other silent films, like Fritz Lang’s Metropolis and Siegfried’s Death. Then, later on in the forties, I remember all the Maria Montez pictures – Arabian Nights and Ali Baba and the Forty Thieves, with Jon Hall and Turhan Bey. But those pictures always left the fantasy elements out. The only one that brought the fantasy elements in was Alexander Korda’s Thief of Bagdad, which was a superb film. So I vowed then and there that every picture I made would stress the fantasy, rather than the gold hunt, or the cops and robbers and those kinds of things.
LAWRENCE FRENCH: Of course, as you say in the book, in 1933 you saw the picture that changed your life.
RAY HARRYHAUSEN: Yes, that’s when I first saw KING KONG. I was only 13 years old and I came out of the theater absolutely amazed. It just goes to show you how much a film can impress a young person. It really did change my life—I haven’t been the same since. It was at Grauman’s Chinese theater in Hollywood, with all the glamorous showmanship they used to put on back then for the opening of a picture. The forecourt was decorated in a jungle setting and they had a full size bust of Kong himself in the forecourt, with pink flamingos roaming around pecking at the sand beneath him. Later on, after KING KONG had made such a big impression on me, on the weekends Ray Bradbury, Forry Ackerman and I used to go down to the old Pathé lot in Culver City. You could still see the standing set of the of the Skull Island wall from the street, so we’d all look up at the wall and chant, “Kong, Kong, Kong.”

Ray Harryhausen, Lawrence French, Phil Tippett

Ray Harrhausen, Lawrence French  &  Phil Tippet
LAWRENCE FRENCH: When you first began to pursue stop-motion animation, how supportive were your mother and father?
RAY HARRYHAUSEN: My parents were very supportive, which was very important to me, because there was no information about stop-motion when I started out and there was no career to go into. But my parents always encouraged me. They helped me when I started my first 16mm experiments, when I began making the Mother Goose stories in my garage. I was very lucky that my mother also happened to be very talented with a needle and thread, so she did all the costumes and my father built all the armatures for my early shorts.
LAWRENCE FRENCH: So your first short films were a real family affair.
RAY HARRYHAUSEN: Yes, and on the credits it looks like I had a big crew, but that’s because I used my Mother’s maiden name, Reske, and my Grandmothers maiden name, Blasauf, since I thought we couldn’t have all these Harryhausen’s in the credits. Today I wouldn’t be worried about that, but in those days I was more modest. So my parents were credited as Martha Reske and Fred Blasauf. And the photographer was credited as Jerome Wray, who was me.
LAWRENCE FRENCH: It isn’t hard to figure out why you billed yourself as Wray, but why the Jerome?
RAY HARRYHAUSEN: The Jerome came from Jerome, Arizona, where my uncle owned a gold mine, but unfortunately it petered out.
LAWRENCE FRENCH: So the name was certainly appropriate for King Midas. When you started making feature films, your father continued to make most of the armatures for your puppets, didn’t he?
RAY HARRYHAUSEN: Yes, I was very fortunate that my father happened to be a machinist, so he made all the armatures for me. I didn’t have the patience to do the lathe work myself, so I farmed it out to my dad. We had a real challenge in doing the skeletons for JASON AND THE ARGONAUTS, because we had to hide the armature within the skeletons. We finally ended up mixing cotton soaked with liquid latex and we built up the bone structure directly onto the metal armatures. The skeleton’s heads were made of plastic resin. Later on, after I lost the original swords we had made for the skeletons, I was in Madrid and I happened to find these wonderful miniature swords for spearing pickles and olives, so the sword you now see the skeleton holding is really a pickle fork.
LAWRENCE FRENCH: Your new collection of shorts Ray Harryhausen – The Early Years (on Sparkhill DVD) is really the missing link in your career, because most of these shorts have never been seen before.
RAY HARRYHAUSEN: Yes, the fairy tales had only been shown in schools in the early days of visual education and nobody has seen them outside of elementary schools. There have been pirated copies, but on the new DVD we have all the originals, while the pirated copies are usually dupes of dupes. So I hope nobody continues to buy the pirated copies. Most of the material was stored at my house in Malibu, but not in good conditions, so thank heavens the Academy Archive restored it all. I had originally shot everything in 16mm, and the Academy blew it up to 35mm. Arnold Kunert approached the Academy and then Scott MacQueen (who heads Disney’s restoration dept.) started the whole process rolling. We finally got the Academy to acknowledge that these fairy tales were quite important and they eventually funded the whole project. Mark Toscano at the Academy did a wonderful job. At the end of the DVD we put The Tortoise and the Hare, so now there are six fairy tales. They were mostly taken from the realm of Grimm’s fairy tales. I started making them after I began doing my early tests and experiments, because I wanted to do a story that actually had a beginning, a middle and an end. I’m very grateful they’ve been restored, because they were shot over fifty years ago, so naturally the color was slightly faded. Now, they look like they could have been made yesterday.
LAWRENCE FRENCH: What’s amazing is if you did make them today they’d probably cost over $100,000.
RAY HARRYHAUSEN: I know it. But I financed them all myself. I had different jobs, and I shot them in my garage during my spare time. Sometimes on the weekends I would work all day on them, but it was mostly done in the evenings. I stayed up until two in the morning sometimes. It varied, but they took me about three or four months to finish each one, depending on how complicated they were.
LAWRENCE FRENCH: The wolf in Little Red Riding Hood was designed and animated so beautifully, it’s too bad you never did a werewolf movie.
RAY HARRYHAUSEN: That gets into the category of a horror film and we never made a horror film. We made creatures, not monsters. I made the wolf a semi-werewolf, but not totally. I wanted to have a dramatic ending where he stands up and leaps over the banister before the hunter shoots him. But the original story of Little Red Riding Hood is quite lascivious and bloody, so I had to modify it. The wolf ate both Grandma and Little Red Riding Hood before the hunter splits open his stomach and frees them. You couldn’t show that back in those days, although you probably could today.
LAWRENCE FRENCH: Although you never made a horror film,  you liked the classic monsters movies, like DRACULA and THE WOLF MAN, didn’t you?

RAY HARRYHAUSEN: Oh, yes I grew up on all those wonderful pictures, like DR. JEKYLL AND MR. HYDEFRANKENSTEIN, and THE BRIDE OF FRANKENSTEIN. I love horror stories. I think war stories are more of a horror story than some of the horror movies that were made in the thirties.
LAWRENCE FRENCH: I imagine you also had to tone down some of the elements in Hansel and Gretel.
RAY HARRYHAUSEN: Yes, we had problems with the stepmother, who was very cruel in the original story. There were so many broken families, I thought we should write her out. So I had to change the story around to make it look less evil for stepmother’s.
LAWRENCE FRENCH: How did you come up with the effect for making the gingerbread house materialize?
RAY HARRYHAUSEN: I had to dream that up by myself. There were no books to consult at the time, so you had to use your imagination. I shot falling pieces of glitter photographed at high speed against black velvet, then wound the film back and combined that with the house materializing through dissolves and double exposures. It was all done in the camera, and everything was done on the first take.
LAWRENCE FRENCH: It’s such a wondrous effect.
RAY HARRYHAUSEN: Beam me up Scottie! I guess they copied that for STAR TREK. But you couldn’t beam up a gingerbread house (laughter). I made the gingerbread house out of real gingerbread and candy and I had it stored in my garage for two years until some mice ate it up.
LAWRENCE FRENCH: Maybe it was Mickey and Minnie visiting you from Burbank.
RAY HARRYHAUSEN: Well if was, they got a free meal, because I used real cookies and candy to make it.

Ray Harryhausen to receive award

Stop-motion master Ray Harryhausen has been selected by the Art Directors Guild to receive its annual award for Outstanding Contribution to Cinematic Imagery. The 12th annual Art Directors Guild Awards will take place at the Beverly Hilton Hotel on February 16. Previous recipients include Terry Gilliam (12 Monkeys), Steven Spielberg (WAR OF THE WORLDS), Robert wise (THE HAUNTING), and John Lasseter (TOY STORY).
In the days before computer animation, Harryhausen used miniature models with metallic armatures to bring dinosaurs and monsters to life in such films as JASON AND THE ARGONAUTS, ONE MILLION YEARS B.C., and THE BEAST FROM 20,000 FATHOMS. In 1992, the science and technical brand of the Academy of Motion Picture Arts and Sciences recognized his work with a lifetime achievement award.
RELATED ARTICLES: Harryhausen discusses his work on BEAST FROM 20,000 FATHOMS. Or see the video version below.

Harryhausen pics at Tokyo Film Fest

It Came from Beneath the SeaThis year’s installment of the Tokyo International Film Festival runs from October 20 through 28. Along with many new films from around the world, the Special Screenings section will include three stop-motion monsters films from the legendary Ray Harryhausen: 20 MILLION MILES TO EARTH, IT CAME FROM BENEATH THE SEA, and EARTH VS. THE FLYING SAUCERS.
Other highlights include CROWS, the new film from cult director Takashi Miike (ONE MISSED CALL) and the latest anime opus from Mamoru Oshii (GHOST IN THE SHELL), titled EAT AND RUN – 6 BEAUTIFUL GRIFTERS.
Read more here.

Captain Nemo Double Bill

On Sunday, the American Cinematheque concludes its 7th Annual Festival of Fantasy, Horror & Science-Fiction Films with a double bill of titles inspired by Jules Vern: 20,000 LEAGUES UNDER THE SEA (1954) and MYSTERIOUS ISLAND (1961), starting at 7:30pm in the Egyptian Theatre in Hollywood. It’s been an age since I’ve seen the latter film (which is one of the best to feature stop-motion monster by Ray Harryhausen), but 20,000 LEAGUES has shown up on the big screen here in Hollywood several times in recent years, usually when Walt Disney Pictures is ginning up a little promotional buzz for yet another release on a new home video format (first VHS, then laserdisc, most recently DVD). The nice thing about this is that Disney owns one of the best movie palaces on Hollywood Blvd, El Capitan, which dates back to the Golden Era of film-going; it’s hard to think of a more magical place to enjoy a classic film. I don’t think the Egyptian Theatre can quite match the experience, but that shouldn’t’t stop Los Angeles-area genre fans from taking advantage of this rare opportunity. Continue reading “Captain Nemo Double Bill”