Universal Classic Monsters: Complete 30-Film Collection First Time Ever on Blu-ray!

FOR THE FIRST TIME EVER, A LANDMARK COLLECTION SHOWCASING THE LEGENDARY MONSTERS IN MOTION PICTURE HISTORY

UNIVERSAL CLASSIC MONSTERS: COMPLETE 30-FILM COLLECTION AVAILABLE ON BLU-RAY ON AUGUST 28, 2018 FROM UNIVERSAL PICTURES HOME ENTERTAINMENT

Universal City, California, August 22, 2018 – Thirty of the most iconic cinematic masterpieces starring the most famous monsters of horror movie history come together on Blu-ray™ for the first time ever in the Universal Classic Monsters: Complete 30-Film Collection on August 28, 2018, from Universal Pictures Home Entertainment. Featuring unforgettable make-up, ground-breaking special effects and outstanding performances, the Universal Classic Monsters: Complete 30-Film Collection includes all Universal Pictures’ legendary monsters from the studio that pioneered the horror genre with imaginative and technically groundbreaking tales of terror in unforgettable films from the 1930s to late-1950s.

From the era of silent movies through present day, Universal Pictures has been regarded as the home of the monsters. The Universal Classic Monsters: Complete 30-Film Collection showcases all the original films featuring the most iconic monsters in motion picture history including Dracula, Frankenstein, The Mummy, The Invisible Man, The Bride of Frankenstein, The Wolf Man, Phantom of the Opera and Creature from the Black Lagoon. Starring some of the most legendary actors including Bela Lugosi, Boris Karloff, Lon Chaney Jr., Claude Rains and Elsa Lanchester in the roles that they made famous, these films set the standard for a new horror genre and showcase why these landmark movies that defined the horror genre are regarded as some of the most unforgettable ever to be filmed.

Universal Classic Monsters: Complete 30-Film Collection includes a 48-page collectible book filled with behind-the-scenes stories and rare production photographs and is accompanied by an array of bonus features including behind-the-scenes documentaries, the 1931 Spanish version of Dracula, Featurettes on Bela Lugosi, Boris Karloff, Lon Chaney Jr., and Jack Pierce, 13 expert feature commentaries, archival footage, production photographs, theatrical trailers and more. The perfect gift for any scary movie fan, the collection offers an opportunity to experience some of the most memorable horror films of our time.

The Universal Classic Monsters: Complete 30-Film Collection includes Dracula(1931), Frankenstein (1931), The Mummy (1932), The Invisible Man (1933), The Bride of Frankenstein (1935), Werewolf of London (1935), Dracula’s Daughter (1936), Son of Frankenstein (1939), The Invisible Man Returns (1940), The Invisible Woman (1940), The Mummy’s Hand (1940), The Wolf Man (1941), The Ghost of Frankenstein (1942), The Mummy’s Ghost (1942), The Mummy’s Tomb (1942),Invisible Agent (1942), Phantom of the Opera (1943), Frankenstein Meets the Wolf Man (1943), Son of Dracula (1943), House of Frankenstein (1944), The Mummy’s Curse (1944), The Invisible Man’s Revenge (1944), House of Dracula (1945), She-Wolf of London (1946), Abbott and Costello Meet Frankenstein (1948)Abbott and Costello Meet the Invisible Man (1951), Creature from the Black Lagoon (1954, and includes a 3D version), Abbott and Costello Meet the Mummy (1955), Revenge of the Creature (1955 and includes a 3D version) and The Creature Walks Among Us (1956).

 

BONUS FEATURES:

  • Behind-the-Scenes Documentaries
  • 3D Versions of Creature from the Black Lagoon and Revenge of the Creature
  • 1931 Spanish Version of Dracula
  • Featurettes on Bela Lugosi, Boris Karloff, Lon Chaney Jr., and Jack Pierce
  • 13 Expert Feature Commentaries
  • Archival Footage
  • Production Photographs
  • Theatrical Trailers

 

Legendary Misfits guitarist Doyle Wolfgang Von Frankenstein announces US Tour

LEGENDARY MISFITS GUITARIST DOYLE WOLFGANG VON FRANKENSTEIN ANNOUNCES US TOUR WITH ELEMENT A440

Currently wrapping up the European leg of the ABOMINATE THE WORLD Tour, DOYLE, the eponymous band of Legendary MISFITS guitarist DOYLE WOLFGANG VON FRANKENSTEIN has announced their first US dates of 2017, the first supporting their upcoming LP DOYLE II: AS WE DIE, in stores May 5th from EMP LABEL GROUP, and Doyle’s own MONSTERMAN RECORDS.

Doyle recently released a clip of “Run For Your Life”, the first track from AS WE DIE at the following location: https://soundcloud.com/emplabelgroup/doyle-run-for-your-life-clip

AS WE DIE will be available Worldwide on CD and LP May 5, and is currently available for pre-order from empmerch.com, including several international versions with alternate artwork configurations, including art by legendary horror/comic/album cover artist Mister Sam Shearon, known for his iconic works with Rob Zombie, Iron Maiden, Clive Barker, KISS, Ministry, Rammstein, X-Files, and more.

ABOMINATE THE WORLD TOUR 2017
EAST COAST INVASION

3/23/2017 The Reel Café Wilmington, NC
3/24/2017 Drunk Horse Pub Fayetteville, NC
3/26/2017 Fish Head Cantina Halethorpe, MD
3/29/2017 The V Club Huntington, WV
3/30/2017 The Warehouse Clarksville, TN
4/1/2017 Top Fuel Saloon Braidwood, IL
4/2/2017 Emerson Theater Indianapolis, IN
4/4/2017 Big Shots Valparaiso, IN
4/5/2017 Lookout Lounge Omaha, NE
4/7/2017 The Back Bar Janesville, WI
4/8/2017 The Rave Milwaukee, WI
4/9/2017 Outland Ballroom Springfield, MO
4/10/2017 Firebird St. Louis, MO
4/11/2017 Trixie’s Louisville, KY
4/12/2017 The Token Lounge Detroit, MI
4/13/2017 The Agora Cleveland, OH
4/14/2017 Diesel Pittsburgh, PA
4/15/2017 Gramercy NYC, NY
4/18/2017 Canal Club Richmond, VA
4/19/2017 Brighton Bar Long Branch, NJ
4/20/2017 The Reverb Reading, PA
4/21/2017 Montage Rochester, NY
4/22/2017 Loft Poughkeepsie, NY

ABOMINATE THE WORLD TOUR – EUROPE 2017

2/21 BADED, SWITZERLAND – WERKK
2/23 MADRID, SPAIN – SALA LEMON
2/24 BARCELONA, SPAIN – ESTRAPERLO
2/25 ROMANS/ISERE FRANCE – LA CORDONNERIE
2/26 ST JEAN DE VEDAS FRANCE – SECRET PLACE
2/27 PARIS FRANCE – GLAZERT

In addition to AS WE DIE, EMP/MONSTERMAN will release several limited edition vinyl configurations, as well as a CD reissue, of DOYLE’s Critically-acclaimed ABOMINATOR, and releases from DEAD GIRLS CORP., element a440, and more.

DOYLE, the current project of Von Frankenstein, with CANCERSLUG vocalist Alex “Wolfman” Story, and a current touring lineup rounded out by bassist Brandon Strate and drummer Brandon Pertzborn, continues the lineage of Doyle’s former projects, pairing crushing metal riffs with ferocious Punk Rock swagger.

Wina DVD of “Legendary” with Scott Adkins and Dolph Lundgren [ENDED]

To celebrate the DVD release of “Legendary” with Scott Adkins and Dolph Lundgren, Media Mikes is excited to giveaway one (1) copy of the Blu-ray to our readers. If you would like to enter for your chance to win one of this prize, please leave us a comment below or send us an email with your favorite Dolph Lundgren movie. This giveaway will remain open until August 8th at Noon, Eastern Time. This is open to our readers in US and Canada only. One entry per person, per household. All other entries will be considered invalid. Media Mikes will randomly select winners. Winners will be alerted via email.

Prepare for an epic battle between man and beast when action stars Scott Adkins and Dolph Lundgren collide in “Legendary”. Directed by Eric Styles (Miss Conception, True True Lie), the action-thriller follows the battle between two rivals who capture a mythical creature that shouldn’t exist.

Travis Preston assembles his team for an expedition to a remote region in China’s hinterland, where a wild animal that the locals believe to be a primeval monster they call the “Shocate” is said to roam free. Travis’ nemesis, Jim Harker, a merciless trophy hunter, has already set up camp. A race against time ensues and Travis and his team have to pool all their resources if they want to capture this legendary creature alive…

Scott Ian, Legendary Anthrax Guitarist, Officially Announces “Speaking Words” Tour

SCOTT IAN: Legendary ANTHRAX Guitarist, Author, and TV Personality Officially Announces “Speaking Words” Tour, North American Leg

New 60-Second Video Teaser Launched via VICE Noisey

 SCOTT IAN’s Hilarious One-Man Storytelling Experience Kicks Off in Chicago, IL on February 20, 2014

“Geek, author, guitarist, icon: when it comes to recounting the history of metal, SCOTT IAN is the man – catch him while you can.” – Alex Milas, Editor, Metal Hammer

At this point, it’s no surprise to anyone that legendary heavy metal musician, author, and television personality SCOTT IAN has a lot to say. After decades-worth of international touring with Anthrax, bumping elbows with illustrious (and sometimes ridiculous) characters all over the media spectrum, and undergoing general “you won’t believe this” experiences— SCOTT IAN certainly has some hilarious and surprisingly personal stories to share.

Following the resounding success of the UK leg of his “Speaking Words” tour, Scott is picking up the mic again for a 15-city North American leg, kicking off in Chicago, IL on February 20th.

An official “Speaking Words” tour teaser, featuring professional footage from his upcoming “Speaking Words: Live in Glasgow” DVD (pre-order coming soon), has been exclusively released via VICE Noisey today. Watch it here.

Don’t mistake this for your run-of-the-mill spoken word tour. In SCOTT IAN’s own words, “it ain’t no poetry reading” either. “Speaking Words” is an honest look at the insane life that Scott has led for the last 31 years, the people he’s met, and the events that coincide. During each show, Scott will take part in a special Q&A session with the audience.

SCOTT IAN adds, “England, Wales, Scotland, Ireland, Australia, Germany; I’ve been “Speaking Words” all over the world. My friends in the U.S. and Canada, you asked for it and now I finally get to bring it home! I’m looking forward to talking with ya, talking at ya and telling you some amazing tales of drunken debauchery and ridiculousness. No punches pulled, no swear word left unturned, and no question avoided in the Q&A. Let’s do this!”

A special opportunity to join a VIP meet & greet at each date is available now via SCOTT IAN’s webstore. This unique and limited event will allow you to spend time with Scott like never before. It’s a veritable post show hangout with a metal legend— one that’s sure to enrich your knowledge of not only all-things SCOTT IAN, but Anthrax and metal history in general. The VIP meet & greet also includes a special VIP laminate, banner, and other goodies. Learn more and get your passes here: http://bit.ly/1jXEPen

Currently Confirmed SCOTT IAN “Speaking Words” Dates:

2/20 – Chicago, IL @ Mayne Stage

2/21 – Westland, MI @ The Token Lounge

2/22 – Pittsburgh, PA @ Rex Theatre

2/24 – Cleveland, OH @ Agora Theater

2/25 – Toronto, ON @ El Mocambo Club

2/26 – Kingston, ON @ The Mansion

2/27 – Ottowa, ON @ Ritual

3/01 – Baltimore, MD @ The Ramshead Live: Power Plant Live

3/02 – Philadelphia, PA @ World Cafe Live

3/04 – Boston, MA @ Hard Rock Cafe

3/05 – New York, NY @ BB Kings

3/06 – Syracuse, NY @ Lost Horizon

3/07 – West Warwick, RI @ Manchester 65

3/08 – Portland, ME @ Port City Music Hall

With a career spanning three decades, Scott is heralded as metal elite. As the co-founding member of AnthraxSCOTT IAN helped to create the thrash metal genre in the 1980’s. Anthrax have sold over 10 million records worldwide, have multiple Gold and Platinum awarded recordings, multiple Grammy nominations and have toured the world over on roughly 90+ tours since 1984. SCOTT IAN is recognized as a constant and unanimously recognizable figure in the worlds of music, poker, comics, movies and television. Currently, SCOTT IAN hosts Blood & Guts for the Nerdist Channel, and along with Anthrax, is writing songs for their presently untitled 11th studio album, due out in 2014.

For more information on SCOTT IAN, please visit these websites:

Official SCOTT IANwww.Scott-Ian.com

Official Anthraxwww.anthrax.com

Facebook: www.facebook.com/scottian

Twitter: @Scott_Ian

Book Review “Man of Steel: Inside the Legendary World of Superman”

Author: Daniel Wallace
Hardcover: 184 pages
Publisher: Insight Editions
Release Date: June 18, 2013

Our Score: 3.5 out of 5 stars

When I saw “Man of Steel”, I spent the 2.5 hours in awe of what a visual film it was. I love Zack Snyder’s style and I think it was very clear and sharp in this film.  Insight Editions has always been consistent with releasing great Art of and Visual Companion books. This book is a bit of both and continues the excellent trend.  It is pretty awesome and definitely will leave any fan satisfied.  It doesn’t deliver any new or hidden secrets of the film but it does represent the visual aspect quite well. If you are a fan of Superman, this would be highly recommended but be warned be sure to see the film first cause it is chock filled of visual spoilers.

Official Premise: In Man of Steel, director Zack Snyder (300, Watchmen) and producer Christopher Nolan (The Dark Knight Trilogy) have delivered a stunning new vision of Superman that is both fresh and familiar. Man of Steel: Inside the Legendary World of Superman explores the remarkable creative process behind the movie and showcases the exceptional concept art that shaped its unique visual style. From the stark alien vistas of Krypton to the down-to-earth warmth of Smallville, this book uncovers the intensive world-building process that makes Superman’s universe both thrilling and believable. Also featuring in-depth interviews with the cast and crew, and candid on-set photography, Man of Steel: Inside the Legendary World of Superman is the ultimate insider’s look at one of the most electrifying movies in recent memory.

“Man of Steel: Inside the Legendary World of Superman” starts off looking into the “Modern-Day Mythmaking” of the film including a look at the new suit. There is a big section on the film’s casting, which was critical (and successful) aspect of this reboot. Then from there we get to take a trip to Krypton and see the marvels that Snyder gave us that has never been shown before on that planet. Lastly we get to go to Earth and visit Metropolis and Smallville. The only aspect missing that I would have liked to see is chapter on the “Tornado” scene. The author, Daniel Wallace, is a comic book expert and self-labeled geek (like us all). He is no stranger to comics with having authored “DC Comics Year by Year” and “The Marvel Encyclopedia”.  We also get a great foreword by Christopher Nolan (“The Dark Knight”) and an awesome intro by director Zack Snyder.  There was a lot of love given to this project to satisfy fans and it is shown in this book.

 

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Legendary Mockbuster Studio The Asylum Greenlights Third Installment in the “Mega Shark” Franchise

Mega vs. Metal

Monster vs. Machine

Mega Shark vs. Mecha Shark

Legendary Mockbuster Studio The Asylum Greenlights Third Installment

in the Mega Shark Franchise

LOS ANGELES, CA (March 23, 2012) – After fan-favorite Mega Shark battled a giant octopus and a ferocious “crocosaurus”, fans of the franchise have demanded more action from the enormous Mega Shark who can leap thousands of feet in the air and destroy half the Golden Gate Bridge. The Asylum, the motion picture production and distribution company behind films such as Syfy’s “Zombie Apocalypse” and “Battle of Los Angeles,” has met those demands by giving Mega Shark her most dangerous enemy yet, her mechanical  doppelgänger – Mecha Shark!

The Asylum has officially greenlit production on MEGA SHARK VS. MECHA SHARK, a much anticipated third installment in the “Mega Shark” franchise, following Mega Shark vs. Giant Octopus in 2009 and Mega Shark vs. Crocosaurus in 2010.  When Mega Shark returns in this all-new feature film, the government releases the top-secret Mecha Shark to defeat the franchise’s popular monster in a fierce battle that threatens the planet.

The fan response to the Mega Shark franchise has been rabid,” said The Asylum partner Paul Bales.  “In addition to a very persuasive online petition, we found that Mega Shark has taken on a life of her own. We’ve received photos of Mega Shark cakes, toys and games on a near-daily basis, and we thought it was high time she did battle with an iconic Mecha monster.”

Mega Shark’s success was evidenced early on when the studio released the “Mega Shark vs. Giant Octopus” trailer, garnering 2.5 million online views within the first week. “Mega Shark vs. Giant Octopus” and “Mega Shark vs. Crocosaurus” both have had successful runs on the Syfy Network in the U.S. and have seen great success in the international market.

But one question remains – who will be Mega Shark’s next victim? The Asylum will begin casting later this year.

Interview with the Legendary Arthur Rankin, Jr.

Arthur Rankin, Jr. is part of the duo team Rankin/Bass. He is a legend and does not need any introduction. Rankin/Bass created the timeless holiday specials “Rudolph, the Red-Nosed Reindeer”, “Frosty the Snowman”, “The Year Without Santa Claus” and “Santa Claus is Coming to Town”, just to name a few. Media Mikes had a once in a lifetime chance to chat with Arthur about his work and how it has and will continue to entertain generation after generation.

Mike Gencarelli: Let’s start with “Rudolph, the Red-Nosed Reindeer.” Why do you think this special has become timeless after almost 50 years?
Arthur Rankin, Jr.: I really don’t have an answer to that. I think because it was the first special of its kind…I think that, in looking for something to watch for Christmas, parents put their children in front of the television. And the word went out that this was a nice show, etc., etc, etc. and so next year it had a bigger audience. And as the audience grew, so did the children that watched it. They grew up to become mothers. And they grew up to become grandmothers! And they also put their children and grandchildren in front of the television set. That’s been going on for all of these years. It’s a pattern. That’s why Disney keeps re-releasing it’s old pictures. Because there’s an audience. The theatre may have a child whose having his first experience with the film while his grandmother is having her fourth or fifth experience with it. And that’s what our audience consists of. It’s a memory of life. To many people, “Rudolph” means Christmas.

MG: Why did you choose to work with stop motion animation, which you refer to as “animagic,” as opposed to conventional animation?
AR: A trade delegation had come to America from Japan. There was one gentleman who represented the steel industry…another who was in textiles. And a third who represented their motion picture industry. The motion picture representative had a studio he wanted to promote. He asked a friend of his in Washington D.C. if he could be introduced to one of America’s foremost animators. And by mistake he was led to me (laughs). We got along very well. He had been born in the U.S. and after he graduated college he went back to Japan. We became close friends. He invited me to come over, look at his studios, and tell him what I thought. I did. I went over, toured the studios and saw an example of stop motion, which hadn’t been done in a long time and not in any great depth. I was very taken by it…I thought it was a new approach. Of course I got to re-design it but I used the technique. We started out making some short films and they turned out very well. I made a series that I syndicated about Pinocchio. And then Rudolph the Red-Nosed Reindeer lit up his nose. I lived in Greenwich Village at the time and my neighbor down the block (Johnny Marks) had actually written the song. I called him up and told him that there was a character there that would make a nice Christmas show. He was reluctant to do it at the time – do you know what ASCAP is? (NOTE: ASCAP is the American Society of Composers, Authors and Publishers. It is through this group that songwriters earn their royalties). “Rudolph” was a very successful song at Christmas time and he was afraid to jeopardize that income by doing anything with the song. I finally convinced him that the show would promote the song more. I took my idea to General Electric and they sponsored it. They put it on NBC for the first time in a spot they had used for “The College Bowl” – Sunday afternoon at 4:00. (NOTE: “The General Electric College Bowl” could best be described as the collegiate version of “Jeopardy.” It ran on NBC from 1959-1970). Now normally no one is watching television on Sunday afternoon at 4:00 but they were that day…”Rudolph” earned the highest rating of the week. And the rest is, “let’s have some more of those!”

MG: Your next Christmas project was “Frosty the Snowman,” which took a more traditional animation route. Why not stop motion?
AR: Because the subject lent itself better to the medium. Besides, by then I had several other films in production at my studio in Japan. I had no more room! We were into doing a feature in stop motion.

MG: You created so many great specials over the years. One of my favorites is “The Year without a Santa Claus.” Can you share any fun stories from that production?
AR: There’s a man who wrote a book about the motion picture industry. He said, “Remember one thing…nobody knows anything!” (NOTE: The book Mr. Rankin is referring to is “Adventures in the Screen Trade,” written by Academy Award winning screenwriter William Goldman. It is a must read for anyone curious about the inner workings of Hollywood). And it’s true. You never know when you’re going to have a hit. There was a time when you could put Barbra Streisand up against a curtain and have her sing and you’d have to lock the doors because she had so many fans. And then time goes on. It is true. In this business you take your best shot. That’s what I did. I rounded up all of the Christmas songs I thought could be made into a Christmas show…we acquired the rights to almost all of the ones that I wanted.

MG: In today’s world of television ratings are everything. Were these specials successful? Did any disappoint?
AR: All of them were successful in their original run. That’s why they’re still on the air today. Warner Brothers distributes them for me. All during the Christmas season they run my shows. And they pay for that (laughs). A penny here…a penny there.

MG: What has happened to the puppets, sets and props used in these productions?
AR: Well what happened is that after awhile those things wear out. They have wire armature inside…they have faces made out of plastic that has been carved. The clothes were made by little ladies but, just like people that work too hard, they fall apart. Of course we always had a couple of standbys waiting. I have here in my home Rudolph pulling Frosty on a sleigh.

MG: Besides time constraints, what was one of the most difficult aspects of creating these specials?
AR: When we did “Year Without a Santa Claus” we had to invent new characters. We had these two brothers, Heat Miser and Cold Miser. They just jumped off the screen and became cult figures. And we just came up with them one afternoon while designing the picture…”let’s do this…Mother Nature has two sons and they don’t get along…one’s in charge of heat…OK, put that in.” (laughs)

MG: How did creating your feature film, “Mad Monster Party,” compare versus working on the television specials?
AR: First off, it was the first time it had ever been done in a long time. Not since Abbot and Costello met Frankenstein. And I thought I would be able to take so many more liberties with the stop motion process.
I concocted the idea and then got a couple of boys from “Mad” magazine (Harvey Kurtzman, who created the magazine, and Len Korobkin) to write it with me.

MG: “Mad Monster Party” was showcased in Rick Goldschmidt’s recent book “The Enchanted World of Rankin/Bass.” How did you come to work with him?
AR: He called me one day. He had gotten an introduction from some one. And he was very knowledgeable. I usually don’t encourage people to do these things. First off, I can’t figure out why the hell they’re so interested. (laughs) But Rick had an awful lot of details. He sent me an outline of what the book would be like. He lives outside Chicago and I flew up to meet him. One of the rooms in his house is like a shrine. He had everything…things I had thrown out years ago. Old storyboards….he still gives me things he’s found that I had forgotten ever existed. He was very enthusiastic and wanted to do the book. So I told him “o.k.” but told him not to do the story of Arthur and Jules (Bass). You do stories on the pictures (the various specials/films). You have photos to go along with them and you’ve got a portfolio. He did that and it worked. It’s a great record of our work over the years.

MG: Have you ever considered writing your own memoirs?
AR: I’ve considered it because it’s been suggested before. But if I did it I’d want it to be straight…a lot of my old friends are still alive and what I might say about them wouldn’t be…(laughs)

MG: I read that you attempted to re-create “Mad Monster Party” using computer generated effects. What ever happened to that?
AR: We did. We made a test and it looked good. I went around Hollywood to the studios to see if they wanted to do it. Two of the studios said yes. But I was given to secondary people to deal with and I had to leave. It was no good. A studio will take your work away from you and do it themselves. They’ll rewrite. When I acquired the rights to “The King and I,” that was a very difficult property to acquire. I had to convince the families of (Richard) Rogers and (Oscar) Hammerstein that I knew what I was talking about. And I did. I wrote a script and they liked it. I was going to make that picture with my own investment with a co-partner in Japan. We were all set to do it. Then Warner Brothers calls up. They say “you don’t have to pay for it…we’ll pay you to do it for us.” “For us” meant here comes fourteen people that think they can do it better then I do. I’m not very proud of that picture. They changed a lot of the script and I was embarrassed for the Rogers and Hammerstein estate. (NOTE: The 1999 film, which was co-produced by Mr. Rankin’s production company, was both a financial and critical failure. The estates of Rogers and Hammerstein have since refused to allow any of their shows to become animated features).

MG: This coming year there are no less than three stop motion films being released, including Tim Burton’s “Frankenweenie.” Do you think this process will continue to inspire?
AR: You’d think there were a lot of people that could do stop motion but they just don’t exist. This is the tech age. Computer animation…those with a technical background find it much faster. Stop motion animation is a devilish job. I’ll tell you how we worked. We would have a figure…or a group of figures…on a stage in miniature. Each figure had a human person assigned to it. And the way you get it to work…the camera clicks off one frame…the human person goes up and changes the figure ever so slightly…microscopically. The camera clicks off another frame. The human person goes over and changes it again. If a character is lifting a glass to his lips, you may have as many as 250 “motions.” The human person didn’t have anything on a computer. He knew in his mind what he had to do. Just like as if he was an actor. And we’d have to finish the scene in one day. There was no taking a break or going home for dinner and coming back the next day. We would try to start a scene as early in the morning as possible because we knew we could be working late into the evening…all night if necessary if the scene wasn’t finished.

MG: Have you ever considered returning to the business to produce or direct again?
AR: Not this Christmas, but next, I’m going to do a play in Bermuda. Everyone asks me why I’m doing it in Bermuda. We have a wonderful theater here…the Town Hall Theater. It seats around 700 people. Much bigger then many of the off-Broadway theaters with great acoustics. And if I say I want to do a Christmas play they’ll throw open the doors for me. It’s wonderful to have such cooperation. And anybody who works on the play, both on and back stage, works for nothing. All box office proceeds go to whatever charity I choose. Everybody jumps in. It’s what keeps me kicking my heels!

MG: This interview wouldn’t be complete without asking if you have a favorite project and, if so, why?
AR: I don’t have a favorite. They’re all my children. I don’t want to sound self-serving but they have remained in the public’s hearts for decades. It’s like a great painting by van Gogh or Reubens. There work is still in the public eye…the public has recognized their work for centuries. Maybe the measure of success is longevity. Things that last must be better then things that don’t!