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[THIS IS PART TWO OF FIVE OF CYBERSPACE VANGUARD 1:5.  IF YOUR SITE DID
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CONTACT [e-mail].  CV IS REGISTERED WITH THE UNITED
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--!4!--  PETER CUSHING And The Mystery Of The Missing Films:  Trying
                                 To Write A Book About The Master Of Horror
---------------------------------------------------------------------------
                       by TJ Goldstein

     One of the nice things about this job is talking to people who take
those things many of us only dream about, and do them.  Take Deborah Del
Vecchio, for instance.  For years, she headed the Peter Cushing fan club
here in America.  Lots of people do stuff like that, right?  Many of them
think of writing a book about their heroes, but most of them never do.
"I've always aspired to be a professional writer," Debbie told me in a
phone interview earlier this year.  "Tom [Johnson] and I had thought about
doing this book on Peter, but we had other things.  We both had full time
jobs, he got married, I got married, and we just never got around to it.
Finally it got to the point where we said, well, nobody else is doing this,
and we know so much about him, we said, well, why don't we give it a try.
So we contacted MacFarlane, and they were interested, and that's how it
came to be.  It's as simple as that, really.  We were very lucky.  They
were the first publisher we had written to."
     Tom laughs at the simplicity of her explanation. "It sounds a lot
easier than it was."  In fact, they sent a traditional proposal, complete
with sample chapters, to MacFarlane.  The end result was PETER CUSHING:
THE GENTLE MAN OF HORROR AND HIS 91 FILMS.  Almost immediately afterward,
Debbie sold her first article to a professional publication -- a piece on
Peter Cushing for STARLOG.
     It certainly wasn't her first experience with writing, however.  While
running the fan club, she also published a journal detailing Mr. Cushing's
activities and films.  In late 1972 she wrote to him about starting an
American Club in the United States.  There was already an organization in
Canada, but she didn't feel that she would be competing with it.  As it
was, the club was a rousing success, drawing members from all over the
world, including lots of people who either were in or went on to be in the
movie industry.  Tony Temponi, editor of FANGORIA, was a member, as was
Forry Ackerman.  In 1975, Ackerman invited Mr. Cushing to be the Guest of
Honor at a convention in New York City.  8000 people attended, and that was
just on the first day.  Fifty of the 400 worldwide members showed up -- on
two weeks notice.  They were certainly rewarded for the trip, as they had
dinner with the man who had brought them together.
     Debbie and Tom had first met him, actually, in 1973 during the looping
(sound re-recording) for BEYOND THE GRAVE.  A small group from the club
were going to England and were invited to have lunch with him, Max
Rosenberg, the director, and Roy Wood Baker.  "You're always worried.  You
think, 'I've corresponded with this individual over the years, I've seen
his films, and here I'm going to meet him in person. It's either going to
be the best ever or it's going to be a disaster.' There's no in-between."
     So how did it go?  What kind of person is he?  "I tell you, this man
felt like family.  It was like I knew him all my life.  It's his charm, his
personality, the fact that he's just such a down to earth person.  He's
very modest.  He'd rather talk to you about you than talk about himself.  A
lot of actors, if you're not talking about them, they tune out.  It wasn't
that way with Peter at all. He'd look over and he'd say, 'Finish your
dinner.  Are you sure you have enough?  Can I get you anything?'  This man
was just like a dad.  He had all his kids around the table and he was
making sure that everybody eats, and that they get what they want, and it
was just astounding.  This man was just so accommodating and so gracious.
     Barb Liltz, a member of the club and talented artist -- "She can never
be too successful as far as I'm concerned" -- did an oil painting of Mr.
Cushing in TALES FROM THE CRYPT, and they presented it to him that day.  "I
remember that he sat there and he was astounded.  He was without words,
because he's an artist himself.  He was praising her work and he was just
so touched by this."
     Tom cuts in.  "You got the impression that he would have been very
impressed had it been a stick figure drawn with crayons."
       Debbie disagrees.  "He was impressed with her artwork from the
covers she did for the journals, and this was even better.  And he was
touched that we thought enough to give it to him."  She's got proof to back
it up.  "When he did his next film, he brought the painting on the set and
had the stills photographer take pictures of himself, and Freddy Francis,
and the portrait, and he sent a copy to us.  I think that it was nice that
even that far down the line he was still touched by it."
     And so, deciding that nobody else was going to write the book that
they wanted to read, they decided to write it themselves.  There was just
one problem with writing a book with every one of Peter Cushing's films:
"Some of the ones that he made in the United States in the early 1940's,"
Tom explains, "have literally vanished.  There were a also few from the
early '60's, like CONE OF SILENCE, that were low budget but were not horror
movies.  A low budget horror movie develops a life of it's own.  It's
always available somewhere.  But some of the straight dramatic films he
made ..."
     "For example," Debbie explains, "BLACKJACK was nowhere to be found.
That's a film that he did in Spain. He did it around the same time he did
MYSTERY ON MONSTER ISLAND.  MMI was released.  It was a fantasy/mystery
kind of film.  But BLACKJACK completely disappeared.  We've only recently
learned that it was released on video in Germany.  But prior to that we had
searched high and low, contacting the Spanish Embassy, archival museums
over there, nothing.  And here it was available on video in Germany.
BATTLEFLAG was another one. That was never released but it was shown on
German television.  HITLER'S SON disappeared completely.  TOUCH OF THE SUN,
which he made in Zambia, Africa -- nobody's ever seen it.  It's vanished.
It's gone.  The others were released.  SWORD OF THE VALIANT, TOP SECRET,"
which stars a very young Val Kilmer, "and of course BIGGLES came out on
video and cable, but these films didn't have any wide release, or in some
cases no release at all.  It goes to show you what can happen. You think,
well, because it was made in the '40;s, there's just no interest in it.
But there's these films that were made in the '80's that no-one's ever
seen!"
     Tom is optimistic.  "We have scant hope that some of these from the
early forties will show up on [the cable station] American Movie Classics"
Trouble is they don't always know what to look for.  "He did a movie called
THE HOWARDS OF VIRGINIA, where he has a very small part in a scene with
Cary Grant and Richard Carlson, and Peter Cushing never even listed this on
his film list because he'd apparently forgotten about it.  There's really
no reason why he would have remembered it.  I guess he began compiling a
list of his movies in the early 1960's, and this had just slipped his mind,
yet he's in it, plain as day.  Debbie and I were just saying today that we
live in horror that someone's going to find another one like that that he
did, where he just walks across the street, and that's always possible. You
never know.  He could have made 2 or 3 other movies in the 1940's that he's
forgotten about.
     The trouble is, we're not talking about large time commitments.
"Well, something like this, it was only a one day kind of thing, where
somebody says, 'OK, we need a British actor, for this role, and he was
there and said, 'OK, I'll do it.'  He comes on screen and presents himself,
and that's it.  It's a one day shoot, and he would have written that off as
a walk on.  He was even surprised that we found it."  Plus, it gets even
more complicated.  "He didn't even recognize it as THE HOWARDS OF VIRGINIA.
He finally recognized it under it's British title, TREE OF LIBERTY.  It was
a shock to him to see it."
     So, given that some of the films were not available, where did they
get the detailed information, not only as to plot, but cast and crew?
"There's a magazine called SCREEN INTERNATIONAL that was published in
England, and we found production information and synopses from trade
screenings."
     Much of the later information, however, came from Mr. Cushing himself.
"When I ran Peter's club, he used to send me the publicity kits and photos
from the studios, so I had a lot of this stuff to begin with.  He was able
to get me production information, background on the cast and the crew, that
kind of thing, everything you would normally get in a press kit.  Peter was
very good about it.  He used to send me everything. I have quite a
collection, so I was really ahead of the game because I had all this stuff,
plus the information that Tom and I had collected really helped us.  We
still made trips in to Lincoln Center and other libraries to get as much
information as we could.
     For the film BLOODSUCKERS, there were lawsuits, internal feuds, "It
would probably have been better off it they had let it die.  It's awful.
It's available on video," but they don't recommend it.
     "The startling thing about a movie even that terrible, and it IS
terrible," Tom says, "is that I swear to G-d he's great in it.  He's only
in it for about five minutes, but it's like he was doing Shakespeare.  It's
like it was an Academy Award nominated film that would have a royal
premier.  He just doesn't play down to the audience even in a lousy movie
like that, and that's one of the reasons he has as many fans as he does.
       "Actually, I take it back.  I DO recommend that everybody see it,
just as an example of what a talented actor who actually has some standards
of what he will consider a performance can do even with a piece of garbage
like that.  In fact, I think if I wanted to explain Peter Cushing to
somebody, I'd ask them to watch that instead of one of his good movies.
Anyone can look good in a good movie.  It takes a real pro to look good in
a piece of dirt like this one."
     So what does Mr. Cushing think of modern horror films, which, more
often than not, are gorefests?  Debbie explains.  "He's very disturbed by
it.  He always felt that his films were pure fantasy.  You went into the
theater and you had a good fright and then you went home and went about
their business.  Nowadays, he says, they show everything on the screen and
there's nothing but blood and gore, and he's just horrified by it because
he says there's just nothing left to the imagination."
     Tom continues.  "You get the feeling that he doesn't want people to
associate him with that kind of film.  He made horror films, yes, but he
doesn't want people to think that he made slasher type of films.  That
would be very embarrassing for people to lump him in with that kind of
thing.  His films were adult fairy tales, but most of them had some sort of
literature base."
     And what about the film that younger readers might remember him for?
Debbie remembers,  "I'm thinking back to 1976 when nobody had even heard of
George Lucas.  I got a letter from Peter telling me that he was making a
film with George Lucas called 'The Star Wars'.  And he mentioned something
else about it and I'm thinking 'oh my G-d what is this?'"
     "Bad career move," Tom adds.
     "Yes, I'm thinking WHAT is he doing?  Nobody knew anything at that
point.  It was all secret, all hush hush, closed sets and all that, so not
much news was getting out.  I remember going to the theater thinking 'well,
Peter Cushing is in it, I'm going to see it.'  I went on opening day and by
the first 10 minutes, I was cheering.  It was monumental.  At the time, it
was a phenomenon.  2001: A SPACE ODYSSEY was an experience in itself but
this was just miles, generations beyond that. I just did not believe what I
was seeing on the screen and I was SO GLAD that Peter Cushing was in it!  I
did a complete turn around.
     While he was thrilled to be seen by a whole new generation of fans,
"he was very upset that they blew him up at the end because then he
couldn't be in the sequels.  Originally he was offered the part of Obi Wan
Kenobi, which eventually went to Sir Alec Guinness.  Then, when George
Lucas met the two of them, he decided to reverse their roles. I always
worried about that because I wondered what it was that George Lucas saw in
Peter Cushing that I didn't see that meant he should play a villain.  The
man is so far removed from a villain that it's laughable, but he accepted
the role because he figured, well, this is the director, and I should do
what he says.  That's the way he is.  You don't argue with the director. So
he took it, but he was very upset because he never got a chance to be in
any of the other movies, which he would have been if he had been Kenobi.
He's always hopeful that they'll do that prequel, but the man is 79 years
old. He'd certainly do it, but there's only so much you can do with makeup
nowadays.  Peter, it's going to be rough."
     In the meantime ...  "Hyberion films, which had done GHOUL and LEGEND
OF THE WEREWOLF, they went out of business as far as motion pictures were
concerned, but they have been involved in some television work.  They're
trying to get this project made.  It will be shown in England, and
hopefully will be picked up here, called the HERITAGE OF HORROR.  Peter
says it's his gift to all his fans, and he's looking forward to doing it.
Basically Peter is an actor who used to do things like King Lear, and of
course nobody wants that anymore, and he tries to convince them otherwise.
It's all top secret, so he won't tell me anything about it.  I keep trying
to get information out of him, but no luck.  I don't know whether it's a
matter of luck, or what, but I guess he wants me to be surprised."
     In the end, no matter how the book sells, it was certainly a success
in one respect.  Tom's friend Mark Miller is doing a book on Cushing
Christopher Lee films, and  he met with Peter Cushing in England in
November.  "He goes to a little restaurant almost every day and that's
where Mark met him, and he was taking the book in with him to show the
regulars. He was saying how proud he was and how pleased he was with the
book.  That was the only review we were interested in, and that's the one
we got."
     Once that book was finished, they contracted with MacFarlane to do a
similar book about the company that made many of the films for which Peter
Cushing is best known:  Hammer.  "Watching early Hammer films is hard
because they mad a lot of NON horror, and the monsters just aren't showing
up.  You've got to look at it in a different way."  Examples of non-horror
Hammer films are the Lyons family films such as LIFE WITH THE LYONS and THE
LYONS IN PARIS.  In England they were apparently the "ideal" family, the
way Americans refer to Ozzie and Harriet.
     The book will be out somewhere around July 1995, but they are looking
for a catch subtitle to follow "HAMMER FILMS INC:".  "And then, of course,
it will be up to MacFarlane.  We didn't originally choose the subtitle to
the Cushing book.  They chose that. There was some gnashing of teeth about
it, because to me it sounded a little silly -- 'Gentleman of Horror and his
91 films.'  They'll find that out when they open the book, that he made 91
films."
     I suggested that perhaps the company thought people might think he was
a deranged killer who murdered stuffed animals or something.
     Tom says that he hadn't considered that people might not know what the
book is about.  "Unless they're like five year olds, is there anyone out
there who doesn't know who Peter Cushing is?"
     Actually, among younger fans, I've met many.
       "Well, I have a suggestion."  Tom says.  "There's this great book
that will explain it to them.  All 91 films are included ... "

[PETER CUSHING:  THE GENTLE MAN OF HORROR AND HIS 91 FILMS is avaliable
from MacFarlane Publishing, PO Box 611, Jefferson, NC, 28640, USA.]

HOW YOU CAN HELP:  The following Hammer Films are "missing."  They cannot
be located, either in film or video form.  Since our readers are the sort
to have collections that are not only off-beat but extensive, we thought
we'd run the missing titles by you.  If you have, or know where the authors
can find, any copy of any of these films, please contact Deborah Del
Vecchio, 115 Prospect Ave., Westwood, NJ, 07675 USA; [phone].  Let
her know you saw the list in CV.  US titles for the British films are
listed in parentheses.

1935:  The Public Life of Henry the Ninth
1937:  Sporting Love
1948:  River Patrol, Who Killed Van Loon?
1949:  Dr. Morelle -- The Case of the Missing Heiress, Celia, The
       Adventures of P.C. 49 1950:  The Man in Black, Meet Simon Cherry
1950:  What the Butler Saw, Dick Barton at Bay, The Lady Craved Excitement,
       The Rossiter Case, To Have and To Hold
1951:  The Dark Light, The Black Widow, A Case For P.C. 49
1952:  Death of an Angel, Whispering Smith Hits London (Whispering Smith
       vs. Scotland Yard), Never Look Back, Wings of Danger
       (Dead on Course), Mantrap (Man in Hiding)
1953:  The Gambler and the Lady, The Saint's Return (The Saint's Girl
       Friday) 1954:  Life With the Lyons, Mask of Dust (A Race for Life)
1955:  The Lyons in Paris (The Lyons Abroad), Third Party Risk (Deadly
       Game)(TV title was Big Deadly Game), Murder by Proxy
       (Blackout), The Glass Cage (The Glass Tomb)
1958:  Up the Creek, Ten Seconds to Hell, Further up the Creek
1959:  I Only Arsked, The Ugly Duckling, Don't Panic Chaps
1960:  Never Take Sweets From a Stranger
1961:  Visa to Canton (Passport to China), Weekend With Lulu, Watch it
       Sailor!
1962:  Nightmare
1964:  The Brigand of Kandahar
1968:  The Lost Continent
1969:  Moon Zero Two, Crescendo
1971:  On the Buses
1972:  Mutiny on the Buses
1973:  That's Your Funeral, Love Thy Neighbor, Nearest and Dearest
1974:  Man at the Top, Holiday on the Buses
1975:  Man About the House
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--!5!--  Guesting for the Old Comics Curmudgeon -- Asserting Your
                                                               Independents
---------------------------------------------------------------------------
                           by Mike Hill

     I remember the day I became a comic collector.  It was the summer of
1975 and I was thirteen years old.  I went to the local candy store and
looked through the rack of comic books.
     I found a book called THE INVADERS #1.  It was a comic book from
Marvel about the World War II adventures of Captain America, Sub-mariner,
and the Human Torch.  I took it home and read it cover to cover at least
ten times.  I was hooked!  I eagerly awaited each issue as it came out (and
at that time it was a bi-monthly book -- ouch!)  As new series came into
print I would pick up the first issue.  Some books I would continue to
collect and others I would not.  After all, I only had my weekly allowance
with which to finance my hobby.
     My teens turned into my twenties.  I joined the work force and with a
regular pay check my collection grew.
     In 1984, Marvel Comics published "Secret Wars" and DC Comics
answered it with "Crisis On Infinite Earth."  "Wow!" I thought, "what a
great idea!  The comic companies would each bring all of their major
characters together in one book to fight a common foe all in a twelve issue
mini-series.
     Then in 1985 Marvel published "Secret Wars II."  I thought, "Okay, it
was fun the first time around.  Let's do it again."  But at the completion
of this mini-series the story was not resolved, and instead Marvel
continued the story throughout all of its titles.  DC did the same thing
with its comic books.
     "Wait a minute!" I thought.  "In order to keep up with one story I
must collect a bunch of titles I did not normally collect."  Then, like
Wile E. Coyote, my eyes slowly shifted upwards to see a giant boulder
falling down towards me.  The great rock hit me with a ton of grim reality.
"They don't care about entertaining me!  All they care about is getting
more of my money!"  Don't get me wrong.  I know that comic books are a
business and that the object of any business is to make money, and
hopefully lots of it.  But I feel a company should make its money due to
the fact that it produces quality products that you can pick and choose
from.  Quality = Demand = Money.  I felt that these comic book companies
were holding a gun to my head and saying, "If you want to keep up with the
story you must buy ALL of our books.  Continuity was being held for ransom
and at a high price -- a price I refused to pay.
     I quit!  it wasn't easy.  I felt like I was casting away a part of my
childhood.  I packed all of my comic books in white Defence boxes and
stored them away in my parents' attic.  My twenties became my thirties.  I
would visit the comic shops once in a while, but only to purchase other
items of interest (role playing games, posters, tee-shirts, etc. ...)
     One day last year I was in a comic shop and as I passed the comic book
section I thought my blinders were firmly in place.  But one cover caught
my eye.  It was titled SPAWN, from a company called Image.  Curiosity
forced my hand.  I reached for the book and a small voice in back of my
head said "NO!!!"  I flipped through the pages sampling the art work.
"NO!" warned the voice.  "Remember!" it said.  "Remember."  "But it's only
$1.95" I said, and I walked up to the counter.  I asked the sales clerk,
"what's this?"   She said it was a new company started by some guys who
used to work for Marvel and they had another book out called YOUNGBLOOD.  I
read these comic books and I was hooked all over again.  I started
collecting again, primarily Image, Topps, Innovation, Harris, and other
small independents.
     I feel that I am receiving quality for my money and continuity is just
standard equipment included in the cover price.  And I'll tell you, it's
good to be back!
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--!6!--  Reviews by EVELYN C. LEEPER
---------------------------------------------------------------------------

                      THE DESTINY MAKERS by George Turner
                       A book review by Evelyn C. Leeper

     This story, like many others by Turner, is set in a future, pre-
holocaust Australia.  There's been no bang, but the world seems to be going
through one long drawn-out whimper.  Politicians spend time trying to
figure out how to stretch Earth's resources over an ever-growing
population.  There are technical advances, but on the whole Turner paints
an Australia of not-quite-enough for everyone--except of course the upper
class.  Shortages and substitutes are the order of the day.  Only the
veneer of equality, of "we're all in this together" spirit keeps the lid
on.
     But in Australia the government has even more problems--or at least
the prime minister does.  Having illegally rejuvenated his father (in a
world bursting at the seams, extending lifetimes is not considered a good
idea), he then discovers that his daughter is illegally pregnant.
(Everything, it seems, is controlled.  But everything has to be to keep the
world together.) Harry Ostrow, a policeman of the lower-middle class, finds
himself called upon not only to protect these high-level politicians, but
to extricate them--and perhaps the world-- from the mess they've gotten
into.
     The background of THE DESTINY MAKERS is well thought-out and
developed, but the story itself is somewhat weak, and the resolution for
some of the plot threads contrived and rushed.  The main idea of the end
might have made a good novel in itself, but here it's wasted as almost a
throwaway.  It could be that Turner will take this idea and expand it in a
future novel (as he expanded "In the Nursery" to BRAIN CHILD.)  But as it
is, I can recommend THE DESTINY MAKERS only for its description of a seedy,
run-down future facing the abyss.
     (It is unlikely that a sequel will appear soon, since it is reported
that George Turner has been hospitalized following a stroke.)

%T   The Destiny Makers               %I   AvoNova
%A   George Turner                    %O   hardback, US$20.
%C   New York                         %G   ISBN 0-688-12187-X
%D   February 1993                    %P   321pp


                        HARVEST by Robert Charles Wilson
                       A book review by Evelyn C. Leeper

     What if aliens offered us the chance to live forever--if the only
price we had to pay was to give up being human?  That is the premise of
Robert Charles Wilson's latest book, HARVEST.
     As might be expected from the premise, HARVEST is more a study in
characters than an action story, though there is a very impressive storm
sequence.  Wilson looks at the world through the eyes of those few who
chose to remain human.  And they are a motley crew--a doctor, a
fundamentalist Christian, a car salesman, a politician, two teenagers, a
farmer's wife, an Army colonel, a retired worker.  They have little in
common--except their decision.  What makes some choose one way and some
another is one of the main questions of the book, but Wilson never
satisfactorily answers it, and indeed, towards the end HARVEST becomes very
much like an update EARTH ABIDES, as the remaining humans cope with lack of
electricity, the search for food, and so on. Wilson also makes a few flubs.
He says that on election night, "a long Republican ascendancy over the
White House had come to an end," obviously expecting Bush to win in 1992.
(Internal evidence says the story takes place in 1996.)  He also seems to
think Lima is in a time zone between Los Angeles and Anchorage, while it is
actually in the same time zone as New York.
     In spite of these minor quibbles, however, I would still recommend
HARVEST.  Wilson at least touches on the nature of humanity, and his
characters and their reactions to the situation and to each other may give
us some clues, if not to *the* answer, at least to *an* answer.

%T        Harvest                    %I        Bantam Spectra
%A        Robert Charles Wilson      %O        trade paperback, US$12.
%C        New York                   %G        ISBN 0-553-37110-X
%D        January 1993               %P        394pp

----------  Copyright 1993  Evelyn C. Leeper
---------------------------------------------------------------------------

--!7!--  SF Calendar: What's Coming Up in the Near Future
---------------------------------------------------------------------------

The BOOKLIST ..........

As you can see, the list of upcoming books is beginning to grow.  If you
have a favorite small press that you'd like us to keep track of, drop us a
note with the company's name and address and we'll see what we can do.

AUGUST:
     DEL REY:  THE SHINING ONES (2nd book of _The Tamuli_) - David Eddings,
STORM RUNNER (3rd book of _Wolfwalker_) - Tara K. Harper, THE WIZARD'S
SHADOW - Susan Dexter, TIME, LIKE AND EVER ROLLING STREAM (Sequel to THE
RAGGED WORLD) - Judith Moffett, THE BIRTH OF THE BLADE - Dennis McCarty,
STAR TREK LOG 7/LOG 8/LOG 9 - Alan Dean Foster
     TOR:  HARVEST OF STARS - Poul Anderson, LETTERS TO JENNY - Piers
Anthony, IN THE CUBE - David Alexander Smith, RING OF SWORDS - Eleanor
Arnason, ALIEN BOOTLEGGER AND OTHER STORIES - Rebecca Ore, FLYING IN PLACE
- Susan Palwick, THE TOWERS OF THE SUNSET (prequel to THE MAGIC OF
RECLUCE)- L.E. Modesitt Jr., ALIEN PLOT - Piers Anthony, BLACK UNICORN -
Tanith Lee, CONAN THE SAVAGE - Leonard Carpenter
     ORB:  THE FALLING WOMAN - Pat Murphy
------------
SEPTEMBER:
     DEL REY:  THE FAR KINGDOMS - Allan Cole and Chris Bunch, THE OATHBOUND
WIZARD (sequel to HER MAJESTY'S WIZARD) - Christopher Stasheff, MUDDLE
EARTH - John Brunner, THE LOSERS - David Eddings, DEL REY DISCOVERY:  THE
RISING OF THE MOON - Flynn Connolly
------------
OCTOBER:
     DEL REY:  THE STRICKEN FIELD (book three of _A Handful of Men_) - Dave
Duncan, UPLAND OUTLAWS (book two of _A Handful of Men_) - THE GUNS OF THE
SOUTH - Harry Turtledove, THE EARTH SAVER (sequel to CHILDREN OF THE EARTH)
- Catherine Wells, MORNINGSTAR - David Gemmell
     DAW: WHEN TRUE NIGHT FALLS - CS Friedman,
     TOR: THE SHADOW RISING - Robert Jordan, THE FIRES OF HEAVEN - Robert
Jordan
------------
NOVEMBER:
     PEGUNIN/ROC:  SHROUD OF SHADOW - Baudino Gael
     BANTAM/SPECTRA: GROWING UP WEIGHTLESS - John Ford
------------
DECEMBER:
     POCKET:  STAR TREK: THE NEXT GENERATION: DARK MIRROR - Diane Duane


Upcoming MOVIES ..........

This is not really the "Upcoming Movies" list that Bryan D. Jones
([e-mail]) puts out over Usenet every week or so.  It's actually a
pared down version that he was kind enough to let us print.  We thank him
and remind you that if you have any updates or corrections, please send
them on to him.  (Especially if you have access to the National Association
of Theater Owners listings ...)

All dates are US wide release dates.   -Bryan D. Jones ([e-mail])

Aug 13: Jason Goes to Hell: The Final Friday(was Friday the 13th Part IX),
        Johnny Zombie, Needful Things, The Secret Garden
Aug 20: The Crow
Aug   : Warlock II: The Armageddon
Summer: Body Snatchers, Deep Blues, Delta Heat, The Giving, Nemesis,
        Starfire, Carnosaur, Enchanted Forest, The Speed Racer Movie Show
Sep 10: Ghost in the Machine
Sep 17: Fortress
Sep 20: Surf Ninjas
Sep 24: Deadfall
Oct  1: Blink, Wilder Napalm
Nov  5: Flesh & Bone, The Nightmare Before Christmas
Nov 19: Addams Family Values
Nov 24: Annie and the Castle of Terror
Nov   : RoboCop 3
Fall  : The Fantastic Four
Dec 10: Sister Act II, Tombstone
Dec 17: Intersection
Dec 22: Schindler's List
Dec 25: Batman: The Animated Movie, Frankenstein, The House of the Spirits,
        Sgt. Rock
1994  : Crusade, Clear and Present Danger, Ed Wood, Interview with a
        Vampire, The Lawnmowerman 2, The Mask, Sinbad Tales, Tremors II
Spring: The Lion King (animated, was King of the Jungle),The Muppet
        Treasure Island
Summer: Aliens vs. Predator: The Hunt,Cartooned, The Flintstones, Spiderman
Decemb: Godzilla (American)
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