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00:00:15,532 --> 00:00:17,899
- They remain
on record as the most
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00:00:17,899 --> 00:00:21,133
consistently successful
British film company
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00:00:21,133 --> 00:00:22,532
in history.
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00:00:22,532 --> 00:00:24,833
From offices in Wardour
street in the heart
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00:00:24,833 --> 00:00:27,033
of London's film
business district,
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00:00:27,033 --> 00:00:29,933
and from the small
Thames side studio
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00:00:29,933 --> 00:00:33,333
near Windsor Castle, they
made films that played
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00:00:33,333 --> 00:00:36,666
in every country in
the world in every
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00:00:36,666 --> 00:00:38,733
category of entertainment.
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00:00:40,733 --> 00:00:42,933
Grand period adventures.
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00:00:45,066 --> 00:00:47,300
Grim military stories.
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00:00:48,266 --> 00:00:49,100
- What is it?
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00:00:49,100 --> 00:00:49,899
- Whiskey.
15
00:00:50,766 --> 00:00:52,200
Officers are Russians.
16
00:00:52,200 --> 00:00:53,733
- Police dramas,
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00:00:53,733 --> 00:00:55,632
suspense thrillers,
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00:00:55,632 --> 00:00:59,100
comedies, travel logs, dramas.
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00:00:59,100 --> 00:01:01,733
- But for mot of
the world, the named Hammer
20
00:01:01,733 --> 00:01:04,333
conjures images of
fantasy and terror.
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00:01:05,699 --> 00:01:08,233
Like comedies from
Britain's Ealing Studio,
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00:01:08,233 --> 00:01:11,966
cartoons from Disney, or
westerns from Republic,
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00:01:11,966 --> 00:01:14,866
the Hammer style was
unique and distinctive.
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00:01:16,666 --> 00:01:18,300
By subtle implication,
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00:01:18,300 --> 00:01:21,233
and by graphic depiction,
the company made its
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00:01:21,233 --> 00:01:24,200
international reputation
with the primal elements
27
00:01:24,200 --> 00:01:26,033
of exploitation films.
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00:01:29,133 --> 00:01:31,033
Sexuality and violence,
29
00:01:32,166 --> 00:01:33,599
flesh and blood.
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00:02:59,799 --> 00:03:01,632
- The ties of flesh and blood
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00:03:01,632 --> 00:03:03,532
were also quite literal.
32
00:03:03,532 --> 00:03:06,300
A business enterprise
with a family atmosphere
33
00:03:06,300 --> 00:03:08,367
extending from the front office,
34
00:03:08,367 --> 00:03:10,566
to the cast and crew.
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00:03:10,566 --> 00:03:13,333
To the clapper boy, and
the cooks in the canteen.
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00:03:14,699 --> 00:03:18,367
Home video has given
renewed life to these now
37
00:03:18,367 --> 00:03:19,799
classic tales.
38
00:03:19,799 --> 00:03:23,566
Original soundtracks
and paper back tie ins
39
00:03:23,566 --> 00:03:26,733
have become valued
collector's items.
40
00:03:26,733 --> 00:03:29,566
Posters given away
free to theaters,
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00:03:29,566 --> 00:03:32,833
now sell for hundreds,
sometimes thousands,
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00:03:32,833 --> 00:03:34,500
of pounds.
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00:03:34,500 --> 00:03:38,699
An album of film scores
from Silver Screen Records
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00:03:38,699 --> 00:03:40,999
sold out immediately in the UK,
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00:03:40,999 --> 00:03:42,766
the US, and Europe.
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00:03:44,133 --> 00:03:46,632
- Why then, do these films inspire such
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00:03:46,632 --> 00:03:48,766
nostalgic devotion?
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00:03:48,766 --> 00:03:51,733
And why did the company's
world influence seem to fade
49
00:03:51,733 --> 00:03:53,532
after 20 years?
50
00:03:53,532 --> 00:03:56,233
Like a vampire in the
rays of the morning sun?
51
00:04:00,433 --> 00:04:03,233
Hammer's gothic revival
was both revolutionary,
52
00:04:03,233 --> 00:04:05,300
and extremely traditional.
53
00:04:05,300 --> 00:04:08,433
The blend of eroticism
and the supernatural
54
00:04:08,433 --> 00:04:12,133
have imparted English literature
since the 18th century.
55
00:04:12,133 --> 00:04:14,666
Mary Shelley, creator
of Frankenstein,
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00:04:14,666 --> 00:04:16,500
and Bram Stoker,
author of Dracula,
57
00:04:16,500 --> 00:04:18,467
are a part of this tradition,
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00:04:18,467 --> 00:04:21,300
as for Henry James,
Arthur Conan Doyle,
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00:04:21,300 --> 00:04:22,899
and Robert Louis Stevenson.
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00:04:22,899 --> 00:04:25,266
With stage adaptations
of works like
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00:04:25,266 --> 00:04:27,400
Stevenson's Dr.
Jekyll and Mr. Hyde,
62
00:04:27,400 --> 00:04:30,333
filled audiences on both
sides of the Atlantic.
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00:04:30,333 --> 00:04:31,866
On a more lurid level,
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00:04:31,866 --> 00:04:35,300
the Penny Dreadfuls often
used supernatural themes.
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00:04:35,300 --> 00:04:38,933
Varney the Vampire
printed in 1847.
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00:04:38,933 --> 00:04:41,566
Early movies offered
similar thrills.
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00:04:41,566 --> 00:04:44,632
Nosferatu, the first
version of Dracula.
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00:04:44,632 --> 00:04:46,532
Without dialogue
to give it away,
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00:04:46,532 --> 00:04:49,599
even has leashed the minds
of audiences of the world.
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00:04:54,066 --> 00:04:55,933
- With the coming of talking pictures,
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00:04:55,933 --> 00:04:58,333
the international
market changed.
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00:04:58,333 --> 00:05:01,333
Like the Tower of
Babel, movies now spoke
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00:05:01,333 --> 00:05:03,966
in a thousand discordant voices.
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00:05:03,966 --> 00:05:07,133
- Furthermore, in the 1930s and 40s,
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00:05:07,133 --> 00:05:09,033
graphic violence was taboo.
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00:05:09,033 --> 00:05:11,233
Movie cowboys might get shot,
77
00:05:11,233 --> 00:05:12,966
but you would never
see them bleed.
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00:05:14,333 --> 00:05:16,200
- Major Hollywood studio monopolized
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00:05:16,200 --> 00:05:19,100
the world film market
with name stars.
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00:05:19,100 --> 00:05:22,566
Over seas audiences
preferred these films.
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00:05:22,566 --> 00:05:26,367
- It's originated as a very
small distribution company,
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00:05:26,367 --> 00:05:28,367
under the title Exclusive Films.
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00:05:29,733 --> 00:05:32,433
The people concerned
then were my grandfather,
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00:05:32,433 --> 00:05:35,300
Enrique Carreras, from
Spain, a Spanish man,
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00:05:35,300 --> 00:05:38,500
and a man called Will
Hammer, or Hinds,
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00:05:38,500 --> 00:05:40,300
depending on how you knew him,
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00:05:40,300 --> 00:05:42,200
as to whether it was
in his private life,
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00:05:42,200 --> 00:05:43,999
or he had a sort
of theatrical life.
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00:05:43,999 --> 00:05:46,632
- Hammer was my father,
surprising enough.
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00:05:47,733 --> 00:05:49,766
He was a successful
business man,
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00:05:49,766 --> 00:05:51,699
and a failed comedian.
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00:05:51,699 --> 00:05:54,300
He failed because he
wasn't really very funny.
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00:05:54,300 --> 00:05:56,433
- Adopting a company name from Hinds'
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00:05:56,433 --> 00:06:00,166
stage name, Will Hammer,
they made a handful of films
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00:06:00,166 --> 00:06:02,333
such as this musical
with American singer,
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00:06:02,333 --> 00:06:03,266
Paul Robeson.
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00:06:12,566 --> 00:06:15,799
Prophetically, one of
these early films featured
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00:06:15,799 --> 00:06:18,166
Bela Lugosi, star of
Hollywood's Dracula.
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00:06:23,133 --> 00:06:25,033
- I killed a man.
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00:06:25,033 --> 00:06:26,632
- You killed a rat.
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00:06:29,033 --> 00:06:33,133
- I joined, where, very
close as we sit here today,
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00:06:33,133 --> 00:06:36,566
to being 50 years when I
first reported for work
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00:06:36,566 --> 00:06:38,833
as an office boy
in Wardour Street.
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00:06:38,833 --> 00:06:40,500
During the period,
may I tell you,
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00:06:40,500 --> 00:06:43,632
when doodlebugs were dropping
on London at that time.
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00:06:45,833 --> 00:06:47,433
So it was an exciting start.
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00:06:47,433 --> 00:06:49,666
Well then I had to go off
and do national service.
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00:06:49,666 --> 00:06:53,666
By the time I came back, my
father had joined the company.
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00:06:53,666 --> 00:06:56,532
- Jimmy Carreras was the
most wonderful salesman
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00:06:56,532 --> 00:06:58,566
I had ever met.
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00:06:58,566 --> 00:07:00,566
Full of charm.
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00:07:00,566 --> 00:07:03,367
Knew exactly what he wanted
but charmed you out of it
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00:07:03,367 --> 00:07:05,566
if it was not what you wanted.
114
00:07:05,566 --> 00:07:07,166
- And he took this small company
115
00:07:07,166 --> 00:07:12,133
and increased it in its size
and put on a sales force.
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00:07:12,133 --> 00:07:16,333
And Exclusive did actually
become quite a small entity
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00:07:16,333 --> 00:07:18,666
within the British film
industry at the time
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00:07:18,666 --> 00:07:20,367
of the quota quickies.
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00:07:20,367 --> 00:07:22,666
- To protect
domestic film production,
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00:07:22,666 --> 00:07:24,933
Parliament enacted
a quota system.
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00:07:24,933 --> 00:07:28,566
Colonel James Carreras
helped fill that quota.
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00:07:28,566 --> 00:07:31,566
- But you see, Jimmy
Carreras, and Mike Carreras,
123
00:07:31,566 --> 00:07:32,433
never got on.
124
00:07:33,833 --> 00:07:37,333
There was a great
schism between them.
125
00:07:37,333 --> 00:07:39,632
- My father was a
businessman, a salesman.
126
00:07:39,632 --> 00:07:40,833
He wasn't a film maker.
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00:07:42,166 --> 00:07:44,133
I mean, there was no collision,
but there was no meeting
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00:07:44,133 --> 00:07:45,599
of the minds either.
129
00:07:45,599 --> 00:07:47,699
- I wasn't around when
Jimmy Carreras was running
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00:07:47,699 --> 00:07:49,200
the company.
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00:07:49,200 --> 00:07:51,033
There's no doubt that that was
the hey day of the company,
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00:07:51,033 --> 00:07:52,367
that he created it.
133
00:07:52,367 --> 00:07:54,532
He was the entrepreneurial
driving force.
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00:07:54,532 --> 00:07:56,566
He let the directors
direct the way they wanted.
135
00:07:56,566 --> 00:07:57,999
He let the writers
do what they wanted,
136
00:07:57,999 --> 00:07:59,367
let the actors do
what they wanted
137
00:07:59,367 --> 00:08:02,532
within a budget,
creating an osprey decor,
138
00:08:02,532 --> 00:08:07,532
a sense of, um, of well
being and common purpose over
139
00:08:08,632 --> 00:08:09,566
a tremendously
long period of time
140
00:08:09,566 --> 00:08:10,799
and an awful lot of movies.
141
00:08:10,799 --> 00:08:12,300
- Will Hinds' son, Tony,
142
00:08:12,300 --> 00:08:15,699
alternated production duties
with Michael Carreras.
143
00:08:15,699 --> 00:08:18,632
Although, his secret
wish was simply to write.
144
00:08:18,632 --> 00:08:21,033
- Now after the war,
I went to see him.
145
00:08:21,033 --> 00:08:22,599
We seemed to get on right,
146
00:08:22,599 --> 00:08:24,266
and he said why don't I join.
147
00:08:24,266 --> 00:08:26,066
And I'd just come
out of the airforce
148
00:08:26,066 --> 00:08:27,799
and I really hadn't
anything to do.
149
00:08:27,799 --> 00:08:31,599
So we got together and
uh, I joined the firm.
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00:08:31,599 --> 00:08:34,500
And it was then just a
distribution company.
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00:08:34,500 --> 00:08:36,632
It was handling
other peoples' films.
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00:08:36,632 --> 00:08:38,733
But, uh, you have to
realize that after the war,
153
00:08:38,733 --> 00:08:40,733
there's a tremendous
audience for
154
00:08:42,066 --> 00:08:43,899
a cinema going
audience in England.
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00:08:45,333 --> 00:08:49,033
People didn't even bother
to find out what was on,
156
00:08:49,033 --> 00:08:50,233
they just went.
157
00:08:50,233 --> 00:08:51,433
If it was terrible, they
came out to support.
158
00:08:51,433 --> 00:08:52,766
If it was good, they came out,
159
00:08:52,766 --> 00:08:53,599
but they still went.
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00:08:53,599 --> 00:08:55,133
So anything went.
161
00:08:55,133 --> 00:08:57,066
And there was a tremendous
boom in film distribution.
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00:08:57,066 --> 00:08:58,699
The trouble was to
try and get the films.
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00:08:58,699 --> 00:09:00,866
- Tony Hinds was a better
filmmaker than I was.
164
00:09:00,866 --> 00:09:03,733
He was, you know, a
definitive filmmaker.
165
00:09:03,733 --> 00:09:06,033
Tony only lived to make films.
166
00:09:06,033 --> 00:09:08,467
- We became quite friendly,
which is most unusual
167
00:09:08,467 --> 00:09:10,033
as Tony never became
friendly with anybody
168
00:09:10,033 --> 00:09:10,966
involved in movies.
169
00:09:10,966 --> 00:09:12,233
We became quite friendly.
170
00:09:12,233 --> 00:09:15,300
- We very luckily got a
hold of the rights and
171
00:09:15,300 --> 00:09:17,699
were encouraged to make a
film by the booking manager
172
00:09:17,699 --> 00:09:22,100
for the ABC Cinemas, which
turned out to be Dick Barton,
173
00:09:22,100 --> 00:09:25,966
which was a tremendous,
successful radio series.
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00:09:25,966 --> 00:09:29,367
And from that, we actually
discovered that people
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00:09:29,367 --> 00:09:31,400
were going to the cinema
to see this very small
176
00:09:31,400 --> 00:09:33,400
second feature, rather
than to see the feature
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00:09:33,400 --> 00:09:36,999
because Dick Barton really
was a national institution.
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00:09:36,999 --> 00:09:39,733
And from there it developed into
179
00:09:41,133 --> 00:09:43,933
another Dick Barton, which
was made in Blackpool,
180
00:09:43,933 --> 00:09:46,899
with great locations, we
actually went outdoors
181
00:09:46,899 --> 00:09:48,233
to shoot a shot at the top of
182
00:09:48,233 --> 00:09:50,133
the tower at Blackpool.
183
00:09:58,966 --> 00:10:00,599
And from there in
a very small way,
184
00:10:00,599 --> 00:10:03,733
we started to make a
series of radio orientated
185
00:10:03,733 --> 00:10:07,033
characters and bringing
them to life in the cinemas.
186
00:10:11,100 --> 00:10:13,100
I think it's 1948
187
00:10:13,100 --> 00:10:14,833
we actually had a
production program of
188
00:10:14,833 --> 00:10:16,233
six pictures a year.
189
00:10:16,233 --> 00:10:18,467
All based on the radio series.
190
00:10:18,467 --> 00:10:20,033
And from that, slowly,
191
00:10:21,400 --> 00:10:24,433
whatever the company policies
were in changing names,
192
00:10:24,433 --> 00:10:27,999
but Exclusive segued
into Hammer Films.
193
00:10:29,367 --> 00:10:32,400
- Bray Studios
began as a Thames side
194
00:10:32,400 --> 00:10:33,766
manor house.
195
00:10:33,766 --> 00:10:36,000
- And a lot of it was
kind of falling apart
196
00:10:36,000 --> 00:10:38,999
and you know, needed repair.
197
00:10:38,999 --> 00:10:41,632
And I remember once it was
a terrible thunderstorm.
198
00:10:41,632 --> 00:10:44,400
Oh, god, the rain
came down in sheets.
199
00:10:44,400 --> 00:10:46,266
As it can, as you know that.
200
00:10:46,266 --> 00:10:48,999
And uh, the roof's leaking,
201
00:10:48,999 --> 00:10:50,733
everything's leaking.
202
00:10:50,733 --> 00:10:52,933
And Terry Fisher
says, "Carry on.
203
00:10:52,933 --> 00:10:54,433
"Carry on."
204
00:10:54,433 --> 00:10:56,300
And there we are, a splash,
donk, going everywhere,
205
00:10:56,300 --> 00:10:57,266
but we carried on.
206
00:10:59,166 --> 00:11:03,300
- I can remember shooting
in a big room downstairs.
207
00:11:03,300 --> 00:11:05,033
I can't remember
what film it was.
208
00:11:05,033 --> 00:11:07,433
And there wasn't room
for the boom operator
209
00:11:07,433 --> 00:11:10,532
and he had to stand
outside the window
210
00:11:10,532 --> 00:11:12,532
with a boom through the window,
211
00:11:12,532 --> 00:11:15,200
and if it rained,
it was too bad.
212
00:11:15,200 --> 00:11:18,433
He chucked a tarpool
over himself.
213
00:11:18,433 --> 00:11:20,966
And um, that's how we filmed.
214
00:11:20,966 --> 00:11:22,266
And at the time, we didn't think
215
00:11:22,266 --> 00:11:23,699
it was extraordinary at all.
216
00:11:23,699 --> 00:11:25,699
- One of my jobs was
to go to the airport
217
00:11:25,699 --> 00:11:28,100
and see if anybody got
off that I recognized.
218
00:11:28,100 --> 00:11:30,733
And it was never the person
I went to meet because
219
00:11:30,733 --> 00:11:33,233
they used to bandy
big names about
220
00:11:33,233 --> 00:11:36,033
and I'd wait there and no big
names got off the airplane
221
00:11:36,033 --> 00:11:37,866
and then somebody
that I might have seen
222
00:11:37,866 --> 00:11:40,033
or somebody was
holding a card up,
223
00:11:40,033 --> 00:11:44,266
would be the actor we got
for that particular film.
224
00:11:44,266 --> 00:11:45,200
- Don't move.
225
00:11:54,933 --> 00:11:57,866
- Hammer had Anthony Nelson-Keys
226
00:11:57,866 --> 00:11:59,799
to run the Bray facility.
227
00:11:59,799 --> 00:12:03,133
He and a young assistant
named Jimmy Sangster
228
00:12:03,133 --> 00:12:05,200
both went on to
become producers.
229
00:12:05,200 --> 00:12:07,333
- I worked for Hammer
ever since I came out
230
00:12:07,333 --> 00:12:10,233
of the forces, which
was when I was about 20.
231
00:12:11,400 --> 00:12:13,532
And I worked with
them constantly.
232
00:12:13,532 --> 00:12:17,333
We'd work from 8:30 to 5:30
on Wednesdays and Fridays,
233
00:12:17,333 --> 00:12:18,999
until six o'clock on
the other three days.
234
00:12:18,999 --> 00:12:22,066
And they were very strict
about breaking up on time.
235
00:12:23,166 --> 00:12:24,899
- You know, as executive
producer, you used
236
00:12:24,899 --> 00:12:26,566
to cut the turkey at Christmas.
237
00:12:26,566 --> 00:12:29,933
It was a really small
family, permanent unit.
238
00:12:29,933 --> 00:12:31,433
I mean, our crew used to,
239
00:12:31,433 --> 00:12:34,766
I think probably three years
was a minimum engagement
240
00:12:34,766 --> 00:12:37,033
when they used to join
Hammer in those days.
241
00:12:37,033 --> 00:12:39,133
We had the same
directors alternating
242
00:12:39,133 --> 00:12:42,333
and the producers were
Tony Hinds and myself.
243
00:12:42,333 --> 00:12:45,566
Certain types of films that
he enjoyed making, I didn't,
244
00:12:45,566 --> 00:12:48,599
and certain types of films
I liked making, he didn't,
245
00:12:48,599 --> 00:12:51,632
but the studio only
made one film at a time,
246
00:12:51,632 --> 00:12:54,400
and that is a tremendous
advantage in not only
247
00:12:54,400 --> 00:12:56,300
everybody knowing everybody,
but everybody knew
248
00:12:56,300 --> 00:12:57,532
what the hell they were doing.
249
00:12:57,532 --> 00:12:59,200
They were all working
on the same film,
250
00:12:59,200 --> 00:13:00,899
and the Americans adored this.
251
00:13:00,899 --> 00:13:03,467
- Out was limited
to second features,
252
00:13:03,467 --> 00:13:05,433
the bottom halves
of double bills.
253
00:13:11,766 --> 00:13:12,632
- Thank you, sir.
254
00:13:18,799 --> 00:13:22,033
- Partnership with
Robert Lippert secured all
255
00:13:22,033 --> 00:13:24,133
important American distribution.
256
00:13:24,133 --> 00:13:26,766
A bit more money and
stock shots from other
257
00:13:26,766 --> 00:13:27,699
Lippert pictures.
258
00:13:49,133 --> 00:13:50,400
- It's jammed.
259
00:13:50,400 --> 00:13:51,532
- And that's really
how we got into the
260
00:13:51,532 --> 00:13:53,433
American market,
through Lippert.
261
00:13:53,433 --> 00:13:55,666
A big influence in our lives.
262
00:13:55,666 --> 00:13:58,367
And that started what
I call the second cycle
263
00:13:58,367 --> 00:14:00,166
of the development of Hammer.
264
00:14:00,166 --> 00:14:02,133
Which the first cycle
was the quota quickies.
265
00:14:02,133 --> 00:14:04,833
The second cycle was
really quota quickies,
266
00:14:04,833 --> 00:14:07,632
slightly bigger, but with an
American ingredient in them.
267
00:14:07,632 --> 00:14:10,133
And suddenly, we were
a British company that
268
00:14:10,133 --> 00:14:11,500
got known in America.
269
00:14:11,500 --> 00:14:13,566
I mean, unheard
of in those days.
270
00:14:13,566 --> 00:14:16,133
- But in the early
50s, there was little
271
00:14:16,133 --> 00:14:17,699
to distinguish the company.
272
00:14:18,866 --> 00:14:20,999
- They were not even on
their way to becoming
273
00:14:20,999 --> 00:14:21,866
a cult then.
274
00:14:23,066 --> 00:14:24,899
- Hammer flowed
with the incoming tides
275
00:14:24,899 --> 00:14:28,166
of television by adapting
a BBC serial that had
276
00:14:28,166 --> 00:14:30,166
Britons glued to the tellie.
277
00:14:30,166 --> 00:14:33,766
The X in Xperiment
emphasized that the story
278
00:14:33,766 --> 00:14:35,833
was too horrific for children.
279
00:14:35,833 --> 00:14:38,899
- We were up on our way
to Tangier and we were
280
00:14:38,899 --> 00:14:42,899
leaving the airport, and
Tony Hinds raced up in a car,
281
00:14:42,899 --> 00:14:44,999
and just before we
got on the plane,
282
00:14:44,999 --> 00:14:47,433
he put a whole bundle
of television scripts
283
00:14:47,433 --> 00:14:49,799
in my hands and said,
"Read these in Tangier.
284
00:14:49,799 --> 00:14:51,566
"We want to make a film of it."
285
00:14:51,566 --> 00:14:54,166
I said to Tony Hinds, "I
would like to do this,
286
00:14:54,166 --> 00:14:56,699
"as a documentary,
and I'd like to shoot
287
00:14:56,699 --> 00:14:59,367
"it cinema verite, handheld
cameras, all that."
288
00:14:59,367 --> 00:15:00,966
And he said, "Okay, do it."
289
00:15:00,966 --> 00:15:02,266
- The Creeping Unknown
290
00:15:02,266 --> 00:15:04,733
became the American
title as Quatermass
291
00:15:04,733 --> 00:15:08,333
had no name recognition
outside the United Kingdom.
292
00:15:08,333 --> 00:15:10,300
- Three men went into outer space.
293
00:15:10,300 --> 00:15:12,233
Only one of them came back.
294
00:15:12,233 --> 00:15:14,833
Came back a strange,
distorted creature.
295
00:15:14,833 --> 00:15:16,866
Haunted and possessed
by something beyond
296
00:15:16,866 --> 00:15:17,866
human understanding.
297
00:15:19,699 --> 00:15:23,066
Lippert sent Brian
Donlevy over to play
298
00:15:23,066 --> 00:15:25,933
Bernard Quatermass,
director of the first
299
00:15:25,933 --> 00:15:27,599
British rocket group.
300
00:15:27,599 --> 00:15:29,632
- Unlock his mind for
me, Brisco, and find it.
301
00:15:29,632 --> 00:15:30,866
I know you can do it.
302
00:15:30,866 --> 00:15:32,400
- It isn't jut a--
303
00:15:32,400 --> 00:15:33,599
- I know of the strain and
tension you've been under,
304
00:15:33,599 --> 00:15:35,100
but to stop now
when we're so close.
305
00:15:35,100 --> 00:15:38,632
- These were stories
with a very dynamic hero
306
00:15:38,632 --> 00:15:40,632
who was a no nonsense
kind of scientist
307
00:15:40,632 --> 00:15:41,866
who let nothing stand in his way
308
00:15:41,866 --> 00:15:43,333
and was actually kind
of ruthless in this way
309
00:15:43,333 --> 00:15:46,133
which was a really interesting
protagonist for a picture.
310
00:15:46,133 --> 00:15:47,599
Usually the protagonists
in pictures,
311
00:15:47,599 --> 00:15:49,799
these people were the
villains in American pictures.
312
00:15:49,799 --> 00:15:51,066
- You've destroyed him
like you've destroyed
313
00:15:51,066 --> 00:15:52,266
everything else you've touched.
314
00:15:52,266 --> 00:15:53,933
- There's no room
for personal feelings
315
00:15:53,933 --> 00:15:55,599
in science, Judith.
316
00:16:00,632 --> 00:16:01,566
- I want a corder
around the entire area.
317
00:16:01,566 --> 00:16:03,300
Evacuate all public.
318
00:16:03,300 --> 00:16:04,833
Get information to
check up every movement
319
00:16:04,833 --> 00:16:07,100
that's likely to take place
inside this radius tonight.
320
00:16:07,100 --> 00:16:08,367
- Yes, sir.
321
00:16:08,367 --> 00:16:10,166
- With Quatermass
Xperiment and the
322
00:16:10,166 --> 00:16:13,367
Terrence Fisher pictures,
and the sequel to Quatermass,
323
00:16:13,367 --> 00:16:14,766
which is called
Enemy From Space,
324
00:16:14,766 --> 00:16:17,632
which was another mind blower,
325
00:16:17,632 --> 00:16:19,333
I began to notice
326
00:16:19,333 --> 00:16:20,799
a musical score going on.
327
00:16:20,799 --> 00:16:24,833
I mean, the music of these
movies was really astonishing.
328
00:16:24,833 --> 00:16:27,599
It turns out it was a
composer named James Bernard.
329
00:16:27,599 --> 00:16:29,467
- And it was then that
I started to work with
330
00:16:29,467 --> 00:16:32,632
John Hollingsworth who was
already the music director
331
00:16:32,632 --> 00:16:33,899
of Hammer.
332
00:16:33,899 --> 00:16:36,300
And he played the tapes
to Tony Hinds who said,
333
00:16:36,300 --> 00:16:37,699
"Okay, let's try."
334
00:16:37,699 --> 00:16:39,666
And so there I was
suddenly flying into
335
00:16:39,666 --> 00:16:41,632
the Quatermass Xperiment.
336
00:16:41,632 --> 00:16:44,699
Very alarming it was, too,
the first time around.
337
00:16:47,433 --> 00:16:50,200
Quatermass was called I
think entirely for strings
338
00:16:50,200 --> 00:16:51,433
and percussion.
339
00:16:51,433 --> 00:16:53,933
It seemed to suit the
subject very well.
340
00:16:58,500 --> 00:17:00,400
- The special effects
fella that we had,
341
00:17:00,400 --> 00:17:02,866
Les Bowie, did
miracles for nothing.
342
00:17:04,300 --> 00:17:06,933
Always complaining, always
saying, "How can I do this?
343
00:17:06,933 --> 00:17:08,367
"It's impossible."
344
00:17:08,367 --> 00:17:10,266
Always came up with it.
345
00:17:10,266 --> 00:17:14,066
And that monster was, in
fact, a piece of tripe.
346
00:17:23,532 --> 00:17:26,100
- Again, emphasizing the X certificate,
347
00:17:26,100 --> 00:17:29,066
Hammer followed
with X The Unknown,
348
00:17:29,066 --> 00:17:32,233
a thriller about black
radioactive ooze from
349
00:17:32,233 --> 00:17:33,833
beneath the Earth.
350
00:17:33,833 --> 00:17:37,632
- It was Tony Hinds' and my
careers, and we were batting
351
00:17:37,632 --> 00:17:40,433
around ideas and it seemed
at the end of a session,
352
00:17:40,433 --> 00:17:41,666
I'd come up with the most idea,
353
00:17:41,666 --> 00:17:43,333
so Tony Hinds said "Go
away and write it."
354
00:17:43,333 --> 00:17:44,266
I said, "I'm not a writer.
355
00:17:44,266 --> 00:17:45,500
"I'm a production manager."
356
00:17:46,500 --> 00:17:47,433
And he said, "Well write it.
357
00:17:47,433 --> 00:17:48,866
"If we like it, we'll buy it."
358
00:17:48,866 --> 00:17:51,699
So I wrote it, and he
liked it, and he bought it.
359
00:18:07,133 --> 00:18:08,599
- It's on its way.
360
00:18:08,599 --> 00:18:09,699
The man at the main gate
had it just like the others.
361
00:18:09,699 --> 00:18:11,300
It's coming in on the west side.
362
00:18:11,300 --> 00:18:12,233
Look!
363
00:18:12,233 --> 00:18:14,632
There is it! On the roof!
364
00:18:35,400 --> 00:18:36,333
- Peter!
365
00:18:36,333 --> 00:18:37,500
Peter!
366
00:18:37,500 --> 00:18:40,467
Get out of the
Jeep, get out of it!
367
00:18:47,367 --> 00:18:49,999
- And posters were the great
sell that used to go over
368
00:18:49,999 --> 00:18:52,599
were most elaborate
in artwork, posters.
369
00:18:52,599 --> 00:18:55,300
But I remember him once
telling an executive
370
00:18:55,300 --> 00:18:57,632
that we wanted to do a
picture about the yeti,
371
00:18:57,632 --> 00:19:00,632
and the man became most
interested in what the yeti
372
00:19:00,632 --> 00:19:02,100
would look like and
Jimmy said to him,
373
00:19:02,100 --> 00:19:04,866
"We don't know, we
haven't caught one yet."
374
00:19:04,866 --> 00:19:06,899
- Bernard Robinson's art department
375
00:19:06,899 --> 00:19:11,033
transformed the Bray Manor
House into a Tibetan temple
376
00:19:11,033 --> 00:19:13,566
while the camera crew
shot action scenes
377
00:19:13,566 --> 00:19:15,467
on location in the
French Pyrenees.
378
00:19:15,467 --> 00:19:19,133
- And we had what was
lovingly called a crash course
379
00:19:19,133 --> 00:19:20,367
in skiing.
380
00:19:20,367 --> 00:19:22,266
We had two days
of it, that's all,
381
00:19:22,266 --> 00:19:26,500
before we all went up
and hung on by a teeth.
382
00:19:26,500 --> 00:19:28,833
- Forest Tucker
starred with the fellow
383
00:19:28,833 --> 00:19:31,866
who became rather linked
with Hammer over the years.
384
00:19:31,866 --> 00:19:33,467
- They know it was me.
385
00:19:33,467 --> 00:19:34,300
Stay here.
386
00:19:34,300 --> 00:19:35,367
Wait!
387
00:19:35,367 --> 00:19:36,799
Ed, I can hear ya, I'm comin'!
388
00:19:36,799 --> 00:19:37,599
- You've got to understand
that isn't Shelley,
389
00:19:37,599 --> 00:19:38,433
that isn't anybody.
390
00:19:38,433 --> 00:19:39,266
- I can hear his voice.
391
00:19:39,266 --> 00:19:40,233
- It's in your own mind.
392
00:19:40,233 --> 00:19:41,532
It's just happened to me too.
393
00:19:41,532 --> 00:19:42,599
- A great guy.
394
00:19:42,599 --> 00:19:43,833
A great guy with props.
395
00:19:43,833 --> 00:19:45,467
He works out over night
396
00:19:45,467 --> 00:19:49,333
every single prop and
thing that he can use,
397
00:19:49,333 --> 00:19:50,566
and never tells anybody,
398
00:19:50,566 --> 00:19:52,100
and he comes out
during the scenes.
399
00:19:52,100 --> 00:19:54,400
He became known as Props Peter.
400
00:19:54,400 --> 00:19:55,899
- We dare you,
401
00:19:55,899 --> 00:19:59,300
dare you to see the
Abominable Snowman
402
00:19:59,300 --> 00:20:00,699
of the Himalayas.
403
00:20:01,999 --> 00:20:03,433
- So what we tried desperately
to do is we all said
404
00:20:03,433 --> 00:20:06,033
we must never,
ever see that yeti.
405
00:20:06,033 --> 00:20:08,433
You can see pieces
of him, bits, an arm,
406
00:20:08,433 --> 00:20:11,533
or an eye or a thing, and
let people build their own
407
00:20:12,400 --> 00:20:13,632
vision of him.
408
00:20:13,632 --> 00:20:16,467
- Nigel Kneale
adapted his BBC sequel,
409
00:20:16,467 --> 00:20:17,899
Quatermass II.
410
00:20:17,899 --> 00:20:20,899
Future director Brian Forbes
was one of the victims
411
00:20:20,899 --> 00:20:23,632
of a mass alien invasion.
412
00:20:23,632 --> 00:20:26,333
Only Quatermass
suspects the truth:
413
00:20:26,333 --> 00:20:29,599
that the synthetic food
in a top secret facility
414
00:20:29,599 --> 00:20:31,833
is not for human consumption.
415
00:20:33,200 --> 00:20:36,367
But Nigel Kneale still
felt Donlevy was too harsh,
416
00:20:36,367 --> 00:20:37,632
too bullying,
417
00:20:37,632 --> 00:20:39,066
too American.
418
00:20:39,066 --> 00:20:40,799
- Benson Broadhead is dead.
419
00:20:40,799 --> 00:20:42,333
- Dead?
420
00:20:42,333 --> 00:20:44,000
- I watched him die a few
hours ago in that plant.
421
00:20:44,000 --> 00:20:47,433
His whole body covered with
some kind of corrosive poison,
422
00:20:47,433 --> 00:20:48,400
and eaten away.
423
00:20:49,866 --> 00:20:52,766
- Naturally, the
director defended his star.
424
00:20:52,766 --> 00:20:55,333
- Now, would that
sort of a thing,
425
00:20:55,333 --> 00:20:58,799
a down to Earth, prosaic,
honest to God man like
426
00:20:58,799 --> 00:21:01,367
Brian Donlevy was
an enormous help.
427
00:21:01,367 --> 00:21:03,533
- I know that Nigel Kneale,
who wrote the teleplays,
428
00:21:03,533 --> 00:21:06,799
was not happy with the
condescension that went on.
429
00:21:06,799 --> 00:21:08,566
But having seen the
teleplays, you know,
430
00:21:08,566 --> 00:21:11,066
they're now available here,
and the six hour Quatermass
431
00:21:11,066 --> 00:21:12,433
in the pit, for
instance, of three hours,
432
00:21:12,433 --> 00:21:13,899
however long it is,
433
00:21:13,899 --> 00:21:18,266
that the film adaptions
were really remarkably good.
434
00:21:19,666 --> 00:21:22,367
The high points and all
the ideas were all retained
435
00:21:22,367 --> 00:21:23,566
in these things.
436
00:21:23,566 --> 00:21:25,166
- That pipe has been
blocked with human pulp.
437
00:21:31,100 --> 00:21:32,500
- Yes, what is it, tell us.
438
00:21:32,500 --> 00:21:34,966
Inside those domes are creatures
from outside this Earth.
439
00:21:34,966 --> 00:21:35,799
- Oh, you're mad.
440
00:21:35,799 --> 00:21:37,333
- I've seen them.
441
00:21:37,333 --> 00:21:38,500
Thousands of tiny creatures
that have conjoined together
442
00:21:38,500 --> 00:21:42,233
and expanded to
things 100 feet high.
443
00:21:42,233 --> 00:21:46,133
- Quatermass and The Pit televised in 1958
444
00:21:46,133 --> 00:21:49,433
was planned by Hammer
for more than a decade.
445
00:21:49,433 --> 00:21:52,566
Ultimately, Andrew Keir
took the Quatermass role
446
00:21:52,566 --> 00:21:55,100
under the direction
of Roy Ward Baker.
447
00:21:55,100 --> 00:21:56,233
- Well I read it and I thought
448
00:21:56,233 --> 00:21:57,933
"That's absolutely marvelous."
449
00:21:57,933 --> 00:21:59,367
It was a really
foul proof script.
450
00:21:59,367 --> 00:22:01,066
It was excellent.
451
00:22:01,066 --> 00:22:04,200
The film was meant to be
made at Elstree Studios,
452
00:22:04,200 --> 00:22:08,200
and they suddenly said,
"Sorry, we have no space."
453
00:22:08,200 --> 00:22:12,033
But just up the road was the
old Metro Goldwyn Mayer Studio
454
00:22:12,033 --> 00:22:13,566
and they were only too
delighted because their studio
455
00:22:13,566 --> 00:22:16,933
was empty so we had the
whole place to ourselves.
456
00:22:16,933 --> 00:22:19,533
So it was very lucky in
an enormous back lot,
457
00:22:19,533 --> 00:22:23,500
which we built the exterior
of the underground station.
458
00:22:23,500 --> 00:22:26,033
- An excavation
uncovers a rocket ship
459
00:22:26,033 --> 00:22:30,699
of unknown origin and
the rotting remains
of giant insects.
460
00:22:30,699 --> 00:22:34,400
Quatermass deduces that
alien technology endowed
461
00:22:34,400 --> 00:22:36,566
the human race
with intelligence,
462
00:22:36,566 --> 00:22:39,467
and the will to purge society
of anyone who does not
463
00:22:39,467 --> 00:22:41,533
follow the will of the hive.
464
00:22:44,266 --> 00:22:47,100
- Roy Ward Baker didn't
want me for Quatermass.
465
00:22:48,266 --> 00:22:50,966
He wanted, uh,
what was his name?
466
00:22:50,966 --> 00:22:51,733
Kenneth Moore.
467
00:22:54,933 --> 00:22:56,467
And, for,
468
00:22:56,467 --> 00:22:59,833
seven and a half weeks,
it was utter hell.
469
00:22:59,833 --> 00:23:04,333
- Those sort of choices were
made in a small committee,
470
00:23:04,333 --> 00:23:07,966
really, of Tony Hinds,
who was really the head
471
00:23:07,966 --> 00:23:10,999
of production at
any rate, at Hammer,
472
00:23:10,999 --> 00:23:13,033
and was also one of
the partners in Hammer.
473
00:23:13,866 --> 00:23:16,133
And, Sir James Carreras,
474
00:23:16,133 --> 00:23:18,467
and Tony Nelson-Keys, and me,
475
00:23:19,899 --> 00:23:22,033
who put his name for this,
I couldn't really remember,
476
00:23:22,033 --> 00:23:23,233
because he was excellent.
477
00:23:23,233 --> 00:23:24,467
- They were coming.
478
00:23:24,467 --> 00:23:25,566
- Who? What were?
479
00:23:25,566 --> 00:23:26,833
- Them.
480
00:23:26,833 --> 00:23:28,100
Them.
481
00:23:28,100 --> 00:23:29,266
- He saw the creatures.
482
00:23:30,200 --> 00:23:32,566
- They were alive.
483
00:23:32,566 --> 00:23:33,833
- Alive?
484
00:23:33,833 --> 00:23:35,699
- Despite the fact that
I didn't get on with Roy
485
00:23:35,699 --> 00:23:38,500
and it was a bit tricky
with other people,
486
00:23:38,500 --> 00:23:42,100
but um, we gelled as a
unit, as a group of actors.
487
00:23:42,100 --> 00:23:44,200
I wanted to kill you.
488
00:23:44,200 --> 00:23:45,367
- Why?
489
00:23:45,367 --> 00:23:46,266
- Because you are
490
00:23:47,333 --> 00:23:48,599
different.
491
00:23:48,599 --> 00:23:52,999
- I caught that some of
the scenes were uneven.
492
00:23:52,999 --> 00:23:54,632
Ronan, it's Barbara.
493
00:23:54,632 --> 00:23:56,333
She's the one, get
down here quick.
494
00:24:02,833 --> 00:24:06,100
- My duty now is to
quiet public alarm.
495
00:24:06,100 --> 00:24:08,933
And you, you'll keep your
damn paws out of things.
496
00:24:08,933 --> 00:24:11,133
- Listen, I am advising
you all to leave.
497
00:24:11,133 --> 00:24:12,599
There may be grave danger.
498
00:24:15,000 --> 00:24:16,367
I tell you, this
could be dangerous.
499
00:24:16,367 --> 00:24:17,233
So get back!
500
00:24:28,300 --> 00:24:29,599
It was what I was afraid of.
501
00:24:29,599 --> 00:24:32,200
The thing got a huge
intake of energy,
502
00:24:32,200 --> 00:24:34,766
the very substance of it
seemed to be coming alive.
503
00:24:35,632 --> 00:24:37,367
And the,
504
00:24:37,367 --> 00:24:40,033
and you can't see
this world any longer.
505
00:24:41,033 --> 00:24:42,200
- It's just brilliant.
506
00:24:42,200 --> 00:24:43,833
It's just fantastic
what a great,
507
00:24:43,833 --> 00:24:45,833
what a great idea, you know.
508
00:24:45,833 --> 00:24:48,400
What a great way of
finishing it off.
509
00:24:48,400 --> 00:24:49,866
- It's still a
remarkable picture.
510
00:24:49,866 --> 00:24:51,632
There was an idea movie,
and that was really unusual.
511
00:24:51,632 --> 00:24:55,666
- The film came
out the same year as 2001.
512
00:24:57,100 --> 00:25:01,632
By then, the name Hammer
signified gothic fantasy.
513
00:25:08,033 --> 00:25:11,033
- By 1950, the classic themes
514
00:25:11,033 --> 00:25:14,166
had been used a buffoons
and comic foils.
515
00:25:16,233 --> 00:25:19,400
- In the 50s, when the
genre was basically in decline,
516
00:25:19,400 --> 00:25:20,400
- Wow!
517
00:25:21,599 --> 00:25:23,433
- The horror movies
had sunk pretty low.
518
00:25:23,433 --> 00:25:25,566
And when the Hammer
pictures came along,
519
00:25:25,566 --> 00:25:27,899
they were obviously classier.
520
00:25:27,899 --> 00:25:31,266
- American Max
Rosenberg and Milton Subotosky
521
00:25:31,266 --> 00:25:33,367
approached Hammer's
silent partner
522
00:25:33,367 --> 00:25:35,799
with a Frankenstein script.
523
00:25:35,799 --> 00:25:38,033
- It didn't bear much
relationship to the film
524
00:25:38,033 --> 00:25:39,699
that we finally made.
525
00:25:39,699 --> 00:25:42,300
They had the ear of Eliot
Hyman, I think I'm correct
526
00:25:42,300 --> 00:25:44,799
in saying, and Eliot,
by this time we were
527
00:25:44,799 --> 00:25:47,266
now associated with
Eliot, but he, because
528
00:25:47,266 --> 00:25:48,866
he didn't know much
about it either,
529
00:25:48,866 --> 00:25:51,433
thought it was a
good idea in making,
530
00:25:51,433 --> 00:25:53,233
because there hadn't been
a gothic horror maiden
531
00:25:53,233 --> 00:25:55,100
since the universal cycle,
532
00:25:55,966 --> 00:25:57,999
and certainly to in color.
533
00:25:57,999 --> 00:26:00,400
And so he really
sent the script over.
534
00:26:00,400 --> 00:26:02,799
Tony looked at it and said,
"No we can't do this."
535
00:26:02,799 --> 00:26:04,632
It just wasn't good enough.
536
00:26:04,632 --> 00:26:07,599
- And I'm given a script,
which I didn't really like.
537
00:26:07,599 --> 00:26:10,333
It was boring, and a sort
of a rehash of the old,
538
00:26:10,333 --> 00:26:11,733
but anyway, we were gonna do it.
539
00:26:11,733 --> 00:26:13,966
- A cheap black
and white production was
540
00:26:13,966 --> 00:26:16,467
planned with Boris Karloff
considered for the role
541
00:26:16,467 --> 00:26:18,799
of the old baron when
Hammer learned that they
542
00:26:18,799 --> 00:26:21,566
would be sued if they
copied any elements from
543
00:26:21,566 --> 00:26:22,833
the older films.
544
00:26:22,833 --> 00:26:24,933
- So we had to make a
film that was entirely
545
00:26:24,933 --> 00:26:26,333
different from the first one.
546
00:26:26,333 --> 00:26:27,799
Well then it became fun.
547
00:26:27,799 --> 00:26:30,966
- Instead, the planned an all new version
548
00:26:30,966 --> 00:26:33,799
with Jack Asher shooting
in Eastman color
549
00:26:33,799 --> 00:26:37,133
and Jimmy Sangster completely
rewriting the script.
550
00:26:37,133 --> 00:26:38,367
- I'm not sure.
551
00:26:38,367 --> 00:26:40,500
I don't think so, I
don't think I read it.
552
00:26:40,500 --> 00:26:44,166
I'd just seen all the
old Frankenstein movies.
553
00:26:44,166 --> 00:26:47,599
The only problem with
Universal was they had
554
00:26:47,599 --> 00:26:49,000
a copyright on the monster.
555
00:26:49,000 --> 00:26:52,233
We couldn't use an idea
of the Boris Karloff
556
00:26:52,233 --> 00:26:55,033
type monster with the
bolts through his neck.
557
00:26:55,033 --> 00:26:56,266
See, that was the only problem.
558
00:26:56,266 --> 00:26:59,133
I mean, Frankenstein
was public domain.
559
00:26:59,133 --> 00:27:00,699
That's why we came up
with a different one,
560
00:27:00,699 --> 00:27:02,533
a different design.
561
00:27:02,533 --> 00:27:05,833
- Terrance Fisher had directed moody
562
00:27:05,833 --> 00:27:09,333
TV episodes of Robin Hood,
and a thriller admired
563
00:27:09,333 --> 00:27:11,999
by Hitchcock himself,
so Long At the Fair.
564
00:27:12,933 --> 00:27:14,433
- Oh, it was lovely.
565
00:27:14,433 --> 00:27:15,999
He was such fun.
566
00:27:15,999 --> 00:27:17,632
He always knew exactly
what he wanted,
567
00:27:17,632 --> 00:27:19,500
and that's why the
films were made fast,
568
00:27:19,500 --> 00:27:21,799
in the way they were.
569
00:27:21,799 --> 00:27:23,833
- Quiet, didn't
have a lot to say.
570
00:27:23,833 --> 00:27:25,266
Knew what he was doing.
571
00:27:25,266 --> 00:27:27,666
He was an old time pro.
572
00:27:27,666 --> 00:27:30,599
- Luckily, I had a
break in my BBC work,
573
00:27:30,599 --> 00:27:32,699
and was able to take
the role I'd seen
574
00:27:32,699 --> 00:27:36,966
Colin Clive play in
the original 1931 film.
575
00:27:36,966 --> 00:27:39,599
We've discovered the
source of life itself.
576
00:27:39,599 --> 00:27:41,933
And we've used it to restore
a creature that was dead.
577
00:27:41,933 --> 00:27:44,566
- We never make our films
with tongue in cheek.
578
00:27:44,566 --> 00:27:46,766
Having played so many
of the period doctors,
579
00:27:46,766 --> 00:27:48,033
I always go to my doctor,
580
00:27:48,033 --> 00:27:50,833
and ask, you know, "How
do you take a brain out
581
00:27:50,833 --> 00:27:52,033
"and do anything?"
582
00:27:52,033 --> 00:27:54,467
But something, you must
do it all correctly.
583
00:27:54,467 --> 00:27:57,266
- I can't prove your word.
584
00:27:57,266 --> 00:27:59,266
But I can stop you
using his brain.
585
00:27:59,266 --> 00:28:00,266
- Why?
586
00:28:00,266 --> 00:28:01,166
He has no further use for it.
587
00:28:01,166 --> 00:28:02,632
Don't be a fool.
588
00:28:02,632 --> 00:28:04,266
Be careful!
589
00:28:04,266 --> 00:28:06,266
You'll damage it!
590
00:28:06,266 --> 00:28:08,333
- The sale to Warner Brothers brought barely
591
00:28:08,333 --> 00:28:10,133
enough to finish the film.
592
00:28:10,133 --> 00:28:14,300
40,000 pounds, about $112,000.
593
00:28:14,300 --> 00:28:16,699
Christopher Lee brought
a new interpretation
594
00:28:16,699 --> 00:28:19,033
to the role of the man made man.
595
00:28:19,033 --> 00:28:22,999
- The legs are
independent of the arms.
596
00:28:22,999 --> 00:28:27,833
The hands sort of don't
coordinate with the feet
597
00:28:27,833 --> 00:28:29,233
or the rest of the body.
598
00:28:29,233 --> 00:28:33,632
So I tried to play the character
like an ill coordinated,
599
00:28:33,632 --> 00:28:35,367
childish creature.
600
00:28:35,367 --> 00:28:36,833
- The first
day I met Christopher,
601
00:28:36,833 --> 00:28:39,266
he was disappointed that
he hadn't any dialogue.
602
00:28:40,367 --> 00:28:42,933
I told him, "Well
consider yourself lucky.
603
00:28:42,933 --> 00:28:44,266
"I've read the script."
604
00:28:51,699 --> 00:28:52,933
- Well we were
shooting in the dark.
605
00:28:52,933 --> 00:28:54,133
We rarely were.
606
00:28:54,133 --> 00:28:55,999
I did about three tests
if I remember right,
607
00:28:56,933 --> 00:28:57,999
remember rightly,
608
00:28:59,699 --> 00:29:00,999
for the character.
609
00:29:00,999 --> 00:29:02,200
They were quite
dreadful, I mean,
610
00:29:02,200 --> 00:29:04,133
one of them made me
look like a combination
611
00:29:04,133 --> 00:29:05,433
between a wolf and a pig.
612
00:29:06,500 --> 00:29:07,500
And the other
613
00:29:09,033 --> 00:29:10,467
was actually, it was
actually surprisingly
614
00:29:10,467 --> 00:29:12,866
quite close to the Elephant Man.
615
00:29:12,866 --> 00:29:14,666
And then, I think it was I,
616
00:29:14,666 --> 00:29:17,033
or perhaps it was Phil
Leakey, the makeup man,
617
00:29:17,033 --> 00:29:18,966
or Roy Ashton, the
other makeup man,
618
00:29:18,966 --> 00:29:21,833
we put out heads together
and I think I said,
619
00:29:21,833 --> 00:29:24,400
"Look, it's bits and
pieces of other people so,
620
00:29:24,400 --> 00:29:26,100
"it should be patched together."
621
00:29:26,100 --> 00:29:28,233
So there were these
lumps and these scars
622
00:29:28,233 --> 00:29:30,866
and the one dead eye
and the stitch marks
623
00:29:30,866 --> 00:29:31,699
and everything.
624
00:29:33,233 --> 00:29:34,632
Which was pretty unpleasant.
625
00:29:35,766 --> 00:29:38,400
Makeup man Phil
Leakey created a face
626
00:29:38,400 --> 00:29:40,233
that's been rightly
described as looking
627
00:29:40,233 --> 00:29:43,333
like a road accident,
a patchwork creature
628
00:29:43,333 --> 00:29:45,033
of shards and stitches.
629
00:29:45,033 --> 00:29:47,500
It was almost impossible
for me to eat or drink
630
00:29:47,500 --> 00:29:49,367
and naturally, there
weren't many people
631
00:29:49,367 --> 00:29:52,300
prepared to sit down and
eat and drink with me.
632
00:29:52,300 --> 00:29:54,833
- It's never horrific to you.
633
00:29:54,833 --> 00:29:56,533
In fact, we might have laughed.
634
00:29:56,533 --> 00:29:57,933
Probably did.
635
00:29:57,933 --> 00:30:00,300
- I guess I was 10 or 11.
636
00:30:00,300 --> 00:30:01,233
Oh it was terrifying.
637
00:30:01,233 --> 00:30:03,033
I mean, I was scared to death.
638
00:30:03,033 --> 00:30:05,999
I've always heard the makeup
criticized in later years
639
00:30:05,999 --> 00:30:07,233
as not being very good makeup,
640
00:30:07,233 --> 00:30:08,699
but I thought it
was pretty creepy.
641
00:30:08,699 --> 00:30:10,233
- When we saw Curse
of Frankenstein,
642
00:30:10,233 --> 00:30:13,833
there was a graphic quality to
it that was totally shocking.
643
00:30:15,400 --> 00:30:18,066
Which made it extremely
endearing to us.
644
00:30:18,066 --> 00:30:20,733
We enjoyed it a great
deal, and I'll never forget
645
00:30:20,733 --> 00:30:22,400
the audience's reaction
at that midnight snowing
646
00:30:22,400 --> 00:30:25,433
at the New York
Paramount, they loved it.
647
00:30:25,433 --> 00:30:27,699
We were about 15
years old, I think,
648
00:30:27,699 --> 00:30:29,166
my friends and myself.
649
00:30:29,166 --> 00:30:30,899
- Wouldn't you understand,
you're in real danger?
650
00:30:30,899 --> 00:30:32,200
What Victor is doing
is dangerous to
651
00:30:32,200 --> 00:30:34,066
everyone in the house.
652
00:30:34,066 --> 00:30:37,033
No, you cannot possibly
conceive what dreadful thing
653
00:30:37,033 --> 00:30:39,367
he's planning to do.
654
00:30:39,367 --> 00:30:40,566
- What are you trying
to tell me, Paul?
655
00:30:40,566 --> 00:30:42,500
That Victor's wicked, insane?
656
00:30:43,966 --> 00:30:46,632
What is amazing today to
me is the production value
657
00:30:46,632 --> 00:30:50,333
with the beauty of the
sets, the costumes.
658
00:30:50,333 --> 00:30:51,533
They were all real.
659
00:30:51,533 --> 00:30:52,899
They were all
Victorian costumes.
660
00:30:54,233 --> 00:30:56,100
- Elizabeth, come back!
661
00:30:57,632 --> 00:30:59,566
- The disembodied hands, eyes, and organs
662
00:30:59,566 --> 00:31:02,533
were liberally garnished
with bright red blood,
663
00:31:02,533 --> 00:31:05,766
much to Christopher's dismay
when he was shot in the face.
664
00:31:07,833 --> 00:31:12,066
- When this happened, I gave
in to the most ear splitting
665
00:31:12,066 --> 00:31:16,333
shriek which literally
paralyzed everybody on the set,
666
00:31:16,333 --> 00:31:18,467
that I don't think they'd
ever heard anything like it.
667
00:31:18,467 --> 00:31:21,933
And it was genuine because
there was some agent
668
00:31:21,933 --> 00:31:24,799
in this blood,
glycerin, whatever,
669
00:31:24,799 --> 00:31:27,666
I felt somebody had put a
red hot poker into my eye.
670
00:31:30,400 --> 00:31:33,200
The film grossed 70 times
its production cost.
671
00:31:33,200 --> 00:31:35,500
Seven million dollars.
672
00:31:35,500 --> 00:31:39,000
The company had, in fact,
created a being with a life
673
00:31:39,000 --> 00:31:39,933
of its own.
674
00:31:39,933 --> 00:31:43,066
- Hammer made their first remake
675
00:31:43,066 --> 00:31:48,033
after the 29 pictures in
1956 or 58, I think it was.
676
00:31:49,166 --> 00:31:50,433
And it was the
Frankenstein picture
677
00:31:50,433 --> 00:31:51,733
and it was the only
one amongst five.
678
00:31:51,733 --> 00:31:54,632
It was up the junction,
and it was Peter Sellers
679
00:31:54,632 --> 00:31:57,367
and the Frankenstein
picture and,
680
00:31:57,367 --> 00:31:58,333
two or three others.
681
00:31:58,333 --> 00:31:59,899
It was quite a nice picture,
682
00:31:59,899 --> 00:32:03,200
no idea they were starting
this incredible snowball.
683
00:32:03,200 --> 00:32:05,833
- I remember everyone
being astounded
684
00:32:05,833 --> 00:32:08,100
at the success at
that movie though.
685
00:32:08,100 --> 00:32:10,166
I mean, it took off.
686
00:32:10,166 --> 00:32:12,400
And I don't think we got
very good reviews, did we?
687
00:32:12,400 --> 00:32:13,933
- The critics hated us.
688
00:32:13,933 --> 00:32:16,599
I mean, really, loathed
the film and loathed us,
689
00:32:16,599 --> 00:32:18,733
but it started the cycle
and it started Hammer
690
00:32:18,733 --> 00:32:21,133
as it really became
know, Hammer horror.
691
00:32:21,133 --> 00:32:24,899
The critical reaction came at
the same moment as the queues.
692
00:32:25,999 --> 00:32:26,799
I mean, you haven't
got a choice.
693
00:32:26,799 --> 00:32:28,166
What are you gonna do?
694
00:32:28,166 --> 00:32:29,400
Are you gonna read the
newspaper or look at the queues?
695
00:32:29,400 --> 00:32:30,866
- The success of The
Curse of Frankenstein
696
00:32:30,866 --> 00:32:32,833
was way out of proportion
to what was expected.
697
00:32:32,833 --> 00:32:34,766
I think if that picture hadn't
been as successful as it was
698
00:32:34,766 --> 00:32:36,566
in America, there might
not have been any other
699
00:32:36,566 --> 00:32:38,333
big Hammer films.
700
00:32:38,333 --> 00:32:40,866
- Through his friend, Mike Frankovich,
701
00:32:40,866 --> 00:32:44,166
James Carreras struck
a three film pact with
702
00:32:44,166 --> 00:32:47,233
Columbia Pictures,
to include a sequel,
703
00:32:47,233 --> 00:32:50,766
originally called
Blood of Frankenstein.
704
00:32:50,766 --> 00:32:53,833
The script focused on
the continuing attempts
705
00:32:53,833 --> 00:32:57,933
of Baron Frankenstein to
perfect his grizzly work.
706
00:32:59,500 --> 00:33:04,400
- In the year 1860,
I, Baron Frankenstein,
707
00:33:04,400 --> 00:33:06,367
was sentenced to death
on the guillotine.
708
00:33:06,367 --> 00:33:08,966
But I have escaped
the guillotine,
709
00:33:08,966 --> 00:33:11,833
and I shall avenge the
death of my creation.
710
00:33:11,833 --> 00:33:16,333
- I wanted to scare people
and make them sort of shudder,
711
00:33:16,333 --> 00:33:18,200
and I think what is the
most shudder making thing
712
00:33:18,200 --> 00:33:22,566
from my point of view
was cannibalism, so
I put cannibalism
713
00:33:22,566 --> 00:33:23,433
into the picture.
714
00:33:33,033 --> 00:33:33,866
- 'Cause Peter and I used
to play games on the set
715
00:33:35,166 --> 00:33:36,467
all the time.
716
00:33:40,599 --> 00:33:42,100
- Who is he?
717
00:33:42,100 --> 00:33:43,166
- Nobody.
718
00:33:43,166 --> 00:33:44,233
He isn't born yet.
719
00:33:45,533 --> 00:33:46,666
We had a sheep's brain.
720
00:33:47,833 --> 00:33:49,333
And so we shot the
scene and we didn't
721
00:33:49,333 --> 00:33:51,899
finish the scene on
the day we were using
722
00:33:51,899 --> 00:33:56,266
the brain, and we had to
pick it up next morning.
723
00:33:56,266 --> 00:33:58,966
And the, when I opened
it, it was actually alive.
724
00:33:58,966 --> 00:34:00,866
I mean, the smell was appalling.
725
00:34:00,866 --> 00:34:02,999
All the technicians
were fainting.
726
00:34:02,999 --> 00:34:06,200
So we had to um, I said, "I
can't work with this thing."
727
00:34:07,933 --> 00:34:09,699
I said, "He's going
to upstage me."
728
00:34:11,766 --> 00:34:13,400
Anesthetic!
729
00:34:13,400 --> 00:34:15,233
- I think what he's doing
is a ruthless thing,
730
00:34:15,233 --> 00:34:16,799
and it might be different
from Mary Shelley, but
731
00:34:16,799 --> 00:34:19,200
it wasn't much
different from the other
732
00:34:19,200 --> 00:34:20,966
movie Frankensteins.
733
00:34:22,367 --> 00:34:24,066
- There was also an abortive TV pilot film
734
00:34:24,066 --> 00:34:25,899
but it was shot in
Hollywood, not by the
735
00:34:25,899 --> 00:34:27,599
Hammer production team.
736
00:34:27,599 --> 00:34:29,066
- It was just a disaster.
737
00:34:29,066 --> 00:34:30,566
I mean, the people how were
involved with the Screen
738
00:34:30,566 --> 00:34:34,566
Gems had no idea what
they were trying to make.
739
00:34:34,566 --> 00:34:36,699
I mean, I don't know
why the ever came to us
740
00:34:36,699 --> 00:34:39,166
in the first place because,
you know, we had made
741
00:34:39,166 --> 00:34:41,533
some fairly good gothic stories.
742
00:34:41,533 --> 00:34:44,699
When I got there, I took
with me six scripts.
743
00:34:44,699 --> 00:34:46,533
All written by Jimmy Sangster,
744
00:34:46,533 --> 00:34:47,733
and all ready to shoot.
745
00:34:47,733 --> 00:34:49,966
I mean, you know, in
good professional niche.
746
00:34:51,100 --> 00:34:52,566
And the first thing
they made me do
747
00:34:52,566 --> 00:34:54,966
was to sit down and
listen to the title music.
748
00:34:54,966 --> 00:34:56,766
They had some jingle.
749
00:34:56,766 --> 00:34:58,533
I mean, that confused
me slightly that we were
750
00:34:58,533 --> 00:35:00,467
listening to jingle
music before we even
751
00:35:00,467 --> 00:35:03,433
made anything, but they
were very proud of that.
752
00:35:03,433 --> 00:35:07,000
And then they started to
trot out some directors
753
00:35:07,000 --> 00:35:10,632
who I think they kept in
cupboards on the lower floor,
754
00:35:10,632 --> 00:35:12,100
ready to work.
755
00:35:12,100 --> 00:35:16,000
You know, have megaphone,
will travel sort of directors.
756
00:35:16,000 --> 00:35:18,500
And I just couldn't believe
the whole scene so I
757
00:35:18,500 --> 00:35:21,866
kicked up a bit of a
stink and we started again
758
00:35:21,866 --> 00:35:24,066
by them getting out
a list of writers.
759
00:35:24,066 --> 00:35:24,899
- Your name
760
00:35:26,133 --> 00:35:27,699
is Herbert.
761
00:35:27,699 --> 00:35:29,933
If you remember, and understand,
762
00:35:30,833 --> 00:35:32,866
lift your hands.
763
00:35:38,367 --> 00:35:40,699
- And finally, having
gone through with their
764
00:35:40,699 --> 00:35:44,066
head writing honcho,
765
00:35:44,066 --> 00:35:46,367
he said to me, "There's
a guy here who I think
766
00:35:46,367 --> 00:35:48,300
"lives in England
called Jimmy Sangster.
767
00:35:48,300 --> 00:35:49,533
"Why don't we try him?"
768
00:35:49,533 --> 00:35:50,833
So we did full circle.
769
00:35:50,833 --> 00:35:52,467
I had the six
scripts under my arm,
770
00:35:52,467 --> 00:35:54,100
which they hadn't read.
771
00:35:54,100 --> 00:35:56,433
Probably Jimmy had put
another name over them,
772
00:35:56,433 --> 00:35:57,933
I don't know, so I said to them,
773
00:35:57,933 --> 00:35:59,833
"Well I actually know this
man, I have some influence,
774
00:35:59,833 --> 00:36:02,033
"I can probably get
him to do a script."
775
00:36:02,033 --> 00:36:03,933
And then of course
when I told them that
776
00:36:03,933 --> 00:36:05,733
all these were his, I
mean the whole thing
777
00:36:05,733 --> 00:36:07,166
just fell apart.
778
00:36:07,166 --> 00:36:08,666
I went home.
779
00:36:08,666 --> 00:36:10,467
It was Christmas time, I
couldn't bear it anymore,
780
00:36:10,467 --> 00:36:13,433
and Tony Hinds went over
to finish the project,
781
00:36:13,433 --> 00:36:16,000
and even he couldn't get
them to make a good film.
782
00:36:16,000 --> 00:36:18,766
- If nothing else, it pointed out how
783
00:36:18,766 --> 00:36:22,133
uninspired the first
film might have been.
784
00:36:22,133 --> 00:36:26,367
Hammer and the Baron went
back to work in 1963.
785
00:36:26,367 --> 00:36:28,200
- You are interrupting my work.
786
00:36:28,200 --> 00:36:29,166
- Your work?
787
00:36:29,166 --> 00:36:30,367
The work of the Devil?
788
00:36:30,367 --> 00:36:31,300
- Hans.
789
00:36:31,300 --> 00:36:32,467
- Please, Father, would you--
790
00:36:32,467 --> 00:36:37,033
- No.
791
00:36:38,400 --> 00:36:40,133
- A wrestler named Kiwi Kingston
792
00:36:40,133 --> 00:36:42,766
played this new monster
under the direction
793
00:36:42,766 --> 00:36:43,833
of Freddie Francis.
794
00:36:43,833 --> 00:36:45,833
- Terry was unwell at that time,
795
00:36:45,833 --> 00:36:48,100
and then terribly became
unwell and then got
796
00:36:48,100 --> 00:36:49,766
progressively worse.
797
00:36:49,766 --> 00:36:52,699
By this time, Hammer had
cleared with Universal
798
00:36:52,699 --> 00:36:55,467
they could use the
original makeup.
799
00:36:55,467 --> 00:36:57,733
And I thought it needed
something much more physical
800
00:36:57,733 --> 00:36:59,433
than dear old Chris.
801
00:36:59,433 --> 00:37:01,799
And our man was physical, but,
802
00:37:01,799 --> 00:37:04,467
you know, if we did it again,
I would have somebody who
803
00:37:04,467 --> 00:37:05,766
could act a little better.
804
00:37:09,000 --> 00:37:11,300
And obviously I used to
think of the most effective
805
00:37:11,300 --> 00:37:15,300
way visually, you know,
having been a DP and still am,
806
00:37:15,300 --> 00:37:17,033
I always think visually first.
807
00:37:33,166 --> 00:37:35,400
- The Baron was
a bit ahead of his time.
808
00:37:36,500 --> 00:37:38,632
I mean, I was
unstunting human organs
809
00:37:38,632 --> 00:37:41,100
before that clever
doctor, Christiaan Barnard
810
00:37:41,100 --> 00:37:42,632
in South Africa in 1968.
811
00:37:43,599 --> 00:37:45,666
Get out of his way, you fools.
812
00:37:45,666 --> 00:37:46,699
- Go back
813
00:37:46,699 --> 00:37:48,666
and kill him.
814
00:38:03,333 --> 00:38:04,500
- He lives.
815
00:38:04,500 --> 00:38:06,500
See Hans, he's alive.
816
00:38:06,500 --> 00:38:08,833
- Terry Fischer returned in 1967.
817
00:38:08,833 --> 00:38:10,632
- The Terrence Fisher
pictures tend to be shot
818
00:38:10,632 --> 00:38:12,632
on long masters, I noticed.
819
00:38:12,632 --> 00:38:13,899
And one of the fascinations
in those pitures
820
00:38:13,899 --> 00:38:16,333
is just to sort of watch
and try to do something
821
00:38:16,333 --> 00:38:18,233
with essentially an empty frame.
822
00:38:20,533 --> 00:38:21,632
- You see?
823
00:38:21,632 --> 00:38:23,400
A shield of
indestructible matter.
824
00:38:24,533 --> 00:38:26,333
- What it it for?
825
00:38:26,333 --> 00:38:27,966
- What is it for?
826
00:38:27,966 --> 00:38:29,400
To give life after
death, my friend.
827
00:38:29,400 --> 00:38:30,899
That's what it's for.
828
00:38:30,899 --> 00:38:32,033
Life after death.
829
00:38:32,033 --> 00:38:32,866
- Hans!
830
00:38:47,100 --> 00:38:50,066
- My dear, that man
possesses such power.
831
00:38:51,333 --> 00:38:52,733
Such knowledge that,
832
00:38:54,100 --> 00:38:57,300
well sometimes I don't
even understand him myself.
833
00:39:04,433 --> 00:39:05,266
- Papa!
834
00:39:07,133 --> 00:39:09,200
- With novice performers like
835
00:39:09,200 --> 00:39:13,433
Playboy model Susan Denberg,
Terry patiently blocked out
836
00:39:13,433 --> 00:39:16,033
the action bit by bit.
837
00:39:24,033 --> 00:39:24,933
- Who am I?
838
00:39:25,799 --> 00:39:26,632
Who am I?
839
00:39:28,033 --> 00:39:29,599
- Frankenstein Created
Woman was a very interesting
840
00:39:29,599 --> 00:39:31,799
picture, it's got a lot of
interesting thematic stuff
841
00:39:31,799 --> 00:39:33,833
that you really wouldn't
expect, that they didn't
842
00:39:33,833 --> 00:39:35,033
have to deal with.
843
00:39:35,033 --> 00:39:36,467
In Frankenstein Created
Woman in particular,
844
00:39:36,467 --> 00:39:39,966
I remember great stills of
Peter Cushing and Susan Denberg
845
00:39:39,966 --> 00:39:41,133
that weren't in the
movie, you know,
846
00:39:41,133 --> 00:39:42,533
and I could never
figure out whether they
847
00:39:42,533 --> 00:39:43,966
were never shot or
whether they were cut out
848
00:39:43,966 --> 00:39:45,733
or what the story was.
849
00:39:45,733 --> 00:39:47,467
- The stills had nothing to do with
850
00:39:47,467 --> 00:39:48,733
the story.
851
00:39:48,733 --> 00:39:50,999
Hammer just wanted to
sell theater tickets.
852
00:39:50,999 --> 00:39:55,766
In 1967, Frankenstein moved
to the larger Elstree Studios
853
00:39:56,966 --> 00:39:59,033
with Terry Fischer
again as director.
854
00:39:59,033 --> 00:40:00,833
- Terry would
pretty much let you go
855
00:40:00,833 --> 00:40:01,766
through the scene.
856
00:40:01,766 --> 00:40:03,433
He trusted your own instincts.
857
00:40:03,433 --> 00:40:04,866
He was very easy to work for.
858
00:40:06,367 --> 00:40:07,566
- You haven't finished.
859
00:40:10,899 --> 00:40:13,333
- He would just tell
you what you'd already,
860
00:40:13,333 --> 00:40:15,766
what you'd be doing
previous to this,
861
00:40:15,766 --> 00:40:18,799
what your emotions would
be likely to be like.
862
00:40:18,799 --> 00:40:21,433
And, then ask you
to run it through.
863
00:40:25,233 --> 00:40:26,699
- Right, action.
864
00:40:38,367 --> 00:40:39,632
- I can transplant his brain.
865
00:40:39,632 --> 00:40:42,400
If I don't, it'll die
through lack of oxygen.
866
00:40:42,400 --> 00:40:44,066
- But that would mean
you'd have to remove someone
867
00:40:44,066 --> 00:40:45,433
else's brain to do it.
868
00:40:46,632 --> 00:40:47,467
- Of course, Carl.
869
00:40:47,467 --> 00:40:48,467
How else?
870
00:40:50,400 --> 00:40:51,666
- The police.
871
00:40:51,666 --> 00:40:54,233
They're searching all the houses.
872
00:41:00,166 --> 00:41:03,966
- You must choose between
the flames, and the police.
873
00:41:05,599 --> 00:41:08,000
- Once more into the bleach,
874
00:41:08,000 --> 00:41:11,233
with blackmail, murder,
and skull duggery.
875
00:41:11,233 --> 00:41:12,166
- Of course he's
only doing it for
876
00:41:12,166 --> 00:41:14,133
a frighteningly good call.
877
00:41:14,133 --> 00:41:15,999
- I loved Peter.
878
00:41:15,999 --> 00:41:17,266
Everybody loved Peter.
879
00:41:17,266 --> 00:41:20,599
He was very gentle,
he adored his wife.
880
00:41:20,599 --> 00:41:21,799
He was kind.
881
00:41:21,799 --> 00:41:24,567
- What a lovely
piece of export, hm?
882
00:41:26,033 --> 00:41:28,266
- I can't speak
too highly of him.
883
00:41:28,266 --> 00:41:30,599
- What have you done to him?
884
00:41:31,866 --> 00:41:34,133
- For God sake's go away!
885
00:41:34,133 --> 00:41:35,599
Leave us alone!
886
00:41:35,599 --> 00:41:37,966
- How many heart
transplants today?
887
00:41:37,966 --> 00:41:39,367
- Hearts?
888
00:41:39,367 --> 00:41:40,699
I'm ashamed they're old
fashioned, we're on brains now.
889
00:41:40,699 --> 00:41:42,433
- Are you?
- Yes.
890
00:41:42,433 --> 00:41:45,467
- Jimmy Carreras
rarely visited our sets.
891
00:41:45,467 --> 00:41:47,966
He wasn't too keen
on horror pictures,
892
00:41:47,966 --> 00:41:51,066
and seeing a crew of
50, at least 40 of whom
893
00:41:51,066 --> 00:41:53,133
appeared to be doing
absolutely nothing,
894
00:41:53,133 --> 00:41:55,000
well he became a bit testy.
895
00:41:55,000 --> 00:41:56,699
He preferred to stay
on Wardour Street.
896
00:41:56,699 --> 00:41:58,166
- That was their business,
it wasn't his business.
897
00:41:58,166 --> 00:42:00,367
I don't think he
particularly cared about
898
00:42:00,367 --> 00:42:01,833
the films themselves.
899
00:42:01,833 --> 00:42:04,033
Now, as a film person, I
would say that's exactly the
900
00:42:04,033 --> 00:42:06,300
kind of person you want
running a film company.
901
00:42:06,300 --> 00:42:08,400
Someone who lets the creative
people get on with it,
902
00:42:08,400 --> 00:42:11,833
and if the price for that
is a degree of cynicism
903
00:42:11,833 --> 00:42:14,666
on his part, fine, it worked
extremely well for Hammer.
904
00:42:16,066 --> 00:42:18,200
- Hammer opted for a younger Baron,
905
00:42:18,200 --> 00:42:20,300
the late Ralph Bates.
906
00:42:20,300 --> 00:42:22,999
Veronica Carlson played
the Hazel Court role
907
00:42:22,999 --> 00:42:26,233
while Jimmy Sangster
directed, wrote, and produced.
908
00:42:26,233 --> 00:42:27,766
- Jimmy was irreplaceable.
909
00:42:27,766 --> 00:42:29,433
He had a great sense of humor.
910
00:42:29,433 --> 00:42:31,300
At lunch time, we went
into the restaurant,
911
00:42:31,300 --> 00:42:33,467
laughed ourselves
silly about everything,
912
00:42:33,467 --> 00:42:37,666
calmed down, and then Jimmy
said, "Now be serious."
913
00:42:37,666 --> 00:42:41,433
- I had the most fun ever
directing that movie.
914
00:42:42,599 --> 00:42:43,866
It's not a good
position to be in,
915
00:42:43,866 --> 00:42:45,100
writer, producer,
and the director,
916
00:42:45,100 --> 00:42:46,733
because there's
nobody to tell you
917
00:42:46,733 --> 00:42:47,766
you're making a mistake.
918
00:42:47,766 --> 00:42:49,233
- But fresh, mind you.
919
00:42:49,233 --> 00:42:51,166
Nothing more than
three days old.
920
00:42:51,166 --> 00:42:53,966
- Anything I bring
you will be so fresh,
921
00:42:53,966 --> 00:42:57,433
it'd get past the
cattleman meat inspector.
922
00:42:57,433 --> 00:42:59,567
- It's almost like
the same saga that
923
00:42:59,567 --> 00:43:01,899
the Universal pictures
had where they kept adding
924
00:43:01,899 --> 00:43:04,300
more monsters and tried
to make the pictures
925
00:43:04,300 --> 00:43:07,100
seem more exciting than
they had been previously.
926
00:43:07,100 --> 00:43:09,166
And then by the time
they'd done the parodies,
927
00:43:09,166 --> 00:43:10,699
it was over.
928
00:43:10,699 --> 00:43:12,166
It's the same thing that's
happened to the westerns.
929
00:43:12,166 --> 00:43:15,266
- 6'7" David Prowse
wore a diaper and a bald
930
00:43:15,266 --> 00:43:17,333
cap as this monster.
931
00:43:17,333 --> 00:43:18,533
- I said, "Have you
got any ideas as to how
932
00:43:18,533 --> 00:43:19,766
"you're going to
play this monster?"
933
00:43:19,766 --> 00:43:21,266
He said, "I've got
three children."
934
00:43:21,266 --> 00:43:23,799
And I said, "I just play about
with them and frighten them,
935
00:43:24,966 --> 00:43:26,433
"I'd stand up as
far big as I can,
936
00:43:26,433 --> 00:43:28,367
"and I sort of walk
towards them and say,
937
00:43:28,367 --> 00:43:31,066
"'I am the monster.'"
938
00:43:31,066 --> 00:43:32,533
And the kids'll run away
from me and Terry, he said,
939
00:43:32,533 --> 00:43:34,632
"That's fine, perfect,
that's just what we want."
940
00:43:34,632 --> 00:43:37,300
And so that was how we
finished up, you know,
941
00:43:37,300 --> 00:43:38,333
playing this monster.
942
00:43:43,533 --> 00:43:45,933
- David looked far more
imposing in black leather
943
00:43:45,933 --> 00:43:48,500
years later in Star Wars.
944
00:43:48,500 --> 00:43:51,266
As usual, the next film
began with a poster,
945
00:43:51,266 --> 00:43:52,866
eventually modified.
946
00:43:54,033 --> 00:43:56,567
With burned hands
useless for surgery,
947
00:43:56,567 --> 00:43:58,467
the Baron enlists
a young surgeon to
948
00:43:58,467 --> 00:44:00,933
help fashion one
last abomination.
949
00:44:02,933 --> 00:44:06,599
It was the Baron's
last hurrah so far.
950
00:44:06,599 --> 00:44:08,799
Because of the period,
I was given a wig
951
00:44:08,799 --> 00:44:10,300
covered in Marcel waves.
952
00:44:10,300 --> 00:44:12,799
I thought it made me look
rather like Helen Hayes.
953
00:44:14,933 --> 00:44:18,567
- I knew you couldn't give
up your work completely.
954
00:44:18,567 --> 00:44:19,799
And you haven't.
955
00:44:19,799 --> 00:44:21,933
- David Prowse also played this monster
956
00:44:21,933 --> 00:44:24,766
in a stiff mask and
hairy rubber suit.
957
00:44:24,766 --> 00:44:26,266
- It was a sweat
suit and a mask.
958
00:44:26,266 --> 00:44:28,467
I could get in the complete
outfit within, like,
959
00:44:28,467 --> 00:44:31,100
20 minutes, it was so simple.
960
00:44:31,100 --> 00:44:32,866
I think in my acting
as the monster
961
00:44:32,866 --> 00:44:35,333
in Monster From Hell was
probably the high point.
962
00:44:36,799 --> 00:44:37,933
And that includes Darth
Vader and everything
963
00:44:37,933 --> 00:44:39,433
else that I've done.
964
00:44:39,433 --> 00:44:40,933
I still think the Monster From
Hell was probably one of the
965
00:44:40,933 --> 00:44:42,866
best acting jobs
that I've ever done.
966
00:44:42,866 --> 00:44:44,233
- I've succeeded this time.
967
00:44:45,933 --> 00:44:48,433
And every sacrifice will
have been worth while.
968
00:44:48,433 --> 00:44:50,632
- We had one stunt
where he had to,
969
00:44:50,632 --> 00:44:53,433
I was on the rampage
in the laboratory.
970
00:44:58,966 --> 00:45:00,233
- Professor!
971
00:45:00,233 --> 00:45:01,733
- And Peter had to
come and calm me down.
972
00:45:01,733 --> 00:45:04,033
He smashed the chloroform
bottle in his coat,
973
00:45:05,233 --> 00:45:06,632
sort of jumped up
onto to the table,
974
00:45:06,632 --> 00:45:08,666
made a dive across,
a dive from off.
975
00:45:08,666 --> 00:45:11,632
I mean, the guy was in
his like 60s at the time,
976
00:45:11,632 --> 00:45:14,066
and I'm swinging him around,
trying to get him off
977
00:45:14,066 --> 00:45:17,933
and doing like an airplane
spin, like a wrestler does,
978
00:45:17,933 --> 00:45:20,533
and eventually I have
to collapse in a heap,
979
00:45:20,533 --> 00:45:23,433
I'm being suffocated
by the chloroform.
980
00:45:24,866 --> 00:45:26,733
We eventually collapse,
with him still hanging on
981
00:45:26,733 --> 00:45:28,899
like grim death, you
know, on the back.
982
00:45:28,899 --> 00:45:31,866
And when we finished,
the whole studio got up
983
00:45:31,866 --> 00:45:32,699
and applauded.
984
00:45:32,699 --> 00:45:33,599
It was wonderful.
985
00:45:35,433 --> 00:45:37,500
- Long time employee Roy Skeggs
986
00:45:37,500 --> 00:45:39,367
had risen to producer.
987
00:45:39,367 --> 00:45:41,899
Tony Hinds wrote the
script as John Elder.
988
00:45:41,899 --> 00:45:45,400
The composer, Jimmy
Bernard, and Terrence Fisher
989
00:45:45,400 --> 00:45:47,400
directing our last
film together.
990
00:45:48,599 --> 00:45:49,599
- But even if the monster
991
00:45:49,599 --> 00:45:51,799
was not state of the art,
992
00:45:51,799 --> 00:45:53,333
- Well?
993
00:45:53,333 --> 00:45:56,632
- The Baron was his usual
warm and considerate self.
994
00:45:56,632 --> 00:46:00,733
- If everything could
be reborn, unblemished,
995
00:46:00,733 --> 00:46:04,300
if a new version of his
true self could be created,
996
00:46:04,300 --> 00:46:06,599
in the normal way, by mating.
997
00:46:06,599 --> 00:46:07,833
- But who with?
998
00:46:07,833 --> 00:46:08,666
- Sarah.
999
00:46:09,866 --> 00:46:11,200
- For good or ill,
1000
00:46:11,200 --> 00:46:14,333
these films brought technicolor
blood to the screen.
1001
00:46:14,333 --> 00:46:18,200
Without them, we may have
never seen The Wild Bunch
1002
00:46:18,200 --> 00:46:20,999
or even the black comedy
of the original M-A-S-H.
1003
00:46:20,999 --> 00:46:22,632
- To Baron Frankenstein,
1004
00:46:22,632 --> 00:46:23,766
the creator of man.
1005
00:46:24,933 --> 00:46:26,933
- In any case, Hammer breathes new life
1006
00:46:26,933 --> 00:46:28,933
into the Mary Shelley myth.
1007
00:46:28,933 --> 00:46:33,933
In return, Frankenstein
created Hammer.
1008
00:46:38,733 --> 00:46:41,400
They will never be ready for me.
1009
00:46:49,300 --> 00:46:52,833
- In 1958, Universal Pictures allowed
1010
00:46:52,833 --> 00:46:56,367
Hammer to remake
Dracula in exchange for
1011
00:46:56,367 --> 00:46:58,033
US distribution rights.
1012
00:46:59,833 --> 00:47:02,400
- The Horror of Dracula was
a particularly big moment
1013
00:47:02,400 --> 00:47:05,166
in my life and the life
of a lot of kids my age.
1014
00:47:06,599 --> 00:47:09,266
We had watched the Universal
pictures, and they were scary,
1015
00:47:09,266 --> 00:47:12,833
but they were on
television, in your house.
1016
00:47:12,833 --> 00:47:15,632
So there something a
little safer about watching
1017
00:47:15,632 --> 00:47:18,567
those picture, but in
a theater, with color,
1018
00:47:18,567 --> 00:47:22,166
I remember kid's parents
not letting them go see it
1019
00:47:22,166 --> 00:47:23,833
because it was supposed
to be so scary.
1020
00:47:23,833 --> 00:47:27,233
- On one side, the power of good.
1021
00:47:27,233 --> 00:47:29,833
- Castle Dracula is somewhere
here in Klausenburg.
1022
00:47:29,833 --> 00:47:31,666
Will you tell me
how I get there?
1023
00:47:31,666 --> 00:47:32,599
- On the other?
1024
00:47:32,599 --> 00:47:34,833
The seductive allure of evil.
1025
00:47:34,833 --> 00:47:38,033
Jimmy Sangster's script
eliminated the supernatural
1026
00:47:38,033 --> 00:47:40,400
powers suggested by Bram Stoker,
1027
00:47:40,400 --> 00:47:43,367
but substituted something
even more potent:
1028
00:47:44,266 --> 00:47:45,666
sex appeal.
1029
00:47:46,866 --> 00:47:48,433
- I thought the more
human he became,
1030
00:47:48,433 --> 00:47:52,066
the less magic or
fantasy figure he became,
1031
00:47:52,066 --> 00:47:53,300
the more threatening he was.
1032
00:47:53,300 --> 00:47:57,066
- And then, I think
the better of the two,
1033
00:47:57,066 --> 00:47:59,367
the film that we really
felt went further,
1034
00:47:59,367 --> 00:48:01,300
was the Horror of Dracula.
1035
00:48:01,300 --> 00:48:05,333
You know, there's nothing like
1036
00:48:05,333 --> 00:48:07,500
the introduction of
Dracula in that picture
1037
00:48:07,500 --> 00:48:10,200
where he simply walks
down the stairs,
1038
00:48:10,200 --> 00:48:11,899
and walks over Jonathan
Harker and says,
1039
00:48:11,899 --> 00:48:12,966
"Hello, I'm Dracula."
1040
00:48:14,799 --> 00:48:15,632
- Mr. Harker.
1041
00:48:16,766 --> 00:48:18,966
I'm glad that you've
arrived safely.
1042
00:48:18,966 --> 00:48:20,533
- Count Dracula.
1043
00:48:20,533 --> 00:48:23,233
- I am Dracula, and I
welcome you to my house.
1044
00:48:23,233 --> 00:48:25,966
- Slip on canine fangs became
1045
00:48:25,966 --> 00:48:29,533
de rigueur for all vampires
to come in Hollywood,
1046
00:48:29,533 --> 00:48:32,933
Italy, Mexico,
France, even Japan.
1047
00:48:32,933 --> 00:48:35,866
Like Frankenstein, this
was a drastic change
1048
00:48:35,866 --> 00:48:37,533
from previous versions.
1049
00:48:38,433 --> 00:48:40,166
- Oh, you must help me.
1050
00:48:40,166 --> 00:48:41,300
You must.
1051
00:48:41,300 --> 00:48:43,433
You're my only hope, you must.
1052
00:48:43,433 --> 00:48:45,066
- I'll help you.
1053
00:48:45,066 --> 00:48:45,899
I promise.
1054
00:48:56,233 --> 00:49:00,733
- I decided to play him
as a malevolent hero.
1055
00:49:00,733 --> 00:49:04,567
I decided to play him as
a man of immense dignity,
1056
00:49:04,567 --> 00:49:07,333
immense strength, immense
power, immense brain,
1057
00:49:07,333 --> 00:49:08,500
because it's all there.
1058
00:49:08,500 --> 00:49:10,632
He's kind of a
super man, actually.
1059
00:49:10,632 --> 00:49:12,799
- Dracula was sexy and
he was seducing people
1060
00:49:12,799 --> 00:49:14,433
and he was basically
going to bed with women.
1061
00:49:14,433 --> 00:49:17,632
You know, and afterward, they
just thought he was great.
1062
00:49:17,632 --> 00:49:20,133
- Particularly, as my dear
friend Christopher Lee
1063
00:49:20,133 --> 00:49:22,899
plays the character of Dracula,
1064
00:49:22,899 --> 00:49:25,066
the women are very
much attracted to him.
1065
00:49:25,066 --> 00:49:27,467
I mean that first
picture you had the lady
1066
00:49:27,467 --> 00:49:30,533
opening her French
windows, lying back
1067
00:49:30,533 --> 00:49:32,433
and waiting for
her lover to come.
1068
00:49:40,266 --> 00:49:42,200
- Well that was definitely
in the screenplay,
1069
00:49:42,200 --> 00:49:44,500
and I think Terry
Fisher, the director,
1070
00:49:44,500 --> 00:49:47,933
certainly emphasized that
it wasn't a new ingredient.
1071
00:49:47,933 --> 00:49:49,400
It's definitely been there.
1072
00:49:49,400 --> 00:49:51,500
If you look at Nosferatu,
and I mean even in the
1073
00:49:51,500 --> 00:49:53,666
strangest forms of these films,
1074
00:49:53,666 --> 00:49:55,866
there's a strong,
sexual element,
1075
00:49:55,866 --> 00:49:58,467
but in the color again,
the blood became a little
1076
00:49:58,467 --> 00:50:01,133
more gory, the sex became
a little more cleavage,
1077
00:50:01,133 --> 00:50:03,666
and the whole thing
grew up a little.
1078
00:50:03,666 --> 00:50:05,033
- So after we'd
done the first one,
1079
00:50:05,033 --> 00:50:07,699
we'd have a complete
reshuffle and I was surprised
1080
00:50:07,699 --> 00:50:10,899
when I was told that I had
to have the same people.
1081
00:50:12,333 --> 00:50:13,433
As a matter of fact,
as it were done,
1082
00:50:13,433 --> 00:50:14,766
it couldn't have been better.
1083
00:50:17,266 --> 00:50:20,599
Cushing had been a star and
I was delighted to have him
1084
00:50:20,599 --> 00:50:21,766
in Frankenstein.
1085
00:50:21,766 --> 00:50:23,632
I thought he was
excellent in Dracula,
1086
00:50:23,632 --> 00:50:25,266
and really, you couldn't
have found a better person
1087
00:50:25,266 --> 00:50:26,966
than Chris Lee for
Dracula, I don't think.
1088
00:50:26,966 --> 00:50:28,233
Anyone.
1089
00:50:28,233 --> 00:50:30,066
He was quite original,
I think, in making him
1090
00:50:30,066 --> 00:50:33,533
a very presentable, quite
sexually attractive,
1091
00:50:33,533 --> 00:50:36,866
not to me, a quite
sexually attractive actor
1092
00:50:36,866 --> 00:50:40,567
instead of this rather
florid, puffy faced gentleman
1093
00:50:40,567 --> 00:50:42,467
that one associated with.
1094
00:50:42,467 --> 00:50:45,066
- The one I found just
a little more difficult
1095
00:50:45,066 --> 00:50:48,500
was Van Helsing,
because in the book by
1096
00:50:48,500 --> 00:50:53,400
Bram Stoker, he's described
a very old, little wizard
1097
00:50:55,100 --> 00:50:58,333
man who speaks
almost double Dutch.
1098
00:50:58,333 --> 00:51:00,400
And that this was
going back, what,
1099
00:51:00,400 --> 00:51:05,333
nearly 25 years when I
was younger and prettier,
1100
00:51:06,100 --> 00:51:07,333
if that is possible.
1101
00:51:07,333 --> 00:51:09,500
The one thing that
Dracula didn't like
1102
00:51:10,333 --> 00:51:12,933
was a crucifix.
1103
00:51:12,933 --> 00:51:15,166
And there were so many
time I had to use one
1104
00:51:15,166 --> 00:51:18,033
that in the end, I thought
it had become ludicrous.
1105
00:51:18,033 --> 00:51:21,400
I was rather like a traveling
salesman in crucifixi.
1106
00:51:23,833 --> 00:51:27,100
- This three note dropping octave theme
1107
00:51:27,100 --> 00:51:30,367
underscored the power
of the title character.
1108
00:51:30,367 --> 00:51:33,367
- Taking the title of the
movie, is that what you mean,
1109
00:51:33,367 --> 00:51:37,266
and thinking of a tune,
and the obvious one is
1110
00:51:38,367 --> 00:51:39,866
d Drac-U-La
1111
00:51:39,866 --> 00:51:42,632
- I had this date with
this guy that I was trying
1112
00:51:42,632 --> 00:51:47,233
to impress, and all of 16, and
I'm looking and I'm going--
1113
00:51:48,500 --> 00:51:49,699
- This is not the
Lucy you loved.
1114
00:51:49,699 --> 00:51:52,233
It's only a shell,
possessed and corrupted
1115
00:51:52,233 --> 00:51:53,733
by the evil of Dracula.
1116
00:51:53,733 --> 00:51:55,699
- And I'm grabbing him
and I'm doing all of this
1117
00:51:55,699 --> 00:51:57,866
and all of a sudden,
this scene comes in where
1118
00:51:57,866 --> 00:51:59,999
they put the stake in.
1119
00:52:02,933 --> 00:52:04,500
And I faint.
1120
00:52:04,500 --> 00:52:05,433
"Are you alright,
are you alright?"
1121
00:52:05,433 --> 00:52:08,799
And I'm going, "Oh god, oh god."
1122
00:52:11,533 --> 00:52:12,966
- The end of The Horror
of Dracula was one of the
1123
00:52:12,966 --> 00:52:14,533
few times that I can
remember when I was a kid,
1124
00:52:14,533 --> 00:52:16,033
people screaming in a theater.
1125
00:52:19,400 --> 00:52:20,833
And they screamed
just because it was
1126
00:52:20,833 --> 00:52:22,766
so horrible and so scary.
1127
00:52:22,766 --> 00:52:25,233
- Right at the end
of the picture,
1128
00:52:25,233 --> 00:52:29,599
Van Helsing forces Dracula
into a shaft of sunlight
1129
00:52:29,599 --> 00:52:32,632
by rushing along and
pulling some curtains down.
1130
00:52:35,699 --> 00:52:37,933
Whereupon he withdrew
yet another crucifix
1131
00:52:37,933 --> 00:52:39,133
out of his pocket and I said,
1132
00:52:39,133 --> 00:52:40,599
"Could we not have
something different?"
1133
00:52:40,599 --> 00:52:44,433
And I suggested that they
had the long refectory table,
1134
00:52:44,433 --> 00:52:45,799
a candlestick at each end,
1135
00:52:45,799 --> 00:52:47,966
and I could rush along
like a mad thing,
1136
00:52:47,966 --> 00:52:50,599
leap on the table again
and grab one table stick
1137
00:52:50,599 --> 00:52:53,233
and rush to the other and
then wing them together.
1138
00:53:06,567 --> 00:53:09,467
And it worked, 'cause it made
quite a jolly good climax,
1139
00:53:09,467 --> 00:53:12,733
and I believe they used
the end of that picture
1140
00:53:12,733 --> 00:53:16,833
in the second Dracula, which
I wasn't in for some reason.
1141
00:53:26,666 --> 00:53:28,766
- Dollar for dollar, the film outperformed
1142
00:53:28,766 --> 00:53:31,666
Hitchcock's Vertigo,
released the same year.
1143
00:53:31,666 --> 00:53:35,367
Critics castigated the film
as revoltingly inferior
1144
00:53:35,367 --> 00:53:37,699
to the 1931 version.
1145
00:53:37,699 --> 00:53:40,533
But Jack Asher was hailed
for his camera work,
1146
00:53:40,533 --> 00:53:44,200
and Terry Fisher's status
as a filmmaker was assured.
1147
00:53:45,533 --> 00:53:48,333
In New York for the
premiere, we found out just
1148
00:53:48,333 --> 00:53:51,066
how valuable a product
we had created.
1149
00:53:51,066 --> 00:53:52,933
- James Carreras, Tony Hinds,
1150
00:53:52,933 --> 00:53:55,233
Peter Cushing and I, the
four of us went to the
1151
00:53:55,233 --> 00:53:57,367
office of the President
of Universal Film,
1152
00:53:57,367 --> 00:53:59,799
and his name was Al Deff.
1153
00:53:59,799 --> 00:54:02,799
And he then said "Gentlemen,
this film of yours,
1154
00:54:03,999 --> 00:54:07,300
"will lift Universal
out of bankruptcy."
1155
00:54:08,699 --> 00:54:11,133
Now I've made a point
of asking Peter Cushing
1156
00:54:11,133 --> 00:54:13,500
and Tony Hinds and Jimmy
Carreras over the years,
1157
00:54:13,500 --> 00:54:15,632
"Did he really say that
or did I imagine it?"
1158
00:54:15,632 --> 00:54:16,500
He said it.
1159
00:54:17,533 --> 00:54:18,999
Interesting.
1160
00:54:18,999 --> 00:54:23,333
Brides of Dracula in 1960
featured a sexually ambiguous
1161
00:54:23,333 --> 00:54:24,833
Baron Meinster,
1162
00:54:26,400 --> 00:54:28,699
who drank the blood
of men, women,
1163
00:54:29,666 --> 00:54:31,367
even his own mother.
1164
00:54:31,367 --> 00:54:33,899
- You needn't be
afraid, she's dead.
1165
00:54:33,899 --> 00:54:35,333
- It offered strong roles to
1166
00:54:35,333 --> 00:54:38,133
Martita Hunt and Freda
Jackson, again under
1167
00:54:38,133 --> 00:54:39,699
Terry Fisher's direction,
1168
00:54:41,166 --> 00:54:45,333
as Dr. Van Helsing continued
his zealous crusade against
1169
00:54:45,333 --> 00:54:47,766
the corrupt cult of vampirism.
1170
00:54:51,266 --> 00:54:52,733
- David Peel as the baron,
1171
00:54:52,733 --> 00:54:55,367
blindingly handsome,
beautiful Yvonne Monlaur,
1172
00:54:55,367 --> 00:54:58,233
France's latest sex
kitten as Marianne,
1173
00:54:58,233 --> 00:55:01,200
whose beauty was her passport
to the twilight world
1174
00:55:01,200 --> 00:55:02,866
of the undead.
1175
00:55:13,433 --> 00:55:16,632
- Neither the budget, nor my sense of the character,
1176
00:55:16,632 --> 00:55:18,666
allowed the original climax,
1177
00:55:18,666 --> 00:55:21,133
Van Helsing conjuring
a hoard of bats
1178
00:55:21,133 --> 00:55:22,766
to destroy the depraved baron.
1179
00:55:24,166 --> 00:55:26,699
But a jolly good fight
and a splash of holy water
1180
00:55:26,699 --> 00:55:29,999
and a burning windmill
provided a fine alternative.
1181
00:55:40,400 --> 00:55:42,966
Count Dracula himself
returned eight years after
1182
00:55:42,966 --> 00:55:45,500
the original 1958 film.
1183
00:55:45,500 --> 00:55:48,133
John Travellion of the
British Board of Census
1184
00:55:48,133 --> 00:55:50,433
objected to a ritual
use to revive the Count
1185
00:55:50,433 --> 00:55:52,533
from the ashes of
the first film,
1186
00:55:52,533 --> 00:55:54,533
so Hammer turned it down.
1187
00:55:54,533 --> 00:55:56,166
A bit.
1188
00:55:57,367 --> 00:55:59,133
Instead of cutting
the victim's head off,
1189
00:55:59,133 --> 00:56:02,400
Dracula's disciple tastefully
just slits his throat.
1190
00:56:04,799 --> 00:56:08,433
Charming, so unlike the
home life of our dear queen.
1191
00:56:08,433 --> 00:56:09,733
- I must kill him.
1192
00:56:09,733 --> 00:56:10,799
- He is already dead.
1193
00:56:11,733 --> 00:56:13,433
He is undead, Mr. Kent.
1194
00:56:13,433 --> 00:56:16,100
He can be destroyed,
but not killed.
1195
00:56:28,467 --> 00:56:32,133
- Over three warm days in May 1965,
1196
00:56:32,133 --> 00:56:34,833
the brother of Francis
Matthews shot these
1197
00:56:34,833 --> 00:56:37,033
home movies at Bray Studios.
1198
00:56:37,033 --> 00:56:39,400
Camera angles will hide
the fact that the castle
1199
00:56:39,400 --> 00:56:42,133
is really only one story high.
1200
00:56:42,133 --> 00:56:44,233
There are a great
many scenes to shoot.
1201
00:56:44,233 --> 00:56:46,200
Arrivals, and departures.
1202
00:56:46,200 --> 00:56:47,999
And the climax.
1203
00:56:49,367 --> 00:56:53,266
- Susan Farmer and Barbara Shelley run their lines.
1204
00:56:53,266 --> 00:56:55,632
Charles Tingwell snoozes.
1205
00:56:55,632 --> 00:56:58,333
Christopher Lee
discusses the action,
1206
00:56:58,333 --> 00:57:01,200
and Francis Matthews
paces out his walk across
1207
00:57:01,200 --> 00:57:02,567
the castle draw bridge.
1208
00:57:03,733 --> 00:57:06,300
- Well the hero's always
boring in those films.
1209
00:57:06,300 --> 00:57:08,799
They have to be because
the excitement comes from
1210
00:57:08,799 --> 00:57:11,632
the character roles,
and the villain.
1211
00:57:11,632 --> 00:57:13,300
Since you're not
gonna do anything,
1212
00:57:13,300 --> 00:57:16,266
it's better you don't
say anything either.
1213
00:57:16,266 --> 00:57:18,599
I wish you could run it
again and hear me saying--
1214
00:57:18,599 --> 00:57:19,799
I must kill him.
1215
00:57:19,799 --> 00:57:21,966
Just after this terrible
thing has happened.
1216
00:57:21,966 --> 00:57:23,799
It's not only the
delivery of the line,
1217
00:57:23,799 --> 00:57:27,367
but the fact that I allowed
Terry to let me say the line.
1218
00:57:27,367 --> 00:57:29,632
My sister-in-law's a
vampire, my brother's dead,
1219
00:57:29,632 --> 00:57:31,899
my wife's nearly been killed.
1220
00:57:31,899 --> 00:57:33,333
I'm exhausted.
1221
00:57:33,333 --> 00:57:34,733
There was always a
danger with Hammer
1222
00:57:34,733 --> 00:57:36,766
that they forget what
had happened to you.
1223
00:57:36,766 --> 00:57:39,666
- Makeup man Roy Ashton inserts hand
1224
00:57:39,666 --> 00:57:43,966
painted contact lenses for
that wild, bloodshot look.
1225
00:57:43,966 --> 00:57:46,400
Sometimes with these
wretched contact lenses in,
1226
00:57:46,400 --> 00:57:48,233
I could hardly see at all.
1227
00:57:48,233 --> 00:57:50,733
I'd lunge for somebody and
miss them all together.
1228
00:57:52,300 --> 00:57:54,066
Terry was a great arranger.
1229
00:57:54,066 --> 00:57:55,500
- Chris is ready.
1230
00:57:55,500 --> 00:57:57,567
- He'd say, "Show me what you're going to do
1231
00:57:57,567 --> 00:57:59,599
"and I'll tell you if
it's right or wrong."
1232
00:57:59,599 --> 00:58:03,100
And he always gave editor
James Kneads exactly
1233
00:58:03,100 --> 00:58:04,533
what was needed.
1234
00:58:04,533 --> 00:58:06,467
- The first assistant that supervises
1235
00:58:06,467 --> 00:58:09,699
the frozen moat, actually
a plaster surface
1236
00:58:09,699 --> 00:58:12,833
covered in a salt
solution to simulate ice.
1237
00:58:15,500 --> 00:58:18,266
On action, Christopher
strides regally
1238
00:58:18,266 --> 00:58:20,933
holding his cloak for the
proper billowing effect.
1239
00:58:27,133 --> 00:58:30,266
Later that day, the climax.
1240
00:58:30,266 --> 00:58:31,833
- It's too late Kent!
1241
00:58:31,833 --> 00:58:32,766
Get away from there!
1242
00:58:32,766 --> 00:58:33,866
It's too late!
1243
00:58:35,400 --> 00:58:37,066
- The dialogue in the original script was
1244
00:58:37,066 --> 00:58:40,200
just dreadful, so
we compromised.
1245
00:58:40,200 --> 00:58:42,500
The character remained mute.
1246
00:58:42,500 --> 00:58:43,766
- Why don't you shoot him?
1247
00:58:43,766 --> 00:58:46,266
- It would do no good my dear.
1248
00:58:49,066 --> 00:58:52,033
- Impervious to bullets, perhaps.
1249
00:58:52,033 --> 00:58:53,300
- Running water.
1250
00:58:53,300 --> 00:58:55,166
- But not the pure elements.
1251
00:58:55,166 --> 00:58:58,166
Whatever the merits of
the individual films,
1252
00:58:58,166 --> 00:59:00,966
the combination of
technical expertise,
1253
00:59:00,966 --> 00:59:04,233
on screen talent,
and showmanship,
1254
00:59:04,233 --> 00:59:06,999
proved that British
films could succeed
1255
00:59:06,999 --> 00:59:08,333
in the world market place.
1256
00:59:11,632 --> 00:59:13,166
- Of the 19 films released
1257
00:59:13,166 --> 00:59:18,166
by 20th Century Fox in 1966,
only six were profitable.
1258
00:59:19,033 --> 00:59:20,632
Two of those were Hammer.
1259
00:59:20,632 --> 00:59:21,766
This one,
1260
00:59:21,766 --> 00:59:23,766
and Rasputin the Mad Monk.
1261
00:59:27,400 --> 00:59:30,233
In later films, we
could afford stunt men
1262
00:59:30,233 --> 00:59:33,400
like Eddie Powell to do
the more dangerous scenes.
1263
00:59:33,400 --> 00:59:37,433
But that's really me, getting
a lung full of cold water,
1264
00:59:37,433 --> 00:59:38,367
in the main part.
1265
00:59:40,599 --> 00:59:42,733
- It's a good take, but the aftermath
1266
00:59:42,733 --> 00:59:44,567
is a bit anticlimactic.
1267
00:59:45,733 --> 00:59:47,799
Wardrobe misses,
Rosemary Burrows,
1268
00:59:47,799 --> 00:59:49,899
cleans off Dracula's
shoes and cape
1269
00:59:49,899 --> 00:59:52,799
and Christopher Lee slips
out of his wet clothes,
1270
00:59:52,799 --> 00:59:54,799
presumably into a dry martini.
1271
00:59:56,632 --> 00:59:59,100
But the ice thawed less
than two years later.
1272
01:00:00,200 --> 01:00:02,100
You just can't
keep your boy down.
1273
01:00:04,833 --> 01:00:09,833
- I know that on that one,
Terry was definitely not fit,
1274
01:00:11,033 --> 01:00:11,966
so there was never
any question than
1275
01:00:11,966 --> 01:00:13,233
to ask Terry to do it.
1276
01:00:13,233 --> 01:00:14,699
- Director Freddie Francis had been
1277
01:00:14,699 --> 01:00:17,833
an Oscar winning director
of photography or DP.
1278
01:00:24,799 --> 01:00:27,266
- Then later when people
like Freddie Francis,
1279
01:00:27,266 --> 01:00:28,966
who was the DP,
started to direct,
1280
01:00:30,200 --> 01:00:31,799
the pictures would
go in for a little
1281
01:00:31,799 --> 01:00:33,766
bit more gimmicky visuals.
1282
01:00:33,766 --> 01:00:36,300
- Arthur Grant, he was
a great fan of mine
1283
01:00:36,300 --> 01:00:37,599
when I was a camera man.
1284
01:00:37,599 --> 01:00:39,899
And, uh, I let him use
1285
01:00:41,100 --> 01:00:42,632
my filters from The
Innocence for that
1286
01:00:42,632 --> 01:00:45,033
with the sort of
graduating colors coming
1287
01:00:45,033 --> 01:00:46,567
in from the side.
1288
01:00:46,567 --> 01:00:48,666
- These amber filters visually indicated
1289
01:00:48,666 --> 01:00:49,533
an aura of evil.
1290
01:00:50,632 --> 01:00:51,799
- There is a girl.
1291
01:00:51,799 --> 01:00:52,866
- Maria?
1292
01:00:52,866 --> 01:00:54,599
- Bring her to me!
1293
01:00:55,666 --> 01:00:57,666
Irresistible to women.
1294
01:00:57,666 --> 01:00:59,833
Unstoppable by men.
1295
01:00:59,833 --> 01:01:01,100
- Christopher Lee.
1296
01:01:02,033 --> 01:01:03,632
Veronica Carlson.
1297
01:01:03,632 --> 01:01:06,033
Hammer's new star discovery,
1298
01:01:06,033 --> 01:01:08,632
Dracula's most beautiful victim.
1299
01:01:10,233 --> 01:01:11,899
- Well I used to skip
classes at college
1300
01:01:11,899 --> 01:01:13,933
if I knew there was a
new Dracula film out
1301
01:01:13,933 --> 01:01:15,600
or a new Frankenstein film out,
1302
01:01:15,600 --> 01:01:17,467
and they were always
the Hammer films.
1303
01:01:17,467 --> 01:01:21,300
I don't think that I
thought that I would ever be
1304
01:01:21,300 --> 01:01:22,632
up there with them.
1305
01:01:23,500 --> 01:01:26,467
But I yearned to be just that,
1306
01:01:26,467 --> 01:01:27,400
and I pretended.
1307
01:01:28,833 --> 01:01:31,766
- They lost a lot of what
I'd hoped to get in it.
1308
01:01:31,766 --> 01:01:34,433
I wanted to accentuate
the romantic interest
1309
01:01:34,433 --> 01:01:35,966
between the boy and the girl.
1310
01:01:35,966 --> 01:01:38,066
And which I did do
in the shooting.
1311
01:01:38,066 --> 01:01:40,467
But, um, as I say,
1312
01:01:40,467 --> 01:01:42,632
once we'd finished
shooting, the film is put
1313
01:01:42,632 --> 01:01:44,400
in the mincing
machine and wound up.
1314
01:01:44,400 --> 01:01:45,866
I went away for a week's holiday
1315
01:01:45,866 --> 01:01:48,266
and when I came back,
they'd finished editing it.
1316
01:01:48,266 --> 01:01:49,300
The film was probably
due out in about
1317
01:01:49,300 --> 01:01:50,567
another two weeks anyway.
1318
01:02:05,999 --> 01:02:08,600
- Very tall,
very aristocratic.
1319
01:02:08,600 --> 01:02:10,833
Beautiful operatic voice.
1320
01:02:10,833 --> 01:02:12,899
I think he is the
epitome of Dracula.
1321
01:02:13,766 --> 01:02:15,166
It was a dream come true.
1322
01:02:16,533 --> 01:02:17,766
- The American distributor
1323
01:02:17,766 --> 01:02:20,166
came up with a silly,
effective ad catch line,
1324
01:02:20,166 --> 01:02:22,699
"Boy, does he give a hickie."
1325
01:02:22,699 --> 01:02:25,999
- The big difference that
those pictures had at the time
1326
01:02:25,999 --> 01:02:28,467
from American pictures was
they were not just gorier,
1327
01:02:28,467 --> 01:02:29,833
because the gore, if
you look back at them,
1328
01:02:29,833 --> 01:02:31,333
was actually kind of tame.
1329
01:02:31,333 --> 01:02:33,266
Although at the time, it
was a bit more than people
1330
01:02:33,266 --> 01:02:35,600
were used to, but
it's mainly the sex.
1331
01:02:35,600 --> 01:02:37,933
The parade of buxom,
British starlets,
1332
01:02:37,933 --> 01:02:40,833
closeups, alleged closeups on
medallions that are really,
1333
01:02:40,833 --> 01:02:42,433
you know, huge buxom shots.
1334
01:02:44,367 --> 01:02:48,100
These myths have a certain
built in Freudian fascination
1335
01:02:48,100 --> 01:02:50,699
that never really goes away.
1336
01:02:51,966 --> 01:02:55,033
- You're talking about
the driving of a stake.
1337
01:02:55,033 --> 01:02:56,733
I don't,
1338
01:02:56,733 --> 01:02:58,899
if you like to look
at it that way it is,
1339
01:02:58,899 --> 01:03:01,899
but I don't think
that's all it meant.
1340
01:03:01,899 --> 01:03:04,333
But no, the reason
they're staking in Dracula
1341
01:03:04,333 --> 01:03:05,533
is to get rid of him.
1342
01:03:05,533 --> 01:03:07,166
- And they nearly did.
1343
01:03:07,166 --> 01:03:10,766
To save money, accountant
Brian Lawrence suggested
1344
01:03:10,766 --> 01:03:14,233
that Dracula film in name only,
1345
01:03:14,233 --> 01:03:16,600
but the American distributor
insisted that the
1346
01:03:16,600 --> 01:03:18,766
title character actually appear.
1347
01:03:20,033 --> 01:03:22,933
So James Carreras
pleaded with me,
1348
01:03:22,933 --> 01:03:26,733
saying that I would throw
the entire crew out of work
1349
01:03:26,733 --> 01:03:28,133
if I didn't appear.
1350
01:03:28,133 --> 01:03:30,467
So, of course, I accepted.
1351
01:03:30,467 --> 01:03:31,300
Alice.
1352
01:03:33,033 --> 01:03:34,600
- Who are you?
1353
01:03:34,600 --> 01:03:35,799
How do you know my name?
1354
01:03:36,999 --> 01:03:38,166
- But they now had to fit
1355
01:03:38,166 --> 01:03:39,833
the character into the script,
1356
01:03:39,833 --> 01:03:41,966
so I was only required
to pop up from
1357
01:03:41,966 --> 01:03:45,066
the occasional dark corner
and do very little acting.
1358
01:03:45,066 --> 01:03:46,500
Now.
1359
01:03:46,500 --> 01:03:48,966
- Secure enough to
spoof his image, Christopher Lee
1360
01:03:48,966 --> 01:03:51,133
appeared in The Magic Christian,
1361
01:03:51,133 --> 01:03:53,733
the first of four films
with Raquel Welch.
1362
01:03:53,733 --> 01:03:55,933
- And Christopher and I
became good friends also
1363
01:03:55,933 --> 01:03:58,733
at one point when I
was living in London.
1364
01:03:58,733 --> 01:04:01,400
He and his wife, Birgit,
they were very nice people.
1365
01:04:01,400 --> 01:04:04,833
He was quite an elegant and
quite a sensual Dracula.
1366
01:04:04,833 --> 01:04:06,600
I thought that was
just an act and,
1367
01:04:07,799 --> 01:04:09,899
he was quite like
Dracula actually.
1368
01:04:09,899 --> 01:04:11,166
Christopher.
1369
01:04:11,166 --> 01:04:13,500
- Within a year, Hammer ground out
1370
01:04:13,500 --> 01:04:14,799
another sequel.
1371
01:04:16,200 --> 01:04:18,799
- What I was trying to
incorporate is the element
1372
01:04:18,799 --> 01:04:22,866
of magic, the mystery, the
touch of the supernatural.
1373
01:04:22,866 --> 01:04:24,799
It was one thing that
nobody had ever done,
1374
01:04:24,799 --> 01:04:29,699
which was when the
hero, Jonathan Harker,
1375
01:04:29,699 --> 01:04:31,433
as it is in the book, he
looks out of his window
1376
01:04:31,433 --> 01:04:36,433
and he sees Dracula climb out
of a window of the castle.
1377
01:04:40,733 --> 01:04:42,300
It has a certain amount of
opposition because it was going
1378
01:04:42,300 --> 01:04:46,033
to cost money to build
a special set for this.
1379
01:04:47,033 --> 01:04:49,033
But at any rate, we did.
1380
01:04:49,033 --> 01:04:52,433
When Christopher Lee
has to pick up the girl
1381
01:04:52,433 --> 01:04:55,467
and carry her from one
room to another, whatever,
1382
01:04:55,467 --> 01:04:58,166
he said to me, "Well
I can carry her, but,
1383
01:04:58,166 --> 01:05:00,133
"how am I going
to open the door?"
1384
01:05:01,500 --> 01:05:04,266
And I said, "Count Dracula
doesn't open doors.
1385
01:05:04,266 --> 01:05:05,899
"The door opens for him.
1386
01:05:05,899 --> 01:05:09,233
"He goes through, and the
door closes behind him."
1387
01:05:09,233 --> 01:05:11,733
They got them all
in supermarkets now,
1388
01:05:11,733 --> 01:05:12,933
exactly the same thing.
1389
01:05:12,933 --> 01:05:14,866
- But this one barely received
1390
01:05:14,866 --> 01:05:16,367
American release.
1391
01:05:16,367 --> 01:05:18,300
- The blood line is getting thin so Hammer
1392
01:05:18,300 --> 01:05:21,367
tried a transfusion
in a new vein.
1393
01:05:21,367 --> 01:05:23,200
- I think it came
from a distributor.
1394
01:05:23,200 --> 01:05:26,066
I think it was partly
accepted by us eagerly
1395
01:05:26,066 --> 01:05:27,333
as a change of scene.
1396
01:05:27,333 --> 01:05:28,799
It didn't work.
1397
01:05:28,799 --> 01:05:30,467
It was a mistake.
1398
01:05:30,467 --> 01:05:31,899
- The late Canadian director,
1399
01:05:31,899 --> 01:05:34,833
Alan Gibson, put us
all through our paces.
1400
01:05:35,799 --> 01:05:38,066
Vampirism went mod.
1401
01:05:43,632 --> 01:05:47,033
- That was the first time
I think in my short career
1402
01:05:47,033 --> 01:05:49,666
at that time that I
realized I actually did
1403
01:05:49,666 --> 01:05:52,066
want to act, this was really it,
1404
01:05:52,066 --> 01:05:54,400
because I believed
in what I was doing.
1405
01:05:54,400 --> 01:05:58,133
- Something new,
yet as old as time.
1406
01:05:58,133 --> 01:05:59,766
- Come on Johnny.
1407
01:05:59,766 --> 01:06:01,766
- A date with the Devil.
1408
01:06:03,033 --> 01:06:04,567
- I was Dracula's disciple.
1409
01:06:04,567 --> 01:06:08,467
I was 22 and I enjoyed
it, enormously.
1410
01:06:08,467 --> 01:06:09,899
He was absolutely
the part, you know,
1411
01:06:09,899 --> 01:06:11,866
and you couldn't
imagine anyone being
1412
01:06:11,866 --> 01:06:14,533
better than him, or being
more impressive than him.
1413
01:06:14,533 --> 01:06:15,966
I summoned you!
1414
01:06:16,799 --> 01:06:18,266
- It was my will.
1415
01:06:18,266 --> 01:06:19,500
- Just his presence alone helped you,
1416
01:06:19,500 --> 01:06:20,933
you know what I mean?
1417
01:06:20,933 --> 01:06:22,999
- One bright spot was the return
1418
01:06:22,999 --> 01:06:25,200
of Peter Cushing as
the descendant of
1419
01:06:25,200 --> 01:06:26,533
Dr. Van Helsing.
1420
01:06:26,533 --> 01:06:27,799
- He was delightful.
1421
01:06:27,799 --> 01:06:30,966
He was very tough
and very, very fit
1422
01:06:30,966 --> 01:06:32,266
for a man of his age.
1423
01:06:32,266 --> 01:06:36,266
And I would do a lot
of the stunts with him.
1424
01:06:36,266 --> 01:06:39,100
Grappling and so on and
he was in very good shape,
1425
01:06:39,100 --> 01:06:40,567
and he did a lot
of his own stunts.
1426
01:06:40,567 --> 01:06:42,733
I mean, falling off hay
wagons and things like that.
1427
01:06:42,733 --> 01:06:43,799
An extraordinary man.
1428
01:06:50,999 --> 01:06:52,333
- You!
1429
01:06:52,333 --> 01:06:55,999
- Could be Dracula's next victim.
1430
01:06:58,433 --> 01:07:00,666
- Seriously, I am a fully
fledged vampire because
1431
01:07:00,666 --> 01:07:03,500
we had this scene where I
had to have Christopher Lee
1432
01:07:03,500 --> 01:07:07,333
sunk his fangs into
me and he actually,
1433
01:07:07,333 --> 01:07:10,300
he got a little carried
away and drew blood, so,
1434
01:07:10,300 --> 01:07:12,033
I am a fully fledge vampire
1435
01:07:12,033 --> 01:07:14,400
and that is one of
my claims to fame
1436
01:07:14,400 --> 01:07:16,367
which I have on my resume.
1437
01:07:16,367 --> 01:07:19,166
- You don't have to act much
because he is very frightening
1438
01:07:19,166 --> 01:07:20,733
when he has all his gear on.
1439
01:07:20,733 --> 01:07:23,467
His white face and
his contact lenses.
1440
01:07:23,467 --> 01:07:24,300
No.
1441
01:07:25,733 --> 01:07:26,999
And he's very tall.
1442
01:07:26,999 --> 01:07:29,500
I'm not small, and
he is very tall.
1443
01:07:30,666 --> 01:07:33,333
At that moment, I was
being bitten by Dracula.
1444
01:07:33,333 --> 01:07:34,833
And I believed it.
1445
01:07:34,833 --> 01:07:37,100
- Christopher Lee had major reservations
1446
01:07:37,100 --> 01:07:37,933
with the story.
1447
01:07:39,300 --> 01:07:40,866
- I stopped making them in 1972
1448
01:07:40,866 --> 01:07:43,467
because in my opinion, the
presentation of the character
1449
01:07:43,467 --> 01:07:45,632
had deteriorated
to such an extent,
1450
01:07:45,632 --> 01:07:47,100
particularly
bringing him into the
1451
01:07:47,100 --> 01:07:49,333
contemporary day and age,
1452
01:07:49,333 --> 01:07:51,666
that it really no
longer had any meaning.
1453
01:07:53,033 --> 01:07:55,233
- Nevertheless, when the cameras rolled,
1454
01:07:55,233 --> 01:07:57,033
we both gave it
everything we had.
1455
01:08:11,833 --> 01:08:15,266
Lee's final Dracula was
out to destroy mankind
1456
01:08:15,266 --> 01:08:17,766
with a deadly virus,
and deprive himself
1457
01:08:17,766 --> 01:08:19,500
of human victims.
1458
01:08:19,500 --> 01:08:21,166
A rather twisted death wish.
1459
01:08:26,066 --> 01:08:27,467
- Van Helsing.
1460
01:08:27,467 --> 01:08:30,866
I call upon you to witness
1461
01:08:32,266 --> 01:08:35,266
my supreme triumph.
1462
01:08:35,266 --> 01:08:37,666
You were living, and
yet you were dead.
1463
01:08:37,666 --> 01:08:38,500
The undead.
1464
01:08:38,500 --> 01:08:39,333
You cannot die.
1465
01:08:40,833 --> 01:08:41,766
You must want to.
1466
01:08:41,766 --> 01:08:45,100
- You will all pray for death.
1467
01:08:49,266 --> 01:08:50,799
Release.
1468
01:08:50,799 --> 01:08:54,200
- And so you destroy every
living soul on this Earth?
1469
01:08:54,200 --> 01:08:56,400
And are left with an
empty world to command.
1470
01:08:57,632 --> 01:08:58,833
Is that what you want,
1471
01:08:58,833 --> 01:08:59,632
Count Dracula?
1472
01:09:00,866 --> 01:09:03,200
A last blaze of utter
horror and violence?
1473
01:09:04,367 --> 01:09:07,600
The ghastly annihilation
of an entire planet?
1474
01:09:07,600 --> 01:09:09,166
Is this your own death wish?
1475
01:09:14,733 --> 01:09:17,733
- My revenge went
over centuries,
1476
01:09:17,733 --> 01:09:19,567
and it's just begun!
1477
01:09:19,567 --> 01:09:23,033
That was one of the few
Bram Stoker lines that
1478
01:09:23,033 --> 01:09:24,733
managed to creep
into the scripts.
1479
01:09:25,933 --> 01:09:28,632
This film finally
wound up in America
1480
01:09:28,632 --> 01:09:30,533
years after it was made,
1481
01:09:30,533 --> 01:09:33,766
under a rather generic title.
1482
01:09:35,899 --> 01:09:38,367
- Count Dracula and His Vampire Bride.
1483
01:09:40,300 --> 01:09:43,400
- Other fine actors have since donned the cloak.
1484
01:09:43,400 --> 01:09:46,699
Frank Langella, Jack Palance,
1485
01:09:46,699 --> 01:09:49,500
Louis Jordan, George Hamilton,
1486
01:09:49,500 --> 01:09:51,433
and Gary Oldman.
1487
01:09:51,433 --> 01:09:54,367
But Hammer's Dracula
seems to live eternally
1488
01:09:56,266 --> 01:09:58,966
in the memories of those
who experienced him.
1489
01:09:58,966 --> 01:10:02,333
- I am Dracula, and I
welcome you to my house.
1490
01:10:10,166 --> 01:10:12,899
- The growing facility at Bray Studios
1491
01:10:12,899 --> 01:10:16,766
reflected the company's
expanding horizons.
1492
01:10:16,766 --> 01:10:19,300
- And we all lived through
the times when the first stage
1493
01:10:19,300 --> 01:10:20,500
went up.
1494
01:10:20,500 --> 01:10:22,433
There was never a stage
when I went there.
1495
01:10:22,433 --> 01:10:24,333
And then a second stage went up.
1496
01:10:24,333 --> 01:10:26,733
The field where
we shot Quatermass
1497
01:10:26,733 --> 01:10:28,600
with the rocket coming
down and the tree
1498
01:10:28,600 --> 01:10:30,567
and all the fire engines,
1499
01:10:30,567 --> 01:10:32,733
they finally built a
stage on that, too,
1500
01:10:32,733 --> 01:10:35,533
and everything, so all
our stuff there went.
1501
01:10:35,533 --> 01:10:38,500
- This macabre world peaked over
1502
01:10:38,500 --> 01:10:39,866
the studio fence.
1503
01:10:41,266 --> 01:10:43,799
- In those days the
filmmakers still actually
1504
01:10:43,799 --> 01:10:46,733
knew how to make
films, and not deals.
1505
01:10:46,733 --> 01:10:48,600
- We had six weeks
to make the movies.
1506
01:10:48,600 --> 01:10:51,166
- I think it got to the
end of the six weeks,
1507
01:10:51,166 --> 01:10:52,699
the movie was really young,
1508
01:10:52,699 --> 01:10:54,000
still had about three days
work to do on the movie.
1509
01:10:54,000 --> 01:10:55,799
And they'd say, "No
sorry, cut your film
1510
01:10:55,799 --> 01:10:57,367
"to whatever you've got."
1511
01:10:57,367 --> 01:11:01,033
And, um, I think it suffered
a little bit from the cuts.
1512
01:11:01,033 --> 01:11:03,266
- Well we just had
to do it in the time
1513
01:11:03,266 --> 01:11:04,533
that was allotted.
1514
01:11:04,533 --> 01:11:06,367
And it was never enough.
1515
01:11:06,367 --> 01:11:07,433
- After we'd been
making it for a while,
1516
01:11:07,433 --> 01:11:08,999
I was asked if we can cut down,
1517
01:11:08,999 --> 01:11:09,999
make it a bit cheaper.
1518
01:11:09,999 --> 01:11:11,533
I was always being asked that.
1519
01:11:11,533 --> 01:11:12,799
- The ready reckoner.
1520
01:11:12,799 --> 01:11:14,632
If you've got a ready
reckoner in your mind,
1521
01:11:14,632 --> 01:11:17,899
that takes over and you know
exactly which line to take.
1522
01:11:17,899 --> 01:11:21,367
- Jimmy Carreras
somehow or other managed
1523
01:11:21,367 --> 01:11:25,033
to create a sense of
family in the company
1524
01:11:25,033 --> 01:11:28,966
and amongst the
company of actors,
1525
01:11:28,966 --> 01:11:31,133
technicians, and so
on, who all worked over
1526
01:11:31,133 --> 01:11:32,766
and over again on Hammer films.
1527
01:11:32,766 --> 01:11:33,600
- Constructions.
1528
01:11:33,600 --> 01:11:35,333
85%.
1529
01:11:35,333 --> 01:11:37,233
Dialogue's not important.
1530
01:11:37,233 --> 01:11:38,632
The actors are gonna change,
1531
01:11:38,632 --> 01:11:39,533
the actors and the
director are gonna change
1532
01:11:39,533 --> 01:11:40,999
the dialogue anyway.
1533
01:11:40,999 --> 01:11:43,500
- We would bring the films
in on budget and on schedule,
1534
01:11:43,500 --> 01:11:44,733
and deliver them.
1535
01:11:44,733 --> 01:11:46,200
The Americans were
really only interested
1536
01:11:46,200 --> 01:11:48,133
in delivery dates because
once they put it on
1537
01:11:48,133 --> 01:11:49,966
a piece of paper, it was gospel.
1538
01:11:49,966 --> 01:11:52,233
- If any of us could get
any artistic points in,
1539
01:11:52,233 --> 01:11:55,833
we could, but the whole
overall operation was a
1540
01:11:55,833 --> 01:11:59,467
sort of business,
financial situation.
1541
01:11:59,467 --> 01:12:02,166
- I mean, in '74, Hammer
did 10 movies in one year.
1542
01:12:02,166 --> 01:12:04,632
And these days, a major
studio can't do that.
1543
01:12:04,632 --> 01:12:06,632
- Well I have to say that
yes, they didn't like
1544
01:12:06,632 --> 01:12:08,533
spending too much money.
1545
01:12:08,533 --> 01:12:11,833
- I was earning me
wages, basically.
1546
01:12:11,833 --> 01:12:14,200
- I thought the stars
were behind the camera
1547
01:12:14,200 --> 01:12:15,632
more than in front of it.
1548
01:12:15,632 --> 01:12:18,799
- Tony Hinds who was really
the head of production
1549
01:12:18,799 --> 01:12:20,400
at any rate at Hammer.
1550
01:12:20,400 --> 01:12:24,600
- He was a very shy man that
didn't get involved in films
1551
01:12:24,600 --> 01:12:25,799
on the floor.
1552
01:12:25,799 --> 01:12:27,300
He was a real behind
the scenes guy.
1553
01:12:27,300 --> 01:12:29,233
- Tony was the master at it.
1554
01:12:29,233 --> 01:12:30,467
I mean, he had Terry there.
1555
01:12:30,467 --> 01:12:32,500
I mean, why interfere
with a winning formula?
1556
01:12:32,500 --> 01:12:35,733
- Tony would never
complain if one altered
1557
01:12:35,733 --> 01:12:37,467
a little bit here or there.
1558
01:12:37,467 --> 01:12:40,066
- We did a bit on location,
1559
01:12:40,066 --> 01:12:41,799
and a lot in the studio.
1560
01:12:41,799 --> 01:12:44,000
- We started with one
of the exclusive films,
1561
01:12:44,000 --> 01:12:45,866
and they used to send
me a script and say,
1562
01:12:45,866 --> 01:12:47,666
"Andrew, what can
you do with this?"
1563
01:12:49,100 --> 01:12:50,400
It was like being in ramp.
1564
01:12:50,400 --> 01:12:53,100
- We were all a
wonderful team, really.
1565
01:12:54,433 --> 01:12:58,066
- I was ready and they
buried me up to my neck,
1566
01:12:58,066 --> 01:13:00,433
and it was getting
on for lunch time,
1567
01:13:00,433 --> 01:13:02,033
so they said, "Right.
1568
01:13:02,033 --> 01:13:03,966
"We'll come and shoot
the scene after lunch."
1569
01:13:03,966 --> 01:13:05,433
So there I was left.
1570
01:13:05,433 --> 01:13:10,166
- And I enjoyed working
at Bray so much,
1571
01:13:10,166 --> 01:13:12,367
they asked me to do another
film, and another film,
1572
01:13:12,367 --> 01:13:13,766
and another film, and
the next thing I knew,
1573
01:13:13,766 --> 01:13:15,333
I was something I
didn't want to be,
1574
01:13:15,333 --> 01:13:17,266
I was a horror film director.
1575
01:13:17,266 --> 01:13:20,400
- 11 or 12 years old,
and into my teenage,
1576
01:13:20,400 --> 01:13:22,632
went with groups of friends
to see certain films.
1577
01:13:22,632 --> 01:13:26,000
If we saw the logo of
Hammer films, we knew that
1578
01:13:26,000 --> 01:13:27,266
it was a very special picture,
1579
01:13:27,266 --> 01:13:29,333
and we knew that it was
a certain kind of film.
1580
01:13:30,400 --> 01:13:32,533
A surprising experience,
usually, and uh,
1581
01:13:33,966 --> 01:13:35,066
shocking.
1582
01:13:35,066 --> 01:13:36,733
- The art direction, of course,
1583
01:13:36,733 --> 01:13:38,066
was absolutely superb.
1584
01:13:38,066 --> 01:13:40,133
- Bernard Robinson,
an art director for
1585
01:13:40,133 --> 01:13:43,533
certainly all the
original horror films.
1586
01:13:43,533 --> 01:13:46,333
Very, very clever
man in making a lot
1587
01:13:46,333 --> 01:13:47,500
out of not very much.
1588
01:13:47,500 --> 01:13:49,666
- They had an excellent
team, and they got
1589
01:13:49,666 --> 01:13:53,733
marvelous sound from this
comparatively small orchestra.
1590
01:13:53,733 --> 01:13:56,533
- We never went over
budget or over schedule.
1591
01:13:56,533 --> 01:13:59,266
- There were many times where
I didn't finish a score,
1592
01:13:59,266 --> 01:14:02,733
until maybe the
morning of a recording.
1593
01:14:02,733 --> 01:14:05,433
- And we delivered them,
so we delivered the goods.
1594
01:14:05,433 --> 01:14:06,966
- They made films in
all sort of genres.
1595
01:14:06,966 --> 01:14:08,699
They made war pictures
and, you know,
1596
01:14:08,699 --> 01:14:10,666
program movies.
1597
01:14:10,666 --> 01:14:13,200
- We took a few more
chances, perhaps,
1598
01:14:13,200 --> 01:14:16,433
but the structure, the
family feeling, the flavor,
1599
01:14:16,433 --> 01:14:21,433
the units, the directors,
remained very much the same.
1600
01:14:22,632 --> 01:14:24,500
- Listen to the themes of James Bernard,
1601
01:14:24,500 --> 01:14:27,533
and you can hear the citadels
of the film's titles.
1602
01:14:39,133 --> 01:14:41,600
- She who must be obeyed.
1603
01:14:50,533 --> 01:14:52,066
- Technically the
pictures were very good.
1604
01:14:52,066 --> 01:14:53,300
You know, Jack
Asher's camera work
1605
01:14:53,300 --> 01:14:56,200
and the James Bernard
scores were exceptional.
1606
01:14:56,200 --> 01:14:58,166
They seemed to be doomed
to do the same thing
1607
01:14:58,166 --> 01:14:59,333
and just have to keep
repeating themselves
1608
01:14:59,333 --> 01:15:00,300
over and over.
1609
01:15:00,300 --> 01:15:01,400
- Bernie Robinson.
1610
01:15:01,400 --> 01:15:02,632
Brilliant.
1611
01:15:02,632 --> 01:15:05,666
An awful lot of what
we got away with,
1612
01:15:05,666 --> 01:15:08,000
and I can actually
say got away with,
1613
01:15:08,000 --> 01:15:09,699
was due to Bernie.
1614
01:15:09,699 --> 01:15:11,567
In Yesterday's Enemy,
1615
01:15:11,567 --> 01:15:14,166
it was the Burma war.
1616
01:15:14,166 --> 01:15:17,866
Bernie did revolving
jungles, that they used.
1617
01:15:17,866 --> 01:15:20,500
Lord Louis Mountbatten,
who was president of the
1618
01:15:20,500 --> 01:15:24,433
Burma Star Association, sat
next to me at the premiere,
1619
01:15:24,433 --> 01:15:26,567
and during the picture he
said, "I know that place.
1620
01:15:26,567 --> 01:15:27,933
"Now where did you shoot that?
1621
01:15:27,933 --> 01:15:29,433
"I know that place."
1622
01:15:29,433 --> 01:15:32,533
I hadn't the heart to say on
stage three at Shepperton.
1623
01:15:33,799 --> 01:15:35,533
And then they had a
set there which was
1624
01:15:35,533 --> 01:15:37,899
a ruraltarian village which was
1625
01:15:37,899 --> 01:15:39,333
a stand by set they
kept the whole time,
1626
01:15:39,333 --> 01:15:41,699
and had to keep repairing it.
1627
01:15:41,699 --> 01:15:44,833
- Suitably redressed, this ruraltarian village
1628
01:15:44,833 --> 01:15:46,632
became Parisian back streets,
1629
01:15:46,632 --> 01:15:48,266
alleys of Victorian London,
1630
01:15:48,266 --> 01:15:49,733
or the docks of Hong Kong.
1631
01:16:06,866 --> 01:16:09,266
- Have you ever had your
bones scraped, Captain?
1632
01:16:10,600 --> 01:16:13,833
It is painful and
extreme, I can assure you.
1633
01:16:13,833 --> 01:16:16,200
- You have sinned
against the goddess Kali.
1634
01:16:16,200 --> 01:16:20,133
Those that sin against
Kali must suffer the pain
1635
01:16:20,133 --> 01:16:22,433
of never looking
upon her face again.
1636
01:16:22,433 --> 01:16:25,533
- The incredible truth about India's thuggees,
1637
01:16:25,533 --> 01:16:27,600
the butchers of Bombay.
1638
01:16:27,600 --> 01:16:29,400
Deadlier than their
native cobras.
1639
01:16:33,400 --> 01:16:36,333
- For the 1959 remake of The Mummy,
1640
01:16:36,333 --> 01:16:37,933
Bernard Robinson's
art department
1641
01:16:37,933 --> 01:16:40,833
and construction crew
recreated the tombs of
1642
01:16:40,833 --> 01:16:41,733
Ancient Egypt.
1643
01:16:51,766 --> 01:16:53,100
- It was a very good movie.
1644
01:16:53,100 --> 01:16:54,333
Looked absolutely wonderful.
1645
01:16:54,333 --> 01:16:56,166
It looked like a multi
million dollar film.
1646
01:16:56,166 --> 01:17:00,467
You know, the real stars of
Hammer, in my opinion, were
1647
01:17:00,467 --> 01:17:03,133
people like Bernard
Robinson, the art director.
1648
01:17:10,066 --> 01:17:11,400
- Help!
1649
01:17:20,266 --> 01:17:23,699
- He who robs the
graves of Egypt, dies.
1650
01:17:23,699 --> 01:17:26,433
- Pre-production art puzzled me.
1651
01:17:26,433 --> 01:17:29,033
I saw a poster of The
Mummy striding through the
1652
01:17:29,033 --> 01:17:31,632
countryside and a light
shining through his body
1653
01:17:31,632 --> 01:17:34,233
as though he had a car
headlamp or something.
1654
01:17:34,233 --> 01:17:35,300
Now I said to Terry Fisher,
1655
01:17:35,300 --> 01:17:37,500
"We mustn't cheat the audience.
1656
01:17:37,500 --> 01:17:40,233
"Could I take the
harpoon in the study
1657
01:17:40,233 --> 01:17:42,733
"and run it right
through old Christopher,
1658
01:17:42,733 --> 01:17:46,567
"and he can just break it
off and carry on regardless?"
1659
01:18:00,166 --> 01:18:01,367
- No!
1660
01:18:01,367 --> 01:18:03,433
- But it did enable
me with movement
1661
01:18:03,433 --> 01:18:05,300
and with the eyes and
the thought in the eyes,
1662
01:18:05,300 --> 01:18:06,933
to create a character.
1663
01:18:06,933 --> 01:18:08,733
The movement is
terribly important.
1664
01:18:08,733 --> 01:18:11,166
I reach out a hand.
1665
01:18:11,166 --> 01:18:13,766
When you reach out a hand,
is it to take somebody,
1666
01:18:13,766 --> 01:18:16,300
or is, you know,
1667
01:18:16,300 --> 01:18:18,666
because you're
desperately seeking help?
1668
01:18:18,666 --> 01:18:21,166
- Tony didn't think The
Mummy was serious enough.
1669
01:18:21,166 --> 01:18:23,799
And then by this time,
he's now steeped in the
1670
01:18:23,799 --> 01:18:25,333
true gothics, and
it's quite true.
1671
01:18:25,333 --> 01:18:28,033
The Mummy is a
little more colorful
1672
01:18:28,033 --> 01:18:30,133
and a little bit
more adventurous.
1673
01:18:30,133 --> 01:18:31,400
I liked doing it.
1674
01:18:31,400 --> 01:18:33,300
In fact the only horror
films I ever personally
1675
01:18:33,300 --> 01:18:34,999
made were the two
Mummies, if not three,
1676
01:18:34,999 --> 01:18:36,400
I can't remember.
1677
01:18:36,400 --> 01:18:37,899
I enjoy directing
of course, yes.
1678
01:18:37,899 --> 01:18:40,799
I mean, I don't know anybody
who wouldn't enjoy directing.
1679
01:19:21,033 --> 01:19:22,400
- How did he die, man?
1680
01:19:23,799 --> 01:19:26,166
- Dr. Pepper signed the
certificate natural causes.
1681
01:19:27,933 --> 01:19:29,100
I should have
thought by the look
1682
01:19:29,100 --> 01:19:30,933
of the poor fellow
that he died of fright.
1683
01:19:30,933 --> 01:19:33,266
- Starring Peter Cushing as the person
1684
01:19:33,266 --> 01:19:36,699
who knew every secret
of the night creatures.
1685
01:19:54,899 --> 01:19:57,467
- Kenneth Hyman, son of Hammer's silent partner,
1686
01:19:57,467 --> 01:19:59,333
and later head of
Warner Brothers,
1687
01:19:59,333 --> 01:20:02,066
proposed a Sherlock
Holmes series to begin
1688
01:20:02,066 --> 01:20:03,632
with The Hound of the Baskervilles.
1689
01:20:06,500 --> 01:20:07,933
- Some revolting
sacrificial right
1690
01:20:07,933 --> 01:20:09,433
has been befalled.
1691
01:20:11,467 --> 01:20:13,866
The depths a human
being can sink to.
1692
01:20:13,866 --> 01:20:15,866
- What human being
could have done this?
1693
01:20:17,699 --> 01:20:20,000
- That is precisely what
I intend to find out.
1694
01:20:21,200 --> 01:20:23,133
- How can you be so
certain that somebody
1695
01:20:23,133 --> 01:20:25,666
took one of the bishop's
spiders and deliberately
1696
01:20:25,666 --> 01:20:27,333
placed it in Sir Henry's room?
1697
01:20:27,333 --> 01:20:28,533
But it wasn't in the
luggage he brought
1698
01:20:28,533 --> 01:20:29,666
from South Africa.
1699
01:20:29,666 --> 01:20:31,367
- Elementary, my dear Watson.
1700
01:20:31,367 --> 01:20:33,966
There are no tarantulas
in South Africa.
1701
01:20:33,966 --> 01:20:34,899
- What do you want me to do?
1702
01:20:34,899 --> 01:20:36,866
- Identify anything I may find.
1703
01:20:36,866 --> 01:20:39,333
Strange things are to
be found on the moor.
1704
01:20:39,333 --> 01:20:41,300
Like this, for instance!
1705
01:20:43,632 --> 01:20:45,100
- The bad guys.
1706
01:20:45,100 --> 01:20:46,766
In fact, after doing The
Curse of Frankenstein,
1707
01:20:46,766 --> 01:20:49,799
the next part I played
was the romantic lead,
1708
01:20:49,799 --> 01:20:52,766
Sir Henry Baskerville in the
Hunt of the Baskervilles.
1709
01:20:52,766 --> 01:20:54,033
That was before I did Dracula,
1710
01:20:54,033 --> 01:20:55,533
I think I'm right
in saying this.
1711
01:20:55,533 --> 01:20:58,033
I'm sure if I'm wrong, I'll
be instantly corrected.
1712
01:21:01,567 --> 01:21:02,400
- Swine.
1713
01:21:03,600 --> 01:21:05,333
You thought it was going
to be easy, didn't you?
1714
01:21:05,333 --> 01:21:07,033
Didn't you?
1715
01:21:07,033 --> 01:21:10,433
You won't be the first of
your family who thought that.
1716
01:21:10,433 --> 01:21:13,200
And you won't be the first
to die because of it.
1717
01:21:13,200 --> 01:21:16,266
- Alas, Holmes did not inspire a string of sequels,
1718
01:21:16,266 --> 01:21:18,899
like Dracula or Frankenstein.
1719
01:21:18,899 --> 01:21:20,100
- Which way?
1720
01:21:20,100 --> 01:21:21,833
For heaven's sake, which way?
1721
01:21:21,833 --> 01:21:24,433
- Playwright Wolf Mankowitz received double
1722
01:21:24,433 --> 01:21:27,333
Hammer's usual salary
for this Freudian twist
1723
01:21:27,333 --> 01:21:28,567
on Dr. Jekyll.
1724
01:21:28,567 --> 01:21:31,233
- For God's sake,
man, don't kill him.
1725
01:21:31,233 --> 01:21:33,367
- Let me alone, Jekyll.
1726
01:21:33,367 --> 01:21:34,533
Let me alone.
1727
01:21:34,533 --> 01:21:35,733
- Jekyll?
1728
01:21:35,733 --> 01:21:37,433
- I deserve nothing
better than you.
1729
01:21:38,933 --> 01:21:41,567
- Desire drove her to deception.
1730
01:21:44,100 --> 01:21:46,433
Jealousy drove him to madness.
1731
01:21:46,433 --> 01:21:48,300
- Will we ever know
who we really are?
1732
01:21:50,467 --> 01:21:51,833
Who are you, Kitty?
1733
01:21:51,833 --> 01:21:53,933
- The fascinating new Dr. Jekyll.
1734
01:21:54,966 --> 01:21:56,166
- Who are you?
1735
01:21:56,166 --> 01:21:58,433
- A terrifying new Mr. Hyde.
1736
01:21:58,433 --> 01:22:00,699
- Where is Henry?
1737
01:22:00,699 --> 01:22:01,933
- Good evening.
1738
01:22:01,933 --> 01:22:03,367
Your husband is here.
1739
01:22:03,367 --> 01:22:05,699
- But audiences didn't warm to the film,
1740
01:22:05,699 --> 01:22:08,200
nor to the handsome Mr. Hyde.
1741
01:22:08,200 --> 01:22:10,633
The picture was a
financial failure,
1742
01:22:10,633 --> 01:22:12,367
under several titles.
1743
01:22:15,367 --> 01:22:18,567
- At that time, we actually
were doing, in my opinion,
1744
01:22:18,567 --> 01:22:21,100
some of the best
films we ever made.
1745
01:22:21,100 --> 01:22:23,933
Hell Is a City, one of the
first and the strongest
1746
01:22:23,933 --> 01:22:25,699
of the police type of drama.
1747
01:22:25,699 --> 01:22:27,633
I mean, the fore runner
of all the things that
1748
01:22:27,633 --> 01:22:29,699
eventually came
out on television,
1749
01:22:29,699 --> 01:22:32,233
and very much the American
police type drama.
1750
01:22:38,266 --> 01:22:39,467
- I want children, Julia.
1751
01:22:39,467 --> 01:22:40,999
- Oh no, don't start
all that again.
1752
01:22:40,999 --> 01:22:42,966
- Look, Julia, we're both
still plenty young enough.
1753
01:22:42,966 --> 01:22:44,100
We could have some fine kids.
1754
01:22:44,100 --> 01:22:46,033
Your life wouldn't be so empty.
1755
01:22:55,033 --> 01:22:57,166
- Factual, you know,
shot on the streets.
1756
01:22:57,166 --> 01:22:58,300
Val Guest directed.
1757
01:22:59,500 --> 01:23:01,666
I did a war story,
a very strong story,
1758
01:23:01,666 --> 01:23:04,666
about war crimes and how
a crime is a crime when
1759
01:23:04,666 --> 01:23:06,433
it's done by the enemy,
but when it's done
1760
01:23:06,433 --> 01:23:09,467
by your own troops, it's
supposedly, you know,
1761
01:23:09,467 --> 01:23:11,133
you had to do it,
but to survive.
1762
01:23:12,500 --> 01:23:14,467
- You won't understand
what I'm saying.
1763
01:23:15,633 --> 01:23:17,133
It doesn't really
matter anymore.
1764
01:23:18,233 --> 01:23:21,233
Two days ago, I had a wife.
1765
01:23:22,733 --> 01:23:24,699
A wife I loved very dearly.
1766
01:23:24,699 --> 01:23:26,266
You murdered her.
1767
01:23:26,266 --> 01:23:28,100
I still have a
five-year-old son.
1768
01:23:29,500 --> 01:23:32,066
My last prayer is that
he will live long enough
1769
01:23:32,066 --> 01:23:35,467
to forget your vile, inhuman...
1770
01:23:38,467 --> 01:23:39,433
- Holy cow.
1771
01:23:42,999 --> 01:23:45,066
- And then Tony
found The Pony Cart,
1772
01:23:45,066 --> 01:23:47,699
which I think was a play
if I'm not mistaken,
1773
01:23:47,699 --> 01:23:51,500
and turned it into a very
strong film, a warning,
1774
01:23:51,500 --> 01:23:53,799
never take sweets
from a stranger.
1775
01:24:21,367 --> 01:24:22,766
- That's right, that
was the only film
1776
01:24:22,766 --> 01:24:24,766
I photographed for them, yes.
1777
01:24:24,766 --> 01:24:26,467
Which I thought was
a very good film.
1778
01:24:26,467 --> 01:24:28,233
I think that's the trouble
if you have a sort of
1779
01:24:28,233 --> 01:24:31,666
a trademark like Hammer,
you have to keep producing
1780
01:24:31,666 --> 01:24:32,933
the same films.
1781
01:24:32,933 --> 01:24:34,233
- Don't put that
little girl of yours
1782
01:24:34,233 --> 01:24:36,066
on the stand to testify
against my father.
1783
01:24:36,066 --> 01:24:36,999
Now don't do that.
1784
01:24:36,999 --> 01:24:38,166
- Get out of here.
1785
01:24:38,166 --> 01:24:39,133
- They'll tear her
apart, and they'll do it
1786
01:24:39,133 --> 01:24:40,433
on my instructions!
1787
01:24:40,433 --> 01:24:42,100
- Well maybe she
had something on.
1788
01:24:42,100 --> 01:24:43,300
- Maybe you had something on.
1789
01:24:43,300 --> 01:24:44,567
- I didn't, I didn't!
1790
01:24:44,567 --> 01:24:47,533
- Maybe you were fully
dressed the whole time
1791
01:24:47,533 --> 01:24:50,600
and this whole outrageous
story of Mr. Olderberry
1792
01:24:50,600 --> 01:24:52,899
making you undress is a lie.
1793
01:24:52,899 --> 01:24:54,467
- It isn't, he did.
1794
01:24:54,467 --> 01:24:55,400
I like dance.
1795
01:24:55,400 --> 01:24:56,933
- With nothing on?
1796
01:24:56,933 --> 01:24:57,966
- Sometimes.
1797
01:24:57,966 --> 01:24:59,533
- Do you do it often?
1798
01:24:59,533 --> 01:25:01,100
- Sometimes after my bath.
1799
01:25:01,100 --> 01:25:02,799
- In front of other people?
1800
01:25:02,799 --> 01:25:03,633
- For daddy and--
1801
01:25:03,633 --> 01:25:04,866
- Oh.
1802
01:25:04,866 --> 01:25:08,033
So your daddy likes to
see you dance naked?
1803
01:25:08,033 --> 01:25:09,266
- Yes.
1804
01:25:09,266 --> 01:25:11,533
- Well, what a very
unusual household.
1805
01:25:11,533 --> 01:25:12,766
- Your honor, I object...
1806
01:25:12,766 --> 01:25:14,899
- The problem there was
that the critics never
1807
01:25:14,899 --> 01:25:16,367
forgave us for being successful.
1808
01:25:16,367 --> 01:25:18,699
There's no doubt about that and,
1809
01:25:18,699 --> 01:25:22,666
when they saw this
film, which was serious,
1810
01:25:22,666 --> 01:25:25,633
they accused us of really
trying to capitalize
1811
01:25:25,633 --> 01:25:27,266
on the elements.
1812
01:25:27,266 --> 01:25:30,500
It was a very, very wrong
criticism, in my opinion,
1813
01:25:30,500 --> 01:25:32,200
and it was started by
a couple of critics
1814
01:25:32,200 --> 01:25:34,266
who actually never,
ever gave a Hammer film
1815
01:25:34,266 --> 01:25:35,666
of any sort a good critique.
1816
01:25:37,567 --> 01:25:39,100
- The Damned.
1817
01:25:39,100 --> 01:25:42,166
An intelligent and subtle
science fiction thriller,
1818
01:25:42,166 --> 01:25:44,100
also lost money
at the box office.
1819
01:25:46,133 --> 01:25:48,633
- Joe Losey on The Damned,
1820
01:25:48,633 --> 01:25:52,100
he took a lot of
interest in the music.
1821
01:25:52,100 --> 01:25:55,166
The people in sort of
frightening looking uniforms
1822
01:25:55,166 --> 01:25:56,999
who had to go in and
visit the children
1823
01:25:56,999 --> 01:25:59,766
who were being kept
underground to survive
1824
01:25:59,766 --> 01:26:01,333
after the world
had been blown up
1825
01:26:01,333 --> 01:26:02,567
by an atomic bomb.
1826
01:26:03,733 --> 01:26:07,866
It had a sort of slow,
sinister kind of walking
1827
01:26:08,733 --> 01:26:10,033
little themes.
1828
01:26:11,066 --> 01:26:12,799
"I need some little high sound."
1829
01:26:13,799 --> 01:26:15,033
I didn't know what he meant,
1830
01:26:15,033 --> 01:26:16,567
as often directors
don't know, really,
1831
01:26:16,567 --> 01:26:17,799
what they want.
1832
01:26:17,799 --> 01:26:19,567
They know it's not what
I want, they do want,
1833
01:26:19,567 --> 01:26:21,166
but they don't know
how to explain it.
1834
01:26:21,166 --> 01:26:23,233
So John Hollingsworth
said to me,
1835
01:26:23,233 --> 01:26:27,833
"Jimmy, go to the piano
and stand over the strings,
1836
01:26:27,833 --> 01:26:30,333
"not by the notes, but over
the strings of the piano,
1837
01:26:30,333 --> 01:26:34,833
"and when I do that, just
plink one of the strings."
1838
01:26:34,833 --> 01:26:37,033
And we did that
1839
01:26:37,033 --> 01:26:39,500
at certain moments, and
Joe at the end said,
1840
01:26:39,500 --> 01:26:41,533
"Perfect, that's
just what I wanted."
1841
01:26:41,533 --> 01:26:42,933
- Even a picture like
These Are the Damned,
1842
01:26:42,933 --> 01:26:44,733
which is one of my
favorite Hammer films which
1843
01:26:44,733 --> 01:26:46,266
is kind of an
atypical Hammer film,
1844
01:26:46,266 --> 01:26:48,300
it's sort of intellectual
and I don't think that
1845
01:26:48,300 --> 01:26:51,433
the studio really was that
crazy about the movie,
1846
01:26:51,433 --> 01:26:55,733
is the ads in Britain are
basically big, busty shots
1847
01:26:55,733 --> 01:26:57,333
of Shirley Anne Field and,
1848
01:26:57,333 --> 01:27:02,333
you know, the intonations
of incest and, you know,
1849
01:27:03,066 --> 01:27:03,300
all sorts of dirt.
1850
01:27:04,933 --> 01:27:06,400
- Don't ever do
that again, Joanie.
1851
01:27:06,400 --> 01:27:08,600
- I'll do what I like, King.
1852
01:27:08,600 --> 01:27:09,699
- Do you think I'll
let a man put his
1853
01:27:09,699 --> 01:27:11,133
dirty hands on you?
1854
01:27:11,133 --> 01:27:12,766
- And the American
ads are no better.
1855
01:27:12,766 --> 01:27:14,200
They have children with, like,
1856
01:27:14,200 --> 01:27:16,133
icicles hanging off
their noses or something.
1857
01:27:16,133 --> 01:27:18,833
That's really a much
maligned and not very
1858
01:27:18,833 --> 01:27:20,233
appreciated picture,
but I think one of the
1859
01:27:20,233 --> 01:27:21,367
best things they ever did.
1860
01:27:21,367 --> 01:27:24,766
- Let me go!
1861
01:27:30,467 --> 01:27:32,233
- Why are you doing this?
1862
01:27:32,233 --> 01:27:33,133
What's it all for?
1863
01:27:34,633 --> 01:27:37,333
What are you trying to
make out of these children?
1864
01:27:37,333 --> 01:27:38,899
- The financial failure of these
1865
01:27:38,899 --> 01:27:42,333
experiments convinced
James Carreras to stay
1866
01:27:42,333 --> 01:27:44,567
within the proven formula.
1867
01:27:49,133 --> 01:27:52,633
It was hard to
argue with success.
1868
01:27:52,633 --> 01:27:55,266
Michael Carreras
ordered the back lot
1869
01:27:55,266 --> 01:27:58,100
transformed for a film
about the Inquisition,
1870
01:27:58,100 --> 01:28:00,567
but the Catholic League
of Decency threatened
1871
01:28:00,567 --> 01:28:02,066
to ban it.
1872
01:28:02,066 --> 01:28:05,233
Luckily, Jimmy Carreras sold
Universal on another movie
1873
01:28:05,233 --> 01:28:06,833
on the basis of a poster.
1874
01:28:06,833 --> 01:28:10,733
But Hammer had to absorb the
cost of a Guy Endore novel,
1875
01:28:10,733 --> 01:28:13,133
Werewolf of Paris.
1876
01:28:13,133 --> 01:28:14,733
With no money left,
1877
01:28:14,733 --> 01:28:17,766
Tony Hinds became a
writer out of necessity.
1878
01:28:17,766 --> 01:28:19,233
- And all I know is I
was landed with a set
1879
01:28:19,233 --> 01:28:20,666
of Spanish sets.
1880
01:28:20,666 --> 01:28:23,533
- British census objected to everything.
1881
01:28:23,533 --> 01:28:26,633
Violent conception of
the werewolf child,
1882
01:28:26,633 --> 01:28:29,966
his sacrilegious birth
on Christmas day.
1883
01:28:29,966 --> 01:28:34,233
Even a nobleman picking
a scab from his nose.
1884
01:28:34,233 --> 01:28:37,133
Hammer argued that the
film was less graphic
1885
01:28:37,133 --> 01:28:38,933
than Hitchcock's Psycho.
1886
01:28:38,933 --> 01:28:42,500
The censor replied,
"Terrence Fisher is not
1887
01:28:42,500 --> 01:28:44,100
"Alfred Hitchcock."
1888
01:28:45,266 --> 01:28:46,833
- Oliver Reed was one of the many
1889
01:28:46,833 --> 01:28:49,433
who got early
breaks with Hammer.
1890
01:28:49,433 --> 01:28:53,233
Including Lesley-Anne
Down, Donald Sutherland,
1891
01:28:53,233 --> 01:28:55,200
and Freddie Jones.
1892
01:28:55,200 --> 01:28:58,200
Recurring character actors
like Michael Ripper,
1893
01:28:58,200 --> 01:29:00,233
Richard Wordsworth,
George Woodbridge,
1894
01:29:00,233 --> 01:29:03,633
and Miles Malleson, gave
the films the cozy feel
1895
01:29:03,633 --> 01:29:04,833
of a Rhett company.
1896
01:29:06,266 --> 01:29:08,333
- The quality of acting
in those pictures was way
1897
01:29:08,333 --> 01:29:11,066
above what you would usually
get in that kind of film.
1898
01:29:11,066 --> 01:29:13,633
People realized that
good actors could indeed
1899
01:29:13,633 --> 01:29:16,666
find elements in these
characters that really
1900
01:29:16,666 --> 01:29:18,166
brought out some of the drama.
1901
01:29:41,266 --> 01:29:43,166
- Professional frustration caused
1902
01:29:43,166 --> 01:29:46,233
Michael Carreras
to leave in 1961.
1903
01:29:46,233 --> 01:29:48,467
- I mean, I went off and
did my thing for a couple
1904
01:29:48,467 --> 01:29:49,733
of years.
1905
01:29:49,733 --> 01:29:51,533
I did a musical, which
I always wanted to do.
1906
01:29:51,533 --> 01:29:53,600
I made a western, which,
things I would have
1907
01:29:53,600 --> 01:29:55,433
never been able to do at Hammer.
1908
01:29:55,433 --> 01:29:57,966
- Executive chores fell to Tony Hinds
1909
01:29:57,966 --> 01:29:59,367
who handed the producer's reins
1910
01:29:59,367 --> 01:30:02,633
to Tony Nelson-Keys
and later, Aida Young,
1911
01:30:02,633 --> 01:30:05,866
one of the first female
producers in England.
1912
01:30:05,866 --> 01:30:09,500
- I don't think Aida was
as dedicated as we were.
1913
01:30:09,500 --> 01:30:12,233
She, um, rightly so, in a way,
1914
01:30:13,567 --> 01:30:16,400
her idea was just to
get the film through.
1915
01:30:16,400 --> 01:30:17,933
- Everybody who worked
for Hammer loved
1916
01:30:17,933 --> 01:30:18,866
what they were doing.
1917
01:30:18,866 --> 01:30:20,367
We didn't have enormous budgets.
1918
01:30:20,367 --> 01:30:23,933
We worked very long hours,
in very cramped facilities.
1919
01:30:23,933 --> 01:30:25,633
It was only a big old house,
1920
01:30:25,633 --> 01:30:27,066
and we did remarkable things.
1921
01:30:27,066 --> 01:30:29,133
If you look at the old
films, the old horror films,
1922
01:30:29,133 --> 01:30:31,567
that were made in
that old house,
1923
01:30:31,567 --> 01:30:32,833
it's quite remarkable.
1924
01:30:32,833 --> 01:30:35,333
You'd think we'd shot
it at MGM or Pinewood.
1925
01:30:35,333 --> 01:30:37,266
- It was Tony Hinds' unpleasant duty
1926
01:30:37,266 --> 01:30:39,100
to keep costs down.
1927
01:30:39,100 --> 01:30:43,066
Jack Asher's pain staking
photography took time.
1928
01:30:43,066 --> 01:30:44,699
Time was money.
1929
01:30:44,699 --> 01:30:47,833
Other cameramen like Michael
Reed and Arthur Grant
1930
01:30:47,833 --> 01:30:49,633
became regulars.
1931
01:30:49,633 --> 01:30:52,799
Budgets were stretched
to the limit.
1932
01:30:52,799 --> 01:30:54,033
- I said, "There's one
way you can make them.
1933
01:30:54,033 --> 01:30:55,300
"You can make them
back to back."
1934
01:30:55,300 --> 01:30:56,567
That is if to say
we do a picture,
1935
01:30:56,567 --> 01:30:59,133
same cast, same sets,
and do two pictures.
1936
01:30:59,133 --> 01:31:00,933
- I remember seeing
Rasputin the Mad Monk
1937
01:31:00,933 --> 01:31:03,100
and The Reptile and
they were all shot
1938
01:31:03,100 --> 01:31:06,233
on the same sets and
Dracula Prince of Darkness
1939
01:31:06,233 --> 01:31:07,367
and Plague of the
Zombies were all shot
1940
01:31:07,367 --> 01:31:08,766
on the same sets.
1941
01:31:08,766 --> 01:31:11,467
So, it was sort of like
watching the same picture twice.
1942
01:31:21,933 --> 01:31:23,699
- I think it's
probably the best thing
1943
01:31:23,699 --> 01:31:25,333
Christopher Lee's ever done.
1944
01:31:25,333 --> 01:31:27,200
Rasputin was supposed
to have had this ability
1945
01:31:27,200 --> 01:31:28,467
to hypnotize people.
1946
01:31:28,467 --> 01:31:32,500
Well, Chris practically
developed that ability.
1947
01:31:33,567 --> 01:31:34,866
It was an incredible
performance.
1948
01:31:34,866 --> 01:31:37,500
- Tomorrow you are
taking the little czar
1949
01:31:37,500 --> 01:31:39,100
to the frozen river.
1950
01:31:40,367 --> 01:31:42,400
While you are there,
1951
01:31:42,400 --> 01:31:45,699
you will see to it that
he meets with an accident.
1952
01:31:46,866 --> 01:31:48,367
He will be hurt,
1953
01:31:48,367 --> 01:31:50,567
and you will send for me.
1954
01:31:55,533 --> 01:31:56,833
You will go away
1955
01:31:58,100 --> 01:32:00,766
and destroy yourself.
1956
01:32:01,733 --> 01:32:03,433
- Gregory, no!
1957
01:32:03,433 --> 01:32:05,733
- Two weeks into the
shooting of my Rasputin,
1958
01:32:05,733 --> 01:32:07,233
Tony Hinds came to me and said,
1959
01:32:07,233 --> 01:32:10,233
"Don, we're in trouble,
we've got to save money."
1960
01:32:10,233 --> 01:32:14,533
"Now, we've worked
out possible savings.
1961
01:32:14,533 --> 01:32:16,133
"There's this way of doing it,
1962
01:32:16,133 --> 01:32:17,433
"and this way, and this way.
1963
01:32:17,433 --> 01:32:19,899
"Each of those
would save 25,000.
1964
01:32:19,899 --> 01:32:22,866
"Look at these
suggestions, take 'em home,
1965
01:32:22,866 --> 01:32:24,400
"think about them
over the weekend,
1966
01:32:24,400 --> 01:32:26,966
"but on Monday morning, I
want a decision from you."
1967
01:32:26,966 --> 01:32:28,633
But this was the
marvelous thing:
1968
01:32:28,633 --> 01:32:33,200
he left it to me to decide
1969
01:32:33,200 --> 01:32:36,166
which would do the least
damage in telling the story.
1970
01:32:36,166 --> 01:32:38,100
He left it to me to say,
1971
01:32:38,100 --> 01:32:40,433
"Alright, we can keep
that sequence but
1972
01:32:41,600 --> 01:32:42,866
"we don't have to
build that separate.
1973
01:32:42,866 --> 01:32:45,533
"I can put it into a
set we've already used."
1974
01:32:45,533 --> 01:32:47,533
- Cary Grant suggested he'd like
1975
01:32:47,533 --> 01:32:50,866
to try a horror picture
so Tony Hinds reworked
1976
01:32:50,866 --> 01:32:52,567
Phantom of the Opera,
1977
01:32:52,567 --> 01:32:54,066
but Grant dropped out.
1978
01:32:55,233 --> 01:32:56,933
The role was played
by Herbert Lom.
1979
01:33:01,500 --> 01:33:02,666
- Young woman.
1980
01:33:03,567 --> 01:33:05,400
You must come with me.
1981
01:33:06,533 --> 01:33:08,500
- More than in any other film,
1982
01:33:08,500 --> 01:33:12,633
Terry Fisher emphasized
the romance and sadness
1983
01:33:12,633 --> 01:33:13,467
in the story.
1984
01:33:14,633 --> 01:33:17,899
Because the script was
written for Cary Grant,
1985
01:33:17,899 --> 01:33:20,467
the dirty business was
left to a homicidal dwarf.
1986
01:33:21,766 --> 01:33:25,033
The distributor
publicized the film widely
1987
01:33:25,033 --> 01:33:26,200
as a horror story.
1988
01:33:32,467 --> 01:33:34,233
- But as anyone knows who has read the
1989
01:33:34,233 --> 01:33:36,500
Gaston Leroux novel, or seen the
1990
01:33:36,500 --> 01:33:39,866
Andrew Lloyd Webber musical,
it is a tragic romance.
1991
01:33:39,866 --> 01:33:42,933
Missing the point, Time
Magazine called the Phantom
1992
01:33:42,933 --> 01:33:45,766
about as dangerous
as dear old grand dad
1993
01:33:45,766 --> 01:33:47,433
dressed up for Halloween.
1994
01:33:47,433 --> 01:33:48,833
- Christine!
1995
01:33:48,833 --> 01:33:50,600
- The distributor blamed the failure
1996
01:33:50,600 --> 01:33:52,400
on Terrence Fisher
who did not direct
1997
01:33:52,400 --> 01:33:55,200
for Hammer for two years.
1998
01:33:55,200 --> 01:33:57,367
The all new climax
for Brides of Dracula
1999
01:33:57,367 --> 01:34:00,133
was revamped, too, if you'll
pardon the expression,
2000
01:34:00,133 --> 01:34:02,500
by Tony Hinds in
Kiss of a Vampire.
2001
01:34:02,500 --> 01:34:06,333
Director Don Sharp proved
as adept at gothic eroticism
2002
01:34:06,333 --> 01:34:09,333
as savant Fisher, even
more so than in Dracula,
2003
01:34:09,333 --> 01:34:12,233
vampirism is linked
to sexual appetites.
2004
01:34:18,033 --> 01:34:19,400
- I don't think anybody
could replace Tony Hinds
2005
01:34:20,699 --> 01:34:23,966
with that same understanding
of the basic plots
2006
01:34:23,966 --> 01:34:26,333
that would adapt to the genre.
2007
01:34:26,333 --> 01:34:28,933
I don't think anybody else
had the same sympathy.
2008
01:34:28,933 --> 01:34:30,899
The same feeling for quality.
2009
01:34:32,066 --> 01:34:33,533
- Richard Matheson, author of
2010
01:34:33,533 --> 01:34:36,533
The Incredible Shrinking
Man, adapted his novel,
2011
01:34:36,533 --> 01:34:39,999
I Am Legend, but the
script proved too intense
2012
01:34:39,999 --> 01:34:40,866
for the census.
2013
01:34:42,033 --> 01:34:43,666
Hammer sold it to
Robert Lippert,
2014
01:34:43,666 --> 01:34:46,200
who shot it in Italy
with Vincent Price
2015
01:34:46,200 --> 01:34:47,933
as Last Man on Earth.
2016
01:34:47,933 --> 01:34:50,699
- But Matheson also adapted a classic
2017
01:34:50,699 --> 01:34:55,100
Dennis Wheatley novel, retitled
by American distributors.
2018
01:34:55,100 --> 01:34:56,933
They worried that
audiences would assume
2019
01:34:56,933 --> 01:35:00,300
the Devil Rides Out
to be a cowboy movie.
2020
01:35:01,500 --> 01:35:04,433
- The premise is
what makes it work.
2021
01:35:04,433 --> 01:35:08,200
You don't get any idea and
then say, "Well I'm gonna
2022
01:35:08,200 --> 01:35:09,666
"turn this into
a scary picture."
2023
01:35:09,666 --> 01:35:12,133
The premise has to be
frightening to begin with.
2024
01:35:12,133 --> 01:35:12,966
- Rex.
2025
01:35:14,033 --> 01:35:15,833
Do you believe in evil?
2026
01:35:15,833 --> 01:35:17,533
- As an idea.
2027
01:35:17,533 --> 01:35:19,799
- Do you believe in the power of darkness?
2028
01:35:19,799 --> 01:35:21,133
- As a superstition.
2029
01:35:21,133 --> 01:35:23,033
- Now there you are wrong.
2030
01:35:23,033 --> 01:35:24,500
The power of
darkness is more than
2031
01:35:24,500 --> 01:35:25,933
just a superstition.
2032
01:35:27,433 --> 01:35:29,799
It is a living force,
2033
01:35:29,799 --> 01:35:33,367
which can be tapped at any
given moment of the night.
2034
01:35:33,367 --> 01:35:36,133
- I remember Tony
Hinds ringing me
2035
01:35:36,133 --> 01:35:39,600
and saying, "Jimmy, you've
got to do a very good
2036
01:35:39,600 --> 01:35:42,699
"job on this because I
don't think it's working."
2037
01:35:42,699 --> 01:35:45,966
And he was quite wrong in
his judgment, wasn't he?
2038
01:35:45,966 --> 01:35:47,033
- The lights.
2039
01:35:48,567 --> 01:35:51,400
- Now what about the lights?
2040
01:35:53,333 --> 01:35:55,400
- They seem to be dimmer.
2041
01:35:55,400 --> 01:35:58,066
Terry Fisher was
back as director,
2042
01:35:58,066 --> 01:35:59,966
and whenever he
gave me a close up,
2043
01:35:59,966 --> 01:36:01,400
I'd make a point of
walking up to him
2044
01:36:01,400 --> 01:36:03,799
and slipping a
fiver into his hand.
2045
01:36:03,799 --> 01:36:05,966
The crew really
believed I'd bribed him
2046
01:36:05,966 --> 01:36:08,100
for a close up every
time we did it.
2047
01:36:08,100 --> 01:36:10,533
- I felt kind of
guilty because I,
2048
01:36:10,533 --> 01:36:14,066
I spoke ill of that picture
2049
01:36:14,066 --> 01:36:15,933
for quite a while.
2050
01:36:15,933 --> 01:36:18,567
Mostly because it seemed
to me it had been miscast
2051
01:36:18,567 --> 01:36:21,400
and that several of the
special effects were very
2052
01:36:21,400 --> 01:36:22,933
cheap looking.
2053
01:36:22,933 --> 01:36:26,166
- But any movie that dealt
with the fantastic, okay,
2054
01:36:27,367 --> 01:36:30,166
it all automatically got a,
2055
01:36:30,166 --> 01:36:31,766
I forgave anything, right?
2056
01:36:31,766 --> 01:36:34,100
Any single thing that
went wrong with it.
2057
01:36:34,100 --> 01:36:36,133
- As I watch it again,
I overlook those things,
2058
01:36:36,133 --> 01:36:38,766
and it had some very
good stuff in it,
2059
01:36:38,766 --> 01:36:40,533
and Christopher
Lee was wonderful,
2060
01:36:40,533 --> 01:36:42,433
as Charles Gray wast, too.
2061
01:36:43,866 --> 01:36:46,400
- That light in the hall.
2062
01:36:51,999 --> 01:36:53,666
- Peggy.
2063
01:36:53,666 --> 01:36:54,500
No!
2064
01:36:54,500 --> 01:36:55,600
- No.
2065
01:36:55,600 --> 01:36:56,567
- Let me go!
2066
01:36:56,567 --> 01:36:57,933
No!
2067
01:36:59,200 --> 01:37:01,567
- I tell you, it's not Peggy.
2068
01:37:01,567 --> 01:37:02,899
- Peggy!
2069
01:37:16,033 --> 01:37:18,933
- In 1968, Hammer Films received
2070
01:37:18,933 --> 01:37:21,733
the Queens Award for
Industry for bringing two and
2071
01:37:21,733 --> 01:37:24,233
a half million pounds
into Britain for three
2072
01:37:24,233 --> 01:37:26,266
consecutive years.
2073
01:37:26,266 --> 01:37:28,766
- They weren't given the
Queens Award for Industry,
2074
01:37:28,766 --> 01:37:29,933
whatever, for nothing.
2075
01:37:29,933 --> 01:37:32,233
I mean, they were
really making a dent in
2076
01:37:32,233 --> 01:37:34,166
the American market in
a way that I don't think
2077
01:37:34,166 --> 01:37:35,799
anybody has made since.
2078
01:37:35,799 --> 01:37:38,100
- The creators of the Avengers brought Hammer
2079
01:37:38,100 --> 01:37:41,833
a movie idea inspired
by a lunch time joke.
2080
01:37:41,833 --> 01:37:44,266
- Brian Clemens
was sitting there,
2081
01:37:44,266 --> 01:37:48,533
and Brian sat there and
said, "I know what happens.
2082
01:37:48,533 --> 01:37:50,533
"He mixes up the
potion, he drinks it,
2083
01:37:50,533 --> 01:37:53,133
"and he turns into a woman."
2084
01:37:53,133 --> 01:37:54,533
We all fell about laughing.
2085
01:37:55,966 --> 01:37:57,300
It was a very funny idea,
but, he wasn't laughing.
2086
01:37:57,300 --> 01:37:59,733
He went home and he
wrote the script.
2087
01:37:59,733 --> 01:38:02,333
- Ralph Bates played one of the title roles,
2088
01:38:02,333 --> 01:38:04,666
but the company had some
difficulty coming up
2089
01:38:04,666 --> 01:38:07,300
with Dr. Jekyll's better half.
2090
01:38:07,300 --> 01:38:09,833
- There was some talk about
me playing Sister Hyde.
2091
01:38:09,833 --> 01:38:10,966
It was considered
for Dr. Jekyll.
2092
01:38:10,966 --> 01:38:13,933
Then a very fine
actress went on to play.
2093
01:38:13,933 --> 01:38:16,567
There was quite a bit of
nudity and I wasn't, uh,
2094
01:38:16,567 --> 01:38:18,133
that keen on that.
2095
01:38:18,133 --> 01:38:20,699
- David Booth, I think
was the the one that said,
2096
01:38:20,699 --> 01:38:22,233
"Oh, Martine.
2097
01:38:22,233 --> 01:38:26,066
"It's perfect, you've come at
the absolute perfect time."
2098
01:38:26,066 --> 01:38:28,233
And they said, "They've got
the guy, and they really,
2099
01:38:28,233 --> 01:38:29,166
"and it's Hammer."
2100
01:38:29,166 --> 01:38:30,833
And I said, "Michael Carreras?"
2101
01:38:30,833 --> 01:38:32,333
He said, "Yes."
2102
01:38:32,333 --> 01:38:34,766
And I read the script
and I realized that they
2103
01:38:34,766 --> 01:38:37,567
had some nudity and I
said, "Okay, fine, top,
2104
01:38:37,567 --> 01:38:39,766
"but not full nudity."
2105
01:38:39,766 --> 01:38:41,433
I agreed to do that
because I thought it
2106
01:38:41,433 --> 01:38:43,899
was an important change, and
in fact I still think it's
2107
01:38:43,899 --> 01:38:45,833
probably one of the
best scenes in the film.
2108
01:38:45,833 --> 01:38:47,200
- But of course once
you saw the two of them
2109
01:38:47,200 --> 01:38:49,633
together it was a
brilliant piece of casting.
2110
01:38:49,633 --> 01:38:51,600
And she did it very well, too.
2111
01:38:53,367 --> 01:38:56,533
- But unfortunately,
he was pressured.
2112
01:38:56,533 --> 01:38:58,999
I think everybody was
pressured, including Hammer,
2113
01:38:58,999 --> 01:39:02,633
was being pressured, into
going into more nudity
2114
01:39:02,633 --> 01:39:05,333
and more nudity, you
know, to compete with
2115
01:39:05,333 --> 01:39:06,233
what was going on.
2116
01:39:07,600 --> 01:39:10,966
And, um, they decided
to go even further
2117
01:39:10,966 --> 01:39:13,333
to full frontal nudity.
2118
01:39:13,333 --> 01:39:14,799
When I got on the
set and I said,
2119
01:39:14,799 --> 01:39:16,966
"I did not agree to that."
2120
01:39:16,966 --> 01:39:19,433
So we had a bit of a corporator.
2121
01:39:20,600 --> 01:39:23,999
However, I used all of
that sort of nervousness
2122
01:39:23,999 --> 01:39:26,467
and that sort of rage
and anger and stuff
2123
01:39:26,467 --> 01:39:28,467
to birth myself, really.
2124
01:39:28,467 --> 01:39:31,266
I mean, when I am there,
I don't know anything
2125
01:39:31,266 --> 01:39:32,733
about my anatomy.
2126
01:39:33,966 --> 01:39:36,467
It is I who exists, Dr, Jekyll.
2127
01:39:36,467 --> 01:39:37,333
Not you.
2128
01:39:38,433 --> 01:39:40,233
It is I who will be rid of you.
2129
01:39:42,367 --> 01:39:43,933
Rid of you!
2130
01:39:43,933 --> 01:39:45,166
Rid of you!
2131
01:39:45,166 --> 01:39:46,899
An interesting idea, the
male into the female,
2132
01:39:46,899 --> 01:39:49,066
and oh, this could be so great.
2133
01:39:49,066 --> 01:39:51,500
They could have taken
it so much further.
2134
01:39:51,500 --> 01:39:54,033
- It's Hyde, isn't it?
2135
01:39:54,033 --> 01:39:56,433
How is your brother?
2136
01:39:56,433 --> 01:39:59,100
- He hasn't been
himself of late.
2137
01:39:59,100 --> 01:40:01,467
- Years later when I
saw Roy Ward Baker,
2138
01:40:01,467 --> 01:40:03,400
he said to me,
2139
01:40:03,400 --> 01:40:08,100
"Martine, I wish we had really
gone into the male/female."
2140
01:40:08,100 --> 01:40:09,433
- And that they did do.
2141
01:40:09,433 --> 01:40:13,933
As the 1970s progressed,
the new formula became
2142
01:40:13,933 --> 01:40:17,467
a little more blood,
and a lot more flesh.
2143
01:40:21,433 --> 01:40:25,633
Victorian costumes
lent themselves to
fascinating visuals.
2144
01:40:25,633 --> 01:40:29,433
As early as 1959,
Hammer added nudity
2145
01:40:29,433 --> 01:40:31,433
in The Man Who
Could Cheat Death.
2146
01:40:34,166 --> 01:40:37,433
- Which is a remake of the
Man in Half Moon Street.
2147
01:40:37,433 --> 01:40:41,166
Anton Diffring was one
of the premiere actors
2148
01:40:41,166 --> 01:40:42,699
of the Berlin theater.
2149
01:40:42,699 --> 01:40:45,766
- I've been taking this
fluid every six hours now.
2150
01:40:47,866 --> 01:40:49,166
- It's madness.
2151
01:40:49,166 --> 01:40:51,033
- It is what keeps me alive.
2152
01:40:51,033 --> 01:40:53,966
- It was very necessary,
it was in very good taste.
2153
01:40:53,966 --> 01:40:56,899
But England at that time
would have no nudity.
2154
01:40:56,899 --> 01:41:00,300
So there was a version
which they paid me extra for
2155
01:41:00,300 --> 01:41:02,866
for Europe, and it was
very beautifully done.
2156
01:41:02,866 --> 01:41:05,533
- It was beautifully done exploitation.
2157
01:41:05,533 --> 01:41:07,333
- I think camera films
were exploitation films.
2158
01:41:07,333 --> 01:41:09,533
I mean exploitation
films basically are
2159
01:41:09,533 --> 01:41:13,433
films that are designed
to exploit the advertising
2160
01:41:13,433 --> 01:41:16,500
a particularly sensational
aspect and if you ever
2161
01:41:16,500 --> 01:41:18,166
look at the British
ads for Hammer films,
2162
01:41:18,166 --> 01:41:20,567
they are incredibly tasteless.
2163
01:41:20,567 --> 01:41:23,699
I mean, they really make
the pictures look like
2164
01:41:23,699 --> 01:41:24,933
AIP pictures from the 50s.
2165
01:41:24,933 --> 01:41:27,600
It was the American ads
that tend to be models
2166
01:41:27,600 --> 01:41:29,833
of restraint, actually,
in comparison.
2167
01:41:29,833 --> 01:41:32,567
- A keystone of having an international appeal
2168
01:41:32,567 --> 01:41:34,699
were the lovely ladies
they used on screen.
2169
01:41:38,200 --> 01:41:40,333
- Because I want to see you die.
2170
01:41:48,600 --> 01:41:51,433
- Unlike actors, actresses were often
2171
01:41:51,433 --> 01:41:53,666
used as window dressing,
2172
01:41:53,666 --> 01:41:55,666
rarely appearing in more
than two or three films
2173
01:41:55,666 --> 01:41:57,200
for the company.
2174
01:41:57,200 --> 01:42:00,500
- I'd been doing a poster
for an English campaign
2175
01:42:00,500 --> 01:42:02,833
called Lamb's Navy
rum, and apparently
2176
01:42:02,833 --> 01:42:04,166
he used to see
this big hoarding,
2177
01:42:04,166 --> 01:42:05,966
or this big poster everyday.
2178
01:42:05,966 --> 01:42:10,233
Supposedly he said, "Find
that girl and bring her in."
2179
01:42:10,233 --> 01:42:14,467
And then I was put onto
contract for a year,
2180
01:42:14,467 --> 01:42:15,699
which is wonderful.
2181
01:42:15,699 --> 01:42:18,033
But no, no duties,
no official duties.
2182
01:42:19,766 --> 01:42:21,333
- I had a photograph
on the front page
2183
01:42:21,333 --> 01:42:24,266
of one of the tabloid
papers in England one Sunday
2184
01:42:24,266 --> 01:42:26,033
and Jimmy Carreras
saw it and said,
2185
01:42:26,033 --> 01:42:28,066
"I'd like that girl for
the next Hammer film."
2186
01:42:28,066 --> 01:42:31,367
He would take care of you, he
was a fatherly type figure.
2187
01:42:31,367 --> 01:42:34,200
And he had everyone's respect.
2188
01:42:34,200 --> 01:42:36,400
- Outside producers approached Hammer
2189
01:42:36,400 --> 01:42:39,400
with a Victorian ghost
story by Sheridan Le Fanu.
2190
01:42:40,467 --> 01:42:42,699
- Harry Fine and
Michael Style came to me
2191
01:42:42,699 --> 01:42:44,433
and asked me to do it.
2192
01:42:44,433 --> 01:42:47,567
But they were reading into it
a great deal of lesbianism,
2193
01:42:47,567 --> 01:42:49,999
which I don't think Sheridan
Le Fanu would have ever
2194
01:42:49,999 --> 01:42:53,233
sort of dreamed of, and
neither did I, incidentally.
2195
01:42:53,233 --> 01:42:55,567
It was the old story,
a hundred of number of
2196
01:42:55,567 --> 01:42:56,833
pictures have been made.
2197
01:42:56,833 --> 01:42:59,066
What on Earth can we
do next with vampires?
2198
01:42:59,066 --> 01:43:01,866
"I know, we'll
make 'em lesbians."
2199
01:43:01,866 --> 01:43:02,699
Brilliant.
2200
01:43:06,500 --> 01:43:09,200
- It's very funny actually,
because I walked onto
2201
01:43:09,200 --> 01:43:11,300
the set the first
day of my shooting.
2202
01:43:12,933 --> 01:43:16,300
Peter Cushing was in the
process of decapitating me.
2203
01:43:22,100 --> 01:43:23,567
I don't know, it
made me swallow.
2204
01:43:23,567 --> 01:43:26,333
It was quite funny
when he stabbed her
2205
01:43:26,333 --> 01:43:29,367
and pulled her up and
slashed her head off
2206
01:43:29,367 --> 01:43:31,066
and held this head up high.
2207
01:43:33,799 --> 01:43:36,500
And I thought, "Oh, that's me."
2208
01:43:36,500 --> 01:43:38,567
And I remember showing
the photograph of it
2209
01:43:38,567 --> 01:43:40,333
to my mother and she
laughed and I thought,
2210
01:43:40,333 --> 01:43:42,533
"Funny, mother."
2211
01:43:42,533 --> 01:43:44,367
The fangs kept falling out
2212
01:43:46,033 --> 01:43:48,699
and they kept falling into
Kate O'Mara's cleavage
2213
01:43:48,699 --> 01:43:52,667
and the crew wanted
to help retrieve them.
2214
01:43:52,667 --> 01:43:55,467
- And it's easy to make lunatics or vicars
2215
01:43:55,467 --> 01:43:58,866
or indeed, lesbians, or
homosexuals of various kinds,
2216
01:43:58,866 --> 01:44:00,766
to make those figures look fun.
2217
01:44:00,766 --> 01:44:02,233
- You must die.
2218
01:44:02,233 --> 01:44:03,233
Everybody must die!
2219
01:44:03,233 --> 01:44:05,333
- To me, that is fatal.
2220
01:44:05,333 --> 01:44:09,467
I think that's, well, it's
downright rude and vulgar
2221
01:44:09,467 --> 01:44:10,933
apart from anything else.
2222
01:44:10,933 --> 01:44:12,933
- Co-production funds came from Hammer's
2223
01:44:12,933 --> 01:44:14,533
opposite number in Hollywood,
2224
01:44:14,533 --> 01:44:16,966
American International Pictures.
2225
01:44:16,966 --> 01:44:19,600
- I had a certain amount of
criticism while I was making it.
2226
01:44:19,600 --> 01:44:21,699
That it wasn't going to
be juicy enough, you know,
2227
01:44:21,699 --> 01:44:23,133
and all that.
2228
01:44:23,133 --> 01:44:25,833
- Ingrid Pitt proved as enticing to co-star
2229
01:44:25,833 --> 01:44:28,600
Ferdy Mayne as to the camera.
2230
01:44:28,600 --> 01:44:32,033
- I met her in a picture
called Where Eagles Dare.
2231
01:44:33,066 --> 01:44:34,567
I won't forget that one.
2232
01:44:36,500 --> 01:44:40,266
She used rather
provocative language
2233
01:44:41,966 --> 01:44:43,367
in between takes.
2234
01:44:43,367 --> 01:44:46,533
And it was rather delicious
to be bitten by her.
2235
01:44:47,667 --> 01:44:49,133
You know, we knew each other.
2236
01:44:49,133 --> 01:44:51,866
We'd met and worked
there together
2237
01:44:51,866 --> 01:44:54,799
and she said, "Oh
yes, I remember you.
2238
01:44:54,799 --> 01:44:56,833
"You played a small
part, didn't you?"
2239
01:44:58,200 --> 01:45:00,733
When she became very
pleasant and rather sexy,
2240
01:45:00,733 --> 01:45:03,799
I accepted this as a
full turn of character.
2241
01:45:03,799 --> 01:45:05,200
It wasn't so small anyway.
2242
01:45:06,266 --> 01:45:07,999
- In the Vampire Lovers film,
2243
01:45:07,999 --> 01:45:09,333
somebody throws a dagger.
2244
01:45:10,833 --> 01:45:12,733
And the dagger goes
straight through her,
2245
01:45:12,733 --> 01:45:15,033
and she just disappears.
2246
01:45:15,033 --> 01:45:16,966
It's a romantic view.
2247
01:45:16,966 --> 01:45:19,500
An essential element
in horror pictures,
2248
01:45:19,500 --> 01:45:21,966
which has been almost,
well now totally lost.
2249
01:45:21,966 --> 01:45:23,866
- Even before the film was finished,
2250
01:45:23,866 --> 01:45:26,733
an ill-fated sequel
began on the same sets.
2251
01:45:26,733 --> 01:45:29,033
- And we start with a title.
2252
01:45:29,033 --> 01:45:30,667
We think to ourselves,
"What's a good title?'
2253
01:45:30,667 --> 01:45:33,400
And we think To Love a Vampire.
2254
01:45:33,400 --> 01:45:35,699
And so then we make a poster.
2255
01:45:35,699 --> 01:45:37,433
And with this poster,
I go around and see
2256
01:45:37,433 --> 01:45:38,699
these distributors
and say to them,
2257
01:45:38,699 --> 01:45:40,333
"How would you like to
have a picture called
2258
01:45:40,333 --> 01:45:41,799
"To Love a Vampire?"
2259
01:45:41,799 --> 01:45:43,866
And they say, "Wonderful,
when can I have it?"
2260
01:45:43,866 --> 01:45:45,266
So I say, "Well perhaps
we can deliver it
2261
01:45:45,266 --> 01:45:46,933
"in about six months' time."
2262
01:45:46,933 --> 01:45:48,467
And I say you "You
wanna see a script?"
2263
01:45:48,467 --> 01:45:49,533
or, "Do you wanna
know who's in it?"
2264
01:45:49,533 --> 01:45:51,066
And they say, "No, don't bother.
2265
01:45:51,066 --> 01:45:53,667
"This is a Hammer film and
we know it'll be alright."
2266
01:45:53,667 --> 01:45:57,100
- Yutte Stensgaard replaced Ingrid Pitt
2267
01:45:57,100 --> 01:45:58,699
as Carmilla.
2268
01:45:58,699 --> 01:46:01,500
Peter Cushing dropped
out because of
illness with his wife.
2269
01:46:01,500 --> 01:46:04,100
He was replaced by Ralph Bates.
2270
01:46:04,100 --> 01:46:07,400
Terry Fisher was
scheduled to direct.
2271
01:46:07,400 --> 01:46:10,266
- And Terry got sick
and in about within
2272
01:46:10,266 --> 01:46:12,966
two or three weeks
of starting shooting,
2273
01:46:12,966 --> 01:46:14,766
and they asked me
would I like to do it.
2274
01:46:14,766 --> 01:46:15,899
And I said yes.
2275
01:46:16,866 --> 01:46:19,833
I did it without much muscle.
2276
01:46:19,833 --> 01:46:21,966
I hated the movie, hated it.
2277
01:46:21,966 --> 01:46:22,999
- I spent the
whole of last night
2278
01:46:22,999 --> 01:46:25,233
going through Giles' researches.
2279
01:46:25,233 --> 01:46:27,433
And believe me, they
are powerful evidence.
2280
01:46:27,433 --> 01:46:28,233
- Evidence?
2281
01:46:29,400 --> 01:46:30,333
Of what?
2282
01:46:30,333 --> 01:46:31,933
- That you are a vampire.
2283
01:46:31,933 --> 01:46:32,933
- You say that
2284
01:46:35,233 --> 01:46:37,200
and tell me you love me?
2285
01:46:37,200 --> 01:46:38,699
- Prove to me that you're not.
2286
01:46:40,233 --> 01:46:41,467
Love me.
2287
01:46:41,467 --> 01:46:44,400
d Strange love
2288
01:46:44,400 --> 01:46:46,367
- I hadn't even seen the first cut,
2289
01:46:46,367 --> 01:46:47,999
and I remember I
go down to the seat
2290
01:46:47,999 --> 01:46:50,100
and they have some
love song in it.
2291
01:46:50,100 --> 01:46:52,833
It was really quit embarrassing.
2292
01:46:52,833 --> 01:46:56,133
I mean really, incredibly
embarrassing, actually.
2293
01:46:56,133 --> 01:46:57,699
I mean, maybe fortunately
nobody in the audience
2294
01:46:57,699 --> 01:46:59,733
knew who I was, but I
still went under the seat.
2295
01:46:59,733 --> 01:47:01,500
I curled up, I died.
2296
01:47:03,766 --> 01:47:06,367
d Strange love
2297
01:47:07,799 --> 01:47:12,667
- I hope to become known as
an extremely good actress.
2298
01:47:13,833 --> 01:47:15,866
And I hope to get
an article sometime.
2299
01:47:15,866 --> 01:47:17,833
- With Yutte
Stensgaard, I don't mean
2300
01:47:17,833 --> 01:47:19,367
to demean her talent
any way, I think she's
2301
01:47:19,367 --> 01:47:21,633
very talented and
did a lovely job.
2302
01:47:21,633 --> 01:47:23,933
Her claim to fame was a
toothpaste commercial,
2303
01:47:25,400 --> 01:47:29,933
and, uh, very well endowed and
also, which helped, I'm sure.
2304
01:47:31,400 --> 01:47:34,233
- Doubly endowed were Mary and Madeleine Collinson,
2305
01:47:34,233 --> 01:47:36,833
Playboy's first
twin centerfolds,
2306
01:47:36,833 --> 01:47:40,333
stars of the third spin
off directed by John Hough.
2307
01:47:40,333 --> 01:47:44,667
- The Devil has sent
me twins of evil.
2308
01:47:45,933 --> 01:47:47,999
- The Carmilla character was reduced
2309
01:47:47,999 --> 01:47:49,266
to a bit part.
2310
01:47:49,266 --> 01:47:50,766
- They kept doing the
same things to death.
2311
01:47:50,766 --> 01:47:52,266
I mean, it was like
a big thrill to have
2312
01:47:52,266 --> 01:47:55,300
a lesbian vampire movie
which it turned out to not
2313
01:47:55,300 --> 01:47:57,799
be something the
people particularly
wanted to see anyway.
2314
01:47:57,799 --> 01:48:00,567
- Sometimes the sex was worse than arbitrary.
2315
01:48:00,567 --> 01:48:02,600
So James insisted that
Terry Fisher shoot
2316
01:48:02,600 --> 01:48:05,500
a rape scene in Frankenstein
Must Be Destroyed
2317
01:48:05,500 --> 01:48:06,933
for the United States version.
2318
01:48:06,933 --> 01:48:08,766
- That was a big
disappointment to me,
2319
01:48:08,766 --> 01:48:10,833
and it was to Peter as well.
2320
01:48:10,833 --> 01:48:12,166
We talked about that a lot.
2321
01:48:12,166 --> 01:48:14,000
We were not very
comfortable about it because
2322
01:48:14,000 --> 01:48:16,633
we'd almost completed
the whole film.
2323
01:48:17,533 --> 01:48:18,766
There was no reason.
2324
01:48:18,766 --> 01:48:20,899
I had no reaction
to Frankenstein
2325
01:48:20,899 --> 01:48:23,533
as if he'd raped me, even
though the scene was put in
2326
01:48:23,533 --> 01:48:24,966
the film much earlier.
2327
01:48:24,966 --> 01:48:26,699
That was a very difficult
thing for me to do.
2328
01:48:26,699 --> 01:48:28,733
And it was difficult
for Terry, too.
2329
01:48:29,799 --> 01:48:31,400
He was very sensitive
about it and,
2330
01:48:32,633 --> 01:48:34,667
in the end he just said,
"Enough is enough."
2331
01:48:34,667 --> 01:48:35,667
And he cut the cameras.
2332
01:48:35,667 --> 01:48:37,266
He just didn't want to continue.
2333
01:48:38,699 --> 01:48:40,899
- Ironically, it was later cut as unnecessary.
2334
01:48:45,233 --> 01:48:47,500
- Doctor, you'll perform an autopsy.
2335
01:48:47,500 --> 01:48:49,367
- On a body that's turned to stone?
2336
01:49:04,799 --> 01:49:07,000
- Why'd you want you want
Paul out of the way, Namaroff?
2337
01:49:07,000 --> 01:49:08,166
Is it because you're
afraid he'll take
2338
01:49:08,166 --> 01:49:09,433
Carla away from you?
2339
01:49:09,433 --> 01:49:11,367
Or is it because you
think he'll find out
2340
01:49:11,367 --> 01:49:14,433
about the secret that
you share with Ratoff?
2341
01:49:37,500 --> 01:49:38,667
- Yes.
2342
01:49:40,367 --> 01:49:42,600
- Do you realize
that you get uglier
2343
01:49:42,600 --> 01:49:44,400
each time you get old?
2344
01:49:44,400 --> 01:49:46,600
And you can't go
on killing forever.
2345
01:49:46,600 --> 01:49:47,467
- Why not?
2346
01:49:48,899 --> 01:49:51,233
- Female scenes never found the audience
2347
01:49:51,233 --> 01:49:52,899
of the male monsters.
2348
01:49:52,899 --> 01:49:56,667
Actresses fared better with
the non fantasy thrillers.
2349
01:49:56,667 --> 01:49:58,799
Susan Strasberg
in Taste of Fear.
2350
01:50:03,866 --> 01:50:04,966
- Father?
2351
01:50:10,133 --> 01:50:11,633
- I'm going to give you
a sedative, young lady,
2352
01:50:11,633 --> 01:50:12,766
and in the morning
when you wake up,
2353
01:50:12,766 --> 01:50:14,266
everything will be alright.
2354
01:50:14,266 --> 01:50:16,333
- But don't you understand
what I'm trying to say?
2355
01:50:16,333 --> 01:50:19,433
My father is dead, his
body's in the summer house.
2356
01:50:19,433 --> 01:50:22,266
- Tallulah Bankhead in Fanatic.
2357
01:50:22,266 --> 01:50:23,100
- You must die.
2358
01:50:24,300 --> 01:50:25,367
Die, my love.
2359
01:50:34,533 --> 01:50:36,600
- Bette Davis in The Nanny.
2360
01:50:37,933 --> 01:50:40,866
- You mustn't make it difficult
for nanny, Master Joey.
2361
01:50:54,699 --> 01:50:57,166
- Working again with Kenny Hyman,
2362
01:50:57,166 --> 01:50:59,333
Michael Carreras found
an interesting mix
2363
01:50:59,333 --> 01:51:01,333
of fantasy and flesh.
2364
01:51:01,333 --> 01:51:03,733
- And also it wasn't
that much more expensive.
2365
01:51:03,733 --> 01:51:06,699
I mean, we went on location
which was the great thing.
2366
01:51:06,699 --> 01:51:08,533
With She we went to Israel.
2367
01:51:08,533 --> 01:51:11,866
With One Million Years we
went to the Canary Islands.
2368
01:51:11,866 --> 01:51:14,400
- They didn't like to have
too large an orchestra.
2369
01:51:14,400 --> 01:51:16,933
I think the biggest
I ever had might have
2370
01:51:16,933 --> 01:51:18,733
been possibly for She.
2371
01:51:18,733 --> 01:51:21,333
Michael Carreras might
have let us have up to 40.
2372
01:51:21,333 --> 01:51:23,467
I think She had 50
minutes, which was a hell
2373
01:51:23,467 --> 01:51:24,699
of a lot of music.
2374
01:52:37,066 --> 01:52:39,533
- Now, H. Rider Haggard's overpowering
2375
01:52:39,533 --> 01:52:42,966
adventure classic, She,
comes to the motion
2376
01:52:42,966 --> 01:52:43,966
picture screen.
2377
01:52:45,400 --> 01:52:48,367
- I thought it was boring,
I must tell you simply again
2378
01:52:48,367 --> 01:52:50,899
because it's all
very well to say
2379
01:52:50,899 --> 01:52:52,400
"Okay, let's do a remake."
2380
01:52:52,400 --> 01:52:54,633
But when you look
at the original,
2381
01:52:54,633 --> 01:52:58,066
and it's so marvelous,
and it's got scenes
2382
01:52:58,066 --> 01:53:00,166
of thousands of people,
2383
01:53:00,166 --> 01:53:02,100
and they give you
four pence to do it,
2384
01:53:02,100 --> 01:53:06,333
I mean the color then shows
up all the imperfections.
2385
01:53:06,333 --> 01:53:08,400
I mean, I'm not saying
that Ursula Andress
2386
01:53:08,400 --> 01:53:09,400
is an imperfection.
2387
01:53:09,400 --> 01:53:11,367
She is a delight, and delicious.
2388
01:53:11,367 --> 01:53:12,899
But you couldn't make the film.
2389
01:53:12,899 --> 01:53:15,233
I mean, I kept referring to
the old film and everything
2390
01:53:15,233 --> 01:53:17,233
we shot looked like
a poor imitation.
2391
01:53:17,233 --> 01:53:18,866
I mean, we were
the poor relatives.
2392
01:53:18,866 --> 01:53:19,866
Yes, color.
2393
01:53:19,866 --> 01:53:21,766
But we couldn't make the film.
2394
01:53:21,766 --> 01:53:23,533
I thought we tried
to do too much
2395
01:53:23,533 --> 01:53:25,233
for too little money.
2396
01:53:29,133 --> 01:53:30,367
- We must stop this.
2397
01:53:30,367 --> 01:53:31,633
- How far do you
think we'd get in?
2398
01:53:31,633 --> 01:53:32,567
- Don't forget, sir,
they were gonna take
2399
01:53:32,567 --> 01:53:34,033
a knife and talk to Mr. Lear.
2400
01:53:34,033 --> 01:53:36,100
- The first time I
filmed that I remember
2401
01:53:36,100 --> 01:53:37,799
there was a double
bill that played at the
2402
01:53:37,799 --> 01:53:40,266
little theater in Bar,
and the poster for that
2403
01:53:40,266 --> 01:53:43,500
featured both Raquel
Welch and Ursula Andress,
2404
01:53:43,500 --> 01:53:45,467
both in the state
of semi undress,
2405
01:53:45,467 --> 01:53:48,166
and I would have been
15 or 16 years old,
2406
01:53:48,166 --> 01:53:51,133
and it was an
unmissable double bill.
2407
01:53:51,133 --> 01:53:52,866
Two films for the price of one.
2408
01:53:52,866 --> 01:53:55,766
- I was called on the
telephone by Dick Zanick,
2409
01:53:55,766 --> 01:53:57,433
who head of the studio then.
2410
01:53:57,433 --> 01:54:00,166
He said, "We've got
this fabulous project
2411
01:54:00,166 --> 01:54:01,400
"for you Raquel.
2412
01:54:01,400 --> 01:54:03,300
"It's called One
Million Years B.C.
2413
01:54:03,300 --> 01:54:06,467
"and it's a remake of a Victor
Mature, Carole Landis movie
2414
01:54:06,467 --> 01:54:08,033
and I said,
2415
01:54:08,033 --> 01:54:10,333
"Oh my god, not
a dinosaur movie.
2416
01:54:10,333 --> 01:54:13,200
"Man, I'll never
live this one down."
2417
01:54:13,200 --> 01:54:15,600
I figured, well Steve McQueen
got away with The Blob,
2418
01:54:15,600 --> 01:54:18,200
you know, maybe I can get away
with One Million Years B.C.
2419
01:54:18,200 --> 01:54:19,733
You know, nobody will
remember this thing.
2420
01:54:19,733 --> 01:54:21,933
I can shove it under
the carpet, you know?
2421
01:54:23,133 --> 01:54:24,000
But, uh,
2422
01:54:25,133 --> 01:54:27,667
people remembered it.
2423
01:54:27,667 --> 01:54:29,633
For the kind of films
that Hammer makes,
2424
01:54:29,633 --> 01:54:32,133
I thought that they
always do a very good job.
2425
01:54:32,133 --> 01:54:33,933
They have a certain budget,
and they have a certain
2426
01:54:33,933 --> 01:54:35,600
look they're trying to achieve.
2427
01:54:35,600 --> 01:54:37,133
It's not Gone With the Wind.
2428
01:54:37,133 --> 01:54:38,733
It's not a David Lee movie.
2429
01:54:38,733 --> 01:54:40,966
Relatively speaking, I
thought it was a pretty
2430
01:54:40,966 --> 01:54:42,866
well done movie.
2431
01:54:42,866 --> 01:54:46,266
Ray Harryhausen who was
a kind of genius of sorts
2432
01:54:46,266 --> 01:54:48,667
to do all of these
special effects
2433
01:54:48,667 --> 01:54:50,799
and his frame by frame
photography and it was
2434
01:54:50,799 --> 01:54:53,433
all explained to me, you
know, in great detail.
2435
01:54:53,433 --> 01:54:56,433
- So I took on the project
with the Hammer company
2436
01:54:56,433 --> 01:54:57,699
in London.
2437
01:54:57,699 --> 01:54:59,933
It was a pleasure to get
back to dinosaurs again.
2438
01:54:59,933 --> 01:55:01,667
They were my first love.
2439
01:55:01,667 --> 01:55:03,467
- The man was a genius.
2440
01:55:03,467 --> 01:55:05,166
The frightening thing
of course is that when
2441
01:55:05,166 --> 01:55:08,166
you're looking at the rushes
after a few days work,
2442
01:55:08,166 --> 01:55:09,633
you go into the
theater the next day,
2443
01:55:09,633 --> 01:55:11,866
you've got six frames, you know.
2444
01:55:11,866 --> 01:55:13,633
It's better to hold
them up to the light
2445
01:55:13,633 --> 01:55:15,600
'cause otherwise, they've
gone through so quickly.
2446
01:55:21,066 --> 01:55:24,766
- Carl Toms really made
the most of this little
2447
01:55:24,766 --> 01:55:28,133
doe skinned number that
I was supposed to wear,
2448
01:55:28,133 --> 01:55:31,133
so this costume got
smaller and smaller
2449
01:55:31,133 --> 01:55:32,766
as the production went on,
2450
01:55:32,766 --> 01:55:35,100
and I felt a little
self conscious with this
2451
01:55:35,100 --> 01:55:37,033
very brief thing
on all the time.
2452
01:55:37,033 --> 01:55:38,999
Alternately, I would try to
2453
01:55:38,999 --> 01:55:41,033
sort of strut my stuff
to make the most of it
2454
01:55:41,033 --> 01:55:43,866
because I figured, obviously
this is why they've
2455
01:55:43,866 --> 01:55:45,400
cast me in this movie.
2456
01:55:45,400 --> 01:55:48,533
Not for my acting ability,
because I have no lines.
2457
01:55:48,533 --> 01:55:52,567
- I think if cave women
in the early days looked
2458
01:55:52,567 --> 01:55:56,799
like Raquel Welch, well we've
regressed considerably today.
2459
01:55:58,300 --> 01:56:00,166
- When you were doing
it, it just seemed
2460
01:56:00,166 --> 01:56:02,899
so ridiculously silly.
2461
01:56:02,899 --> 01:56:05,467
I felt like a fool.
2462
01:56:08,766 --> 01:56:13,066
- Jamaican born Martine
Beswick writhed her way through
2463
01:56:13,066 --> 01:56:16,000
her portrayal of the
naughty Neanderthal.
2464
01:56:16,000 --> 01:56:18,633
- What was happening was
Raquel had this lovely,
2465
01:56:18,633 --> 01:56:20,200
everything was like perfect,
2466
01:56:20,200 --> 01:56:22,433
and mine looked like
a rag, you know?
2467
01:56:22,433 --> 01:56:25,066
So I was a bit jealous.
2468
01:56:26,333 --> 01:56:28,033
And she had more makeup
and she had eyelashes,
2469
01:56:28,033 --> 01:56:29,966
and I had to go
like a pig woman.
2470
01:56:29,966 --> 01:56:32,133
- And then you have this big
girl fight in the middle.
2471
01:56:32,133 --> 01:56:34,467
The queen of the Shell
people and the queen
2472
01:56:34,467 --> 01:56:36,600
of the Rock people had
to have a girl fight,
2473
01:56:36,600 --> 01:56:39,233
and we had to do Destry
Rides Again in the caves
2474
01:56:39,233 --> 01:56:40,467
of Tenerife.
2475
01:56:40,467 --> 01:56:42,633
The whole thing was
kind of like a dance.
2476
01:56:42,633 --> 01:56:46,733
Martine and I worked out
this whole routine together.
2477
01:56:46,733 --> 01:56:48,933
I just loved to do
the action stuff.
2478
01:56:48,933 --> 01:56:50,166
I should have been a boy.
2479
01:56:51,500 --> 01:56:53,699
- That got on really
well with everybody,
2480
01:56:53,699 --> 01:56:55,467
particularly John Richardson.
2481
01:56:55,467 --> 01:56:59,733
We didn't actually marry,
but we were, for a long time,
2482
01:56:59,733 --> 01:57:01,133
we were together
for a long time.
2483
01:57:01,133 --> 01:57:03,066
- My leading man was
like to die over.
2484
01:57:03,066 --> 01:57:05,933
He was probably,
when I first saw him,
2485
01:57:05,933 --> 01:57:09,899
one of the most beautiful men
I have ever seen in my life.
2486
01:57:09,899 --> 01:57:11,133
I was like dumbstruck.
2487
01:57:11,133 --> 01:57:14,233
I thought, "Man,
look at this guy."
2488
01:57:14,233 --> 01:57:16,066
I mean, those blue,
I mean that fa--
2489
01:57:16,066 --> 01:57:17,766
I mean, he's the pretty one.
2490
01:57:17,766 --> 01:57:19,766
I look butch next to him.
2491
01:57:19,766 --> 01:57:22,433
- We often wonder
whether the attraction
2492
01:57:22,433 --> 01:57:25,433
of Miss Welch or the dinosaurs
were the important thing
2493
01:57:25,433 --> 01:57:26,500
in the picture.
2494
01:57:27,433 --> 01:57:29,733
- It started me off.
2495
01:57:29,733 --> 01:57:33,633
So, I guess Dick Zanick
was right, you know?
2496
01:57:35,133 --> 01:57:38,433
- We had some set standing
from One Million Years B.C.
2497
01:57:38,433 --> 01:57:40,400
The idea came on
to make a quickie.
2498
01:57:41,600 --> 01:57:44,333
- And he said, "Martine,
I've got something."
2499
01:57:44,333 --> 01:57:46,833
He said, "I want
you to be my queen."
2500
01:57:46,833 --> 01:57:48,233
I said, "Oh?
2501
01:57:48,233 --> 01:57:50,467
"Alright darling, what?"
2502
01:57:50,467 --> 01:57:52,433
"Well I want to do
this film called..."
2503
01:57:52,433 --> 01:57:55,100
- Slave Women of
the White Rhino,
2504
01:57:55,100 --> 01:57:56,433
I mean what else can I say?
2505
01:57:58,367 --> 01:58:00,799
- You've got to be kidding.
2506
01:58:00,799 --> 01:58:02,133
Why did you come?
2507
01:58:02,133 --> 01:58:05,866
- I can only believe the
fates brought me here.
2508
01:58:05,866 --> 01:58:07,333
- And they brought you to me.
2509
01:58:08,833 --> 01:58:11,066
And all the little
blondies had these,
2510
01:58:11,066 --> 01:58:14,833
they just came right
out acting school,
2511
01:58:14,833 --> 01:58:17,467
and everybody had these
like really English
2512
01:58:17,467 --> 01:58:21,000
voices like this, and
it was hysterical.
2513
01:58:21,000 --> 01:58:22,333
I am queen here.
2514
01:58:22,333 --> 01:58:23,699
I will not be denied.
2515
01:58:28,633 --> 01:58:31,733
Bosco Holder, Jeffrey
Holder's brother,
2516
01:58:31,733 --> 01:58:33,966
and he did all of
the dance scenes.
2517
01:58:33,966 --> 01:58:36,799
I sort of let loose after
he choreographed it.
2518
01:58:36,799 --> 01:58:38,533
I thought, "Listen,
this is my vehicle.
2519
01:58:38,533 --> 01:58:40,233
"I get to have
eyelashes in this one
2520
01:58:40,233 --> 01:58:42,333
"and I get to have
my costume fit.
2521
01:58:42,333 --> 01:58:43,833
"I am going to make this work
2522
01:58:45,633 --> 01:58:47,567
"no matter what he says."
2523
01:58:47,567 --> 01:58:48,833
- We made a huge
mistake on that film
2524
01:58:48,833 --> 01:58:51,500
because we really should
have had those wonderful
2525
01:58:51,500 --> 01:58:53,833
cartoon biff, bang, ouch.
2526
01:58:53,833 --> 01:58:55,799
It should have been
done like that.
2527
01:58:55,799 --> 01:58:57,300
- Who are you?
2528
01:58:58,233 --> 01:58:59,966
- I mean those films did well.
2529
01:59:01,400 --> 01:59:05,300
But as a mainstay, they
didn't have the running power
2530
01:59:05,300 --> 01:59:07,233
of the gothic horrors.
2531
01:59:07,233 --> 01:59:09,799
- International beauty Carita,
2532
01:59:09,799 --> 01:59:12,033
and a thousand other
sights of savagery
2533
01:59:12,033 --> 01:59:14,133
and splendor are
yours to behold.
2534
01:59:16,066 --> 01:59:17,300
The Viking Queen.
2535
01:59:25,266 --> 01:59:27,866
- Olinka Berova, a new star.
2536
01:59:27,866 --> 01:59:30,533
Remember the name, you'll
not forget the woman.
2537
01:59:33,200 --> 01:59:35,033
- Val Guest directed the third saga
2538
01:59:35,033 --> 01:59:37,833
created in Sir James'
typical manner.
2539
01:59:37,833 --> 01:59:39,866
- Do me a picture
with dinosaurs,
2540
01:59:39,866 --> 01:59:42,066
and then there was a dinosaur
with a girl in his mouth,
2541
01:59:42,066 --> 01:59:44,733
and they did this
enormous, great poster,
2542
01:59:46,233 --> 01:59:48,266
with sex and bikinis.
2543
01:59:49,633 --> 01:59:52,166
And Jimmy said, "Fine.
2544
01:59:52,166 --> 01:59:53,433
"Okay."
2545
01:59:53,433 --> 01:59:54,533
So he sent that to
America and said,
2546
01:59:54,533 --> 01:59:55,999
"What about a picture?
2547
01:59:55,999 --> 01:59:57,066
"Here's the poster."
2548
01:59:58,233 --> 02:00:00,266
And they set up the
picture on the poster.
2549
02:00:02,133 --> 02:00:04,033
- The dinosaurs were created
2550
02:00:04,033 --> 02:00:08,033
by American Jim Danforth,
unusual its past budget.
2551
02:00:08,033 --> 02:00:10,266
- He was a brilliant
little guy because he used
2552
02:00:10,266 --> 02:00:12,966
to work out all those
monsters with little
2553
02:00:12,966 --> 02:00:16,100
human traits to them, which I
have never seen done before.
2554
02:00:17,233 --> 02:00:18,467
- Sir James came first with
2555
02:00:18,467 --> 02:00:21,033
producer Aida Young
and Brian Lawrence
2556
02:00:21,033 --> 02:00:23,100
later would head the
company with accountant
2557
02:00:23,100 --> 02:00:24,233
Roy Scaves.
2558
02:00:24,233 --> 02:00:25,600
- Wonderful.
2559
02:00:25,600 --> 02:00:26,833
They've got very good face.
2560
02:00:26,833 --> 02:00:29,300
Isn't it exciting
to find someone new?
2561
02:00:29,300 --> 02:00:30,533
- It'd be exciting
if you could find
2562
02:00:30,533 --> 02:00:31,467
somebody that looks like this.
2563
02:00:31,467 --> 02:00:32,999
I agree.
2564
02:00:32,999 --> 02:00:35,266
- She had to have a special kind of magnetism.
2565
02:00:37,200 --> 02:00:39,766
I can't describe it, but
I'll know it when I see it.
2566
02:00:41,833 --> 02:00:43,699
And Victoria Vetri
has it, I'm sure.
2567
02:00:45,866 --> 02:00:48,233
- That was a fait accompli
yes, that came over.
2568
02:00:48,233 --> 02:00:51,467
She had been a centerfold
in Playboy or something
2569
02:00:51,467 --> 02:00:54,033
and whoever was doing it, I
don't know who the picture
2570
02:00:54,033 --> 02:00:56,233
was done for over
there, it was AIP
2571
02:00:56,233 --> 02:00:57,467
or whoever it was.
2572
02:00:57,467 --> 02:00:59,166
Was it Warners?
2573
02:00:59,166 --> 02:01:01,899
Warners said, "Well give us
some glamor that we know."
2574
02:01:03,333 --> 02:01:06,233
- Although there is a more final judge than me,
2575
02:01:06,233 --> 02:01:09,367
and that's the audience
when they see Victoria Vetri
2576
02:01:09,367 --> 02:01:10,733
for the first time.
2577
02:01:10,733 --> 02:01:13,633
- But lightening didn't strike twice.
2578
02:01:13,633 --> 02:01:16,833
The distributor didn't
push the film widely,
2579
02:01:16,833 --> 02:01:20,133
nor did audiences take
Victoria Vetri to heart
2580
02:01:20,133 --> 02:01:21,933
as they did Raquel Welch.
2581
02:01:23,733 --> 02:01:27,433
Danforth received an Oscar
nomination for their effects,
2582
02:01:27,433 --> 02:01:30,133
but lost to the Disney musical,
2583
02:01:30,133 --> 02:01:31,633
Bed Knobs and Broomsticks.
2584
02:01:33,033 --> 02:01:35,100
- When Dinosaurs Ruled the Earth.
2585
02:01:35,100 --> 02:01:37,833
- Cost cutting on Creatures the World Forgot
2586
02:01:37,833 --> 02:01:42,600
meant no dinosaurs, no dialogue,
and no clothes whatsoever.
2587
02:01:43,833 --> 02:01:46,833
Hammer was now
imitating its own films.
2588
02:01:46,833 --> 02:01:49,833
Unfortunately, so were
a lot of other people.
2589
02:01:56,766 --> 02:01:58,400
- It's over?
2590
02:01:58,400 --> 02:01:59,266
- Yes, son.
2591
02:02:00,500 --> 02:02:01,733
It's all over.
2592
02:02:01,733 --> 02:02:05,400
As early as 1958,
Eros films mimicked
2593
02:02:05,400 --> 02:02:09,699
the Quatermass style with
a Trollenberg terror.
2594
02:02:09,699 --> 02:02:12,367
- Where there are mountains,
there are always clouds.
2595
02:02:12,367 --> 02:02:14,633
- But this one remains
static on the side
2596
02:02:14,633 --> 02:02:17,333
of the Trollenberg,
it never moves.
2597
02:02:17,333 --> 02:02:18,300
- Freak of nature.
2598
02:02:20,200 --> 02:02:21,833
- A radioactive freak of nature?
2599
02:02:27,033 --> 02:02:29,533
- They also produced a technicolor chiller
2600
02:02:29,533 --> 02:02:33,333
with a script credited to
Jimmy "Frankenstein" Sangster.
2601
02:02:33,333 --> 02:02:35,000
- It's sickening, isn't it?
2602
02:02:36,866 --> 02:02:40,066
- No longer could there
be this indirection and
2603
02:02:40,066 --> 02:02:42,133
not showing things
and people, you know,
2604
02:02:42,133 --> 02:02:43,633
describing things
that had happened,
2605
02:02:43,633 --> 02:02:44,933
as opposed to seeing them.
2606
02:02:44,933 --> 02:02:48,133
The pictures were very graphic.
2607
02:02:49,467 --> 02:02:51,533
- Made in Hollywood by Herman Cohen
2608
02:02:51,533 --> 02:02:53,833
within months of
Curse of Frankenstein,
2609
02:02:53,833 --> 02:02:56,233
this film reverted at the
doctor's ancestral home
2610
02:02:56,233 --> 02:02:58,467
in England, creates in his lab,
2611
02:02:58,467 --> 02:03:02,766
or even stints of the
address, 113 Wardour Street
2612
02:03:02,766 --> 02:03:04,799
West One, London.
2613
02:03:04,799 --> 02:03:06,433
- Well that's because
Herman Cohen's office
2614
02:03:06,433 --> 02:03:08,467
was on Wardour Street.
2615
02:03:08,467 --> 02:03:10,866
In the same building as
the Hammer Films office.
2616
02:03:14,133 --> 02:03:16,899
- But not all imitations were cheaply done.
2617
02:03:16,899 --> 02:03:20,333
Roman Polanksi made dunce
of the vampires, also known
2618
02:03:20,333 --> 02:03:22,733
as the Fearless Vampire Killers,
2619
02:03:22,733 --> 02:03:25,766
spoofing Brides of Dracula
and Kiss of the Vampire.
2620
02:03:26,700 --> 02:03:27,533
- You.
2621
02:03:29,933 --> 02:03:32,799
- Christopher I don't
think ever forgave me.
2622
02:03:32,799 --> 02:03:34,266
He said, "How dare you?
2623
02:03:34,266 --> 02:03:39,033
"How dare you make a funny
character out of the serious?
2624
02:03:42,633 --> 02:03:45,899
"Something that should
be interpreted seriously,
2625
02:03:45,899 --> 02:03:48,033
as he's done it, of course.
2626
02:03:48,033 --> 02:03:50,933
- Nevertheless, Frankenstein and Count Dracula
2627
02:03:50,933 --> 02:03:53,166
himself returned
in this musical.
2628
02:03:54,567 --> 02:03:55,866
- Real monsters, I've seen
'em all in the movies.
2629
02:03:55,866 --> 02:03:57,166
You've got
Frankenstein's monster,
2630
02:03:57,166 --> 02:03:58,600
you've got Egor
2631
02:03:58,600 --> 02:03:59,933
and on the table is
this beautiful chick,
2632
02:03:59,933 --> 02:04:01,733
long blonde hair goin',
"Hey sweet cakes,
2633
02:04:01,733 --> 02:04:02,567
"how are ya?"
2634
02:04:02,567 --> 02:04:03,667
You got Frankenstein.
2635
02:04:03,667 --> 02:04:05,233
- Ah ha.
2636
02:04:05,233 --> 02:04:06,433
We have a visitor.
2637
02:04:06,433 --> 02:04:08,433
- And you also got the vampire.
2638
02:04:08,433 --> 02:04:11,266
- Won't you join
our little party?
2639
02:04:12,700 --> 02:04:14,567
d You'll get the feeling,
you'll lose your mind d
2640
02:04:14,567 --> 02:04:16,533
d Feeling make you
holler one more time d
2641
02:04:16,533 --> 02:04:18,966
d You go oh, oh, oh
2642
02:04:18,966 --> 02:04:20,933
d The feelin' hits ya
2643
02:04:20,933 --> 02:04:22,100
- A funny one?
2644
02:04:22,100 --> 02:04:25,533
My god, he had no
reason to criticize me.
2645
02:04:25,533 --> 02:04:28,367
Bring him up now and
say, "I can see you."
2646
02:04:30,833 --> 02:04:33,467
- Hammer's use of color and period decor
2647
02:04:33,467 --> 02:04:36,066
beget the Edgar Allan
Poe films in Hollywood,
2648
02:04:36,066 --> 02:04:38,166
directed by Roger Corman.
2649
02:04:38,166 --> 02:04:40,266
Hazel Court became
a familiar sight
2650
02:04:40,266 --> 02:04:42,266
in these American
international pictures.
2651
02:04:42,266 --> 02:04:44,500
- Your hands are so cold.
2652
02:04:44,500 --> 02:04:46,367
Well I don't think there's
really any difference.
2653
02:04:46,367 --> 02:04:49,533
You just have better facilities
here instead of a house,
2654
02:04:49,533 --> 02:04:51,333
you know, that leaks.
2655
02:04:51,333 --> 02:04:52,933
- We often found ourselves employed
2656
02:04:52,933 --> 02:04:55,166
by the competitors,
like the partnership
2657
02:04:55,166 --> 02:04:56,799
of Rosenberg and Subotsky,
2658
02:04:56,799 --> 02:04:58,733
which was actually
Frankenstein to Hammer
2659
02:04:58,733 --> 02:05:00,266
back in 1956.
2660
02:05:02,966 --> 02:05:05,367
- During the 60s, there were
a lot of imitators of Hammer.
2661
02:05:05,367 --> 02:05:07,533
Amicus pictures looked
virtually the same,
2662
02:05:07,533 --> 02:05:10,667
had identical casts,
and I think the studio
2663
02:05:10,667 --> 02:05:12,433
started losing its
identity a little bit.
2664
02:05:12,433 --> 02:05:13,500
- It's alive.
2665
02:05:14,899 --> 02:05:16,467
In someone on this train.
2666
02:05:17,700 --> 02:05:19,600
- You're a very good detective.
2667
02:05:19,600 --> 02:05:23,899
You've discovered everything
except who is now the host.
2668
02:05:23,899 --> 02:05:25,133
- That's our next step.
2669
02:05:26,266 --> 02:05:27,633
- I thought this
might come in handy.
2670
02:05:27,633 --> 02:05:28,567
- Oh, good idea.
2671
02:05:28,567 --> 02:05:29,700
- The two of you together?
2672
02:05:29,700 --> 02:05:31,266
That's fine.
2673
02:05:31,266 --> 02:05:34,266
But what if one of
you is the monster?
2674
02:05:34,266 --> 02:05:35,100
- Monster?
2675
02:05:36,100 --> 02:05:37,533
We're British, you know.
2676
02:05:37,533 --> 02:05:40,600
- Hollywood began spending millions on films
2677
02:05:40,600 --> 02:05:42,667
we'd done for really nothing.
2678
02:05:43,567 --> 02:05:46,100
Great stars, elaborate effects.
2679
02:05:47,667 --> 02:05:49,700
And on the low budget end,
2680
02:05:49,700 --> 02:05:52,933
violence we'd used
as punctuation
2681
02:05:52,933 --> 02:05:55,133
became the raison d'etre.
2682
02:05:55,133 --> 02:05:58,633
Nothing succeeds like excess.
2683
02:05:58,633 --> 02:06:00,600
The face of Hammer changed.
2684
02:06:00,600 --> 02:06:04,100
Tired of making quality
films on diminishing budgets,
2685
02:06:04,100 --> 02:06:07,166
Tony Hinds retired at 46,
2686
02:06:07,166 --> 02:06:08,633
though he continued
to write scripts.
2687
02:06:08,633 --> 02:06:11,266
- I think they went wrong
when Tony Hinds left.
2688
02:06:11,266 --> 02:06:12,933
Other producers took over,
2689
02:06:15,500 --> 02:06:16,933
but, they were copies.
2690
02:06:16,933 --> 02:06:19,633
They didn't have that original
inspiration that he had.
2691
02:06:19,633 --> 02:06:23,500
To me, Tony Hinds, was Hammer.
2692
02:06:24,933 --> 02:06:27,066
- So James used all his sales ability
2693
02:06:27,066 --> 02:06:29,667
to lure his son back to the foe.
2694
02:06:29,667 --> 02:06:31,333
- Money, I mean I needed that.
2695
02:06:32,333 --> 02:06:34,700
You know, I cleared my brain,
2696
02:06:34,700 --> 02:06:36,966
and came back and
got on with the job.
2697
02:06:38,100 --> 02:06:40,899
- Inside Michael was
another kind of producer
2698
02:06:40,899 --> 02:06:43,033
trying to get out, and
I think Michael had
2699
02:06:43,033 --> 02:06:47,766
a lot more ambition
for Hammer produce
2700
02:06:48,933 --> 02:06:50,933
and wanted to go
very much further.
2701
02:06:59,933 --> 02:07:02,933
- We had a period of
very good thrillers,
2702
02:07:02,933 --> 02:07:05,899
of which Jimmy wrote, Jimmy
Sangster wrote many of the very
2703
02:07:05,899 --> 02:07:06,733
good ones.
2704
02:07:07,700 --> 02:07:08,533
- Auntie, dear.
2705
02:07:09,467 --> 02:07:11,133
My sister's insane.
2706
02:07:11,133 --> 02:07:11,966
- Go away!
2707
02:07:13,166 --> 02:07:14,766
Don't come near me!
2708
02:07:14,766 --> 02:07:16,700
Don't come near me!
2709
02:07:16,700 --> 02:07:18,266
I'm like Simon!
2710
02:07:18,266 --> 02:07:19,933
I'm mad, I'm insane!
2711
02:07:31,500 --> 02:07:32,799
- Diaboliques.
2712
02:07:32,799 --> 02:07:34,033
I remember seeing that at first.
2713
02:07:34,033 --> 02:07:36,266
I didn't know what, my
wife was highly pregnant
2714
02:07:36,266 --> 02:07:38,400
when we saw that, and
I thought we'd nearly
2715
02:07:38,400 --> 02:07:41,233
lost the baby there,
she was so frightened.
2716
02:07:41,233 --> 02:07:44,033
I thought, "I'd love to
do a movie like that."
2717
02:07:44,033 --> 02:07:45,166
- Simon belongs to me.
2718
02:07:46,467 --> 02:07:48,233
No one shall have him
2719
02:07:58,999 --> 02:08:00,866
- If an audience thinks
about Jimmy's script,
2720
02:08:00,866 --> 02:08:02,933
then you're dead, but
Jimmy used to get them
2721
02:08:02,933 --> 02:08:04,233
rattling along at such
a pace that the audience
2722
02:08:04,233 --> 02:08:07,600
didn't have time to
think about them.
2723
02:08:07,600 --> 02:08:08,799
- Diaboliques.
2724
02:08:08,799 --> 02:08:10,066
I'm trying to remember
the English title.
2725
02:08:10,066 --> 02:08:10,999
The Devils, it was
called, wasn't it?
2726
02:08:10,999 --> 02:08:12,500
It was, it was.
2727
02:08:12,500 --> 02:08:15,166
I must have written that
about four times, I think,
2728
02:08:15,166 --> 02:08:16,400
Diaboliques.
2729
02:08:16,400 --> 02:08:17,633
- So we had to do
something else.
2730
02:08:17,633 --> 02:08:18,866
You couldn't just
go on churning out.
2731
02:08:18,866 --> 02:08:20,100
I think it total,
if I'm not mistaken,
2732
02:08:20,100 --> 02:08:22,833
we did 36 gothic horrors
anyhow, so, you know,
2733
02:08:22,833 --> 02:08:24,400
what more could you want?
2734
02:08:24,400 --> 02:08:26,999
- When Mike took over Hammer,
2735
02:08:28,733 --> 02:08:31,100
he had Jimmy breathing
down his neck saying,
2736
02:08:31,100 --> 02:08:33,133
"Oh you're an idiot.
2737
02:08:33,133 --> 02:08:35,033
"You can't do this."
2738
02:08:35,033 --> 02:08:36,799
So he was fighting that.
2739
02:08:36,799 --> 02:08:38,833
- I've never come across
anything like that before.
2740
02:08:39,667 --> 02:08:40,667
Leave him!
2741
02:08:54,799 --> 02:08:56,933
- The sea.
2742
02:09:03,333 --> 02:09:06,467
You will see torture pits
for forbidden lovers.
2743
02:09:09,133 --> 02:09:10,533
Barbaric sacrifice.
2744
02:09:12,033 --> 02:09:12,833
- No!
2745
02:09:15,933 --> 02:09:18,266
- Out on the starboard side!
2746
02:09:19,567 --> 02:09:22,100
- A living hell that time forgot
2747
02:09:22,100 --> 02:09:23,700
on The Lost Continent.
2748
02:09:32,766 --> 02:09:35,633
- Michael Carreras arranged a co-production
2749
02:09:35,633 --> 02:09:39,266
with the Run Run Shaw
Studio in Hong Kong.
2750
02:09:39,266 --> 02:09:42,066
- It seemed to me that if
we were going to go back
2751
02:09:42,066 --> 02:09:44,633
and make another Dracula type,
2752
02:09:44,633 --> 02:09:47,899
that we really ought to find
a new way of telling the tale.
2753
02:09:47,899 --> 02:09:50,700
So, the Shaws, who I've
always admired anyhow
2754
02:09:50,700 --> 02:09:52,700
in their attitude
to film making,
2755
02:09:52,700 --> 02:09:55,467
it seemed to me a
natural marriage.
2756
02:09:55,467 --> 02:09:57,467
- The idea of going to
Hong Kong to make a picture
2757
02:09:57,467 --> 02:09:59,433
of course was,
2758
02:09:59,433 --> 02:10:01,933
wonderful, if you'd
never been to Hong Kong.
2759
02:10:03,100 --> 02:10:05,467
The difficulties were
absolutely enormous,
2760
02:10:05,467 --> 02:10:07,600
but I think the combination
of trying to put
2761
02:10:07,600 --> 02:10:10,567
kung fu with straight
forward power didn't work,
2762
02:10:10,567 --> 02:10:12,966
or at least we didn't have
a script that made it work.
2763
02:10:12,966 --> 02:10:17,233
- Because it was kind of a
cynical exercise in exploitation
2764
02:10:17,233 --> 02:10:21,367
of that market interest, as
were most Hammer films, really.
2765
02:10:21,367 --> 02:10:24,866
But the result was absolutely
brilliant, in my view.
2766
02:10:24,866 --> 02:10:27,300
It was, again,
extremely intense,
2767
02:10:28,766 --> 02:10:31,033
wonderfully shot, and the
zombies in that film were,
2768
02:10:31,033 --> 02:10:35,467
at the time, were the best
zombies ever captured on film.
2769
02:10:35,467 --> 02:10:38,266
- Christopher declined this final indignity.
2770
02:10:38,266 --> 02:10:42,033
Instead, the Count was played
by John Forbes-Robertson.
2771
02:10:42,033 --> 02:10:44,799
At least I had the honor
of driving one final
2772
02:10:44,799 --> 02:10:45,700
wooden stake.
2773
02:10:47,966 --> 02:10:50,866
- As the seven brothers and their one sister
2774
02:10:50,866 --> 02:10:51,667
meet Dracula.
2775
02:10:56,233 --> 02:10:58,667
- If you're looking for trouble, you're staring it
2776
02:10:58,667 --> 02:10:59,600
right in the face.
2777
02:11:07,400 --> 02:11:09,833
- Shatter, you're marked.
2778
02:11:09,833 --> 02:11:11,600
You're waiting on
the other side.
2779
02:11:11,600 --> 02:11:13,899
- The idea came on
to make a quickie.
2780
02:11:13,899 --> 02:11:16,200
That was my idea, you
know, shot on the streets.
2781
02:11:16,200 --> 02:11:18,133
A police type drama.
2782
02:11:18,133 --> 02:11:19,866
It wasn't at the
peak of the kung fu.
2783
02:11:19,866 --> 02:11:20,799
It was a bit late.
2784
02:11:20,799 --> 02:11:22,667
Probably we were too late again.
2785
02:11:22,667 --> 02:11:24,999
But I think it's something
else that didn't work.
2786
02:11:24,999 --> 02:11:27,799
I'm not saying that it
necessarily makes for
2787
02:11:27,799 --> 02:11:29,533
a better picture to
have those ingredients,
2788
02:11:29,533 --> 02:11:32,033
'cause you're fighting
the believability factor
2789
02:11:32,033 --> 02:11:33,567
all the time.
2790
02:11:33,567 --> 02:11:35,999
The representatives of the
major American companies,
2791
02:11:35,999 --> 02:11:38,400
they should have said,
"This is no good."
2792
02:11:38,400 --> 02:11:40,300
But what they said instead was,
2793
02:11:40,300 --> 02:11:42,100
"If you can make it cheaper,
2794
02:11:42,100 --> 02:11:44,799
"or if you can show a
little more of this,
2795
02:11:44,799 --> 02:11:46,600
"that, or the
other, we'll do it."
2796
02:11:46,600 --> 02:11:49,966
And I think they
misled us in a way.
2797
02:11:49,966 --> 02:11:51,999
- I think that had
a lot to do with
2798
02:11:51,999 --> 02:11:53,567
the downfall of Hammer.
2799
02:11:53,567 --> 02:11:54,866
They lowered their standards,
2800
02:11:54,866 --> 02:11:56,933
because they had a,
they had their own,
2801
02:11:59,367 --> 02:12:02,266
venue, their own
way of doing things.
2802
02:12:02,266 --> 02:12:04,500
And then suddenly, because
everybody was doing
2803
02:12:04,500 --> 02:12:07,300
nudity and because it
was attracting more,
2804
02:12:07,300 --> 02:12:08,966
well it's happening
again right now.
2805
02:12:08,966 --> 02:12:10,533
The same thing's happening now.
2806
02:12:11,667 --> 02:12:13,500
- I think they knew
pretty much what
2807
02:12:13,500 --> 02:12:16,533
they could get away
with so that when
2808
02:12:16,533 --> 02:12:19,100
the films were submitted
for censorship,
2809
02:12:19,100 --> 02:12:20,766
they knew what they
could get away with,
2810
02:12:20,766 --> 02:12:22,633
but definitely that was a
ploy that they would use
2811
02:12:22,633 --> 02:12:24,233
to leave something in
that they knew they
2812
02:12:24,233 --> 02:12:27,533
could take it out later
without ruining the story.
2813
02:12:27,533 --> 02:12:29,966
But we wanted to keep on
his good side socially.
2814
02:12:36,833 --> 02:12:38,933
You knew you had a
problem picture coming up,
2815
02:12:38,933 --> 02:12:40,367
we took him to get
him a good lunch,
2816
02:12:40,367 --> 02:12:42,266
Leison Best is one of
the big restaurants
2817
02:12:42,266 --> 02:12:44,833
in town used by the film people.
2818
02:12:44,833 --> 02:12:47,066
- Knighted and respected, Sir James wished
2819
02:12:47,066 --> 02:12:49,933
to retire and sell
off the company.
2820
02:12:49,933 --> 02:12:52,567
Michael wanted to keep
it in family hands.
2821
02:12:54,333 --> 02:12:56,367
- I think Jimmy was
bought out for a while,
2822
02:12:56,367 --> 02:12:57,999
though Mike got
controlling interest.
2823
02:12:57,999 --> 02:13:00,467
- Our horror stories by
that time were passe.
2824
02:13:00,467 --> 02:13:02,433
I mean, they were
children's stuff.
2825
02:13:02,433 --> 02:13:05,133
You get into the chainsaw
massacres and what have you.
2826
02:13:06,066 --> 02:13:07,733
I suppose I wasn't in tune.
2827
02:13:07,733 --> 02:13:11,100
I have to take the blame
for this, I was in charge.
2828
02:13:11,100 --> 02:13:13,799
- And Mike swears that Jimmy
went 'round the industry
2829
02:13:13,799 --> 02:13:15,367
and said, "Don't help my son."
2830
02:13:17,100 --> 02:13:18,966
That's Mike's end of it.
2831
02:13:21,066 --> 02:13:24,433
Jimmy on the other hand, I
wouldn't put anything past him.
2832
02:13:24,433 --> 02:13:27,700
Jimmy got on with that
wide eyed face and say,
2833
02:13:27,700 --> 02:13:29,633
"I wish him all the
luck in the world."
2834
02:13:30,833 --> 02:13:31,833
- Everything
2835
02:13:32,966 --> 02:13:35,400
is born, it flowers,
and then it fades away,
2836
02:13:35,400 --> 02:13:36,633
and eventually it dies.
2837
02:13:36,633 --> 02:13:38,899
- The Hammer period was
like the last gasp of
2838
02:13:38,899 --> 02:13:40,133
world cinema.
2839
02:13:40,133 --> 02:13:42,333
- I think a moment
came to an end.
2840
02:13:42,333 --> 02:13:44,100
Sir James left, retired.
2841
02:13:45,233 --> 02:13:47,700
I think the moment came
to an end, you know.
2842
02:13:47,700 --> 02:13:49,799
There was a time, and
then there wasn't a time.
2843
02:13:49,799 --> 02:13:51,733
- And as it happened,
the horror thing
2844
02:13:51,733 --> 02:13:53,266
can't go on forever.
2845
02:13:53,266 --> 02:13:58,266
Sadly, some of the other
streams that I tried to instill
2846
02:13:58,266 --> 02:14:01,467
into the company's product
line just didn't work.
2847
02:14:01,467 --> 02:14:03,799
- I thought Vampire
Circus was one of the best
2848
02:14:03,799 --> 02:14:05,733
Hammer horror movies
of the whole lot.
2849
02:14:05,733 --> 02:14:08,467
I thought Robert Young
did a marvelous job.
2850
02:14:09,633 --> 02:14:12,033
And there were some
fantastic scenes where
2851
02:14:12,033 --> 02:14:15,200
the humans transformed
into animals and animals
2852
02:14:15,200 --> 02:14:17,467
transformed back into humans.
2853
02:14:17,467 --> 02:14:18,433
It was all a very,
very sexy film.
2854
02:14:18,433 --> 02:14:20,133
There was lots of sex in it.
2855
02:14:20,133 --> 02:14:22,433
I still think it was one
of the very, very best
2856
02:14:22,433 --> 02:14:23,367
of the Hammer movies.
2857
02:14:23,367 --> 02:14:24,633
I played the circus strongman.
2858
02:14:26,100 --> 02:14:27,467
I went through the entire film.
2859
02:14:27,467 --> 02:14:29,233
So it was a really
good part for me.
2860
02:14:29,233 --> 02:14:31,766
- No, it was none
of the old gang.
2861
02:14:31,766 --> 02:14:34,133
We saw this
disintegration happening
2862
02:14:34,133 --> 02:14:35,899
and we were rather sad for it.
2863
02:14:35,899 --> 02:14:39,200
Because the people who
were concerned with Hammer,
2864
02:14:39,200 --> 02:14:42,567
really, other than Mike,
were no longer around him.
2865
02:14:44,066 --> 02:14:45,966
- The novelty of color was now standard,
2866
02:14:45,966 --> 02:14:47,467
even on television.
2867
02:14:47,467 --> 02:14:49,700
Concepts often seemed strained.
2868
02:14:49,700 --> 02:14:52,133
- It is common to suppose
that the vampire attacks
2869
02:14:52,133 --> 02:14:54,933
in only one way: by biting
the neck and draining
2870
02:14:54,933 --> 02:14:56,533
the victim of blood.
2871
02:14:56,533 --> 02:14:58,633
The girls you spoke of,
2872
02:14:58,633 --> 02:15:01,700
they were not drained
of blood, but youth.
2873
02:15:01,700 --> 02:15:03,233
Of life itself.
2874
02:15:12,933 --> 02:15:15,233
- But they wanted,
2875
02:15:15,233 --> 02:15:17,367
they wanted it to appear nude.
2876
02:15:17,367 --> 02:15:20,100
So we kind of came
to a compromise,
2877
02:15:20,100 --> 02:15:23,100
in so far as my hair was a
lot longer in those days,
2878
02:15:23,100 --> 02:15:27,700
and uh, and so that
covered my upper chest.
2879
02:15:27,700 --> 02:15:29,233
- When we were
making that picture,
2880
02:15:29,233 --> 02:15:31,400
I didn't realize
that she didn't want
2881
02:15:31,400 --> 02:15:34,133
to show any of her top.
2882
02:15:34,133 --> 02:15:36,999
But it's become very apparent
when you see the movie,
2883
02:15:36,999 --> 02:15:39,700
that she didn't show anything.
2884
02:15:39,700 --> 02:15:41,233
- And I think I actually used
2885
02:15:41,233 --> 02:15:43,533
some sort of gaffer tape or
something to stick it down,
2886
02:15:43,533 --> 02:15:47,066
so I felt quite
secure in that sense.
2887
02:15:47,066 --> 02:15:51,433
And then a pair of flesh
color knickers, briefs,
2888
02:15:51,433 --> 02:15:52,933
and I was alright.
2889
02:15:52,933 --> 02:15:55,766
I was all set, so it was like
being on the beach, really.
2890
02:15:55,766 --> 02:15:58,600
- Captain Kronos, in fact,
I just watched Kronos today.
2891
02:15:58,600 --> 02:16:00,667
I was amazed that the
fight in the cemetery
2892
02:16:00,667 --> 02:16:03,533
was all done on the back
lot at Elstree which
2893
02:16:03,533 --> 02:16:05,133
was not a big back lot.
2894
02:16:05,133 --> 02:16:08,033
It had houses pretty
much all the way around,
2895
02:16:08,033 --> 02:16:10,467
but Captain Kronos, where
the cemetery was shot,
2896
02:16:10,467 --> 02:16:12,567
was a small little hill.
2897
02:16:12,567 --> 02:16:14,367
And when you look at the
show, it's just like up
2898
02:16:14,367 --> 02:16:16,833
the hill and down
the hill because
2899
02:16:16,833 --> 02:16:19,100
the camera angles, as if it
was filmed any differently,
2900
02:16:19,100 --> 02:16:22,100
would have had houses
eventually within 25 yards
2901
02:16:22,100 --> 02:16:23,999
of that place.
2902
02:16:23,999 --> 02:16:25,667
- Her life will be yours.
2903
02:16:27,600 --> 02:16:28,433
Yours.
2904
02:16:29,833 --> 02:16:34,667
Her youth will pulse through
your veins, my darling.
2905
02:16:35,766 --> 02:16:37,766
Replenishing,
restoring, take her.
2906
02:16:47,367 --> 02:16:48,266
- To death.
2907
02:16:59,033 --> 02:16:59,899
Yes.
2908
02:16:59,899 --> 02:17:01,133
You bleed, my lord.
2909
02:17:02,100 --> 02:17:03,667
This is God's blade.
2910
02:17:05,467 --> 02:17:08,033
Forged for your black heart.
2911
02:17:09,733 --> 02:17:11,667
- A lack of audience response killed
2912
02:17:11,667 --> 02:17:14,700
Captain Kronos as
a potential series.
2913
02:17:15,899 --> 02:17:17,467
- Possibly it was too romantic.
2914
02:17:17,467 --> 02:17:20,567
Maybe it was either
ahead of its time, or,
2915
02:17:21,600 --> 02:17:22,833
you know, the other way.
2916
02:17:22,833 --> 02:17:25,433
Maybe it was kind
of lost in time.
2917
02:17:25,433 --> 02:17:27,033
I'm not too sure.
2918
02:17:27,033 --> 02:17:29,033
The timing was wrong,
anyway, I think.
2919
02:17:29,033 --> 02:17:32,066
- Hammer flowed with the tide of television
2920
02:17:32,066 --> 02:17:34,166
by adapting a BBC serial.
2921
02:17:46,367 --> 02:17:48,966
- And On the Buses is one
of my least favorite films,
2922
02:17:48,966 --> 02:17:51,433
and I don't know anyone
who would put that high
2923
02:17:51,433 --> 02:17:52,866
on their list.
2924
02:17:52,866 --> 02:17:54,799
Interestingly, it
is without doubt,
2925
02:17:54,799 --> 02:17:57,766
the most successful commercially
of all the Hammer films,
2926
02:17:57,766 --> 02:18:01,667
and still generates a royalty
income for the company today.
2927
02:18:04,533 --> 02:18:07,333
- Hammer's last horror picture, so far,
2928
02:18:07,333 --> 02:18:09,500
was made in 1975.
2929
02:18:12,300 --> 02:18:15,533
- 98% of so-called
Satanists are nothing but
2930
02:18:15,533 --> 02:18:17,367
pathetic freaks
2931
02:18:17,367 --> 02:18:19,500
who get their kicks
out of dancing naked
2932
02:18:19,500 --> 02:18:21,600
in freezing church yards.
2933
02:18:21,600 --> 02:18:23,966
I have a feeling
I'm dealing with the
2934
02:18:23,966 --> 02:18:25,266
other two percent.
2935
02:18:26,700 --> 02:18:30,533
- Richard Widmark challenges Christopher Lee
2936
02:18:30,533 --> 02:18:32,600
for the soul of a
girl named Catherine.
2937
02:18:38,999 --> 02:18:40,600
- They got Catherine.
2938
02:18:42,033 --> 02:18:44,166
And we've got to get her
back before it's too late.
2939
02:18:44,166 --> 02:18:46,066
- By then the so-called low budgets
2940
02:18:46,066 --> 02:18:47,333
net a half million pounds:
2941
02:18:47,333 --> 02:18:49,433
over a million dollars.
2942
02:18:49,433 --> 02:18:51,300
Hedging their bets,
Hammer brought in
2943
02:18:51,300 --> 02:18:54,533
German Co financing,
and an American star,
2944
02:18:54,533 --> 02:18:55,933
Richard Widmark.
2945
02:18:55,933 --> 02:18:58,166
Appropriately, Christopher
Lee was the heavy.
2946
02:19:04,833 --> 02:19:06,567
- When this ceremony
has been performed,
2947
02:19:06,567 --> 02:19:08,467
I shall destroy
you, John Varney.
2948
02:19:08,467 --> 02:19:12,033
- The demons hate you, Rayner,
they're waiting for you.
2949
02:19:12,033 --> 02:19:13,033
- Catherine.
2950
02:19:14,367 --> 02:19:15,200
Catherine.
2951
02:19:17,166 --> 02:19:18,166
- You are warned.
2952
02:19:18,166 --> 02:19:18,999
- It's me.
2953
02:19:18,999 --> 02:19:20,567
Don't!
2954
02:19:26,200 --> 02:19:27,033
Damn you!
2955
02:19:28,367 --> 02:19:29,200
Damn you!
2956
02:19:32,833 --> 02:19:34,033
- The nude permissiveness
2957
02:19:34,033 --> 02:19:36,266
extended to a nude photograph of
2958
02:19:36,266 --> 02:19:39,667
teenage Nastassja Kinski
in the press book.
2959
02:19:39,667 --> 02:19:41,266
- Hammer's last theatrical venture
2960
02:19:41,266 --> 02:19:43,966
was made in 1979.
2961
02:19:43,966 --> 02:19:45,899
- The Lady Vanishes.
2962
02:19:45,899 --> 02:19:47,633
- Michael Carreras planned a
2963
02:19:47,633 --> 02:19:50,567
new version of the thriller
by Hitchcock himself.
2964
02:19:51,733 --> 02:19:52,999
- He was a journalist.
2965
02:19:52,999 --> 02:19:54,833
She was a mad cap
American heiress.
2966
02:19:54,833 --> 02:19:57,266
Miss Froy was an English nanny.
2967
02:19:57,266 --> 02:20:00,799
- I'm talking about the lady
who's sitting right there.
2968
02:20:00,799 --> 02:20:03,100
- There has been no
English lady here.
2969
02:20:03,100 --> 02:20:04,799
- There's a woman
missing on this train.
2970
02:20:04,799 --> 02:20:06,233
I saw her.
2971
02:20:06,233 --> 02:20:08,200
And now people keep saying
she was never there.
2972
02:20:08,200 --> 02:20:10,633
You saw her, I know you did.
2973
02:20:10,633 --> 02:20:12,667
- Ultimately, it was a Hammer film
2974
02:20:12,667 --> 02:20:13,866
in name only.
2975
02:20:15,300 --> 02:20:17,633
The dirty business was left
to Phantom of the Opera's,
2976
02:20:17,633 --> 02:20:19,000
Herbert Lom.
2977
02:20:19,000 --> 02:20:20,667
- You're asking me to
remove the bandages?
2978
02:20:20,667 --> 02:20:22,133
- No, no, not the
whole business.
2979
02:20:22,133 --> 02:20:24,533
Just enough so we can
get one teeny, tiny peak.
2980
02:20:24,533 --> 02:20:25,866
Just so we can see the face.
2981
02:20:25,866 --> 02:20:27,233
- But there is no face.
2982
02:20:27,233 --> 02:20:29,400
Nobody believes you now.
2983
02:20:29,400 --> 02:20:30,899
Nobody will believe you later.
2984
02:20:32,367 --> 02:20:34,866
- The Lady Vanishes received scant distribution,
2985
02:20:34,866 --> 02:20:38,667
a Loch Ness movie drowned
in a sea of delay.
2986
02:20:38,667 --> 02:20:41,933
- Michael Carreras left in 1979.
2987
02:20:41,933 --> 02:20:44,733
Royce Keggs helmed the
company through the
2988
02:20:44,733 --> 02:20:47,667
dungeons of the British
film industry by producing
2989
02:20:47,667 --> 02:20:50,200
two TV suspense series.
2990
02:21:14,633 --> 02:21:16,966
- Bastard, bastard, bastard.
2991
02:21:20,899 --> 02:21:24,100
- He makes such a noise when
anything unusual happens.
2992
02:21:25,300 --> 02:21:26,600
- Will you let me out?
2993
02:21:26,600 --> 02:21:27,433
Now?
2994
02:21:27,433 --> 02:21:28,400
- Oh no.
2995
02:21:28,400 --> 02:21:30,100
Not until you are trained.
2996
02:21:30,100 --> 02:21:33,367
Now please, we're not
trying to thwart my plans.
2997
02:21:33,367 --> 02:21:35,833
If you cause me to
close this hatch,
2998
02:21:35,833 --> 02:21:37,266
nobody will hear you.
2999
02:21:38,367 --> 02:21:39,200
Ever.
3000
02:21:40,600 --> 02:21:42,166
- The pictures that I
worked on over there
3001
02:21:42,166 --> 02:21:44,266
were Hammer pictures, and
they ended up in the space
3002
02:21:44,266 --> 02:21:45,433
of ten years.
3003
02:21:45,433 --> 02:21:46,533
So that's how
important they were.
3004
02:21:46,533 --> 02:21:48,233
They provided so many jobs.
3005
02:21:48,233 --> 02:21:51,500
Now, if Hammer wasn't around,
a lot of people wouldn't
3006
02:21:51,500 --> 02:21:53,733
have been in the business.
3007
02:21:53,733 --> 02:21:55,033
You know, and that's
from art directors,
3008
02:21:55,033 --> 02:21:56,700
all the way through.
3009
02:21:56,700 --> 02:21:59,300
- I get asked time and
time again in letters
3010
02:21:59,300 --> 02:22:01,300
and in interviews and things,
3011
02:22:01,300 --> 02:22:02,933
"When is Hammer gonna return?"
3012
02:22:02,933 --> 02:22:04,166
Or, "Will Hammer return?"
3013
02:22:05,100 --> 02:22:06,333
- It's a shame.
3014
02:22:06,333 --> 02:22:08,333
I think someone should
really pick up the torch
3015
02:22:08,333 --> 02:22:09,799
and run with it.
3016
02:22:09,799 --> 02:22:11,933
- Now Hammer has contracted to make
3017
02:22:11,933 --> 02:22:15,533
horror, suspense, and
science fiction films
3018
02:22:15,533 --> 02:22:19,133
with name stars and
top creative talent.
3019
02:22:19,133 --> 02:22:20,833
- Hammer's changed
hands a couple of times
3020
02:22:20,833 --> 02:22:22,433
over the last 10 years.
3021
02:22:24,100 --> 02:22:25,933
The new Hammer obviously
has to move into
3022
02:22:25,933 --> 02:22:29,033
the 21st century with new
techniques and new stories
3023
02:22:29,033 --> 02:22:31,467
and so on, appealing to
contemporary audiences,
3024
02:22:31,467 --> 02:22:33,467
and that's what they plan to do.
3025
02:22:33,467 --> 02:22:37,233
But always with a
respectful nod backward
3026
02:22:37,233 --> 02:22:39,633
to what the company
has always represented.
3027
02:22:39,633 --> 02:22:41,033
Quality film making.
3028
02:22:41,033 --> 02:22:43,933
Once in a while, maybe
some gothic horrors.
3029
02:22:43,933 --> 02:22:46,799
- Entertainment technology
has changed radically
3030
02:22:46,799 --> 02:22:49,733
since the 1950s, yet
Hammer thrives in this
3031
02:22:49,733 --> 02:22:52,933
new incarnation,
inspiring a nostalgic cult
3032
02:22:52,933 --> 02:22:55,233
that reaches around the world.
3033
02:22:55,233 --> 02:22:57,500
- They've often said,
"We grew up with you.
3034
02:22:57,500 --> 02:22:59,000
"You are part of the family.
3035
02:22:59,000 --> 02:23:01,667
"We'd go on a Saturday
and see these horror films
3036
02:23:01,667 --> 02:23:03,033
"and scream and yell,
3037
02:23:03,033 --> 02:23:05,833
"so we've always considered
you a part of us."
3038
02:23:05,833 --> 02:23:07,300
Which is wonderful.
3039
02:23:07,300 --> 02:23:09,833
- Fan periodicals, like Little Shoppe of Horrors
3040
02:23:09,833 --> 02:23:12,999
published by Richard
Klemensen, savored the films
3041
02:23:12,999 --> 02:23:15,300
like fine old wines.
3042
02:23:15,300 --> 02:23:18,633
- Top professional tip their hats to Bray.
3043
02:23:19,799 --> 02:23:21,166
- Gremlins fashioned its climax
3044
02:23:21,166 --> 02:23:23,567
on the end of Hammer's
original Dracula.
3045
02:23:23,567 --> 02:23:26,866
Director Joe Dante cast
Christopher Lee himself
3046
02:23:26,866 --> 02:23:28,467
in Gremlins 2.
3047
02:23:28,467 --> 02:23:32,066
- He said, "But you have
to remember, Christopher,
3048
02:23:32,066 --> 02:23:36,533
"that I and all my peers,
and all my colleagues,"
3049
02:23:36,533 --> 02:23:37,734
and there's a
great many of them.
3050
02:23:37,734 --> 02:23:41,799
Martin Scorsese, Brandon
Palmer, John Landis,
3051
02:23:41,799 --> 02:23:43,966
Steven Spielberg, Joe Dante,
3052
02:23:43,966 --> 02:23:45,100
and many, many, many
other who don't come
3053
02:23:45,100 --> 02:23:46,433
to mind at the moment, he said,
3054
02:23:46,433 --> 02:23:48,500
"We were brought
up on your films
3055
02:23:50,066 --> 02:23:52,933
"when we were teenagers
and young men.
3056
02:23:52,933 --> 02:23:54,700
"We were brought
up on your films.
3057
02:23:54,700 --> 02:23:56,533
"We liked them, we loved them."
3058
02:23:56,533 --> 02:23:58,700
And I'm naturally very
grateful for that.
3059
02:23:59,567 --> 02:24:00,933
It means that don't forget.
3060
02:24:00,933 --> 02:24:02,700
- I'm not giving you bullshit.
3061
02:24:02,700 --> 02:24:04,999
They were made by
people who cared.
3062
02:24:04,999 --> 02:24:08,066
- While we were doing them,
we were dedicated to them.
3063
02:24:08,066 --> 02:24:09,066
- As a matter of
fact, as it were done,
3064
02:24:09,066 --> 02:24:10,433
it couldn't have been better.
3065
02:24:10,433 --> 02:24:11,866
- Those films will last forever.
3066
02:24:11,866 --> 02:24:14,033
- Mocked and vilified in their time,
3067
02:24:14,033 --> 02:24:16,066
these films are now
revered in places
3068
02:24:16,066 --> 02:24:18,734
like the British Film
Institute as classics
3069
02:24:18,734 --> 02:24:21,533
of their era, and the world
has finally come 'round
3070
02:24:21,533 --> 02:24:24,033
to know what we've
really known all along:
3071
02:24:24,033 --> 02:24:26,866
anything made by
Hammer is the best.
3072
02:24:28,899 --> 02:24:31,533
- Quite ironic, it's
got to be anything.
3073
02:24:31,533 --> 02:24:32,766
And here it is.
3074
02:24:32,766 --> 02:24:34,500
You know, they're
showing them at the
3075
02:24:34,500 --> 02:24:36,799
Museum of Contemporary Art
and the Lincoln Center,
3076
02:24:36,799 --> 02:24:38,667
all those horror films.
3077
02:24:38,667 --> 02:24:39,933
- It's in our blood.
3078
02:24:39,933 --> 02:24:42,433
Film is in our blood.
3079
02:24:42,433 --> 02:24:43,933
- Fun days.
3080
02:24:43,933 --> 02:24:46,533
- Hammer was one of the
happiest studios I've ever
3081
02:24:46,533 --> 02:24:47,966
worked in in my life.
3082
02:24:47,966 --> 02:24:50,166
And it was a family.
3083
02:24:50,166 --> 02:24:52,200
- These motion pictures created an
3084
02:24:52,200 --> 02:24:56,400
insular fantasy world
with fiery images of love
3085
02:24:56,400 --> 02:24:59,766
and innocence, of
dark sexuality,
3086
02:24:59,766 --> 02:25:01,866
and hideous death.
3087
02:25:01,866 --> 02:25:03,766
- We who created that world
3088
02:25:03,766 --> 02:25:05,799
have a touch of
immortality through them.
3089
02:25:06,966 --> 02:25:09,233
And you who share that
world over the years
3090
02:25:09,233 --> 02:25:11,600
can revisit it as
you would recall
3091
02:25:11,600 --> 02:25:13,700
a favorite fairy tale.
3092
02:25:13,700 --> 02:25:17,667
Secure that in the end,
good will always triumph
3093
02:25:19,100 --> 02:25:19,966
over evil.
3094
02:25:21,133 --> 02:25:24,500
- That is, until the next sequel.
3095
02:25:25,305 --> 02:26:25,177
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