Los Angeles Times Review: 'War of the Worlds: The True Story' is clever like Wells

 Review: 'War of the Worlds: The True Story' is clever like Wells

'War of the Worlds: The True Story' is an inventive mock sci-fi docudrama with the conceit that H.G. Wells' 'The War of the Worlds' is a true story.

http://www.waroftheworldsthetruestory.com/Los-Angeles-Times-Review---War-of-The-Worlds--The-True-Story--is-clever-like-Wells---By-Gary-Goldstein-December-18th--2012-5am.html

 By Gary Goldstein

 December 18, 2012, 5:00 a.m.

 
What if the Earth/Mars battle from H.G. Wells' classic novel "The War of the Worlds" wasn't fiction but actually fact? That's the conceit behind the hugely inventive and ambitious concoction "War of the Worlds: The True Story," a mock sci-fi docudrama packed with a truly impressive — and clever — mix of editing (a reported 3 1/2 years' worth), special effects, visual artistry and offbeat storytelling.
Director-editor Timothy Hines (he also co-wrote with producer and cast member Susan Goforth) sets his provocative tale around a supposed found-footage interview, "originally" shot in 1965, with 86-year-old Englishman Bertie Wells (Floyd Reichman), the last living eyewitness to the turn-of-the-century Martian Apocalypse.
Flashing back to the shocking "invasion," this particular Mr. Wells recounts how Martians, in the form of 10-story-tall, three-legged mechanical monsters, declared war against the Earth, armed — literally — with deadly propulsive heat rays and poisonous gas. (Entire Article)

Jamie Hall's score for "War of the Worlds The True Story" has made the list of eligible original scores for the 2012 Oscars!

Jamie Hall's score for "War of the Worlds The True Story" has made the list of eligible original scores for the 2012 Oscars! Along with John Williams, James, Horner, Hanz Zimmer, Danny Elfman and other legends!
 
QUALIFYING THEATRICAL RUN - LOS ANGELES The week of: TUESDAY, DECEMBER 18th - MONDAY, DECEMBER 24th at the LAEMMLE PLAYHOUSE 7, Pasadena, 673 East Colorado Blvd. Pasadena.

Jamie Hall's score has made the eligible list for the Oscars.http://blogs.indiewire.com/th ompsononhollywood/academy-reveals-104-eligible-original-scores-for-2012-oscar-race?page=1#blogPostHeaderPanel

QUALIFYING THEATRICAL RUN - LOS ANGELES DEC 18th - 24th LAEMMLE PLAYHOUSE 7, Pasadena

QUALIFYING THEATRICAL RUN - LOS ANGELES: TUESDAY, DECEMBER 18th - MONDAY, DECEMBER 24th

LAEMMLE PLAYHOUSE 7, Pasadena, 673 East Colorado Blvd. Pasadena, 91101 http://laemmle.com/viewmovie.php?mid=8753

FOR YOUR CONSIDERATION

Free to AMPAS and Guild Members with Guild ID.

New WAR OF THE WORLDS Movie Plays Nationwide at Select Cinemas on Anniversary of Orson Welles' Infamous Radio Broadcast

 One night only! The night before Halloween, on the anniversary of Orson Welles notorious radio broadcast, WAR OF THE WORLDS THE TRUE STORY, at theaters across America!
Go to www.waroftheworldsthetruestory.com for a current list of participating theaters.

WAR OF THE WORLDS THE TRUE STORY Movie Poster

WAR OF THE WORLDS THE TRUE STORY on FACEBOOK

WAR OF THE WORLDS THE TRUE STORY is on Facebook with 40,000 plus followers and counting.

WAR OF THE WORLDS THE TRUE STORY - TV Spot

Here is a link to the WAR OF THE WORLDS THE TRUE STORY TV spot that has aired on multiple TV networks for the Summer theatrical tour.

FIVE STARS FOR WAR OF THE WORLDS THE TRUE STORY

 From the Sacramento Examiner:

‘War of the Worlds’ comes close to historical reality in indie movie

July 12, 2012 By: Steven Rose, Jr.

Making a new version of “War of the Worlds” using footage from the original 1953 movie would be unimaginable to many. It would probably be a mismatch with today’s high tech special effects. But strangely enough, independent film makers Timothy Hines and Susan Goforth achieve realism by using both special effects, including CGI, and old film footage in their adaptation of H.G. Wells’ classic science fiction novel. Hines and Goforth make the events of Wells’ terrifying tale of Martians attacking Earth a historical “reality” in their mashup documentary style movie, “War of the Worlds: The True Story”.

Hines’s and Goforth’s version of “War of the Worlds” is told through the point of view of the last living survivor of the war with Mars, Bertie Wells (played by Floyd Reichman). He tells about his experiences of the 1900 Martian attack in a 1965 interview. Built around this interview is a mashup (or mix) of film footage both fictional and non-fictional that tells the story documentary style. Much of this footage serves as sets for the main cast whose images were digitally superimposed onto it. But this isn’t just a dull historical telling of the story. Think History Channel’s many dramatic documentaries of catastrophic events, such as wars and natural disasters, and you'll get a feel for Hines and Goforth’s movie. And so "The True Story" carries the suspense and drama of both the 1953 movie and Speilberg’s 2005 version but in a more realistic manner through its documentary style.

What inspired a documentary style for the movie? Goforth said, at the Crest Theatre’s 3:30 Saturday afternoon screening, that it was Wells’ eye-witness/newspaper reporting style of his novel. When yours truly asked if the Orson Welles 1938 radio version’s mass panic had anything to do with that inspiration she said it absolutely did. People who had tuned in late to the radio play thought it was live coverage of an actual Martian invasion.

The techniques used to make “The True Story” were very carefully done with a lot of thought and effort. Hines said at Saturday afternoon’s screening that he and Goforth very carefully chose the footage from the public domain and used it in a way so as not to cause infringement. Along with this, they had to be careful not to allow any of the Hollywood film clips to come across as usage for their own profit but only as usage for supporting the overall content of “The True Story”.

Hines also said that puppetry was used to create the creature effects, such as the robotic war vehicles the Martians attack with. The puppetry was done realistically to the point of suspended disbelief. The robotic vehicles and other creatures are smoothly integrated into the setting. The audio and visual effects for actions such as the war vehicles' firing of heat rays and the collapsing of bridges and buildings give the audience a striking impression without leaving a sense of mismatch between old footage and modern special effects.
 Any flaws this movie had were outweighed by the high quality of the other elements such as script and technique. In an early part of the film, Bertie is shown in black-and-white footage walking with his wife, Amy (Goforth). In this footage, Bertie’s eye makeup, used to enhance shadow effect, on his right side shows when he turns his head toward the light momentarily. A few footages were mixed black-and-white and color. For example, the scene of the Martian ship crash is mostly black-and-white but the fire was colored orange. This was probably done for stylistic purposes but seemed to stand out a little too much for a scene that attempts to give the illusion of pre-color archival footage. Also, the 1965 interview scenes are clear and crisp in the first half of the movie but in the second half are made to look aged in the reel with scratching and molding effects. Again, these flaws are minor when weighed against the rest of the movie. Besides, the footage of Bertie and his wife walking together can be argued to be a “re-enactment” as the notice at the beginning of the movie indicates many of the scenes being. So if this scene was a “re-enactment”, it could be argued to be a “poorly” done “re-enactment” but a “re-enactment” nevertheless, therefore enhancing the realism.

Bertie’s character is rounded to the point of exposing his own feelings of vulnerability and he acts it out convincingly. He admits in the interview that he was wandering in fear and despair to the point of crying and so breaks the chauvinist stereotype of male lead characters. He even shows sympathy for a horse he flees on. When he tells the interviewer that the horse fell and broke its neck he refers to it as “poor thing”.
The great thing about a movie such as “The True Story” is that the producers don’t have to hire all the actors. Many of the actors come with the footage of past films. This is especially true for extras (background or passer-by characters). In this respect, there are cameo appearances by famous Hollywood stars such as Shirley Temple, Elizabeth Taylor and even William Shatner (“Star Trek”)! Perhaps just as surprising, there is an Easter egg at the end of the ending credits.

Sadly, Saturday’s screening of “War of the Worlds: The True Story” was only a one day event at Sacramento's Crest Theatre. It hasn’t reached mainstream movie theaters (at least not yet). Because it takes a very different twist on a classic sci fi story, hopefully enough critical acclaim will bring it to the mainstream. It’s already in the plans to be released on video but not until Fall 2013, says Goforth. If you can’t wait until then, consider taking a road trip to one of its near future screening locations listed at the movie’s website.
“War of the Worlds: The True Story” lives up to its name. In illusion only, of course. But it is an illusion that is done with such high quality that when seeing the movie you really get the impression of the events being part of our own history. After all, isn’t all film supposed to give us such an impression? True, but Hines and Goforth’s movie does this exceptionally well with the very style it uses to tell Wells’ story.

WAR OF THE WORLDS THE TRUE STORY COMPLETES 121 WEEKS OF POST PRODUCTION

WAR OF THE WORLDS THE TRUE STORY is finally finished with 121 weeks of post production. Nearly a year of work after the preview screening in Seattle last July. WAR OF THE WORLDS THE TRUE STORY slips into theaters this June. Keep an eye out for theater listings near you.

DOROTHY HEIGHT, CIVIL RIGHTS ACTIVIST DIES AT 98

"Greatness is not measured by what a man or woman accomplishes, but by the opposition he or she has overcome to reach his goals.
-Dr. Dorothy Height

My blog today is an excerpt from the Associated Press:

WASHINGTON — Dorothy Irene Height, a pioneering voice of the civil rights movement whose activism stretched from the New Deal to the election of President Barack Obama, died Tuesday. She was 98.

Height, who marched alongside Martin Luther King Jr. and led the National Council of Negro Women for 40 years, was known for her determination and grace — as well as her wry humor. She remained active and outspoken well into her 90s and often received rousing ovations at events around Washington, where she was easily recognizable in the bright, colorful hats she almost always wore.

When Obama won the presidential election in November 2008, Height told Washington TV station WTTG that she was overwhelmed with emotion.

"People ask me, did I ever dream it would happen, and I said, `If you didn't have the dream, you couldn't have worked on it," she said.

Height dedicated most of her adult life to the National Council of Negro Women, where she first worked under her mentor, Mary McLeod Bethune, who founded the group. Height took over in 1957 and led it until 1997, fighting for women's rights on issues such as equal pay and education. She developed programs such as "pig banks" to help poor rural families raise their own livestock, and "Wednesdays in Mississippi," in which black and white women from the north traveled to Mississippi to meet with their Southern counterparts in an effort to ease racial tensions and bridge differences.

To celebrate Height's 90th birthday in March 2002, friends and supporters raised $5 million to enable her organization to pay off the mortgage on its Washington headquarters on Pennsylvania Avenue, just a few blocks from the White House. Herman said Height "believed very strongly that we as black women deserved to be on this corridor of power."

Rest in peace, Dorothy. You helped open the eyes of the ingnorant and changed the world for the better.

~Later-

AUTHOR OF GREEN SCREEN HANDBOOK WINS TELLY AWARD

Jeff Foster, who wrote The Green Screen Handbook, which devotes ten pages to the special effects of my period version of War of the Worlds, just won a Telly Award for one of his “Documercials”.

Jeff just returned from a very successful NAB to here the news of his winning the Telly.

"Visions Of America" - Joseph Sohm
Here's the link to the video.

Jeff was the producer/director/editor on the project and with the help of videographer, Michael Anderson (Extra Mile Films) they shot several hours of interviewing the book's author, Joe Sohm. Jeff spent about 2 weeks in editing to pare it down to under 10 minutes for the online video production. The award is a Bronze Telly (second placing) in the "Professional Infomercial" category.

Panasonic provided the P2 HD cameras and Reflecmedia provided the green screen setup. Editing was done in Adobe After Effects and Final Cut Pro. Music by Roger Kellaway, Lyrics by Alan and Marilyn Bergman

Good work Jeff!

Also check out the press release for our new Mock-Documentary version of H.G. Wells' seminal novel, War of the Worlds - The True Story. The new War of the Worlds - The True Story has a projected release date of October, 2010.

~Later-

SIGNED COPIES OF JEFF FOSTER'S "THE GREEN SCREEN HANDBOOK" ARRIVED

Jeff Foster’s signed copies of the Green Screen Handbook arrived yesterday. He sent two copies. One was signed to Susan Goforth and me. The other was dedicated to Anne Gallo, the mother of my co-producer, John Gallo, who passed away on Thanksgiving. One of the last things John worked on was to supply and help shape materials from Pendragon Pictures to Jeff Foster, who was compiling The Green Screen Handbook.

I will send it out to you, Anne.

Jeff Foster has toured and lectured on special effects and special effects software. He was the guest speaker at the 2010 Macworld Expo in San Francisco in February. Jeff Foster included ten pages of behind the scenes green screen work we did for the 2005 War of the Worlds in The Green Screen Handbook. He acknowledged our film’s shortcomings, but also shows some of the more successful moments and how they were created. The book is exactly what it says it is. The handbook of how to do everything and anything with green screens. The book is filled with effects shots and explanations from some the best effects guys currently working in the industry. It comes with a tutorial CD. The book is a must for any professional working with green screen effects today.

Good work, Jeff.

~Later-

RANDY ROGEL'S "THE GYPSY KING" OPENS!

A good friend, Randy Rogel, invited me, producer Susan Goforth and actor/producer Donovan Le to the final dress rehearsal of his comedy music spectacle, The Gypsy King at the Village Theater, where he has been developing the show.

The show opens tonight. It was hysterical and a continual delight. But before I share about that, I need to take a moment and speak of Randy.

Randy is a rare and amazing talent. As a performer, actor, dancer, singer, his talents draw comparison to the late comic genius, Donald O’Conner. His sense of comic timing and quick wit drew the attention of Steven Spielberg. He helped create TV shows, such as Steven Spielberg’s Animaniacs, Pinky and the Brain, Batman, Histeria! and at Disney he wrote on Tarzan, House of Mouse, The Three Caballeros, Cinderella, Peter Pan – Return to Neverland, 101 Dalmatians II, The Three Musketeers and Winnie the Pooh.

Randy Rogel is a ten time Emmy Awards nominee, three time Emmy Awards winner, as well as the winner of a Peabody Award, and two Annie Awards for his work as a television writer, composer, and producer. He won a daytime Emmy Award for outstanding achievement in animation. Randy composed most of the original songs for Animaniacs and his crazed twists with words will forever be immortalized in characters such as Dot. Randy’s abilities as a writer and as music composer shine in Batman Sub Zero and Two-Face (Batman: The Animated Series). Randy spent nine years on staff at Warner Bros. before moving to the Disney studios.

While continuing to juggle writing and producing for television, this gifted dynamo has written and mounted a comedy spectacle being shaped for Broadway. As I said above, Randy invited me, Susan Goforth and Donovan Le to the final dress rehearsal of his new show at the Village Theatre. Randy was simultaneously bouncy and cool when we met him at the theatre. And true to Randy’s sense of whimsy, he was wearing a new jacket with the tag still on his sleeve. He was aware it was there and planning to remove it. Randy just makes you smile. His air is one of immediate calm and the safety of someone who sees things as they are and can show you the humor and joy in things. The show started with an announcement that as it is a dress rehearsal, things may go wrong. If they did, it was well concealed.

Randy Rogel’s The Gypsy King, is nothing less than a visual, audio and full sensory delight from its opening moments. Set in a mythical fairytale time, the magical production shows off the many talents and facets of randy’s fertile mind. The show is filled with word-twisty-wit and fractured plot deviations, not to mention swirling double entendres, bending this way and that, flying out of the mouth of a range of characters that are like the best of zany animation brought to life. The music and lyrics are always spot on and a joy.

But much more is at work in randy’s show than hysterical comedy. Painless, but profound messages of the heart and the choices we make that we think others want us to make, slip up around us as we enjoy the well timed pratfalls, sword fights and identity switches. Just when you think you are ahead of the plot, you discover Randy has set you up and the actual twists are hysterical as well as sublime. This show is perfect for these hard times. You never, for a moment, think of the outside world while you are within the cloak of randy’s magic world.

Thank you Randy, for the peak into your amazing, complicated and joyous mind. You are the true alchemist and poet. Talk with you soon.

See Randy’s show if you want an experience that will stay with you and lighten your world.

~Later-

NEW PRESS RELEASE: WAR OF THE WORLDS - THE TRUE STORY

A press release has gone out about my new movie in post production, WAR OF THE WORLDS - THE TRUE STORY. We tried to touch all the bases to let fans get a clear picture of what we are up to. You can read about it in Space Daily amongst other news sources. When we shot the scenes with actor Floyd Reichman in Mukilteo, at the Hogland House, Paul Archiplay from the local Beacon hung around the set one day and did this nice little story on us in his paper.

The new movie is done as a mock documentary that blends fiction and reality, much as Orson Wells did with his famous 1938 radio broadcast. The plot of War of the Worlds - The True Story is that in 1965, a film crew captured the memories of the last living survivor of the war between Earth and Mars that took place at the turn of the twentieth century.

Nothing was done with the footage until, in 2006, it was discovered in the basement vault of a condemned house. Also found in the vault with the interviews, was previously unknown footage of the actual Martian invaders and their machines of war.

The documentary is a motion picture presentation of that eyewitness account.

It's late. That's all for now.

~Later-

HANDSOME GIFTED PEOPLE

From Robert Downey Jr. on the Academy Awards:

"It's a collaboration between handsome gifted people and sickly little mole people."

-Later~

OUT OF DARKNESS INTO LIGHT READING

I attended a fascinating book reading in Seattle last night where three co-authors read from their book, OUT OF DARKNESS INTO LIGHT, Spiritual Guidance in the Quran with Reflections from Christian and Jewish Sources.

The three authors are Jamal Rahman, a renown Muslim Sufi Minister, Kathleen Schmitt Elias, a former Roman Catholic Nun who is now a Sufi Jew and Ann Holmes Redding a Muslim and a Christian with a doctorate in Christian scripture. Ms. Redding is also an Episcopalian Priest.

It was an experience to hear them read and share the many crossover points and similarities of the major world religions. At one point Mr. Rahman, in talking about interfaith thinking said, "If one is flexible, one can never be bent out of shape." After the reading we were able to mingle with the authors and have one on one questions and answers.

Here’s what Desmond Tutu, winner of the Nobel Peace Prize and Archbishop Emeritus of Cape Town, South Africa has to say about the book:

"The writers of this thoughtful and wise book take us gently by the hand and show us, `Here is the one God, the God of us all, right here in the Quran.' This message is actually quite good news, although it challenges the assumption that God is wholly owned by Christianity, or any one religion. I hope that Out of Darkness Into Light is read widely and taken to heart so that we all can widen our circles of embrace and recognize the God of love and compassion in more people and places."

If you have questions about the validity of keeping Kosher in a modern age, or how your particular faith may fit with the world religions or if you are an agnostic with questions of the various faiths, this book is an excellent guide map.

-Later~

CAN SOMEONE HELP ME FIND A LINK TO A FOX PILOT?

Just for kicks, I plan to occasionally link to commercial productions I’ve worked on over the years. Commercials, features, industrials, etc. I have worked in nearly every position in film production in the last 30 odd years. And some might be interested and/or amused by my roles in these. Lou Ferrigno will forever be THE INCREADIBLE HULK to my generation. Mr. Ferrigno is currently in a new comedy with Jason Segel, I LOVE YOU, MAN.

So, today, I was going to put up a link to a pilot for a FOX television series called 555 EXPOSE, starring Lou Ferrigno and Lauren Sinclair (Face-Off). I was one of two cinematographers on the production.

However I couldn’t find a link to it on the internet, and for the life of me I couldn’t locate my copy of the screener and I ran out of time. So I thought somebody reading this might know where a link is to a clip or the actual pilot, (if its legal), so I could link to it for amusement. If I don’t get a quick response on this from someone out there, I’ll contact the producers to get another screener.

Ms. Lauren Sinclair, some may remember, in FACE OFF, was the FBI agent that Nicholas Cage forces to eat a peach with before he throws her out of the cargo hold of a plane. Ms. Sinclair had the palest blue eyes that were just vivid on the high def camera it was shot with. I see why John Woo cast her in his film. On the 555 EXPOSE project, I actually came on as an alternate. The prime Director of Photography fell ill and had to bow out, so I was called in for the second half. I lost track of the production and I’m not sure if it got picked up, though I do not believe so.

But in any case, it was a very good experience and I loved the state of the art studios at Microsoft where the project was posted for some reason.

If you find the link I'm looking for and want to share, write to with it here. Thanks.

-Later~

DC'S WATCHMEN, STAN LEE, SPIDER-MAN, AND DARK HORSE COMICS

I saw WATCHMEN.

But, before I talk about WATCHMEN I want to say that, concerning my legal actions with DARK HORSE COMICS, nobody knows what was said between myself, the top executives at DARK HORSE and our respective attorneys. And none of the parties involved are talking.

Anybody who says otherwise, or implies that they are privy to private legal conversations my company had with DARK HORSE, is lying. Outright. I was not FORCED, by any imagination, to apologize. The apology came out of a complex series of conversations between my company and DARK HORSE, who is the third largest comic publisher in the world. Through these talks, I became convinced that the people at DARK HORSE did nothing wrong and they did not plagiarize my film. People may want to keep this matter alive, but it is over. Water under the bridge.

DARK HORSE is a fine publication and one of the few outlets for the creative flow of today and tomorrow’s great comics and graphic novels. HELLBOY, for example is entirely unique and fascinating.

People should check out the DARK HORSE website.



Back in the late sixties, a time some now call the silver age of comics, when I was a boy, I had collected 8,000 comic books. My favorite comic series was THE AMAZING SPIDER-MAN. I had SPIDER-MAN issues 1-120 without a break in the sequence. Lots of number ones. DAREDEVIL, IRON MAN (in TALES OF SUSPENSE), etc. I used to love the old paper smell of the comics. I would study the staples and reread the comics constantly, finding new subtle nuances each read through. I still have a modest collection of some of my favorites to this day. Like so many kids from that era, Stan Lee, Steve Ditko, Johnny Romita, and Jack Kirby helped keep my soul intact during a time of tremendous unrest in the country. Kennedy had recently been killed.

The Vietnam War was raging and the civil rights movement was refusing to back down in the face of tyranny. It is only how the grace of god seems to protect many children from their own idiocy, that I survived dressing up in a painted sweat shirt and black mask and sneaking out at 3AM to meet up with my boyhood friend, who was also masked, to go fight crime. We basically crawled around rooftops and fire escapes looking for villains to thwart. Our weapons were nothing as mundane as a knife or gun, not that we had access to a gun, but screwdrivers and plastic medicine bottles of actual red pepper. Oh dear god, I think how absolutely horrible for us it would have been had we ever encountered a REAL criminal or police officer who might have seen us, with our masks and lurking around on rooftops, as something other than super-heroes.

But what Stan Lee was to many in our youth, was a secret second father. Stan Lee is a man who not only wanted to sell comic books, but knew absolutely that he had the minds and spirits of impressionable youth in his hands. Me and my fellow comics collector friends lived, absolutely lived by the codes Lee expounded through, SPIDER-MAN, THE FANTASTIC FOUR, IRON MAN, DAREDEVIL and others. The most important of all was, "With great power comes great responsibility." It was saying you just can’t do whatever you want. You have to consider others. And the stronger you are, the less bully-like you should be.

I had a particular obsession with what they called GOLDEN AGE COMICS. In 1971, Rod Dyke, became the greatest comic seller in Seattle, (still is), when he started Dyke’s Books and Records in a store deep in the Pike Place Market, later changed the name of his business to honor the classic period, GOLDEN AGE COLLECTIBLES. I’ve often wondered if the comic seller in the SIMPSONS was based on him. Rod mellowed over the years, but back then he ruled us kids with an iron fist in his store. I remember how he used to stop ringing us up while he ate his lunch. We mulled around until he was finished. That gave us time to look around a bit more and created more business for him. I have nothing but love for the man, Rod Dyke, to whom I’m sure I’m just one of the many faces of child fans that flowed through his world.

But the GOLDEN AGE COMICS, these were long lost super heroes mostly from the 1940’s. There were many costume crusaders that eventually fell by the wayside and are today largely forgotten.

That’s why WATCHMEN immediately resonated for me. The mix of sixties music and the way in which the back story was presented, somehow perfectly captures the excitement about comics that I never quite seem to have been able to recapture in adulthood. Most absolutely, the movie CHROME that I’m working on is my humble attempt at recreating the excitement I once felt about the super heroes of my childhood.

THE WATCHMAN, in spite of that it is a movie that makes you have to use your little gray cells and not just have it roll over you like a great wash of, as Shakespeare said, "thunder and furry signifying nothing." The ending to WATCHMEN will be difficult for some. The melancholy undercurrents will detach or bore others. But if you are a true fan of superheroes you will be moved by this movie. The action is top rate and, in a stylistic way, far more violent than the director’s previous work, 300. My hat is off to the creators of WATCHMEN and DC Comics. I thank you for reawakening something I thought lost in me. Thank you for redefining something that had become cloudy. That is that comics were about something to kids. For some of us, they were our life’s blood to surviving the perils of our adolescence.

One of the coming attractions before WATCHMEN was the new STAR TREK trailer. Likewise, I was a huge fan of the original STAR TREK with William Shatner as Kirk. I remember waiting with excitement as a promised poster of Spock next to some glass lab beakers was to come out in the newspaper, The Seattle Post Intelligencer. When the poster arrived, it was a full page spread. I had that thing on my wall until it disintegrated.

So when the new ad began, I could barely contain my excitement. Paramount has really outdone itself this time in reconstructing STAR TREK for ALL the fans…Us from-the-first-series original STAR TREK fans, the Next Generation fans and all those fans that followed. THIS was the movie I was hoping for when the first STAR TREK movie was announced. OMG. To see the Enterprise on the ground. Ahhhhh OMG! I used to have dreams about seeing the Enterprise launch from the ground. I can’t wait. People can talk all the crap they want debating whether or not the new cast looks enough like the originals or whether they honor the NEXT GENERATION too much or not enough, I cannot wait to see this movie!

Gooooo STAR TREK! Gooooo!