1 00:00:15,532 --> 00:00:17,899 - They remain on record as the most 2 00:00:17,899 --> 00:00:21,133 consistently successful British film company 3 00:00:21,133 --> 00:00:22,532 in history. 4 00:00:22,532 --> 00:00:24,833 From offices in Wardour street in the heart 5 00:00:24,833 --> 00:00:27,033 of London's film business district, 6 00:00:27,033 --> 00:00:29,933 and from the small Thames side studio 7 00:00:29,933 --> 00:00:33,333 near Windsor Castle, they made films that played 8 00:00:33,333 --> 00:00:36,666 in every country in the world in every 9 00:00:36,666 --> 00:00:38,733 category of entertainment. 10 00:00:40,733 --> 00:00:42,933 Grand period adventures. 11 00:00:45,066 --> 00:00:47,300 Grim military stories. 12 00:00:48,266 --> 00:00:49,100 - What is it? 13 00:00:49,100 --> 00:00:49,899 - Whiskey. 14 00:00:50,766 --> 00:00:52,200 Officers are Russians. 15 00:00:52,200 --> 00:00:53,733 - Police dramas, 16 00:00:53,733 --> 00:00:55,632 suspense thrillers, 17 00:00:55,632 --> 00:00:59,100 comedies, travel logs, dramas. 18 00:00:59,100 --> 00:01:01,733 - But for mot of the world, the named Hammer 19 00:01:01,733 --> 00:01:04,333 conjures images of fantasy and terror. 20 00:01:05,699 --> 00:01:08,233 Like comedies from Britain's Ealing Studio, 21 00:01:08,233 --> 00:01:11,966 cartoons from Disney, or westerns from Republic, 22 00:01:11,966 --> 00:01:14,866 the Hammer style was unique and distinctive. 23 00:01:16,666 --> 00:01:18,300 By subtle implication, 24 00:01:18,300 --> 00:01:21,233 and by graphic depiction, the company made its 25 00:01:21,233 --> 00:01:24,200 international reputation with the primal elements 26 00:01:24,200 --> 00:01:26,033 of exploitation films. 27 00:01:29,133 --> 00:01:31,033 Sexuality and violence, 28 00:01:32,166 --> 00:01:33,599 flesh and blood. 29 00:02:59,799 --> 00:03:01,632 - The ties of flesh and blood 30 00:03:01,632 --> 00:03:03,532 were also quite literal. 31 00:03:03,532 --> 00:03:06,300 A business enterprise with a family atmosphere 32 00:03:06,300 --> 00:03:08,367 extending from the front office, 33 00:03:08,367 --> 00:03:10,566 to the cast and crew. 34 00:03:10,566 --> 00:03:13,333 To the clapper boy, and the cooks in the canteen. 35 00:03:14,699 --> 00:03:18,367 Home video has given renewed life to these now 36 00:03:18,367 --> 00:03:19,799 classic tales. 37 00:03:19,799 --> 00:03:23,566 Original soundtracks and paper back tie ins 38 00:03:23,566 --> 00:03:26,733 have become valued collector's items. 39 00:03:26,733 --> 00:03:29,566 Posters given away free to theaters, 40 00:03:29,566 --> 00:03:32,833 now sell for hundreds, sometimes thousands, 41 00:03:32,833 --> 00:03:34,500 of pounds. 42 00:03:34,500 --> 00:03:38,699 An album of film scores from Silver Screen Records 43 00:03:38,699 --> 00:03:40,999 sold out immediately in the UK, 44 00:03:40,999 --> 00:03:42,766 the US, and Europe. 45 00:03:44,133 --> 00:03:46,632 - Why then, do these films inspire such 46 00:03:46,632 --> 00:03:48,766 nostalgic devotion? 47 00:03:48,766 --> 00:03:51,733 And why did the company's world influence seem to fade 48 00:03:51,733 --> 00:03:53,532 after 20 years? 49 00:03:53,532 --> 00:03:56,233 Like a vampire in the rays of the morning sun? 50 00:04:00,433 --> 00:04:03,233 Hammer's gothic revival was both revolutionary, 51 00:04:03,233 --> 00:04:05,300 and extremely traditional. 52 00:04:05,300 --> 00:04:08,433 The blend of eroticism and the supernatural 53 00:04:08,433 --> 00:04:12,133 have imparted English literature since the 18th century. 54 00:04:12,133 --> 00:04:14,666 Mary Shelley, creator of Frankenstein, 55 00:04:14,666 --> 00:04:16,500 and Bram Stoker, author of Dracula, 56 00:04:16,500 --> 00:04:18,467 are a part of this tradition, 57 00:04:18,467 --> 00:04:21,300 as for Henry James, Arthur Conan Doyle, 58 00:04:21,300 --> 00:04:22,899 and Robert Louis Stevenson. 59 00:04:22,899 --> 00:04:25,266 With stage adaptations of works like 60 00:04:25,266 --> 00:04:27,400 Stevenson's Dr. Jekyll and Mr. Hyde, 61 00:04:27,400 --> 00:04:30,333 filled audiences on both sides of the Atlantic. 62 00:04:30,333 --> 00:04:31,866 On a more lurid level, 63 00:04:31,866 --> 00:04:35,300 the Penny Dreadfuls often used supernatural themes. 64 00:04:35,300 --> 00:04:38,933 Varney the Vampire printed in 1847. 65 00:04:38,933 --> 00:04:41,566 Early movies offered similar thrills. 66 00:04:41,566 --> 00:04:44,632 Nosferatu, the first version of Dracula. 67 00:04:44,632 --> 00:04:46,532 Without dialogue to give it away, 68 00:04:46,532 --> 00:04:49,599 even has leashed the minds of audiences of the world. 69 00:04:54,066 --> 00:04:55,933 - With the coming of talking pictures, 70 00:04:55,933 --> 00:04:58,333 the international market changed. 71 00:04:58,333 --> 00:05:01,333 Like the Tower of Babel, movies now spoke 72 00:05:01,333 --> 00:05:03,966 in a thousand discordant voices. 73 00:05:03,966 --> 00:05:07,133 - Furthermore, in the 1930s and 40s, 74 00:05:07,133 --> 00:05:09,033 graphic violence was taboo. 75 00:05:09,033 --> 00:05:11,233 Movie cowboys might get shot, 76 00:05:11,233 --> 00:05:12,966 but you would never see them bleed. 77 00:05:14,333 --> 00:05:16,200 - Major Hollywood studio monopolized 78 00:05:16,200 --> 00:05:19,100 the world film market with name stars. 79 00:05:19,100 --> 00:05:22,566 Over seas audiences preferred these films. 80 00:05:22,566 --> 00:05:26,367 - It's originated as a very small distribution company, 81 00:05:26,367 --> 00:05:28,367 under the title Exclusive Films. 82 00:05:29,733 --> 00:05:32,433 The people concerned then were my grandfather, 83 00:05:32,433 --> 00:05:35,300 Enrique Carreras, from Spain, a Spanish man, 84 00:05:35,300 --> 00:05:38,500 and a man called Will Hammer, or Hinds, 85 00:05:38,500 --> 00:05:40,300 depending on how you knew him, 86 00:05:40,300 --> 00:05:42,200 as to whether it was in his private life, 87 00:05:42,200 --> 00:05:43,999 or he had a sort of theatrical life. 88 00:05:43,999 --> 00:05:46,632 - Hammer was my father, surprising enough. 89 00:05:47,733 --> 00:05:49,766 He was a successful business man, 90 00:05:49,766 --> 00:05:51,699 and a failed comedian. 91 00:05:51,699 --> 00:05:54,300 He failed because he wasn't really very funny. 92 00:05:54,300 --> 00:05:56,433 - Adopting a company name from Hinds' 93 00:05:56,433 --> 00:06:00,166 stage name, Will Hammer, they made a handful of films 94 00:06:00,166 --> 00:06:02,333 such as this musical with American singer, 95 00:06:02,333 --> 00:06:03,266 Paul Robeson. 96 00:06:12,566 --> 00:06:15,799 Prophetically, one of these early films featured 97 00:06:15,799 --> 00:06:18,166 Bela Lugosi, star of Hollywood's Dracula. 98 00:06:23,133 --> 00:06:25,033 - I killed a man. 99 00:06:25,033 --> 00:06:26,632 - You killed a rat. 100 00:06:29,033 --> 00:06:33,133 - I joined, where, very close as we sit here today, 101 00:06:33,133 --> 00:06:36,566 to being 50 years when I first reported for work 102 00:06:36,566 --> 00:06:38,833 as an office boy in Wardour Street. 103 00:06:38,833 --> 00:06:40,500 During the period, may I tell you, 104 00:06:40,500 --> 00:06:43,632 when doodlebugs were dropping on London at that time. 105 00:06:45,833 --> 00:06:47,433 So it was an exciting start. 106 00:06:47,433 --> 00:06:49,666 Well then I had to go off and do national service. 107 00:06:49,666 --> 00:06:53,666 By the time I came back, my father had joined the company. 108 00:06:53,666 --> 00:06:56,532 - Jimmy Carreras was the most wonderful salesman 109 00:06:56,532 --> 00:06:58,566 I had ever met. 110 00:06:58,566 --> 00:07:00,566 Full of charm. 111 00:07:00,566 --> 00:07:03,367 Knew exactly what he wanted but charmed you out of it 112 00:07:03,367 --> 00:07:05,566 if it was not what you wanted. 113 00:07:05,566 --> 00:07:07,166 - And he took this small company 114 00:07:07,166 --> 00:07:12,133 and increased it in its size and put on a sales force. 115 00:07:12,133 --> 00:07:16,333 And Exclusive did actually become quite a small entity 116 00:07:16,333 --> 00:07:18,666 within the British film industry at the time 117 00:07:18,666 --> 00:07:20,367 of the quota quickies. 118 00:07:20,367 --> 00:07:22,666 - To protect domestic film production, 119 00:07:22,666 --> 00:07:24,933 Parliament enacted a quota system. 120 00:07:24,933 --> 00:07:28,566 Colonel James Carreras helped fill that quota. 121 00:07:28,566 --> 00:07:31,566 - But you see, Jimmy Carreras, and Mike Carreras, 122 00:07:31,566 --> 00:07:32,433 never got on. 123 00:07:33,833 --> 00:07:37,333 There was a great schism between them. 124 00:07:37,333 --> 00:07:39,632 - My father was a businessman, a salesman. 125 00:07:39,632 --> 00:07:40,833 He wasn't a film maker. 126 00:07:42,166 --> 00:07:44,133 I mean, there was no collision, but there was no meeting 127 00:07:44,133 --> 00:07:45,599 of the minds either. 128 00:07:45,599 --> 00:07:47,699 - I wasn't around when Jimmy Carreras was running 129 00:07:47,699 --> 00:07:49,200 the company. 130 00:07:49,200 --> 00:07:51,033 There's no doubt that that was the hey day of the company, 131 00:07:51,033 --> 00:07:52,367 that he created it. 132 00:07:52,367 --> 00:07:54,532 He was the entrepreneurial driving force. 133 00:07:54,532 --> 00:07:56,566 He let the directors direct the way they wanted. 134 00:07:56,566 --> 00:07:57,999 He let the writers do what they wanted, 135 00:07:57,999 --> 00:07:59,367 let the actors do what they wanted 136 00:07:59,367 --> 00:08:02,532 within a budget, creating an osprey decor, 137 00:08:02,532 --> 00:08:07,532 a sense of, um, of well being and common purpose over 138 00:08:08,632 --> 00:08:09,566 a tremendously long period of time 139 00:08:09,566 --> 00:08:10,799 and an awful lot of movies. 140 00:08:10,799 --> 00:08:12,300 - Will Hinds' son, Tony, 141 00:08:12,300 --> 00:08:15,699 alternated production duties with Michael Carreras. 142 00:08:15,699 --> 00:08:18,632 Although, his secret wish was simply to write. 143 00:08:18,632 --> 00:08:21,033 - Now after the war, I went to see him. 144 00:08:21,033 --> 00:08:22,599 We seemed to get on right, 145 00:08:22,599 --> 00:08:24,266 and he said why don't I join. 146 00:08:24,266 --> 00:08:26,066 And I'd just come out of the airforce 147 00:08:26,066 --> 00:08:27,799 and I really hadn't anything to do. 148 00:08:27,799 --> 00:08:31,599 So we got together and uh, I joined the firm. 149 00:08:31,599 --> 00:08:34,500 And it was then just a distribution company. 150 00:08:34,500 --> 00:08:36,632 It was handling other peoples' films. 151 00:08:36,632 --> 00:08:38,733 But, uh, you have to realize that after the war, 152 00:08:38,733 --> 00:08:40,733 there's a tremendous audience for 153 00:08:42,066 --> 00:08:43,899 a cinema going audience in England. 154 00:08:45,333 --> 00:08:49,033 People didn't even bother to find out what was on, 155 00:08:49,033 --> 00:08:50,233 they just went. 156 00:08:50,233 --> 00:08:51,433 If it was terrible, they came out to support. 157 00:08:51,433 --> 00:08:52,766 If it was good, they came out, 158 00:08:52,766 --> 00:08:53,599 but they still went. 159 00:08:53,599 --> 00:08:55,133 So anything went. 160 00:08:55,133 --> 00:08:57,066 And there was a tremendous boom in film distribution. 161 00:08:57,066 --> 00:08:58,699 The trouble was to try and get the films. 162 00:08:58,699 --> 00:09:00,866 - Tony Hinds was a better filmmaker than I was. 163 00:09:00,866 --> 00:09:03,733 He was, you know, a definitive filmmaker. 164 00:09:03,733 --> 00:09:06,033 Tony only lived to make films. 165 00:09:06,033 --> 00:09:08,467 - We became quite friendly, which is most unusual 166 00:09:08,467 --> 00:09:10,033 as Tony never became friendly with anybody 167 00:09:10,033 --> 00:09:10,966 involved in movies. 168 00:09:10,966 --> 00:09:12,233 We became quite friendly. 169 00:09:12,233 --> 00:09:15,300 - We very luckily got a hold of the rights and 170 00:09:15,300 --> 00:09:17,699 were encouraged to make a film by the booking manager 171 00:09:17,699 --> 00:09:22,100 for the ABC Cinemas, which turned out to be Dick Barton, 172 00:09:22,100 --> 00:09:25,966 which was a tremendous, successful radio series. 173 00:09:25,966 --> 00:09:29,367 And from that, we actually discovered that people 174 00:09:29,367 --> 00:09:31,400 were going to the cinema to see this very small 175 00:09:31,400 --> 00:09:33,400 second feature, rather than to see the feature 176 00:09:33,400 --> 00:09:36,999 because Dick Barton really was a national institution. 177 00:09:36,999 --> 00:09:39,733 And from there it developed into 178 00:09:41,133 --> 00:09:43,933 another Dick Barton, which was made in Blackpool, 179 00:09:43,933 --> 00:09:46,899 with great locations, we actually went outdoors 180 00:09:46,899 --> 00:09:48,233 to shoot a shot at the top of 181 00:09:48,233 --> 00:09:50,133 the tower at Blackpool. 182 00:09:58,966 --> 00:10:00,599 And from there in a very small way, 183 00:10:00,599 --> 00:10:03,733 we started to make a series of radio orientated 184 00:10:03,733 --> 00:10:07,033 characters and bringing them to life in the cinemas. 185 00:10:11,100 --> 00:10:13,100 I think it's 1948 186 00:10:13,100 --> 00:10:14,833 we actually had a production program of 187 00:10:14,833 --> 00:10:16,233 six pictures a year. 188 00:10:16,233 --> 00:10:18,467 All based on the radio series. 189 00:10:18,467 --> 00:10:20,033 And from that, slowly, 190 00:10:21,400 --> 00:10:24,433 whatever the company policies were in changing names, 191 00:10:24,433 --> 00:10:27,999 but Exclusive segued into Hammer Films. 192 00:10:29,367 --> 00:10:32,400 - Bray Studios began as a Thames side 193 00:10:32,400 --> 00:10:33,766 manor house. 194 00:10:33,766 --> 00:10:36,000 - And a lot of it was kind of falling apart 195 00:10:36,000 --> 00:10:38,999 and you know, needed repair. 196 00:10:38,999 --> 00:10:41,632 And I remember once it was a terrible thunderstorm. 197 00:10:41,632 --> 00:10:44,400 Oh, god, the rain came down in sheets. 198 00:10:44,400 --> 00:10:46,266 As it can, as you know that. 199 00:10:46,266 --> 00:10:48,999 And uh, the roof's leaking, 200 00:10:48,999 --> 00:10:50,733 everything's leaking. 201 00:10:50,733 --> 00:10:52,933 And Terry Fisher says, "Carry on. 202 00:10:52,933 --> 00:10:54,433 "Carry on." 203 00:10:54,433 --> 00:10:56,300 And there we are, a splash, donk, going everywhere, 204 00:10:56,300 --> 00:10:57,266 but we carried on. 205 00:10:59,166 --> 00:11:03,300 - I can remember shooting in a big room downstairs. 206 00:11:03,300 --> 00:11:05,033 I can't remember what film it was. 207 00:11:05,033 --> 00:11:07,433 And there wasn't room for the boom operator 208 00:11:07,433 --> 00:11:10,532 and he had to stand outside the window 209 00:11:10,532 --> 00:11:12,532 with a boom through the window, 210 00:11:12,532 --> 00:11:15,200 and if it rained, it was too bad. 211 00:11:15,200 --> 00:11:18,433 He chucked a tarpool over himself. 212 00:11:18,433 --> 00:11:20,966 And um, that's how we filmed. 213 00:11:20,966 --> 00:11:22,266 And at the time, we didn't think 214 00:11:22,266 --> 00:11:23,699 it was extraordinary at all. 215 00:11:23,699 --> 00:11:25,699 - One of my jobs was to go to the airport 216 00:11:25,699 --> 00:11:28,100 and see if anybody got off that I recognized. 217 00:11:28,100 --> 00:11:30,733 And it was never the person I went to meet because 218 00:11:30,733 --> 00:11:33,233 they used to bandy big names about 219 00:11:33,233 --> 00:11:36,033 and I'd wait there and no big names got off the airplane 220 00:11:36,033 --> 00:11:37,866 and then somebody that I might have seen 221 00:11:37,866 --> 00:11:40,033 or somebody was holding a card up, 222 00:11:40,033 --> 00:11:44,266 would be the actor we got for that particular film. 223 00:11:44,266 --> 00:11:45,200 - Don't move. 224 00:11:54,933 --> 00:11:57,866 - Hammer had Anthony Nelson-Keys 225 00:11:57,866 --> 00:11:59,799 to run the Bray facility. 226 00:11:59,799 --> 00:12:03,133 He and a young assistant named Jimmy Sangster 227 00:12:03,133 --> 00:12:05,200 both went on to become producers. 228 00:12:05,200 --> 00:12:07,333 - I worked for Hammer ever since I came out 229 00:12:07,333 --> 00:12:10,233 of the forces, which was when I was about 20. 230 00:12:11,400 --> 00:12:13,532 And I worked with them constantly. 231 00:12:13,532 --> 00:12:17,333 We'd work from 8:30 to 5:30 on Wednesdays and Fridays, 232 00:12:17,333 --> 00:12:18,999 until six o'clock on the other three days. 233 00:12:18,999 --> 00:12:22,066 And they were very strict about breaking up on time. 234 00:12:23,166 --> 00:12:24,899 - You know, as executive producer, you used 235 00:12:24,899 --> 00:12:26,566 to cut the turkey at Christmas. 236 00:12:26,566 --> 00:12:29,933 It was a really small family, permanent unit. 237 00:12:29,933 --> 00:12:31,433 I mean, our crew used to, 238 00:12:31,433 --> 00:12:34,766 I think probably three years was a minimum engagement 239 00:12:34,766 --> 00:12:37,033 when they used to join Hammer in those days. 240 00:12:37,033 --> 00:12:39,133 We had the same directors alternating 241 00:12:39,133 --> 00:12:42,333 and the producers were Tony Hinds and myself. 242 00:12:42,333 --> 00:12:45,566 Certain types of films that he enjoyed making, I didn't, 243 00:12:45,566 --> 00:12:48,599 and certain types of films I liked making, he didn't, 244 00:12:48,599 --> 00:12:51,632 but the studio only made one film at a time, 245 00:12:51,632 --> 00:12:54,400 and that is a tremendous advantage in not only 246 00:12:54,400 --> 00:12:56,300 everybody knowing everybody, but everybody knew 247 00:12:56,300 --> 00:12:57,532 what the hell they were doing. 248 00:12:57,532 --> 00:12:59,200 They were all working on the same film, 249 00:12:59,200 --> 00:13:00,899 and the Americans adored this. 250 00:13:00,899 --> 00:13:03,467 - Out was limited to second features, 251 00:13:03,467 --> 00:13:05,433 the bottom halves of double bills. 252 00:13:11,766 --> 00:13:12,632 - Thank you, sir. 253 00:13:18,799 --> 00:13:22,033 - Partnership with Robert Lippert secured all 254 00:13:22,033 --> 00:13:24,133 important American distribution. 255 00:13:24,133 --> 00:13:26,766 A bit more money and stock shots from other 256 00:13:26,766 --> 00:13:27,699 Lippert pictures. 257 00:13:49,133 --> 00:13:50,400 - It's jammed. 258 00:13:50,400 --> 00:13:51,532 - And that's really how we got into the 259 00:13:51,532 --> 00:13:53,433 American market, through Lippert. 260 00:13:53,433 --> 00:13:55,666 A big influence in our lives. 261 00:13:55,666 --> 00:13:58,367 And that started what I call the second cycle 262 00:13:58,367 --> 00:14:00,166 of the development of Hammer. 263 00:14:00,166 --> 00:14:02,133 Which the first cycle was the quota quickies. 264 00:14:02,133 --> 00:14:04,833 The second cycle was really quota quickies, 265 00:14:04,833 --> 00:14:07,632 slightly bigger, but with an American ingredient in them. 266 00:14:07,632 --> 00:14:10,133 And suddenly, we were a British company that 267 00:14:10,133 --> 00:14:11,500 got known in America. 268 00:14:11,500 --> 00:14:13,566 I mean, unheard of in those days. 269 00:14:13,566 --> 00:14:16,133 - But in the early 50s, there was little 270 00:14:16,133 --> 00:14:17,699 to distinguish the company. 271 00:14:18,866 --> 00:14:20,999 - They were not even on their way to becoming 272 00:14:20,999 --> 00:14:21,866 a cult then. 273 00:14:23,066 --> 00:14:24,899 - Hammer flowed with the incoming tides 274 00:14:24,899 --> 00:14:28,166 of television by adapting a BBC serial that had 275 00:14:28,166 --> 00:14:30,166 Britons glued to the tellie. 276 00:14:30,166 --> 00:14:33,766 The X in Xperiment emphasized that the story 277 00:14:33,766 --> 00:14:35,833 was too horrific for children. 278 00:14:35,833 --> 00:14:38,899 - We were up on our way to Tangier and we were 279 00:14:38,899 --> 00:14:42,899 leaving the airport, and Tony Hinds raced up in a car, 280 00:14:42,899 --> 00:14:44,999 and just before we got on the plane, 281 00:14:44,999 --> 00:14:47,433 he put a whole bundle of television scripts 282 00:14:47,433 --> 00:14:49,799 in my hands and said, "Read these in Tangier. 283 00:14:49,799 --> 00:14:51,566 "We want to make a film of it." 284 00:14:51,566 --> 00:14:54,166 I said to Tony Hinds, "I would like to do this, 285 00:14:54,166 --> 00:14:56,699 "as a documentary, and I'd like to shoot 286 00:14:56,699 --> 00:14:59,367 "it cinema verite, handheld cameras, all that." 287 00:14:59,367 --> 00:15:00,966 And he said, "Okay, do it." 288 00:15:00,966 --> 00:15:02,266 - The Creeping Unknown 289 00:15:02,266 --> 00:15:04,733 became the American title as Quatermass 290 00:15:04,733 --> 00:15:08,333 had no name recognition outside the United Kingdom. 291 00:15:08,333 --> 00:15:10,300 - Three men went into outer space. 292 00:15:10,300 --> 00:15:12,233 Only one of them came back. 293 00:15:12,233 --> 00:15:14,833 Came back a strange, distorted creature. 294 00:15:14,833 --> 00:15:16,866 Haunted and possessed by something beyond 295 00:15:16,866 --> 00:15:17,866 human understanding. 296 00:15:19,699 --> 00:15:23,066 Lippert sent Brian Donlevy over to play 297 00:15:23,066 --> 00:15:25,933 Bernard Quatermass, director of the first 298 00:15:25,933 --> 00:15:27,599 British rocket group. 299 00:15:27,599 --> 00:15:29,632 - Unlock his mind for me, Brisco, and find it. 300 00:15:29,632 --> 00:15:30,866 I know you can do it. 301 00:15:30,866 --> 00:15:32,400 - It isn't jut a-- 302 00:15:32,400 --> 00:15:33,599 - I know of the strain and tension you've been under, 303 00:15:33,599 --> 00:15:35,100 but to stop now when we're so close. 304 00:15:35,100 --> 00:15:38,632 - These were stories with a very dynamic hero 305 00:15:38,632 --> 00:15:40,632 who was a no nonsense kind of scientist 306 00:15:40,632 --> 00:15:41,866 who let nothing stand in his way 307 00:15:41,866 --> 00:15:43,333 and was actually kind of ruthless in this way 308 00:15:43,333 --> 00:15:46,133 which was a really interesting protagonist for a picture. 309 00:15:46,133 --> 00:15:47,599 Usually the protagonists in pictures, 310 00:15:47,599 --> 00:15:49,799 these people were the villains in American pictures. 311 00:15:49,799 --> 00:15:51,066 - You've destroyed him like you've destroyed 312 00:15:51,066 --> 00:15:52,266 everything else you've touched. 313 00:15:52,266 --> 00:15:53,933 - There's no room for personal feelings 314 00:15:53,933 --> 00:15:55,599 in science, Judith. 315 00:16:00,632 --> 00:16:01,566 - I want a corder around the entire area. 316 00:16:01,566 --> 00:16:03,300 Evacuate all public. 317 00:16:03,300 --> 00:16:04,833 Get information to check up every movement 318 00:16:04,833 --> 00:16:07,100 that's likely to take place inside this radius tonight. 319 00:16:07,100 --> 00:16:08,367 - Yes, sir. 320 00:16:08,367 --> 00:16:10,166 - With Quatermass Xperiment and the 321 00:16:10,166 --> 00:16:13,367 Terrence Fisher pictures, and the sequel to Quatermass, 322 00:16:13,367 --> 00:16:14,766 which is called Enemy From Space, 323 00:16:14,766 --> 00:16:17,632 which was another mind blower, 324 00:16:17,632 --> 00:16:19,333 I began to notice 325 00:16:19,333 --> 00:16:20,799 a musical score going on. 326 00:16:20,799 --> 00:16:24,833 I mean, the music of these movies was really astonishing. 327 00:16:24,833 --> 00:16:27,599 It turns out it was a composer named James Bernard. 328 00:16:27,599 --> 00:16:29,467 - And it was then that I started to work with 329 00:16:29,467 --> 00:16:32,632 John Hollingsworth who was already the music director 330 00:16:32,632 --> 00:16:33,899 of Hammer. 331 00:16:33,899 --> 00:16:36,300 And he played the tapes to Tony Hinds who said, 332 00:16:36,300 --> 00:16:37,699 "Okay, let's try." 333 00:16:37,699 --> 00:16:39,666 And so there I was suddenly flying into 334 00:16:39,666 --> 00:16:41,632 the Quatermass Xperiment. 335 00:16:41,632 --> 00:16:44,699 Very alarming it was, too, the first time around. 336 00:16:47,433 --> 00:16:50,200 Quatermass was called I think entirely for strings 337 00:16:50,200 --> 00:16:51,433 and percussion. 338 00:16:51,433 --> 00:16:53,933 It seemed to suit the subject very well. 339 00:16:58,500 --> 00:17:00,400 - The special effects fella that we had, 340 00:17:00,400 --> 00:17:02,866 Les Bowie, did miracles for nothing. 341 00:17:04,300 --> 00:17:06,933 Always complaining, always saying, "How can I do this? 342 00:17:06,933 --> 00:17:08,367 "It's impossible." 343 00:17:08,367 --> 00:17:10,266 Always came up with it. 344 00:17:10,266 --> 00:17:14,066 And that monster was, in fact, a piece of tripe. 345 00:17:23,532 --> 00:17:26,100 - Again, emphasizing the X certificate, 346 00:17:26,100 --> 00:17:29,066 Hammer followed with X The Unknown, 347 00:17:29,066 --> 00:17:32,233 a thriller about black radioactive ooze from 348 00:17:32,233 --> 00:17:33,833 beneath the Earth. 349 00:17:33,833 --> 00:17:37,632 - It was Tony Hinds' and my careers, and we were batting 350 00:17:37,632 --> 00:17:40,433 around ideas and it seemed at the end of a session, 351 00:17:40,433 --> 00:17:41,666 I'd come up with the most idea, 352 00:17:41,666 --> 00:17:43,333 so Tony Hinds said "Go away and write it." 353 00:17:43,333 --> 00:17:44,266 I said, "I'm not a writer. 354 00:17:44,266 --> 00:17:45,500 "I'm a production manager." 355 00:17:46,500 --> 00:17:47,433 And he said, "Well write it. 356 00:17:47,433 --> 00:17:48,866 "If we like it, we'll buy it." 357 00:17:48,866 --> 00:17:51,699 So I wrote it, and he liked it, and he bought it. 358 00:18:07,133 --> 00:18:08,599 - It's on its way. 359 00:18:08,599 --> 00:18:09,699 The man at the main gate had it just like the others. 360 00:18:09,699 --> 00:18:11,300 It's coming in on the west side. 361 00:18:11,300 --> 00:18:12,233 Look! 362 00:18:12,233 --> 00:18:14,632 There is it! On the roof! 363 00:18:35,400 --> 00:18:36,333 - Peter! 364 00:18:36,333 --> 00:18:37,500 Peter! 365 00:18:37,500 --> 00:18:40,467 Get out of the Jeep, get out of it! 366 00:18:47,367 --> 00:18:49,999 - And posters were the great sell that used to go over 367 00:18:49,999 --> 00:18:52,599 were most elaborate in artwork, posters. 368 00:18:52,599 --> 00:18:55,300 But I remember him once telling an executive 369 00:18:55,300 --> 00:18:57,632 that we wanted to do a picture about the yeti, 370 00:18:57,632 --> 00:19:00,632 and the man became most interested in what the yeti 371 00:19:00,632 --> 00:19:02,100 would look like and Jimmy said to him, 372 00:19:02,100 --> 00:19:04,866 "We don't know, we haven't caught one yet." 373 00:19:04,866 --> 00:19:06,899 - Bernard Robinson's art department 374 00:19:06,899 --> 00:19:11,033 transformed the Bray Manor House into a Tibetan temple 375 00:19:11,033 --> 00:19:13,566 while the camera crew shot action scenes 376 00:19:13,566 --> 00:19:15,467 on location in the French Pyrenees. 377 00:19:15,467 --> 00:19:19,133 - And we had what was lovingly called a crash course 378 00:19:19,133 --> 00:19:20,367 in skiing. 379 00:19:20,367 --> 00:19:22,266 We had two days of it, that's all, 380 00:19:22,266 --> 00:19:26,500 before we all went up and hung on by a teeth. 381 00:19:26,500 --> 00:19:28,833 - Forest Tucker starred with the fellow 382 00:19:28,833 --> 00:19:31,866 who became rather linked with Hammer over the years. 383 00:19:31,866 --> 00:19:33,467 - They know it was me. 384 00:19:33,467 --> 00:19:34,300 Stay here. 385 00:19:34,300 --> 00:19:35,367 Wait! 386 00:19:35,367 --> 00:19:36,799 Ed, I can hear ya, I'm comin'! 387 00:19:36,799 --> 00:19:37,599 - You've got to understand that isn't Shelley, 388 00:19:37,599 --> 00:19:38,433 that isn't anybody. 389 00:19:38,433 --> 00:19:39,266 - I can hear his voice. 390 00:19:39,266 --> 00:19:40,233 - It's in your own mind. 391 00:19:40,233 --> 00:19:41,532 It's just happened to me too. 392 00:19:41,532 --> 00:19:42,599 - A great guy. 393 00:19:42,599 --> 00:19:43,833 A great guy with props. 394 00:19:43,833 --> 00:19:45,467 He works out over night 395 00:19:45,467 --> 00:19:49,333 every single prop and thing that he can use, 396 00:19:49,333 --> 00:19:50,566 and never tells anybody, 397 00:19:50,566 --> 00:19:52,100 and he comes out during the scenes. 398 00:19:52,100 --> 00:19:54,400 He became known as Props Peter. 399 00:19:54,400 --> 00:19:55,899 - We dare you, 400 00:19:55,899 --> 00:19:59,300 dare you to see the Abominable Snowman 401 00:19:59,300 --> 00:20:00,699 of the Himalayas. 402 00:20:01,999 --> 00:20:03,433 - So what we tried desperately to do is we all said 403 00:20:03,433 --> 00:20:06,033 we must never, ever see that yeti. 404 00:20:06,033 --> 00:20:08,433 You can see pieces of him, bits, an arm, 405 00:20:08,433 --> 00:20:11,533 or an eye or a thing, and let people build their own 406 00:20:12,400 --> 00:20:13,632 vision of him. 407 00:20:13,632 --> 00:20:16,467 - Nigel Kneale adapted his BBC sequel, 408 00:20:16,467 --> 00:20:17,899 Quatermass II. 409 00:20:17,899 --> 00:20:20,899 Future director Brian Forbes was one of the victims 410 00:20:20,899 --> 00:20:23,632 of a mass alien invasion. 411 00:20:23,632 --> 00:20:26,333 Only Quatermass suspects the truth: 412 00:20:26,333 --> 00:20:29,599 that the synthetic food in a top secret facility 413 00:20:29,599 --> 00:20:31,833 is not for human consumption. 414 00:20:33,200 --> 00:20:36,367 But Nigel Kneale still felt Donlevy was too harsh, 415 00:20:36,367 --> 00:20:37,632 too bullying, 416 00:20:37,632 --> 00:20:39,066 too American. 417 00:20:39,066 --> 00:20:40,799 - Benson Broadhead is dead. 418 00:20:40,799 --> 00:20:42,333 - Dead? 419 00:20:42,333 --> 00:20:44,000 - I watched him die a few hours ago in that plant. 420 00:20:44,000 --> 00:20:47,433 His whole body covered with some kind of corrosive poison, 421 00:20:47,433 --> 00:20:48,400 and eaten away. 422 00:20:49,866 --> 00:20:52,766 - Naturally, the director defended his star. 423 00:20:52,766 --> 00:20:55,333 - Now, would that sort of a thing, 424 00:20:55,333 --> 00:20:58,799 a down to Earth, prosaic, honest to God man like 425 00:20:58,799 --> 00:21:01,367 Brian Donlevy was an enormous help. 426 00:21:01,367 --> 00:21:03,533 - I know that Nigel Kneale, who wrote the teleplays, 427 00:21:03,533 --> 00:21:06,799 was not happy with the condescension that went on. 428 00:21:06,799 --> 00:21:08,566 But having seen the teleplays, you know, 429 00:21:08,566 --> 00:21:11,066 they're now available here, and the six hour Quatermass 430 00:21:11,066 --> 00:21:12,433 in the pit, for instance, of three hours, 431 00:21:12,433 --> 00:21:13,899 however long it is, 432 00:21:13,899 --> 00:21:18,266 that the film adaptions were really remarkably good. 433 00:21:19,666 --> 00:21:22,367 The high points and all the ideas were all retained 434 00:21:22,367 --> 00:21:23,566 in these things. 435 00:21:23,566 --> 00:21:25,166 - That pipe has been blocked with human pulp. 436 00:21:31,100 --> 00:21:32,500 - Yes, what is it, tell us. 437 00:21:32,500 --> 00:21:34,966 Inside those domes are creatures from outside this Earth. 438 00:21:34,966 --> 00:21:35,799 - Oh, you're mad. 439 00:21:35,799 --> 00:21:37,333 - I've seen them. 440 00:21:37,333 --> 00:21:38,500 Thousands of tiny creatures that have conjoined together 441 00:21:38,500 --> 00:21:42,233 and expanded to things 100 feet high. 442 00:21:42,233 --> 00:21:46,133 - Quatermass and The Pit televised in 1958 443 00:21:46,133 --> 00:21:49,433 was planned by Hammer for more than a decade. 444 00:21:49,433 --> 00:21:52,566 Ultimately, Andrew Keir took the Quatermass role 445 00:21:52,566 --> 00:21:55,100 under the direction of Roy Ward Baker. 446 00:21:55,100 --> 00:21:56,233 - Well I read it and I thought 447 00:21:56,233 --> 00:21:57,933 "That's absolutely marvelous." 448 00:21:57,933 --> 00:21:59,367 It was a really foul proof script. 449 00:21:59,367 --> 00:22:01,066 It was excellent. 450 00:22:01,066 --> 00:22:04,200 The film was meant to be made at Elstree Studios, 451 00:22:04,200 --> 00:22:08,200 and they suddenly said, "Sorry, we have no space." 452 00:22:08,200 --> 00:22:12,033 But just up the road was the old Metro Goldwyn Mayer Studio 453 00:22:12,033 --> 00:22:13,566 and they were only too delighted because their studio 454 00:22:13,566 --> 00:22:16,933 was empty so we had the whole place to ourselves. 455 00:22:16,933 --> 00:22:19,533 So it was very lucky in an enormous back lot, 456 00:22:19,533 --> 00:22:23,500 which we built the exterior of the underground station. 457 00:22:23,500 --> 00:22:26,033 - An excavation uncovers a rocket ship 458 00:22:26,033 --> 00:22:30,699 of unknown origin and the rotting remains of giant insects. 459 00:22:30,699 --> 00:22:34,400 Quatermass deduces that alien technology endowed 460 00:22:34,400 --> 00:22:36,566 the human race with intelligence, 461 00:22:36,566 --> 00:22:39,467 and the will to purge society of anyone who does not 462 00:22:39,467 --> 00:22:41,533 follow the will of the hive. 463 00:22:44,266 --> 00:22:47,100 - Roy Ward Baker didn't want me for Quatermass. 464 00:22:48,266 --> 00:22:50,966 He wanted, uh, what was his name? 465 00:22:50,966 --> 00:22:51,733 Kenneth Moore. 466 00:22:54,933 --> 00:22:56,467 And, for, 467 00:22:56,467 --> 00:22:59,833 seven and a half weeks, it was utter hell. 468 00:22:59,833 --> 00:23:04,333 - Those sort of choices were made in a small committee, 469 00:23:04,333 --> 00:23:07,966 really, of Tony Hinds, who was really the head 470 00:23:07,966 --> 00:23:10,999 of production at any rate, at Hammer, 471 00:23:10,999 --> 00:23:13,033 and was also one of the partners in Hammer. 472 00:23:13,866 --> 00:23:16,133 And, Sir James Carreras, 473 00:23:16,133 --> 00:23:18,467 and Tony Nelson-Keys, and me, 474 00:23:19,899 --> 00:23:22,033 who put his name for this, I couldn't really remember, 475 00:23:22,033 --> 00:23:23,233 because he was excellent. 476 00:23:23,233 --> 00:23:24,467 - They were coming. 477 00:23:24,467 --> 00:23:25,566 - Who? What were? 478 00:23:25,566 --> 00:23:26,833 - Them. 479 00:23:26,833 --> 00:23:28,100 Them. 480 00:23:28,100 --> 00:23:29,266 - He saw the creatures. 481 00:23:30,200 --> 00:23:32,566 - They were alive. 482 00:23:32,566 --> 00:23:33,833 - Alive? 483 00:23:33,833 --> 00:23:35,699 - Despite the fact that I didn't get on with Roy 484 00:23:35,699 --> 00:23:38,500 and it was a bit tricky with other people, 485 00:23:38,500 --> 00:23:42,100 but um, we gelled as a unit, as a group of actors. 486 00:23:42,100 --> 00:23:44,200 I wanted to kill you. 487 00:23:44,200 --> 00:23:45,367 - Why? 488 00:23:45,367 --> 00:23:46,266 - Because you are 489 00:23:47,333 --> 00:23:48,599 different. 490 00:23:48,599 --> 00:23:52,999 - I caught that some of the scenes were uneven. 491 00:23:52,999 --> 00:23:54,632 Ronan, it's Barbara. 492 00:23:54,632 --> 00:23:56,333 She's the one, get down here quick. 493 00:24:02,833 --> 00:24:06,100 - My duty now is to quiet public alarm. 494 00:24:06,100 --> 00:24:08,933 And you, you'll keep your damn paws out of things. 495 00:24:08,933 --> 00:24:11,133 - Listen, I am advising you all to leave. 496 00:24:11,133 --> 00:24:12,599 There may be grave danger. 497 00:24:15,000 --> 00:24:16,367 I tell you, this could be dangerous. 498 00:24:16,367 --> 00:24:17,233 So get back! 499 00:24:28,300 --> 00:24:29,599 It was what I was afraid of. 500 00:24:29,599 --> 00:24:32,200 The thing got a huge intake of energy, 501 00:24:32,200 --> 00:24:34,766 the very substance of it seemed to be coming alive. 502 00:24:35,632 --> 00:24:37,367 And the, 503 00:24:37,367 --> 00:24:40,033 and you can't see this world any longer. 504 00:24:41,033 --> 00:24:42,200 - It's just brilliant. 505 00:24:42,200 --> 00:24:43,833 It's just fantastic what a great, 506 00:24:43,833 --> 00:24:45,833 what a great idea, you know. 507 00:24:45,833 --> 00:24:48,400 What a great way of finishing it off. 508 00:24:48,400 --> 00:24:49,866 - It's still a remarkable picture. 509 00:24:49,866 --> 00:24:51,632 There was an idea movie, and that was really unusual. 510 00:24:51,632 --> 00:24:55,666 - The film came out the same year as 2001. 511 00:24:57,100 --> 00:25:01,632 By then, the name Hammer signified gothic fantasy. 512 00:25:08,033 --> 00:25:11,033 - By 1950, the classic themes 513 00:25:11,033 --> 00:25:14,166 had been used a buffoons and comic foils. 514 00:25:16,233 --> 00:25:19,400 - In the 50s, when the genre was basically in decline, 515 00:25:19,400 --> 00:25:20,400 - Wow! 516 00:25:21,599 --> 00:25:23,433 - The horror movies had sunk pretty low. 517 00:25:23,433 --> 00:25:25,566 And when the Hammer pictures came along, 518 00:25:25,566 --> 00:25:27,899 they were obviously classier. 519 00:25:27,899 --> 00:25:31,266 - American Max Rosenberg and Milton Subotosky 520 00:25:31,266 --> 00:25:33,367 approached Hammer's silent partner 521 00:25:33,367 --> 00:25:35,799 with a Frankenstein script. 522 00:25:35,799 --> 00:25:38,033 - It didn't bear much relationship to the film 523 00:25:38,033 --> 00:25:39,699 that we finally made. 524 00:25:39,699 --> 00:25:42,300 They had the ear of Eliot Hyman, I think I'm correct 525 00:25:42,300 --> 00:25:44,799 in saying, and Eliot, by this time we were 526 00:25:44,799 --> 00:25:47,266 now associated with Eliot, but he, because 527 00:25:47,266 --> 00:25:48,866 he didn't know much about it either, 528 00:25:48,866 --> 00:25:51,433 thought it was a good idea in making, 529 00:25:51,433 --> 00:25:53,233 because there hadn't been a gothic horror maiden 530 00:25:53,233 --> 00:25:55,100 since the universal cycle, 531 00:25:55,966 --> 00:25:57,999 and certainly to in color. 532 00:25:57,999 --> 00:26:00,400 And so he really sent the script over. 533 00:26:00,400 --> 00:26:02,799 Tony looked at it and said, "No we can't do this." 534 00:26:02,799 --> 00:26:04,632 It just wasn't good enough. 535 00:26:04,632 --> 00:26:07,599 - And I'm given a script, which I didn't really like. 536 00:26:07,599 --> 00:26:10,333 It was boring, and a sort of a rehash of the old, 537 00:26:10,333 --> 00:26:11,733 but anyway, we were gonna do it. 538 00:26:11,733 --> 00:26:13,966 - A cheap black and white production was 539 00:26:13,966 --> 00:26:16,467 planned with Boris Karloff considered for the role 540 00:26:16,467 --> 00:26:18,799 of the old baron when Hammer learned that they 541 00:26:18,799 --> 00:26:21,566 would be sued if they copied any elements from 542 00:26:21,566 --> 00:26:22,833 the older films. 543 00:26:22,833 --> 00:26:24,933 - So we had to make a film that was entirely 544 00:26:24,933 --> 00:26:26,333 different from the first one. 545 00:26:26,333 --> 00:26:27,799 Well then it became fun. 546 00:26:27,799 --> 00:26:30,966 - Instead, the planned an all new version 547 00:26:30,966 --> 00:26:33,799 with Jack Asher shooting in Eastman color 548 00:26:33,799 --> 00:26:37,133 and Jimmy Sangster completely rewriting the script. 549 00:26:37,133 --> 00:26:38,367 - I'm not sure. 550 00:26:38,367 --> 00:26:40,500 I don't think so, I don't think I read it. 551 00:26:40,500 --> 00:26:44,166 I'd just seen all the old Frankenstein movies. 552 00:26:44,166 --> 00:26:47,599 The only problem with Universal was they had 553 00:26:47,599 --> 00:26:49,000 a copyright on the monster. 554 00:26:49,000 --> 00:26:52,233 We couldn't use an idea of the Boris Karloff 555 00:26:52,233 --> 00:26:55,033 type monster with the bolts through his neck. 556 00:26:55,033 --> 00:26:56,266 See, that was the only problem. 557 00:26:56,266 --> 00:26:59,133 I mean, Frankenstein was public domain. 558 00:26:59,133 --> 00:27:00,699 That's why we came up with a different one, 559 00:27:00,699 --> 00:27:02,533 a different design. 560 00:27:02,533 --> 00:27:05,833 - Terrance Fisher had directed moody 561 00:27:05,833 --> 00:27:09,333 TV episodes of Robin Hood, and a thriller admired 562 00:27:09,333 --> 00:27:11,999 by Hitchcock himself, so Long At the Fair. 563 00:27:12,933 --> 00:27:14,433 - Oh, it was lovely. 564 00:27:14,433 --> 00:27:15,999 He was such fun. 565 00:27:15,999 --> 00:27:17,632 He always knew exactly what he wanted, 566 00:27:17,632 --> 00:27:19,500 and that's why the films were made fast, 567 00:27:19,500 --> 00:27:21,799 in the way they were. 568 00:27:21,799 --> 00:27:23,833 - Quiet, didn't have a lot to say. 569 00:27:23,833 --> 00:27:25,266 Knew what he was doing. 570 00:27:25,266 --> 00:27:27,666 He was an old time pro. 571 00:27:27,666 --> 00:27:30,599 - Luckily, I had a break in my BBC work, 572 00:27:30,599 --> 00:27:32,699 and was able to take the role I'd seen 573 00:27:32,699 --> 00:27:36,966 Colin Clive play in the original 1931 film. 574 00:27:36,966 --> 00:27:39,599 We've discovered the source of life itself. 575 00:27:39,599 --> 00:27:41,933 And we've used it to restore a creature that was dead. 576 00:27:41,933 --> 00:27:44,566 - We never make our films with tongue in cheek. 577 00:27:44,566 --> 00:27:46,766 Having played so many of the period doctors, 578 00:27:46,766 --> 00:27:48,033 I always go to my doctor, 579 00:27:48,033 --> 00:27:50,833 and ask, you know, "How do you take a brain out 580 00:27:50,833 --> 00:27:52,033 "and do anything?" 581 00:27:52,033 --> 00:27:54,467 But something, you must do it all correctly. 582 00:27:54,467 --> 00:27:57,266 - I can't prove your word. 583 00:27:57,266 --> 00:27:59,266 But I can stop you using his brain. 584 00:27:59,266 --> 00:28:00,266 - Why? 585 00:28:00,266 --> 00:28:01,166 He has no further use for it. 586 00:28:01,166 --> 00:28:02,632 Don't be a fool. 587 00:28:02,632 --> 00:28:04,266 Be careful! 588 00:28:04,266 --> 00:28:06,266 You'll damage it! 589 00:28:06,266 --> 00:28:08,333 - The sale to Warner Brothers brought barely 590 00:28:08,333 --> 00:28:10,133 enough to finish the film. 591 00:28:10,133 --> 00:28:14,300 40,000 pounds, about $112,000. 592 00:28:14,300 --> 00:28:16,699 Christopher Lee brought a new interpretation 593 00:28:16,699 --> 00:28:19,033 to the role of the man made man. 594 00:28:19,033 --> 00:28:22,999 - The legs are independent of the arms. 595 00:28:22,999 --> 00:28:27,833 The hands sort of don't coordinate with the feet 596 00:28:27,833 --> 00:28:29,233 or the rest of the body. 597 00:28:29,233 --> 00:28:33,632 So I tried to play the character like an ill coordinated, 598 00:28:33,632 --> 00:28:35,367 childish creature. 599 00:28:35,367 --> 00:28:36,833 - The first day I met Christopher, 600 00:28:36,833 --> 00:28:39,266 he was disappointed that he hadn't any dialogue. 601 00:28:40,367 --> 00:28:42,933 I told him, "Well consider yourself lucky. 602 00:28:42,933 --> 00:28:44,266 "I've read the script." 603 00:28:51,699 --> 00:28:52,933 - Well we were shooting in the dark. 604 00:28:52,933 --> 00:28:54,133 We rarely were. 605 00:28:54,133 --> 00:28:55,999 I did about three tests if I remember right, 606 00:28:56,933 --> 00:28:57,999 remember rightly, 607 00:28:59,699 --> 00:29:00,999 for the character. 608 00:29:00,999 --> 00:29:02,200 They were quite dreadful, I mean, 609 00:29:02,200 --> 00:29:04,133 one of them made me look like a combination 610 00:29:04,133 --> 00:29:05,433 between a wolf and a pig. 611 00:29:06,500 --> 00:29:07,500 And the other 612 00:29:09,033 --> 00:29:10,467 was actually, it was actually surprisingly 613 00:29:10,467 --> 00:29:12,866 quite close to the Elephant Man. 614 00:29:12,866 --> 00:29:14,666 And then, I think it was I, 615 00:29:14,666 --> 00:29:17,033 or perhaps it was Phil Leakey, the makeup man, 616 00:29:17,033 --> 00:29:18,966 or Roy Ashton, the other makeup man, 617 00:29:18,966 --> 00:29:21,833 we put out heads together and I think I said, 618 00:29:21,833 --> 00:29:24,400 "Look, it's bits and pieces of other people so, 619 00:29:24,400 --> 00:29:26,100 "it should be patched together." 620 00:29:26,100 --> 00:29:28,233 So there were these lumps and these scars 621 00:29:28,233 --> 00:29:30,866 and the one dead eye and the stitch marks 622 00:29:30,866 --> 00:29:31,699 and everything. 623 00:29:33,233 --> 00:29:34,632 Which was pretty unpleasant. 624 00:29:35,766 --> 00:29:38,400 Makeup man Phil Leakey created a face 625 00:29:38,400 --> 00:29:40,233 that's been rightly described as looking 626 00:29:40,233 --> 00:29:43,333 like a road accident, a patchwork creature 627 00:29:43,333 --> 00:29:45,033 of shards and stitches. 628 00:29:45,033 --> 00:29:47,500 It was almost impossible for me to eat or drink 629 00:29:47,500 --> 00:29:49,367 and naturally, there weren't many people 630 00:29:49,367 --> 00:29:52,300 prepared to sit down and eat and drink with me. 631 00:29:52,300 --> 00:29:54,833 - It's never horrific to you. 632 00:29:54,833 --> 00:29:56,533 In fact, we might have laughed. 633 00:29:56,533 --> 00:29:57,933 Probably did. 634 00:29:57,933 --> 00:30:00,300 - I guess I was 10 or 11. 635 00:30:00,300 --> 00:30:01,233 Oh it was terrifying. 636 00:30:01,233 --> 00:30:03,033 I mean, I was scared to death. 637 00:30:03,033 --> 00:30:05,999 I've always heard the makeup criticized in later years 638 00:30:05,999 --> 00:30:07,233 as not being very good makeup, 639 00:30:07,233 --> 00:30:08,699 but I thought it was pretty creepy. 640 00:30:08,699 --> 00:30:10,233 - When we saw Curse of Frankenstein, 641 00:30:10,233 --> 00:30:13,833 there was a graphic quality to it that was totally shocking. 642 00:30:15,400 --> 00:30:18,066 Which made it extremely endearing to us. 643 00:30:18,066 --> 00:30:20,733 We enjoyed it a great deal, and I'll never forget 644 00:30:20,733 --> 00:30:22,400 the audience's reaction at that midnight snowing 645 00:30:22,400 --> 00:30:25,433 at the New York Paramount, they loved it. 646 00:30:25,433 --> 00:30:27,699 We were about 15 years old, I think, 647 00:30:27,699 --> 00:30:29,166 my friends and myself. 648 00:30:29,166 --> 00:30:30,899 - Wouldn't you understand, you're in real danger? 649 00:30:30,899 --> 00:30:32,200 What Victor is doing is dangerous to 650 00:30:32,200 --> 00:30:34,066 everyone in the house. 651 00:30:34,066 --> 00:30:37,033 No, you cannot possibly conceive what dreadful thing 652 00:30:37,033 --> 00:30:39,367 he's planning to do. 653 00:30:39,367 --> 00:30:40,566 - What are you trying to tell me, Paul? 654 00:30:40,566 --> 00:30:42,500 That Victor's wicked, insane? 655 00:30:43,966 --> 00:30:46,632 What is amazing today to me is the production value 656 00:30:46,632 --> 00:30:50,333 with the beauty of the sets, the costumes. 657 00:30:50,333 --> 00:30:51,533 They were all real. 658 00:30:51,533 --> 00:30:52,899 They were all Victorian costumes. 659 00:30:54,233 --> 00:30:56,100 - Elizabeth, come back! 660 00:30:57,632 --> 00:30:59,566 - The disembodied hands, eyes, and organs 661 00:30:59,566 --> 00:31:02,533 were liberally garnished with bright red blood, 662 00:31:02,533 --> 00:31:05,766 much to Christopher's dismay when he was shot in the face. 663 00:31:07,833 --> 00:31:12,066 - When this happened, I gave in to the most ear splitting 664 00:31:12,066 --> 00:31:16,333 shriek which literally paralyzed everybody on the set, 665 00:31:16,333 --> 00:31:18,467 that I don't think they'd ever heard anything like it. 666 00:31:18,467 --> 00:31:21,933 And it was genuine because there was some agent 667 00:31:21,933 --> 00:31:24,799 in this blood, glycerin, whatever, 668 00:31:24,799 --> 00:31:27,666 I felt somebody had put a red hot poker into my eye. 669 00:31:30,400 --> 00:31:33,200 The film grossed 70 times its production cost. 670 00:31:33,200 --> 00:31:35,500 Seven million dollars. 671 00:31:35,500 --> 00:31:39,000 The company had, in fact, created a being with a life 672 00:31:39,000 --> 00:31:39,933 of its own. 673 00:31:39,933 --> 00:31:43,066 - Hammer made their first remake 674 00:31:43,066 --> 00:31:48,033 after the 29 pictures in 1956 or 58, I think it was. 675 00:31:49,166 --> 00:31:50,433 And it was the Frankenstein picture 676 00:31:50,433 --> 00:31:51,733 and it was the only one amongst five. 677 00:31:51,733 --> 00:31:54,632 It was up the junction, and it was Peter Sellers 678 00:31:54,632 --> 00:31:57,367 and the Frankenstein picture and, 679 00:31:57,367 --> 00:31:58,333 two or three others. 680 00:31:58,333 --> 00:31:59,899 It was quite a nice picture, 681 00:31:59,899 --> 00:32:03,200 no idea they were starting this incredible snowball. 682 00:32:03,200 --> 00:32:05,833 - I remember everyone being astounded 683 00:32:05,833 --> 00:32:08,100 at the success at that movie though. 684 00:32:08,100 --> 00:32:10,166 I mean, it took off. 685 00:32:10,166 --> 00:32:12,400 And I don't think we got very good reviews, did we? 686 00:32:12,400 --> 00:32:13,933 - The critics hated us. 687 00:32:13,933 --> 00:32:16,599 I mean, really, loathed the film and loathed us, 688 00:32:16,599 --> 00:32:18,733 but it started the cycle and it started Hammer 689 00:32:18,733 --> 00:32:21,133 as it really became know, Hammer horror. 690 00:32:21,133 --> 00:32:24,899 The critical reaction came at the same moment as the queues. 691 00:32:25,999 --> 00:32:26,799 I mean, you haven't got a choice. 692 00:32:26,799 --> 00:32:28,166 What are you gonna do? 693 00:32:28,166 --> 00:32:29,400 Are you gonna read the newspaper or look at the queues? 694 00:32:29,400 --> 00:32:30,866 - The success of The Curse of Frankenstein 695 00:32:30,866 --> 00:32:32,833 was way out of proportion to what was expected. 696 00:32:32,833 --> 00:32:34,766 I think if that picture hadn't been as successful as it was 697 00:32:34,766 --> 00:32:36,566 in America, there might not have been any other 698 00:32:36,566 --> 00:32:38,333 big Hammer films. 699 00:32:38,333 --> 00:32:40,866 - Through his friend, Mike Frankovich, 700 00:32:40,866 --> 00:32:44,166 James Carreras struck a three film pact with 701 00:32:44,166 --> 00:32:47,233 Columbia Pictures, to include a sequel, 702 00:32:47,233 --> 00:32:50,766 originally called Blood of Frankenstein. 703 00:32:50,766 --> 00:32:53,833 The script focused on the continuing attempts 704 00:32:53,833 --> 00:32:57,933 of Baron Frankenstein to perfect his grizzly work. 705 00:32:59,500 --> 00:33:04,400 - In the year 1860, I, Baron Frankenstein, 706 00:33:04,400 --> 00:33:06,367 was sentenced to death on the guillotine. 707 00:33:06,367 --> 00:33:08,966 But I have escaped the guillotine, 708 00:33:08,966 --> 00:33:11,833 and I shall avenge the death of my creation. 709 00:33:11,833 --> 00:33:16,333 - I wanted to scare people and make them sort of shudder, 710 00:33:16,333 --> 00:33:18,200 and I think what is the most shudder making thing 711 00:33:18,200 --> 00:33:22,566 from my point of view was cannibalism, so I put cannibalism 712 00:33:22,566 --> 00:33:23,433 into the picture. 713 00:33:33,033 --> 00:33:33,866 - 'Cause Peter and I used to play games on the set 714 00:33:35,166 --> 00:33:36,467 all the time. 715 00:33:40,599 --> 00:33:42,100 - Who is he? 716 00:33:42,100 --> 00:33:43,166 - Nobody. 717 00:33:43,166 --> 00:33:44,233 He isn't born yet. 718 00:33:45,533 --> 00:33:46,666 We had a sheep's brain. 719 00:33:47,833 --> 00:33:49,333 And so we shot the scene and we didn't 720 00:33:49,333 --> 00:33:51,899 finish the scene on the day we were using 721 00:33:51,899 --> 00:33:56,266 the brain, and we had to pick it up next morning. 722 00:33:56,266 --> 00:33:58,966 And the, when I opened it, it was actually alive. 723 00:33:58,966 --> 00:34:00,866 I mean, the smell was appalling. 724 00:34:00,866 --> 00:34:02,999 All the technicians were fainting. 725 00:34:02,999 --> 00:34:06,200 So we had to um, I said, "I can't work with this thing." 726 00:34:07,933 --> 00:34:09,699 I said, "He's going to upstage me." 727 00:34:11,766 --> 00:34:13,400 Anesthetic! 728 00:34:13,400 --> 00:34:15,233 - I think what he's doing is a ruthless thing, 729 00:34:15,233 --> 00:34:16,799 and it might be different from Mary Shelley, but 730 00:34:16,799 --> 00:34:19,200 it wasn't much different from the other 731 00:34:19,200 --> 00:34:20,966 movie Frankensteins. 732 00:34:22,367 --> 00:34:24,066 - There was also an abortive TV pilot film 733 00:34:24,066 --> 00:34:25,899 but it was shot in Hollywood, not by the 734 00:34:25,899 --> 00:34:27,599 Hammer production team. 735 00:34:27,599 --> 00:34:29,066 - It was just a disaster. 736 00:34:29,066 --> 00:34:30,566 I mean, the people how were involved with the Screen 737 00:34:30,566 --> 00:34:34,566 Gems had no idea what they were trying to make. 738 00:34:34,566 --> 00:34:36,699 I mean, I don't know why the ever came to us 739 00:34:36,699 --> 00:34:39,166 in the first place because, you know, we had made 740 00:34:39,166 --> 00:34:41,533 some fairly good gothic stories. 741 00:34:41,533 --> 00:34:44,699 When I got there, I took with me six scripts. 742 00:34:44,699 --> 00:34:46,533 All written by Jimmy Sangster, 743 00:34:46,533 --> 00:34:47,733 and all ready to shoot. 744 00:34:47,733 --> 00:34:49,966 I mean, you know, in good professional niche. 745 00:34:51,100 --> 00:34:52,566 And the first thing they made me do 746 00:34:52,566 --> 00:34:54,966 was to sit down and listen to the title music. 747 00:34:54,966 --> 00:34:56,766 They had some jingle. 748 00:34:56,766 --> 00:34:58,533 I mean, that confused me slightly that we were 749 00:34:58,533 --> 00:35:00,467 listening to jingle music before we even 750 00:35:00,467 --> 00:35:03,433 made anything, but they were very proud of that. 751 00:35:03,433 --> 00:35:07,000 And then they started to trot out some directors 752 00:35:07,000 --> 00:35:10,632 who I think they kept in cupboards on the lower floor, 753 00:35:10,632 --> 00:35:12,100 ready to work. 754 00:35:12,100 --> 00:35:16,000 You know, have megaphone, will travel sort of directors. 755 00:35:16,000 --> 00:35:18,500 And I just couldn't believe the whole scene so I 756 00:35:18,500 --> 00:35:21,866 kicked up a bit of a stink and we started again 757 00:35:21,866 --> 00:35:24,066 by them getting out a list of writers. 758 00:35:24,066 --> 00:35:24,899 - Your name 759 00:35:26,133 --> 00:35:27,699 is Herbert. 760 00:35:27,699 --> 00:35:29,933 If you remember, and understand, 761 00:35:30,833 --> 00:35:32,866 lift your hands. 762 00:35:38,367 --> 00:35:40,699 - And finally, having gone through with their 763 00:35:40,699 --> 00:35:44,066 head writing honcho, 764 00:35:44,066 --> 00:35:46,367 he said to me, "There's a guy here who I think 765 00:35:46,367 --> 00:35:48,300 "lives in England called Jimmy Sangster. 766 00:35:48,300 --> 00:35:49,533 "Why don't we try him?" 767 00:35:49,533 --> 00:35:50,833 So we did full circle. 768 00:35:50,833 --> 00:35:52,467 I had the six scripts under my arm, 769 00:35:52,467 --> 00:35:54,100 which they hadn't read. 770 00:35:54,100 --> 00:35:56,433 Probably Jimmy had put another name over them, 771 00:35:56,433 --> 00:35:57,933 I don't know, so I said to them, 772 00:35:57,933 --> 00:35:59,833 "Well I actually know this man, I have some influence, 773 00:35:59,833 --> 00:36:02,033 "I can probably get him to do a script." 774 00:36:02,033 --> 00:36:03,933 And then of course when I told them that 775 00:36:03,933 --> 00:36:05,733 all these were his, I mean the whole thing 776 00:36:05,733 --> 00:36:07,166 just fell apart. 777 00:36:07,166 --> 00:36:08,666 I went home. 778 00:36:08,666 --> 00:36:10,467 It was Christmas time, I couldn't bear it anymore, 779 00:36:10,467 --> 00:36:13,433 and Tony Hinds went over to finish the project, 780 00:36:13,433 --> 00:36:16,000 and even he couldn't get them to make a good film. 781 00:36:16,000 --> 00:36:18,766 - If nothing else, it pointed out how 782 00:36:18,766 --> 00:36:22,133 uninspired the first film might have been. 783 00:36:22,133 --> 00:36:26,367 Hammer and the Baron went back to work in 1963. 784 00:36:26,367 --> 00:36:28,200 - You are interrupting my work. 785 00:36:28,200 --> 00:36:29,166 - Your work? 786 00:36:29,166 --> 00:36:30,367 The work of the Devil? 787 00:36:30,367 --> 00:36:31,300 - Hans. 788 00:36:31,300 --> 00:36:32,467 - Please, Father, would you-- 789 00:36:32,467 --> 00:36:37,033 - No. 790 00:36:38,400 --> 00:36:40,133 - A wrestler named Kiwi Kingston 791 00:36:40,133 --> 00:36:42,766 played this new monster under the direction 792 00:36:42,766 --> 00:36:43,833 of Freddie Francis. 793 00:36:43,833 --> 00:36:45,833 - Terry was unwell at that time, 794 00:36:45,833 --> 00:36:48,100 and then terribly became unwell and then got 795 00:36:48,100 --> 00:36:49,766 progressively worse. 796 00:36:49,766 --> 00:36:52,699 By this time, Hammer had cleared with Universal 797 00:36:52,699 --> 00:36:55,467 they could use the original makeup. 798 00:36:55,467 --> 00:36:57,733 And I thought it needed something much more physical 799 00:36:57,733 --> 00:36:59,433 than dear old Chris. 800 00:36:59,433 --> 00:37:01,799 And our man was physical, but, 801 00:37:01,799 --> 00:37:04,467 you know, if we did it again, I would have somebody who 802 00:37:04,467 --> 00:37:05,766 could act a little better. 803 00:37:09,000 --> 00:37:11,300 And obviously I used to think of the most effective 804 00:37:11,300 --> 00:37:15,300 way visually, you know, having been a DP and still am, 805 00:37:15,300 --> 00:37:17,033 I always think visually first. 806 00:37:33,166 --> 00:37:35,400 - The Baron was a bit ahead of his time. 807 00:37:36,500 --> 00:37:38,632 I mean, I was unstunting human organs 808 00:37:38,632 --> 00:37:41,100 before that clever doctor, Christiaan Barnard 809 00:37:41,100 --> 00:37:42,632 in South Africa in 1968. 810 00:37:43,599 --> 00:37:45,666 Get out of his way, you fools. 811 00:37:45,666 --> 00:37:46,699 - Go back 812 00:37:46,699 --> 00:37:48,666 and kill him. 813 00:38:03,333 --> 00:38:04,500 - He lives. 814 00:38:04,500 --> 00:38:06,500 See Hans, he's alive. 815 00:38:06,500 --> 00:38:08,833 - Terry Fischer returned in 1967. 816 00:38:08,833 --> 00:38:10,632 - The Terrence Fisher pictures tend to be shot 817 00:38:10,632 --> 00:38:12,632 on long masters, I noticed. 818 00:38:12,632 --> 00:38:13,899 And one of the fascinations in those pitures 819 00:38:13,899 --> 00:38:16,333 is just to sort of watch and try to do something 820 00:38:16,333 --> 00:38:18,233 with essentially an empty frame. 821 00:38:20,533 --> 00:38:21,632 - You see? 822 00:38:21,632 --> 00:38:23,400 A shield of indestructible matter. 823 00:38:24,533 --> 00:38:26,333 - What it it for? 824 00:38:26,333 --> 00:38:27,966 - What is it for? 825 00:38:27,966 --> 00:38:29,400 To give life after death, my friend. 826 00:38:29,400 --> 00:38:30,899 That's what it's for. 827 00:38:30,899 --> 00:38:32,033 Life after death. 828 00:38:32,033 --> 00:38:32,866 - Hans! 829 00:38:47,100 --> 00:38:50,066 - My dear, that man possesses such power. 830 00:38:51,333 --> 00:38:52,733 Such knowledge that, 831 00:38:54,100 --> 00:38:57,300 well sometimes I don't even understand him myself. 832 00:39:04,433 --> 00:39:05,266 - Papa! 833 00:39:07,133 --> 00:39:09,200 - With novice performers like 834 00:39:09,200 --> 00:39:13,433 Playboy model Susan Denberg, Terry patiently blocked out 835 00:39:13,433 --> 00:39:16,033 the action bit by bit. 836 00:39:24,033 --> 00:39:24,933 - Who am I? 837 00:39:25,799 --> 00:39:26,632 Who am I? 838 00:39:28,033 --> 00:39:29,599 - Frankenstein Created Woman was a very interesting 839 00:39:29,599 --> 00:39:31,799 picture, it's got a lot of interesting thematic stuff 840 00:39:31,799 --> 00:39:33,833 that you really wouldn't expect, that they didn't 841 00:39:33,833 --> 00:39:35,033 have to deal with. 842 00:39:35,033 --> 00:39:36,467 In Frankenstein Created Woman in particular, 843 00:39:36,467 --> 00:39:39,966 I remember great stills of Peter Cushing and Susan Denberg 844 00:39:39,966 --> 00:39:41,133 that weren't in the movie, you know, 845 00:39:41,133 --> 00:39:42,533 and I could never figure out whether they 846 00:39:42,533 --> 00:39:43,966 were never shot or whether they were cut out 847 00:39:43,966 --> 00:39:45,733 or what the story was. 848 00:39:45,733 --> 00:39:47,467 - The stills had nothing to do with 849 00:39:47,467 --> 00:39:48,733 the story. 850 00:39:48,733 --> 00:39:50,999 Hammer just wanted to sell theater tickets. 851 00:39:50,999 --> 00:39:55,766 In 1967, Frankenstein moved to the larger Elstree Studios 852 00:39:56,966 --> 00:39:59,033 with Terry Fischer again as director. 853 00:39:59,033 --> 00:40:00,833 - Terry would pretty much let you go 854 00:40:00,833 --> 00:40:01,766 through the scene. 855 00:40:01,766 --> 00:40:03,433 He trusted your own instincts. 856 00:40:03,433 --> 00:40:04,866 He was very easy to work for. 857 00:40:06,367 --> 00:40:07,566 - You haven't finished. 858 00:40:10,899 --> 00:40:13,333 - He would just tell you what you'd already, 859 00:40:13,333 --> 00:40:15,766 what you'd be doing previous to this, 860 00:40:15,766 --> 00:40:18,799 what your emotions would be likely to be like. 861 00:40:18,799 --> 00:40:21,433 And, then ask you to run it through. 862 00:40:25,233 --> 00:40:26,699 - Right, action. 863 00:40:38,367 --> 00:40:39,632 - I can transplant his brain. 864 00:40:39,632 --> 00:40:42,400 If I don't, it'll die through lack of oxygen. 865 00:40:42,400 --> 00:40:44,066 - But that would mean you'd have to remove someone 866 00:40:44,066 --> 00:40:45,433 else's brain to do it. 867 00:40:46,632 --> 00:40:47,467 - Of course, Carl. 868 00:40:47,467 --> 00:40:48,467 How else? 869 00:40:50,400 --> 00:40:51,666 - The police. 870 00:40:51,666 --> 00:40:54,233 They're searching all the houses. 871 00:41:00,166 --> 00:41:03,966 - You must choose between the flames, and the police. 872 00:41:05,599 --> 00:41:08,000 - Once more into the bleach, 873 00:41:08,000 --> 00:41:11,233 with blackmail, murder, and skull duggery. 874 00:41:11,233 --> 00:41:12,166 - Of course he's only doing it for 875 00:41:12,166 --> 00:41:14,133 a frighteningly good call. 876 00:41:14,133 --> 00:41:15,999 - I loved Peter. 877 00:41:15,999 --> 00:41:17,266 Everybody loved Peter. 878 00:41:17,266 --> 00:41:20,599 He was very gentle, he adored his wife. 879 00:41:20,599 --> 00:41:21,799 He was kind. 880 00:41:21,799 --> 00:41:24,567 - What a lovely piece of export, hm? 881 00:41:26,033 --> 00:41:28,266 - I can't speak too highly of him. 882 00:41:28,266 --> 00:41:30,599 - What have you done to him? 883 00:41:31,866 --> 00:41:34,133 - For God sake's go away! 884 00:41:34,133 --> 00:41:35,599 Leave us alone! 885 00:41:35,599 --> 00:41:37,966 - How many heart transplants today? 886 00:41:37,966 --> 00:41:39,367 - Hearts? 887 00:41:39,367 --> 00:41:40,699 I'm ashamed they're old fashioned, we're on brains now. 888 00:41:40,699 --> 00:41:42,433 - Are you? - Yes. 889 00:41:42,433 --> 00:41:45,467 - Jimmy Carreras rarely visited our sets. 890 00:41:45,467 --> 00:41:47,966 He wasn't too keen on horror pictures, 891 00:41:47,966 --> 00:41:51,066 and seeing a crew of 50, at least 40 of whom 892 00:41:51,066 --> 00:41:53,133 appeared to be doing absolutely nothing, 893 00:41:53,133 --> 00:41:55,000 well he became a bit testy. 894 00:41:55,000 --> 00:41:56,699 He preferred to stay on Wardour Street. 895 00:41:56,699 --> 00:41:58,166 - That was their business, it wasn't his business. 896 00:41:58,166 --> 00:42:00,367 I don't think he particularly cared about 897 00:42:00,367 --> 00:42:01,833 the films themselves. 898 00:42:01,833 --> 00:42:04,033 Now, as a film person, I would say that's exactly the 899 00:42:04,033 --> 00:42:06,300 kind of person you want running a film company. 900 00:42:06,300 --> 00:42:08,400 Someone who lets the creative people get on with it, 901 00:42:08,400 --> 00:42:11,833 and if the price for that is a degree of cynicism 902 00:42:11,833 --> 00:42:14,666 on his part, fine, it worked extremely well for Hammer. 903 00:42:16,066 --> 00:42:18,200 - Hammer opted for a younger Baron, 904 00:42:18,200 --> 00:42:20,300 the late Ralph Bates. 905 00:42:20,300 --> 00:42:22,999 Veronica Carlson played the Hazel Court role 906 00:42:22,999 --> 00:42:26,233 while Jimmy Sangster directed, wrote, and produced. 907 00:42:26,233 --> 00:42:27,766 - Jimmy was irreplaceable. 908 00:42:27,766 --> 00:42:29,433 He had a great sense of humor. 909 00:42:29,433 --> 00:42:31,300 At lunch time, we went into the restaurant, 910 00:42:31,300 --> 00:42:33,467 laughed ourselves silly about everything, 911 00:42:33,467 --> 00:42:37,666 calmed down, and then Jimmy said, "Now be serious." 912 00:42:37,666 --> 00:42:41,433 - I had the most fun ever directing that movie. 913 00:42:42,599 --> 00:42:43,866 It's not a good position to be in, 914 00:42:43,866 --> 00:42:45,100 writer, producer, and the director, 915 00:42:45,100 --> 00:42:46,733 because there's nobody to tell you 916 00:42:46,733 --> 00:42:47,766 you're making a mistake. 917 00:42:47,766 --> 00:42:49,233 - But fresh, mind you. 918 00:42:49,233 --> 00:42:51,166 Nothing more than three days old. 919 00:42:51,166 --> 00:42:53,966 - Anything I bring you will be so fresh, 920 00:42:53,966 --> 00:42:57,433 it'd get past the cattleman meat inspector. 921 00:42:57,433 --> 00:42:59,567 - It's almost like the same saga that 922 00:42:59,567 --> 00:43:01,899 the Universal pictures had where they kept adding 923 00:43:01,899 --> 00:43:04,300 more monsters and tried to make the pictures 924 00:43:04,300 --> 00:43:07,100 seem more exciting than they had been previously. 925 00:43:07,100 --> 00:43:09,166 And then by the time they'd done the parodies, 926 00:43:09,166 --> 00:43:10,699 it was over. 927 00:43:10,699 --> 00:43:12,166 It's the same thing that's happened to the westerns. 928 00:43:12,166 --> 00:43:15,266 - 6'7" David Prowse wore a diaper and a bald 929 00:43:15,266 --> 00:43:17,333 cap as this monster. 930 00:43:17,333 --> 00:43:18,533 - I said, "Have you got any ideas as to how 931 00:43:18,533 --> 00:43:19,766 "you're going to play this monster?" 932 00:43:19,766 --> 00:43:21,266 He said, "I've got three children." 933 00:43:21,266 --> 00:43:23,799 And I said, "I just play about with them and frighten them, 934 00:43:24,966 --> 00:43:26,433 "I'd stand up as far big as I can, 935 00:43:26,433 --> 00:43:28,367 "and I sort of walk towards them and say, 936 00:43:28,367 --> 00:43:31,066 "'I am the monster.'" 937 00:43:31,066 --> 00:43:32,533 And the kids'll run away from me and Terry, he said, 938 00:43:32,533 --> 00:43:34,632 "That's fine, perfect, that's just what we want." 939 00:43:34,632 --> 00:43:37,300 And so that was how we finished up, you know, 940 00:43:37,300 --> 00:43:38,333 playing this monster. 941 00:43:43,533 --> 00:43:45,933 - David looked far more imposing in black leather 942 00:43:45,933 --> 00:43:48,500 years later in Star Wars. 943 00:43:48,500 --> 00:43:51,266 As usual, the next film began with a poster, 944 00:43:51,266 --> 00:43:52,866 eventually modified. 945 00:43:54,033 --> 00:43:56,567 With burned hands useless for surgery, 946 00:43:56,567 --> 00:43:58,467 the Baron enlists a young surgeon to 947 00:43:58,467 --> 00:44:00,933 help fashion one last abomination. 948 00:44:02,933 --> 00:44:06,599 It was the Baron's last hurrah so far. 949 00:44:06,599 --> 00:44:08,799 Because of the period, I was given a wig 950 00:44:08,799 --> 00:44:10,300 covered in Marcel waves. 951 00:44:10,300 --> 00:44:12,799 I thought it made me look rather like Helen Hayes. 952 00:44:14,933 --> 00:44:18,567 - I knew you couldn't give up your work completely. 953 00:44:18,567 --> 00:44:19,799 And you haven't. 954 00:44:19,799 --> 00:44:21,933 - David Prowse also played this monster 955 00:44:21,933 --> 00:44:24,766 in a stiff mask and hairy rubber suit. 956 00:44:24,766 --> 00:44:26,266 - It was a sweat suit and a mask. 957 00:44:26,266 --> 00:44:28,467 I could get in the complete outfit within, like, 958 00:44:28,467 --> 00:44:31,100 20 minutes, it was so simple. 959 00:44:31,100 --> 00:44:32,866 I think in my acting as the monster 960 00:44:32,866 --> 00:44:35,333 in Monster From Hell was probably the high point. 961 00:44:36,799 --> 00:44:37,933 And that includes Darth Vader and everything 962 00:44:37,933 --> 00:44:39,433 else that I've done. 963 00:44:39,433 --> 00:44:40,933 I still think the Monster From Hell was probably one of the 964 00:44:40,933 --> 00:44:42,866 best acting jobs that I've ever done. 965 00:44:42,866 --> 00:44:44,233 - I've succeeded this time. 966 00:44:45,933 --> 00:44:48,433 And every sacrifice will have been worth while. 967 00:44:48,433 --> 00:44:50,632 - We had one stunt where he had to, 968 00:44:50,632 --> 00:44:53,433 I was on the rampage in the laboratory. 969 00:44:58,966 --> 00:45:00,233 - Professor! 970 00:45:00,233 --> 00:45:01,733 - And Peter had to come and calm me down. 971 00:45:01,733 --> 00:45:04,033 He smashed the chloroform bottle in his coat, 972 00:45:05,233 --> 00:45:06,632 sort of jumped up onto to the table, 973 00:45:06,632 --> 00:45:08,666 made a dive across, a dive from off. 974 00:45:08,666 --> 00:45:11,632 I mean, the guy was in his like 60s at the time, 975 00:45:11,632 --> 00:45:14,066 and I'm swinging him around, trying to get him off 976 00:45:14,066 --> 00:45:17,933 and doing like an airplane spin, like a wrestler does, 977 00:45:17,933 --> 00:45:20,533 and eventually I have to collapse in a heap, 978 00:45:20,533 --> 00:45:23,433 I'm being suffocated by the chloroform. 979 00:45:24,866 --> 00:45:26,733 We eventually collapse, with him still hanging on 980 00:45:26,733 --> 00:45:28,899 like grim death, you know, on the back. 981 00:45:28,899 --> 00:45:31,866 And when we finished, the whole studio got up 982 00:45:31,866 --> 00:45:32,699 and applauded. 983 00:45:32,699 --> 00:45:33,599 It was wonderful. 984 00:45:35,433 --> 00:45:37,500 - Long time employee Roy Skeggs 985 00:45:37,500 --> 00:45:39,367 had risen to producer. 986 00:45:39,367 --> 00:45:41,899 Tony Hinds wrote the script as John Elder. 987 00:45:41,899 --> 00:45:45,400 The composer, Jimmy Bernard, and Terrence Fisher 988 00:45:45,400 --> 00:45:47,400 directing our last film together. 989 00:45:48,599 --> 00:45:49,599 - But even if the monster 990 00:45:49,599 --> 00:45:51,799 was not state of the art, 991 00:45:51,799 --> 00:45:53,333 - Well? 992 00:45:53,333 --> 00:45:56,632 - The Baron was his usual warm and considerate self. 993 00:45:56,632 --> 00:46:00,733 - If everything could be reborn, unblemished, 994 00:46:00,733 --> 00:46:04,300 if a new version of his true self could be created, 995 00:46:04,300 --> 00:46:06,599 in the normal way, by mating. 996 00:46:06,599 --> 00:46:07,833 - But who with? 997 00:46:07,833 --> 00:46:08,666 - Sarah. 998 00:46:09,866 --> 00:46:11,200 - For good or ill, 999 00:46:11,200 --> 00:46:14,333 these films brought technicolor blood to the screen. 1000 00:46:14,333 --> 00:46:18,200 Without them, we may have never seen The Wild Bunch 1001 00:46:18,200 --> 00:46:20,999 or even the black comedy of the original M-A-S-H. 1002 00:46:20,999 --> 00:46:22,632 - To Baron Frankenstein, 1003 00:46:22,632 --> 00:46:23,766 the creator of man. 1004 00:46:24,933 --> 00:46:26,933 - In any case, Hammer breathes new life 1005 00:46:26,933 --> 00:46:28,933 into the Mary Shelley myth. 1006 00:46:28,933 --> 00:46:33,933 In return, Frankenstein created Hammer. 1007 00:46:38,733 --> 00:46:41,400 They will never be ready for me. 1008 00:46:49,300 --> 00:46:52,833 - In 1958, Universal Pictures allowed 1009 00:46:52,833 --> 00:46:56,367 Hammer to remake Dracula in exchange for 1010 00:46:56,367 --> 00:46:58,033 US distribution rights. 1011 00:46:59,833 --> 00:47:02,400 - The Horror of Dracula was a particularly big moment 1012 00:47:02,400 --> 00:47:05,166 in my life and the life of a lot of kids my age. 1013 00:47:06,599 --> 00:47:09,266 We had watched the Universal pictures, and they were scary, 1014 00:47:09,266 --> 00:47:12,833 but they were on television, in your house. 1015 00:47:12,833 --> 00:47:15,632 So there something a little safer about watching 1016 00:47:15,632 --> 00:47:18,567 those picture, but in a theater, with color, 1017 00:47:18,567 --> 00:47:22,166 I remember kid's parents not letting them go see it 1018 00:47:22,166 --> 00:47:23,833 because it was supposed to be so scary. 1019 00:47:23,833 --> 00:47:27,233 - On one side, the power of good. 1020 00:47:27,233 --> 00:47:29,833 - Castle Dracula is somewhere here in Klausenburg. 1021 00:47:29,833 --> 00:47:31,666 Will you tell me how I get there? 1022 00:47:31,666 --> 00:47:32,599 - On the other? 1023 00:47:32,599 --> 00:47:34,833 The seductive allure of evil. 1024 00:47:34,833 --> 00:47:38,033 Jimmy Sangster's script eliminated the supernatural 1025 00:47:38,033 --> 00:47:40,400 powers suggested by Bram Stoker, 1026 00:47:40,400 --> 00:47:43,367 but substituted something even more potent: 1027 00:47:44,266 --> 00:47:45,666 sex appeal. 1028 00:47:46,866 --> 00:47:48,433 - I thought the more human he became, 1029 00:47:48,433 --> 00:47:52,066 the less magic or fantasy figure he became, 1030 00:47:52,066 --> 00:47:53,300 the more threatening he was. 1031 00:47:53,300 --> 00:47:57,066 - And then, I think the better of the two, 1032 00:47:57,066 --> 00:47:59,367 the film that we really felt went further, 1033 00:47:59,367 --> 00:48:01,300 was the Horror of Dracula. 1034 00:48:01,300 --> 00:48:05,333 You know, there's nothing like 1035 00:48:05,333 --> 00:48:07,500 the introduction of Dracula in that picture 1036 00:48:07,500 --> 00:48:10,200 where he simply walks down the stairs, 1037 00:48:10,200 --> 00:48:11,899 and walks over Jonathan Harker and says, 1038 00:48:11,899 --> 00:48:12,966 "Hello, I'm Dracula." 1039 00:48:14,799 --> 00:48:15,632 - Mr. Harker. 1040 00:48:16,766 --> 00:48:18,966 I'm glad that you've arrived safely. 1041 00:48:18,966 --> 00:48:20,533 - Count Dracula. 1042 00:48:20,533 --> 00:48:23,233 - I am Dracula, and I welcome you to my house. 1043 00:48:23,233 --> 00:48:25,966 - Slip on canine fangs became 1044 00:48:25,966 --> 00:48:29,533 de rigueur for all vampires to come in Hollywood, 1045 00:48:29,533 --> 00:48:32,933 Italy, Mexico, France, even Japan. 1046 00:48:32,933 --> 00:48:35,866 Like Frankenstein, this was a drastic change 1047 00:48:35,866 --> 00:48:37,533 from previous versions. 1048 00:48:38,433 --> 00:48:40,166 - Oh, you must help me. 1049 00:48:40,166 --> 00:48:41,300 You must. 1050 00:48:41,300 --> 00:48:43,433 You're my only hope, you must. 1051 00:48:43,433 --> 00:48:45,066 - I'll help you. 1052 00:48:45,066 --> 00:48:45,899 I promise. 1053 00:48:56,233 --> 00:49:00,733 - I decided to play him as a malevolent hero. 1054 00:49:00,733 --> 00:49:04,567 I decided to play him as a man of immense dignity, 1055 00:49:04,567 --> 00:49:07,333 immense strength, immense power, immense brain, 1056 00:49:07,333 --> 00:49:08,500 because it's all there. 1057 00:49:08,500 --> 00:49:10,632 He's kind of a super man, actually. 1058 00:49:10,632 --> 00:49:12,799 - Dracula was sexy and he was seducing people 1059 00:49:12,799 --> 00:49:14,433 and he was basically going to bed with women. 1060 00:49:14,433 --> 00:49:17,632 You know, and afterward, they just thought he was great. 1061 00:49:17,632 --> 00:49:20,133 - Particularly, as my dear friend Christopher Lee 1062 00:49:20,133 --> 00:49:22,899 plays the character of Dracula, 1063 00:49:22,899 --> 00:49:25,066 the women are very much attracted to him. 1064 00:49:25,066 --> 00:49:27,467 I mean that first picture you had the lady 1065 00:49:27,467 --> 00:49:30,533 opening her French windows, lying back 1066 00:49:30,533 --> 00:49:32,433 and waiting for her lover to come. 1067 00:49:40,266 --> 00:49:42,200 - Well that was definitely in the screenplay, 1068 00:49:42,200 --> 00:49:44,500 and I think Terry Fisher, the director, 1069 00:49:44,500 --> 00:49:47,933 certainly emphasized that it wasn't a new ingredient. 1070 00:49:47,933 --> 00:49:49,400 It's definitely been there. 1071 00:49:49,400 --> 00:49:51,500 If you look at Nosferatu, and I mean even in the 1072 00:49:51,500 --> 00:49:53,666 strangest forms of these films, 1073 00:49:53,666 --> 00:49:55,866 there's a strong, sexual element, 1074 00:49:55,866 --> 00:49:58,467 but in the color again, the blood became a little 1075 00:49:58,467 --> 00:50:01,133 more gory, the sex became a little more cleavage, 1076 00:50:01,133 --> 00:50:03,666 and the whole thing grew up a little. 1077 00:50:03,666 --> 00:50:05,033 - So after we'd done the first one, 1078 00:50:05,033 --> 00:50:07,699 we'd have a complete reshuffle and I was surprised 1079 00:50:07,699 --> 00:50:10,899 when I was told that I had to have the same people. 1080 00:50:12,333 --> 00:50:13,433 As a matter of fact, as it were done, 1081 00:50:13,433 --> 00:50:14,766 it couldn't have been better. 1082 00:50:17,266 --> 00:50:20,599 Cushing had been a star and I was delighted to have him 1083 00:50:20,599 --> 00:50:21,766 in Frankenstein. 1084 00:50:21,766 --> 00:50:23,632 I thought he was excellent in Dracula, 1085 00:50:23,632 --> 00:50:25,266 and really, you couldn't have found a better person 1086 00:50:25,266 --> 00:50:26,966 than Chris Lee for Dracula, I don't think. 1087 00:50:26,966 --> 00:50:28,233 Anyone. 1088 00:50:28,233 --> 00:50:30,066 He was quite original, I think, in making him 1089 00:50:30,066 --> 00:50:33,533 a very presentable, quite sexually attractive, 1090 00:50:33,533 --> 00:50:36,866 not to me, a quite sexually attractive actor 1091 00:50:36,866 --> 00:50:40,567 instead of this rather florid, puffy faced gentleman 1092 00:50:40,567 --> 00:50:42,467 that one associated with. 1093 00:50:42,467 --> 00:50:45,066 - The one I found just a little more difficult 1094 00:50:45,066 --> 00:50:48,500 was Van Helsing, because in the book by 1095 00:50:48,500 --> 00:50:53,400 Bram Stoker, he's described a very old, little wizard 1096 00:50:55,100 --> 00:50:58,333 man who speaks almost double Dutch. 1097 00:50:58,333 --> 00:51:00,400 And that this was going back, what, 1098 00:51:00,400 --> 00:51:05,333 nearly 25 years when I was younger and prettier, 1099 00:51:06,100 --> 00:51:07,333 if that is possible. 1100 00:51:07,333 --> 00:51:09,500 The one thing that Dracula didn't like 1101 00:51:10,333 --> 00:51:12,933 was a crucifix. 1102 00:51:12,933 --> 00:51:15,166 And there were so many time I had to use one 1103 00:51:15,166 --> 00:51:18,033 that in the end, I thought it had become ludicrous. 1104 00:51:18,033 --> 00:51:21,400 I was rather like a traveling salesman in crucifixi. 1105 00:51:23,833 --> 00:51:27,100 - This three note dropping octave theme 1106 00:51:27,100 --> 00:51:30,367 underscored the power of the title character. 1107 00:51:30,367 --> 00:51:33,367 - Taking the title of the movie, is that what you mean, 1108 00:51:33,367 --> 00:51:37,266 and thinking of a tune, and the obvious one is 1109 00:51:38,367 --> 00:51:39,866 ♪ Drac-U-La 1110 00:51:39,866 --> 00:51:42,632 - I had this date with this guy that I was trying 1111 00:51:42,632 --> 00:51:47,233 to impress, and all of 16, and I'm looking and I'm going-- 1112 00:51:48,500 --> 00:51:49,699 - This is not the Lucy you loved. 1113 00:51:49,699 --> 00:51:52,233 It's only a shell, possessed and corrupted 1114 00:51:52,233 --> 00:51:53,733 by the evil of Dracula. 1115 00:51:53,733 --> 00:51:55,699 - And I'm grabbing him and I'm doing all of this 1116 00:51:55,699 --> 00:51:57,866 and all of a sudden, this scene comes in where 1117 00:51:57,866 --> 00:51:59,999 they put the stake in. 1118 00:52:02,933 --> 00:52:04,500 And I faint. 1119 00:52:04,500 --> 00:52:05,433 "Are you alright, are you alright?" 1120 00:52:05,433 --> 00:52:08,799 And I'm going, "Oh god, oh god." 1121 00:52:11,533 --> 00:52:12,966 - The end of The Horror of Dracula was one of the 1122 00:52:12,966 --> 00:52:14,533 few times that I can remember when I was a kid, 1123 00:52:14,533 --> 00:52:16,033 people screaming in a theater. 1124 00:52:19,400 --> 00:52:20,833 And they screamed just because it was 1125 00:52:20,833 --> 00:52:22,766 so horrible and so scary. 1126 00:52:22,766 --> 00:52:25,233 - Right at the end of the picture, 1127 00:52:25,233 --> 00:52:29,599 Van Helsing forces Dracula into a shaft of sunlight 1128 00:52:29,599 --> 00:52:32,632 by rushing along and pulling some curtains down. 1129 00:52:35,699 --> 00:52:37,933 Whereupon he withdrew yet another crucifix 1130 00:52:37,933 --> 00:52:39,133 out of his pocket and I said, 1131 00:52:39,133 --> 00:52:40,599 "Could we not have something different?" 1132 00:52:40,599 --> 00:52:44,433 And I suggested that they had the long refectory table, 1133 00:52:44,433 --> 00:52:45,799 a candlestick at each end, 1134 00:52:45,799 --> 00:52:47,966 and I could rush along like a mad thing, 1135 00:52:47,966 --> 00:52:50,599 leap on the table again and grab one table stick 1136 00:52:50,599 --> 00:52:53,233 and rush to the other and then wing them together. 1137 00:53:06,567 --> 00:53:09,467 And it worked, 'cause it made quite a jolly good climax, 1138 00:53:09,467 --> 00:53:12,733 and I believe they used the end of that picture 1139 00:53:12,733 --> 00:53:16,833 in the second Dracula, which I wasn't in for some reason. 1140 00:53:26,666 --> 00:53:28,766 - Dollar for dollar, the film outperformed 1141 00:53:28,766 --> 00:53:31,666 Hitchcock's Vertigo, released the same year. 1142 00:53:31,666 --> 00:53:35,367 Critics castigated the film as revoltingly inferior 1143 00:53:35,367 --> 00:53:37,699 to the 1931 version. 1144 00:53:37,699 --> 00:53:40,533 But Jack Asher was hailed for his camera work, 1145 00:53:40,533 --> 00:53:44,200 and Terry Fisher's status as a filmmaker was assured. 1146 00:53:45,533 --> 00:53:48,333 In New York for the premiere, we found out just 1147 00:53:48,333 --> 00:53:51,066 how valuable a product we had created. 1148 00:53:51,066 --> 00:53:52,933 - James Carreras, Tony Hinds, 1149 00:53:52,933 --> 00:53:55,233 Peter Cushing and I, the four of us went to the 1150 00:53:55,233 --> 00:53:57,367 office of the President of Universal Film, 1151 00:53:57,367 --> 00:53:59,799 and his name was Al Deff. 1152 00:53:59,799 --> 00:54:02,799 And he then said "Gentlemen, this film of yours, 1153 00:54:03,999 --> 00:54:07,300 "will lift Universal out of bankruptcy." 1154 00:54:08,699 --> 00:54:11,133 Now I've made a point of asking Peter Cushing 1155 00:54:11,133 --> 00:54:13,500 and Tony Hinds and Jimmy Carreras over the years, 1156 00:54:13,500 --> 00:54:15,632 "Did he really say that or did I imagine it?" 1157 00:54:15,632 --> 00:54:16,500 He said it. 1158 00:54:17,533 --> 00:54:18,999 Interesting. 1159 00:54:18,999 --> 00:54:23,333 Brides of Dracula in 1960 featured a sexually ambiguous 1160 00:54:23,333 --> 00:54:24,833 Baron Meinster, 1161 00:54:26,400 --> 00:54:28,699 who drank the blood of men, women, 1162 00:54:29,666 --> 00:54:31,367 even his own mother. 1163 00:54:31,367 --> 00:54:33,899 - You needn't be afraid, she's dead. 1164 00:54:33,899 --> 00:54:35,333 - It offered strong roles to 1165 00:54:35,333 --> 00:54:38,133 Martita Hunt and Freda Jackson, again under 1166 00:54:38,133 --> 00:54:39,699 Terry Fisher's direction, 1167 00:54:41,166 --> 00:54:45,333 as Dr. Van Helsing continued his zealous crusade against 1168 00:54:45,333 --> 00:54:47,766 the corrupt cult of vampirism. 1169 00:54:51,266 --> 00:54:52,733 - David Peel as the baron, 1170 00:54:52,733 --> 00:54:55,367 blindingly handsome, beautiful Yvonne Monlaur, 1171 00:54:55,367 --> 00:54:58,233 France's latest sex kitten as Marianne, 1172 00:54:58,233 --> 00:55:01,200 whose beauty was her passport to the twilight world 1173 00:55:01,200 --> 00:55:02,866 of the undead. 1174 00:55:13,433 --> 00:55:16,632 - Neither the budget, nor my sense of the character, 1175 00:55:16,632 --> 00:55:18,666 allowed the original climax, 1176 00:55:18,666 --> 00:55:21,133 Van Helsing conjuring a hoard of bats 1177 00:55:21,133 --> 00:55:22,766 to destroy the depraved baron. 1178 00:55:24,166 --> 00:55:26,699 But a jolly good fight and a splash of holy water 1179 00:55:26,699 --> 00:55:29,999 and a burning windmill provided a fine alternative. 1180 00:55:40,400 --> 00:55:42,966 Count Dracula himself returned eight years after 1181 00:55:42,966 --> 00:55:45,500 the original 1958 film. 1182 00:55:45,500 --> 00:55:48,133 John Travellion of the British Board of Census 1183 00:55:48,133 --> 00:55:50,433 objected to a ritual use to revive the Count 1184 00:55:50,433 --> 00:55:52,533 from the ashes of the first film, 1185 00:55:52,533 --> 00:55:54,533 so Hammer turned it down. 1186 00:55:54,533 --> 00:55:56,166 A bit. 1187 00:55:57,367 --> 00:55:59,133 Instead of cutting the victim's head off, 1188 00:55:59,133 --> 00:56:02,400 Dracula's disciple tastefully just slits his throat. 1189 00:56:04,799 --> 00:56:08,433 Charming, so unlike the home life of our dear queen. 1190 00:56:08,433 --> 00:56:09,733 - I must kill him. 1191 00:56:09,733 --> 00:56:10,799 - He is already dead. 1192 00:56:11,733 --> 00:56:13,433 He is undead, Mr. Kent. 1193 00:56:13,433 --> 00:56:16,100 He can be destroyed, but not killed. 1194 00:56:28,467 --> 00:56:32,133 - Over three warm days in May 1965, 1195 00:56:32,133 --> 00:56:34,833 the brother of Francis Matthews shot these 1196 00:56:34,833 --> 00:56:37,033 home movies at Bray Studios. 1197 00:56:37,033 --> 00:56:39,400 Camera angles will hide the fact that the castle 1198 00:56:39,400 --> 00:56:42,133 is really only one story high. 1199 00:56:42,133 --> 00:56:44,233 There are a great many scenes to shoot. 1200 00:56:44,233 --> 00:56:46,200 Arrivals, and departures. 1201 00:56:46,200 --> 00:56:47,999 And the climax. 1202 00:56:49,367 --> 00:56:53,266 - Susan Farmer and Barbara Shelley run their lines. 1203 00:56:53,266 --> 00:56:55,632 Charles Tingwell snoozes. 1204 00:56:55,632 --> 00:56:58,333 Christopher Lee discusses the action, 1205 00:56:58,333 --> 00:57:01,200 and Francis Matthews paces out his walk across 1206 00:57:01,200 --> 00:57:02,567 the castle draw bridge. 1207 00:57:03,733 --> 00:57:06,300 - Well the hero's always boring in those films. 1208 00:57:06,300 --> 00:57:08,799 They have to be because the excitement comes from 1209 00:57:08,799 --> 00:57:11,632 the character roles, and the villain. 1210 00:57:11,632 --> 00:57:13,300 Since you're not gonna do anything, 1211 00:57:13,300 --> 00:57:16,266 it's better you don't say anything either. 1212 00:57:16,266 --> 00:57:18,599 I wish you could run it again and hear me saying-- 1213 00:57:18,599 --> 00:57:19,799 I must kill him. 1214 00:57:19,799 --> 00:57:21,966 Just after this terrible thing has happened. 1215 00:57:21,966 --> 00:57:23,799 It's not only the delivery of the line, 1216 00:57:23,799 --> 00:57:27,367 but the fact that I allowed Terry to let me say the line. 1217 00:57:27,367 --> 00:57:29,632 My sister-in-law's a vampire, my brother's dead, 1218 00:57:29,632 --> 00:57:31,899 my wife's nearly been killed. 1219 00:57:31,899 --> 00:57:33,333 I'm exhausted. 1220 00:57:33,333 --> 00:57:34,733 There was always a danger with Hammer 1221 00:57:34,733 --> 00:57:36,766 that they forget what had happened to you. 1222 00:57:36,766 --> 00:57:39,666 - Makeup man Roy Ashton inserts hand 1223 00:57:39,666 --> 00:57:43,966 painted contact lenses for that wild, bloodshot look. 1224 00:57:43,966 --> 00:57:46,400 Sometimes with these wretched contact lenses in, 1225 00:57:46,400 --> 00:57:48,233 I could hardly see at all. 1226 00:57:48,233 --> 00:57:50,733 I'd lunge for somebody and miss them all together. 1227 00:57:52,300 --> 00:57:54,066 Terry was a great arranger. 1228 00:57:54,066 --> 00:57:55,500 - Chris is ready. 1229 00:57:55,500 --> 00:57:57,567 - He'd say, "Show me what you're going to do 1230 00:57:57,567 --> 00:57:59,599 "and I'll tell you if it's right or wrong." 1231 00:57:59,599 --> 00:58:03,100 And he always gave editor James Kneads exactly 1232 00:58:03,100 --> 00:58:04,533 what was needed. 1233 00:58:04,533 --> 00:58:06,467 - The first assistant that supervises 1234 00:58:06,467 --> 00:58:09,699 the frozen moat, actually a plaster surface 1235 00:58:09,699 --> 00:58:12,833 covered in a salt solution to simulate ice. 1236 00:58:15,500 --> 00:58:18,266 On action, Christopher strides regally 1237 00:58:18,266 --> 00:58:20,933 holding his cloak for the proper billowing effect. 1238 00:58:27,133 --> 00:58:30,266 Later that day, the climax. 1239 00:58:30,266 --> 00:58:31,833 - It's too late Kent! 1240 00:58:31,833 --> 00:58:32,766 Get away from there! 1241 00:58:32,766 --> 00:58:33,866 It's too late! 1242 00:58:35,400 --> 00:58:37,066 - The dialogue in the original script was 1243 00:58:37,066 --> 00:58:40,200 just dreadful, so we compromised. 1244 00:58:40,200 --> 00:58:42,500 The character remained mute. 1245 00:58:42,500 --> 00:58:43,766 - Why don't you shoot him? 1246 00:58:43,766 --> 00:58:46,266 - It would do no good my dear. 1247 00:58:49,066 --> 00:58:52,033 - Impervious to bullets, perhaps. 1248 00:58:52,033 --> 00:58:53,300 - Running water. 1249 00:58:53,300 --> 00:58:55,166 - But not the pure elements. 1250 00:58:55,166 --> 00:58:58,166 Whatever the merits of the individual films, 1251 00:58:58,166 --> 00:59:00,966 the combination of technical expertise, 1252 00:59:00,966 --> 00:59:04,233 on screen talent, and showmanship, 1253 00:59:04,233 --> 00:59:06,999 proved that British films could succeed 1254 00:59:06,999 --> 00:59:08,333 in the world market place. 1255 00:59:11,632 --> 00:59:13,166 - Of the 19 films released 1256 00:59:13,166 --> 00:59:18,166 by 20th Century Fox in 1966, only six were profitable. 1257 00:59:19,033 --> 00:59:20,632 Two of those were Hammer. 1258 00:59:20,632 --> 00:59:21,766 This one, 1259 00:59:21,766 --> 00:59:23,766 and Rasputin the Mad Monk. 1260 00:59:27,400 --> 00:59:30,233 In later films, we could afford stunt men 1261 00:59:30,233 --> 00:59:33,400 like Eddie Powell to do the more dangerous scenes. 1262 00:59:33,400 --> 00:59:37,433 But that's really me, getting a lung full of cold water, 1263 00:59:37,433 --> 00:59:38,367 in the main part. 1264 00:59:40,599 --> 00:59:42,733 - It's a good take, but the aftermath 1265 00:59:42,733 --> 00:59:44,567 is a bit anticlimactic. 1266 00:59:45,733 --> 00:59:47,799 Wardrobe misses, Rosemary Burrows, 1267 00:59:47,799 --> 00:59:49,899 cleans off Dracula's shoes and cape 1268 00:59:49,899 --> 00:59:52,799 and Christopher Lee slips out of his wet clothes, 1269 00:59:52,799 --> 00:59:54,799 presumably into a dry martini. 1270 00:59:56,632 --> 00:59:59,100 But the ice thawed less than two years later. 1271 01:00:00,200 --> 01:00:02,100 You just can't keep your boy down. 1272 01:00:04,833 --> 01:00:09,833 - I know that on that one, Terry was definitely not fit, 1273 01:00:11,033 --> 01:00:11,966 so there was never any question than 1274 01:00:11,966 --> 01:00:13,233 to ask Terry to do it. 1275 01:00:13,233 --> 01:00:14,699 - Director Freddie Francis had been 1276 01:00:14,699 --> 01:00:17,833 an Oscar winning director of photography or DP. 1277 01:00:24,799 --> 01:00:27,266 - Then later when people like Freddie Francis, 1278 01:00:27,266 --> 01:00:28,966 who was the DP, started to direct, 1279 01:00:30,200 --> 01:00:31,799 the pictures would go in for a little 1280 01:00:31,799 --> 01:00:33,766 bit more gimmicky visuals. 1281 01:00:33,766 --> 01:00:36,300 - Arthur Grant, he was a great fan of mine 1282 01:00:36,300 --> 01:00:37,599 when I was a camera man. 1283 01:00:37,599 --> 01:00:39,899 And, uh, I let him use 1284 01:00:41,100 --> 01:00:42,632 my filters from The Innocence for that 1285 01:00:42,632 --> 01:00:45,033 with the sort of graduating colors coming 1286 01:00:45,033 --> 01:00:46,567 in from the side. 1287 01:00:46,567 --> 01:00:48,666 - These amber filters visually indicated 1288 01:00:48,666 --> 01:00:49,533 an aura of evil. 1289 01:00:50,632 --> 01:00:51,799 - There is a girl. 1290 01:00:51,799 --> 01:00:52,866 - Maria? 1291 01:00:52,866 --> 01:00:54,599 - Bring her to me! 1292 01:00:55,666 --> 01:00:57,666 Irresistible to women. 1293 01:00:57,666 --> 01:00:59,833 Unstoppable by men. 1294 01:00:59,833 --> 01:01:01,100 - Christopher Lee. 1295 01:01:02,033 --> 01:01:03,632 Veronica Carlson. 1296 01:01:03,632 --> 01:01:06,033 Hammer's new star discovery, 1297 01:01:06,033 --> 01:01:08,632 Dracula's most beautiful victim. 1298 01:01:10,233 --> 01:01:11,899 - Well I used to skip classes at college 1299 01:01:11,899 --> 01:01:13,933 if I knew there was a new Dracula film out 1300 01:01:13,933 --> 01:01:15,600 or a new Frankenstein film out, 1301 01:01:15,600 --> 01:01:17,467 and they were always the Hammer films. 1302 01:01:17,467 --> 01:01:21,300 I don't think that I thought that I would ever be 1303 01:01:21,300 --> 01:01:22,632 up there with them. 1304 01:01:23,500 --> 01:01:26,467 But I yearned to be just that, 1305 01:01:26,467 --> 01:01:27,400 and I pretended. 1306 01:01:28,833 --> 01:01:31,766 - They lost a lot of what I'd hoped to get in it. 1307 01:01:31,766 --> 01:01:34,433 I wanted to accentuate the romantic interest 1308 01:01:34,433 --> 01:01:35,966 between the boy and the girl. 1309 01:01:35,966 --> 01:01:38,066 And which I did do in the shooting. 1310 01:01:38,066 --> 01:01:40,467 But, um, as I say, 1311 01:01:40,467 --> 01:01:42,632 once we'd finished shooting, the film is put 1312 01:01:42,632 --> 01:01:44,400 in the mincing machine and wound up. 1313 01:01:44,400 --> 01:01:45,866 I went away for a week's holiday 1314 01:01:45,866 --> 01:01:48,266 and when I came back, they'd finished editing it. 1315 01:01:48,266 --> 01:01:49,300 The film was probably due out in about 1316 01:01:49,300 --> 01:01:50,567 another two weeks anyway. 1317 01:02:05,999 --> 01:02:08,600 - Very tall, very aristocratic. 1318 01:02:08,600 --> 01:02:10,833 Beautiful operatic voice. 1319 01:02:10,833 --> 01:02:12,899 I think he is the epitome of Dracula. 1320 01:02:13,766 --> 01:02:15,166 It was a dream come true. 1321 01:02:16,533 --> 01:02:17,766 - The American distributor 1322 01:02:17,766 --> 01:02:20,166 came up with a silly, effective ad catch line, 1323 01:02:20,166 --> 01:02:22,699 "Boy, does he give a hickie." 1324 01:02:22,699 --> 01:02:25,999 - The big difference that those pictures had at the time 1325 01:02:25,999 --> 01:02:28,467 from American pictures was they were not just gorier, 1326 01:02:28,467 --> 01:02:29,833 because the gore, if you look back at them, 1327 01:02:29,833 --> 01:02:31,333 was actually kind of tame. 1328 01:02:31,333 --> 01:02:33,266 Although at the time, it was a bit more than people 1329 01:02:33,266 --> 01:02:35,600 were used to, but it's mainly the sex. 1330 01:02:35,600 --> 01:02:37,933 The parade of buxom, British starlets, 1331 01:02:37,933 --> 01:02:40,833 closeups, alleged closeups on medallions that are really, 1332 01:02:40,833 --> 01:02:42,433 you know, huge buxom shots. 1333 01:02:44,367 --> 01:02:48,100 These myths have a certain built in Freudian fascination 1334 01:02:48,100 --> 01:02:50,699 that never really goes away. 1335 01:02:51,966 --> 01:02:55,033 - You're talking about the driving of a stake. 1336 01:02:55,033 --> 01:02:56,733 I don't, 1337 01:02:56,733 --> 01:02:58,899 if you like to look at it that way it is, 1338 01:02:58,899 --> 01:03:01,899 but I don't think that's all it meant. 1339 01:03:01,899 --> 01:03:04,333 But no, the reason they're staking in Dracula 1340 01:03:04,333 --> 01:03:05,533 is to get rid of him. 1341 01:03:05,533 --> 01:03:07,166 - And they nearly did. 1342 01:03:07,166 --> 01:03:10,766 To save money, accountant Brian Lawrence suggested 1343 01:03:10,766 --> 01:03:14,233 that Dracula film in name only, 1344 01:03:14,233 --> 01:03:16,600 but the American distributor insisted that the 1345 01:03:16,600 --> 01:03:18,766 title character actually appear. 1346 01:03:20,033 --> 01:03:22,933 So James Carreras pleaded with me, 1347 01:03:22,933 --> 01:03:26,733 saying that I would throw the entire crew out of work 1348 01:03:26,733 --> 01:03:28,133 if I didn't appear. 1349 01:03:28,133 --> 01:03:30,467 So, of course, I accepted. 1350 01:03:30,467 --> 01:03:31,300 Alice. 1351 01:03:33,033 --> 01:03:34,600 - Who are you? 1352 01:03:34,600 --> 01:03:35,799 How do you know my name? 1353 01:03:36,999 --> 01:03:38,166 - But they now had to fit 1354 01:03:38,166 --> 01:03:39,833 the character into the script, 1355 01:03:39,833 --> 01:03:41,966 so I was only required to pop up from 1356 01:03:41,966 --> 01:03:45,066 the occasional dark corner and do very little acting. 1357 01:03:45,066 --> 01:03:46,500 Now. 1358 01:03:46,500 --> 01:03:48,966 - Secure enough to spoof his image, Christopher Lee 1359 01:03:48,966 --> 01:03:51,133 appeared in The Magic Christian, 1360 01:03:51,133 --> 01:03:53,733 the first of four films with Raquel Welch. 1361 01:03:53,733 --> 01:03:55,933 - And Christopher and I became good friends also 1362 01:03:55,933 --> 01:03:58,733 at one point when I was living in London. 1363 01:03:58,733 --> 01:04:01,400 He and his wife, Birgit, they were very nice people. 1364 01:04:01,400 --> 01:04:04,833 He was quite an elegant and quite a sensual Dracula. 1365 01:04:04,833 --> 01:04:06,600 I thought that was just an act and, 1366 01:04:07,799 --> 01:04:09,899 he was quite like Dracula actually. 1367 01:04:09,899 --> 01:04:11,166 Christopher. 1368 01:04:11,166 --> 01:04:13,500 - Within a year, Hammer ground out 1369 01:04:13,500 --> 01:04:14,799 another sequel. 1370 01:04:16,200 --> 01:04:18,799 - What I was trying to incorporate is the element 1371 01:04:18,799 --> 01:04:22,866 of magic, the mystery, the touch of the supernatural. 1372 01:04:22,866 --> 01:04:24,799 It was one thing that nobody had ever done, 1373 01:04:24,799 --> 01:04:29,699 which was when the hero, Jonathan Harker, 1374 01:04:29,699 --> 01:04:31,433 as it is in the book, he looks out of his window 1375 01:04:31,433 --> 01:04:36,433 and he sees Dracula climb out of a window of the castle. 1376 01:04:40,733 --> 01:04:42,300 It has a certain amount of opposition because it was going 1377 01:04:42,300 --> 01:04:46,033 to cost money to build a special set for this. 1378 01:04:47,033 --> 01:04:49,033 But at any rate, we did. 1379 01:04:49,033 --> 01:04:52,433 When Christopher Lee has to pick up the girl 1380 01:04:52,433 --> 01:04:55,467 and carry her from one room to another, whatever, 1381 01:04:55,467 --> 01:04:58,166 he said to me, "Well I can carry her, but, 1382 01:04:58,166 --> 01:05:00,133 "how am I going to open the door?" 1383 01:05:01,500 --> 01:05:04,266 And I said, "Count Dracula doesn't open doors. 1384 01:05:04,266 --> 01:05:05,899 "The door opens for him. 1385 01:05:05,899 --> 01:05:09,233 "He goes through, and the door closes behind him." 1386 01:05:09,233 --> 01:05:11,733 They got them all in supermarkets now, 1387 01:05:11,733 --> 01:05:12,933 exactly the same thing. 1388 01:05:12,933 --> 01:05:14,866 - But this one barely received 1389 01:05:14,866 --> 01:05:16,367 American release. 1390 01:05:16,367 --> 01:05:18,300 - The blood line is getting thin so Hammer 1391 01:05:18,300 --> 01:05:21,367 tried a transfusion in a new vein. 1392 01:05:21,367 --> 01:05:23,200 - I think it came from a distributor. 1393 01:05:23,200 --> 01:05:26,066 I think it was partly accepted by us eagerly 1394 01:05:26,066 --> 01:05:27,333 as a change of scene. 1395 01:05:27,333 --> 01:05:28,799 It didn't work. 1396 01:05:28,799 --> 01:05:30,467 It was a mistake. 1397 01:05:30,467 --> 01:05:31,899 - The late Canadian director, 1398 01:05:31,899 --> 01:05:34,833 Alan Gibson, put us all through our paces. 1399 01:05:35,799 --> 01:05:38,066 Vampirism went mod. 1400 01:05:43,632 --> 01:05:47,033 - That was the first time I think in my short career 1401 01:05:47,033 --> 01:05:49,666 at that time that I realized I actually did 1402 01:05:49,666 --> 01:05:52,066 want to act, this was really it, 1403 01:05:52,066 --> 01:05:54,400 because I believed in what I was doing. 1404 01:05:54,400 --> 01:05:58,133 - Something new, yet as old as time. 1405 01:05:58,133 --> 01:05:59,766 - Come on Johnny. 1406 01:05:59,766 --> 01:06:01,766 - A date with the Devil. 1407 01:06:03,033 --> 01:06:04,567 - I was Dracula's disciple. 1408 01:06:04,567 --> 01:06:08,467 I was 22 and I enjoyed it, enormously. 1409 01:06:08,467 --> 01:06:09,899 He was absolutely the part, you know, 1410 01:06:09,899 --> 01:06:11,866 and you couldn't imagine anyone being 1411 01:06:11,866 --> 01:06:14,533 better than him, or being more impressive than him. 1412 01:06:14,533 --> 01:06:15,966 I summoned you! 1413 01:06:16,799 --> 01:06:18,266 - It was my will. 1414 01:06:18,266 --> 01:06:19,500 - Just his presence alone helped you, 1415 01:06:19,500 --> 01:06:20,933 you know what I mean? 1416 01:06:20,933 --> 01:06:22,999 - One bright spot was the return 1417 01:06:22,999 --> 01:06:25,200 of Peter Cushing as the descendant of 1418 01:06:25,200 --> 01:06:26,533 Dr. Van Helsing. 1419 01:06:26,533 --> 01:06:27,799 - He was delightful. 1420 01:06:27,799 --> 01:06:30,966 He was very tough and very, very fit 1421 01:06:30,966 --> 01:06:32,266 for a man of his age. 1422 01:06:32,266 --> 01:06:36,266 And I would do a lot of the stunts with him. 1423 01:06:36,266 --> 01:06:39,100 Grappling and so on and he was in very good shape, 1424 01:06:39,100 --> 01:06:40,567 and he did a lot of his own stunts. 1425 01:06:40,567 --> 01:06:42,733 I mean, falling off hay wagons and things like that. 1426 01:06:42,733 --> 01:06:43,799 An extraordinary man. 1427 01:06:50,999 --> 01:06:52,333 - You! 1428 01:06:52,333 --> 01:06:55,999 - Could be Dracula's next victim. 1429 01:06:58,433 --> 01:07:00,666 - Seriously, I am a fully fledged vampire because 1430 01:07:00,666 --> 01:07:03,500 we had this scene where I had to have Christopher Lee 1431 01:07:03,500 --> 01:07:07,333 sunk his fangs into me and he actually, 1432 01:07:07,333 --> 01:07:10,300 he got a little carried away and drew blood, so, 1433 01:07:10,300 --> 01:07:12,033 I am a fully fledge vampire 1434 01:07:12,033 --> 01:07:14,400 and that is one of my claims to fame 1435 01:07:14,400 --> 01:07:16,367 which I have on my resume. 1436 01:07:16,367 --> 01:07:19,166 - You don't have to act much because he is very frightening 1437 01:07:19,166 --> 01:07:20,733 when he has all his gear on. 1438 01:07:20,733 --> 01:07:23,467 His white face and his contact lenses. 1439 01:07:23,467 --> 01:07:24,300 No. 1440 01:07:25,733 --> 01:07:26,999 And he's very tall. 1441 01:07:26,999 --> 01:07:29,500 I'm not small, and he is very tall. 1442 01:07:30,666 --> 01:07:33,333 At that moment, I was being bitten by Dracula. 1443 01:07:33,333 --> 01:07:34,833 And I believed it. 1444 01:07:34,833 --> 01:07:37,100 - Christopher Lee had major reservations 1445 01:07:37,100 --> 01:07:37,933 with the story. 1446 01:07:39,300 --> 01:07:40,866 - I stopped making them in 1972 1447 01:07:40,866 --> 01:07:43,467 because in my opinion, the presentation of the character 1448 01:07:43,467 --> 01:07:45,632 had deteriorated to such an extent, 1449 01:07:45,632 --> 01:07:47,100 particularly bringing him into the 1450 01:07:47,100 --> 01:07:49,333 contemporary day and age, 1451 01:07:49,333 --> 01:07:51,666 that it really no longer had any meaning. 1452 01:07:53,033 --> 01:07:55,233 - Nevertheless, when the cameras rolled, 1453 01:07:55,233 --> 01:07:57,033 we both gave it everything we had. 1454 01:08:11,833 --> 01:08:15,266 Lee's final Dracula was out to destroy mankind 1455 01:08:15,266 --> 01:08:17,766 with a deadly virus, and deprive himself 1456 01:08:17,766 --> 01:08:19,500 of human victims. 1457 01:08:19,500 --> 01:08:21,166 A rather twisted death wish. 1458 01:08:26,066 --> 01:08:27,467 - Van Helsing. 1459 01:08:27,467 --> 01:08:30,866 I call upon you to witness 1460 01:08:32,266 --> 01:08:35,266 my supreme triumph. 1461 01:08:35,266 --> 01:08:37,666 You were living, and yet you were dead. 1462 01:08:37,666 --> 01:08:38,500 The undead. 1463 01:08:38,500 --> 01:08:39,333 You cannot die. 1464 01:08:40,833 --> 01:08:41,766 You must want to. 1465 01:08:41,766 --> 01:08:45,100 - You will all pray for death. 1466 01:08:49,266 --> 01:08:50,799 Release. 1467 01:08:50,799 --> 01:08:54,200 - And so you destroy every living soul on this Earth? 1468 01:08:54,200 --> 01:08:56,400 And are left with an empty world to command. 1469 01:08:57,632 --> 01:08:58,833 Is that what you want, 1470 01:08:58,833 --> 01:08:59,632 Count Dracula? 1471 01:09:00,866 --> 01:09:03,200 A last blaze of utter horror and violence? 1472 01:09:04,367 --> 01:09:07,600 The ghastly annihilation of an entire planet? 1473 01:09:07,600 --> 01:09:09,166 Is this your own death wish? 1474 01:09:14,733 --> 01:09:17,733 - My revenge went over centuries, 1475 01:09:17,733 --> 01:09:19,567 and it's just begun! 1476 01:09:19,567 --> 01:09:23,033 That was one of the few Bram Stoker lines that 1477 01:09:23,033 --> 01:09:24,733 managed to creep into the scripts. 1478 01:09:25,933 --> 01:09:28,632 This film finally wound up in America 1479 01:09:28,632 --> 01:09:30,533 years after it was made, 1480 01:09:30,533 --> 01:09:33,766 under a rather generic title. 1481 01:09:35,899 --> 01:09:38,367 - Count Dracula and His Vampire Bride. 1482 01:09:40,300 --> 01:09:43,400 - Other fine actors have since donned the cloak. 1483 01:09:43,400 --> 01:09:46,699 Frank Langella, Jack Palance, 1484 01:09:46,699 --> 01:09:49,500 Louis Jordan, George Hamilton, 1485 01:09:49,500 --> 01:09:51,433 and Gary Oldman. 1486 01:09:51,433 --> 01:09:54,367 But Hammer's Dracula seems to live eternally 1487 01:09:56,266 --> 01:09:58,966 in the memories of those who experienced him. 1488 01:09:58,966 --> 01:10:02,333 - I am Dracula, and I welcome you to my house. 1489 01:10:10,166 --> 01:10:12,899 - The growing facility at Bray Studios 1490 01:10:12,899 --> 01:10:16,766 reflected the company's expanding horizons. 1491 01:10:16,766 --> 01:10:19,300 - And we all lived through the times when the first stage 1492 01:10:19,300 --> 01:10:20,500 went up. 1493 01:10:20,500 --> 01:10:22,433 There was never a stage when I went there. 1494 01:10:22,433 --> 01:10:24,333 And then a second stage went up. 1495 01:10:24,333 --> 01:10:26,733 The field where we shot Quatermass 1496 01:10:26,733 --> 01:10:28,600 with the rocket coming down and the tree 1497 01:10:28,600 --> 01:10:30,567 and all the fire engines, 1498 01:10:30,567 --> 01:10:32,733 they finally built a stage on that, too, 1499 01:10:32,733 --> 01:10:35,533 and everything, so all our stuff there went. 1500 01:10:35,533 --> 01:10:38,500 - This macabre world peaked over 1501 01:10:38,500 --> 01:10:39,866 the studio fence. 1502 01:10:41,266 --> 01:10:43,799 - In those days the filmmakers still actually 1503 01:10:43,799 --> 01:10:46,733 knew how to make films, and not deals. 1504 01:10:46,733 --> 01:10:48,600 - We had six weeks to make the movies. 1505 01:10:48,600 --> 01:10:51,166 - I think it got to the end of the six weeks, 1506 01:10:51,166 --> 01:10:52,699 the movie was really young, 1507 01:10:52,699 --> 01:10:54,000 still had about three days work to do on the movie. 1508 01:10:54,000 --> 01:10:55,799 And they'd say, "No sorry, cut your film 1509 01:10:55,799 --> 01:10:57,367 "to whatever you've got." 1510 01:10:57,367 --> 01:11:01,033 And, um, I think it suffered a little bit from the cuts. 1511 01:11:01,033 --> 01:11:03,266 - Well we just had to do it in the time 1512 01:11:03,266 --> 01:11:04,533 that was allotted. 1513 01:11:04,533 --> 01:11:06,367 And it was never enough. 1514 01:11:06,367 --> 01:11:07,433 - After we'd been making it for a while, 1515 01:11:07,433 --> 01:11:08,999 I was asked if we can cut down, 1516 01:11:08,999 --> 01:11:09,999 make it a bit cheaper. 1517 01:11:09,999 --> 01:11:11,533 I was always being asked that. 1518 01:11:11,533 --> 01:11:12,799 - The ready reckoner. 1519 01:11:12,799 --> 01:11:14,632 If you've got a ready reckoner in your mind, 1520 01:11:14,632 --> 01:11:17,899 that takes over and you know exactly which line to take. 1521 01:11:17,899 --> 01:11:21,367 - Jimmy Carreras somehow or other managed 1522 01:11:21,367 --> 01:11:25,033 to create a sense of family in the company 1523 01:11:25,033 --> 01:11:28,966 and amongst the company of actors, 1524 01:11:28,966 --> 01:11:31,133 technicians, and so on, who all worked over 1525 01:11:31,133 --> 01:11:32,766 and over again on Hammer films. 1526 01:11:32,766 --> 01:11:33,600 - Constructions. 1527 01:11:33,600 --> 01:11:35,333 85%. 1528 01:11:35,333 --> 01:11:37,233 Dialogue's not important. 1529 01:11:37,233 --> 01:11:38,632 The actors are gonna change, 1530 01:11:38,632 --> 01:11:39,533 the actors and the director are gonna change 1531 01:11:39,533 --> 01:11:40,999 the dialogue anyway. 1532 01:11:40,999 --> 01:11:43,500 - We would bring the films in on budget and on schedule, 1533 01:11:43,500 --> 01:11:44,733 and deliver them. 1534 01:11:44,733 --> 01:11:46,200 The Americans were really only interested 1535 01:11:46,200 --> 01:11:48,133 in delivery dates because once they put it on 1536 01:11:48,133 --> 01:11:49,966 a piece of paper, it was gospel. 1537 01:11:49,966 --> 01:11:52,233 - If any of us could get any artistic points in, 1538 01:11:52,233 --> 01:11:55,833 we could, but the whole overall operation was a 1539 01:11:55,833 --> 01:11:59,467 sort of business, financial situation. 1540 01:11:59,467 --> 01:12:02,166 - I mean, in '74, Hammer did 10 movies in one year. 1541 01:12:02,166 --> 01:12:04,632 And these days, a major studio can't do that. 1542 01:12:04,632 --> 01:12:06,632 - Well I have to say that yes, they didn't like 1543 01:12:06,632 --> 01:12:08,533 spending too much money. 1544 01:12:08,533 --> 01:12:11,833 - I was earning me wages, basically. 1545 01:12:11,833 --> 01:12:14,200 - I thought the stars were behind the camera 1546 01:12:14,200 --> 01:12:15,632 more than in front of it. 1547 01:12:15,632 --> 01:12:18,799 - Tony Hinds who was really the head of production 1548 01:12:18,799 --> 01:12:20,400 at any rate at Hammer. 1549 01:12:20,400 --> 01:12:24,600 - He was a very shy man that didn't get involved in films 1550 01:12:24,600 --> 01:12:25,799 on the floor. 1551 01:12:25,799 --> 01:12:27,300 He was a real behind the scenes guy. 1552 01:12:27,300 --> 01:12:29,233 - Tony was the master at it. 1553 01:12:29,233 --> 01:12:30,467 I mean, he had Terry there. 1554 01:12:30,467 --> 01:12:32,500 I mean, why interfere with a winning formula? 1555 01:12:32,500 --> 01:12:35,733 - Tony would never complain if one altered 1556 01:12:35,733 --> 01:12:37,467 a little bit here or there. 1557 01:12:37,467 --> 01:12:40,066 - We did a bit on location, 1558 01:12:40,066 --> 01:12:41,799 and a lot in the studio. 1559 01:12:41,799 --> 01:12:44,000 - We started with one of the exclusive films, 1560 01:12:44,000 --> 01:12:45,866 and they used to send me a script and say, 1561 01:12:45,866 --> 01:12:47,666 "Andrew, what can you do with this?" 1562 01:12:49,100 --> 01:12:50,400 It was like being in ramp. 1563 01:12:50,400 --> 01:12:53,100 - We were all a wonderful team, really. 1564 01:12:54,433 --> 01:12:58,066 - I was ready and they buried me up to my neck, 1565 01:12:58,066 --> 01:13:00,433 and it was getting on for lunch time, 1566 01:13:00,433 --> 01:13:02,033 so they said, "Right. 1567 01:13:02,033 --> 01:13:03,966 "We'll come and shoot the scene after lunch." 1568 01:13:03,966 --> 01:13:05,433 So there I was left. 1569 01:13:05,433 --> 01:13:10,166 - And I enjoyed working at Bray so much, 1570 01:13:10,166 --> 01:13:12,367 they asked me to do another film, and another film, 1571 01:13:12,367 --> 01:13:13,766 and another film, and the next thing I knew, 1572 01:13:13,766 --> 01:13:15,333 I was something I didn't want to be, 1573 01:13:15,333 --> 01:13:17,266 I was a horror film director. 1574 01:13:17,266 --> 01:13:20,400 - 11 or 12 years old, and into my teenage, 1575 01:13:20,400 --> 01:13:22,632 went with groups of friends to see certain films. 1576 01:13:22,632 --> 01:13:26,000 If we saw the logo of Hammer films, we knew that 1577 01:13:26,000 --> 01:13:27,266 it was a very special picture, 1578 01:13:27,266 --> 01:13:29,333 and we knew that it was a certain kind of film. 1579 01:13:30,400 --> 01:13:32,533 A surprising experience, usually, and uh, 1580 01:13:33,966 --> 01:13:35,066 shocking. 1581 01:13:35,066 --> 01:13:36,733 - The art direction, of course, 1582 01:13:36,733 --> 01:13:38,066 was absolutely superb. 1583 01:13:38,066 --> 01:13:40,133 - Bernard Robinson, an art director for 1584 01:13:40,133 --> 01:13:43,533 certainly all the original horror films. 1585 01:13:43,533 --> 01:13:46,333 Very, very clever man in making a lot 1586 01:13:46,333 --> 01:13:47,500 out of not very much. 1587 01:13:47,500 --> 01:13:49,666 - They had an excellent team, and they got 1588 01:13:49,666 --> 01:13:53,733 marvelous sound from this comparatively small orchestra. 1589 01:13:53,733 --> 01:13:56,533 - We never went over budget or over schedule. 1590 01:13:56,533 --> 01:13:59,266 - There were many times where I didn't finish a score, 1591 01:13:59,266 --> 01:14:02,733 until maybe the morning of a recording. 1592 01:14:02,733 --> 01:14:05,433 - And we delivered them, so we delivered the goods. 1593 01:14:05,433 --> 01:14:06,966 - They made films in all sort of genres. 1594 01:14:06,966 --> 01:14:08,699 They made war pictures and, you know, 1595 01:14:08,699 --> 01:14:10,666 program movies. 1596 01:14:10,666 --> 01:14:13,200 - We took a few more chances, perhaps, 1597 01:14:13,200 --> 01:14:16,433 but the structure, the family feeling, the flavor, 1598 01:14:16,433 --> 01:14:21,433 the units, the directors, remained very much the same. 1599 01:14:22,632 --> 01:14:24,500 - Listen to the themes of James Bernard, 1600 01:14:24,500 --> 01:14:27,533 and you can hear the citadels of the film's titles. 1601 01:14:39,133 --> 01:14:41,600 - She who must be obeyed. 1602 01:14:50,533 --> 01:14:52,066 - Technically the pictures were very good. 1603 01:14:52,066 --> 01:14:53,300 You know, Jack Asher's camera work 1604 01:14:53,300 --> 01:14:56,200 and the James Bernard scores were exceptional. 1605 01:14:56,200 --> 01:14:58,166 They seemed to be doomed to do the same thing 1606 01:14:58,166 --> 01:14:59,333 and just have to keep repeating themselves 1607 01:14:59,333 --> 01:15:00,300 over and over. 1608 01:15:00,300 --> 01:15:01,400 - Bernie Robinson. 1609 01:15:01,400 --> 01:15:02,632 Brilliant. 1610 01:15:02,632 --> 01:15:05,666 An awful lot of what we got away with, 1611 01:15:05,666 --> 01:15:08,000 and I can actually say got away with, 1612 01:15:08,000 --> 01:15:09,699 was due to Bernie. 1613 01:15:09,699 --> 01:15:11,567 In Yesterday's Enemy, 1614 01:15:11,567 --> 01:15:14,166 it was the Burma war. 1615 01:15:14,166 --> 01:15:17,866 Bernie did revolving jungles, that they used. 1616 01:15:17,866 --> 01:15:20,500 Lord Louis Mountbatten, who was president of the 1617 01:15:20,500 --> 01:15:24,433 Burma Star Association, sat next to me at the premiere, 1618 01:15:24,433 --> 01:15:26,567 and during the picture he said, "I know that place. 1619 01:15:26,567 --> 01:15:27,933 "Now where did you shoot that? 1620 01:15:27,933 --> 01:15:29,433 "I know that place." 1621 01:15:29,433 --> 01:15:32,533 I hadn't the heart to say on stage three at Shepperton. 1622 01:15:33,799 --> 01:15:35,533 And then they had a set there which was 1623 01:15:35,533 --> 01:15:37,899 a ruraltarian village which was 1624 01:15:37,899 --> 01:15:39,333 a stand by set they kept the whole time, 1625 01:15:39,333 --> 01:15:41,699 and had to keep repairing it. 1626 01:15:41,699 --> 01:15:44,833 - Suitably redressed, this ruraltarian village 1627 01:15:44,833 --> 01:15:46,632 became Parisian back streets, 1628 01:15:46,632 --> 01:15:48,266 alleys of Victorian London, 1629 01:15:48,266 --> 01:15:49,733 or the docks of Hong Kong. 1630 01:16:06,866 --> 01:16:09,266 - Have you ever had your bones scraped, Captain? 1631 01:16:10,600 --> 01:16:13,833 It is painful and extreme, I can assure you. 1632 01:16:13,833 --> 01:16:16,200 - You have sinned against the goddess Kali. 1633 01:16:16,200 --> 01:16:20,133 Those that sin against Kali must suffer the pain 1634 01:16:20,133 --> 01:16:22,433 of never looking upon her face again. 1635 01:16:22,433 --> 01:16:25,533 - The incredible truth about India's thuggees, 1636 01:16:25,533 --> 01:16:27,600 the butchers of Bombay. 1637 01:16:27,600 --> 01:16:29,400 Deadlier than their native cobras. 1638 01:16:33,400 --> 01:16:36,333 - For the 1959 remake of The Mummy, 1639 01:16:36,333 --> 01:16:37,933 Bernard Robinson's art department 1640 01:16:37,933 --> 01:16:40,833 and construction crew recreated the tombs of 1641 01:16:40,833 --> 01:16:41,733 Ancient Egypt. 1642 01:16:51,766 --> 01:16:53,100 - It was a very good movie. 1643 01:16:53,100 --> 01:16:54,333 Looked absolutely wonderful. 1644 01:16:54,333 --> 01:16:56,166 It looked like a multi million dollar film. 1645 01:16:56,166 --> 01:17:00,467 You know, the real stars of Hammer, in my opinion, were 1646 01:17:00,467 --> 01:17:03,133 people like Bernard Robinson, the art director. 1647 01:17:10,066 --> 01:17:11,400 - Help! 1648 01:17:20,266 --> 01:17:23,699 - He who robs the graves of Egypt, dies. 1649 01:17:23,699 --> 01:17:26,433 - Pre-production art puzzled me. 1650 01:17:26,433 --> 01:17:29,033 I saw a poster of The Mummy striding through the 1651 01:17:29,033 --> 01:17:31,632 countryside and a light shining through his body 1652 01:17:31,632 --> 01:17:34,233 as though he had a car headlamp or something. 1653 01:17:34,233 --> 01:17:35,300 Now I said to Terry Fisher, 1654 01:17:35,300 --> 01:17:37,500 "We mustn't cheat the audience. 1655 01:17:37,500 --> 01:17:40,233 "Could I take the harpoon in the study 1656 01:17:40,233 --> 01:17:42,733 "and run it right through old Christopher, 1657 01:17:42,733 --> 01:17:46,567 "and he can just break it off and carry on regardless?" 1658 01:18:00,166 --> 01:18:01,367 - No! 1659 01:18:01,367 --> 01:18:03,433 - But it did enable me with movement 1660 01:18:03,433 --> 01:18:05,300 and with the eyes and the thought in the eyes, 1661 01:18:05,300 --> 01:18:06,933 to create a character. 1662 01:18:06,933 --> 01:18:08,733 The movement is terribly important. 1663 01:18:08,733 --> 01:18:11,166 I reach out a hand. 1664 01:18:11,166 --> 01:18:13,766 When you reach out a hand, is it to take somebody, 1665 01:18:13,766 --> 01:18:16,300 or is, you know, 1666 01:18:16,300 --> 01:18:18,666 because you're desperately seeking help? 1667 01:18:18,666 --> 01:18:21,166 - Tony didn't think The Mummy was serious enough. 1668 01:18:21,166 --> 01:18:23,799 And then by this time, he's now steeped in the 1669 01:18:23,799 --> 01:18:25,333 true gothics, and it's quite true. 1670 01:18:25,333 --> 01:18:28,033 The Mummy is a little more colorful 1671 01:18:28,033 --> 01:18:30,133 and a little bit more adventurous. 1672 01:18:30,133 --> 01:18:31,400 I liked doing it. 1673 01:18:31,400 --> 01:18:33,300 In fact the only horror films I ever personally 1674 01:18:33,300 --> 01:18:34,999 made were the two Mummies, if not three, 1675 01:18:34,999 --> 01:18:36,400 I can't remember. 1676 01:18:36,400 --> 01:18:37,899 I enjoy directing of course, yes. 1677 01:18:37,899 --> 01:18:40,799 I mean, I don't know anybody who wouldn't enjoy directing. 1678 01:19:21,033 --> 01:19:22,400 - How did he die, man? 1679 01:19:23,799 --> 01:19:26,166 - Dr. Pepper signed the certificate natural causes. 1680 01:19:27,933 --> 01:19:29,100 I should have thought by the look 1681 01:19:29,100 --> 01:19:30,933 of the poor fellow that he died of fright. 1682 01:19:30,933 --> 01:19:33,266 - Starring Peter Cushing as the person 1683 01:19:33,266 --> 01:19:36,699 who knew every secret of the night creatures. 1684 01:19:54,899 --> 01:19:57,467 - Kenneth Hyman, son of Hammer's silent partner, 1685 01:19:57,467 --> 01:19:59,333 and later head of Warner Brothers, 1686 01:19:59,333 --> 01:20:02,066 proposed a Sherlock Holmes series to begin 1687 01:20:02,066 --> 01:20:03,632 with The Hound of the Baskervilles. 1688 01:20:06,500 --> 01:20:07,933 - Some revolting sacrificial right 1689 01:20:07,933 --> 01:20:09,433 has been befalled. 1690 01:20:11,467 --> 01:20:13,866 The depths a human being can sink to. 1691 01:20:13,866 --> 01:20:15,866 - What human being could have done this? 1692 01:20:17,699 --> 01:20:20,000 - That is precisely what I intend to find out. 1693 01:20:21,200 --> 01:20:23,133 - How can you be so certain that somebody 1694 01:20:23,133 --> 01:20:25,666 took one of the bishop's spiders and deliberately 1695 01:20:25,666 --> 01:20:27,333 placed it in Sir Henry's room? 1696 01:20:27,333 --> 01:20:28,533 But it wasn't in the luggage he brought 1697 01:20:28,533 --> 01:20:29,666 from South Africa. 1698 01:20:29,666 --> 01:20:31,367 - Elementary, my dear Watson. 1699 01:20:31,367 --> 01:20:33,966 There are no tarantulas in South Africa. 1700 01:20:33,966 --> 01:20:34,899 - What do you want me to do? 1701 01:20:34,899 --> 01:20:36,866 - Identify anything I may find. 1702 01:20:36,866 --> 01:20:39,333 Strange things are to be found on the moor. 1703 01:20:39,333 --> 01:20:41,300 Like this, for instance! 1704 01:20:43,632 --> 01:20:45,100 - The bad guys. 1705 01:20:45,100 --> 01:20:46,766 In fact, after doing The Curse of Frankenstein, 1706 01:20:46,766 --> 01:20:49,799 the next part I played was the romantic lead, 1707 01:20:49,799 --> 01:20:52,766 Sir Henry Baskerville in the Hunt of the Baskervilles. 1708 01:20:52,766 --> 01:20:54,033 That was before I did Dracula, 1709 01:20:54,033 --> 01:20:55,533 I think I'm right in saying this. 1710 01:20:55,533 --> 01:20:58,033 I'm sure if I'm wrong, I'll be instantly corrected. 1711 01:21:01,567 --> 01:21:02,400 - Swine. 1712 01:21:03,600 --> 01:21:05,333 You thought it was going to be easy, didn't you? 1713 01:21:05,333 --> 01:21:07,033 Didn't you? 1714 01:21:07,033 --> 01:21:10,433 You won't be the first of your family who thought that. 1715 01:21:10,433 --> 01:21:13,200 And you won't be the first to die because of it. 1716 01:21:13,200 --> 01:21:16,266 - Alas, Holmes did not inspire a string of sequels, 1717 01:21:16,266 --> 01:21:18,899 like Dracula or Frankenstein. 1718 01:21:18,899 --> 01:21:20,100 - Which way? 1719 01:21:20,100 --> 01:21:21,833 For heaven's sake, which way? 1720 01:21:21,833 --> 01:21:24,433 - Playwright Wolf Mankowitz received double 1721 01:21:24,433 --> 01:21:27,333 Hammer's usual salary for this Freudian twist 1722 01:21:27,333 --> 01:21:28,567 on Dr. Jekyll. 1723 01:21:28,567 --> 01:21:31,233 - For God's sake, man, don't kill him. 1724 01:21:31,233 --> 01:21:33,367 - Let me alone, Jekyll. 1725 01:21:33,367 --> 01:21:34,533 Let me alone. 1726 01:21:34,533 --> 01:21:35,733 - Jekyll? 1727 01:21:35,733 --> 01:21:37,433 - I deserve nothing better than you. 1728 01:21:38,933 --> 01:21:41,567 - Desire drove her to deception. 1729 01:21:44,100 --> 01:21:46,433 Jealousy drove him to madness. 1730 01:21:46,433 --> 01:21:48,300 - Will we ever know who we really are? 1731 01:21:50,467 --> 01:21:51,833 Who are you, Kitty? 1732 01:21:51,833 --> 01:21:53,933 - The fascinating new Dr. Jekyll. 1733 01:21:54,966 --> 01:21:56,166 - Who are you? 1734 01:21:56,166 --> 01:21:58,433 - A terrifying new Mr. Hyde. 1735 01:21:58,433 --> 01:22:00,699 - Where is Henry? 1736 01:22:00,699 --> 01:22:01,933 - Good evening. 1737 01:22:01,933 --> 01:22:03,367 Your husband is here. 1738 01:22:03,367 --> 01:22:05,699 - But audiences didn't warm to the film, 1739 01:22:05,699 --> 01:22:08,200 nor to the handsome Mr. Hyde. 1740 01:22:08,200 --> 01:22:10,633 The picture was a financial failure, 1741 01:22:10,633 --> 01:22:12,367 under several titles. 1742 01:22:15,367 --> 01:22:18,567 - At that time, we actually were doing, in my opinion, 1743 01:22:18,567 --> 01:22:21,100 some of the best films we ever made. 1744 01:22:21,100 --> 01:22:23,933 Hell Is a City, one of the first and the strongest 1745 01:22:23,933 --> 01:22:25,699 of the police type of drama. 1746 01:22:25,699 --> 01:22:27,633 I mean, the fore runner of all the things that 1747 01:22:27,633 --> 01:22:29,699 eventually came out on television, 1748 01:22:29,699 --> 01:22:32,233 and very much the American police type drama. 1749 01:22:38,266 --> 01:22:39,467 - I want children, Julia. 1750 01:22:39,467 --> 01:22:40,999 - Oh no, don't start all that again. 1751 01:22:40,999 --> 01:22:42,966 - Look, Julia, we're both still plenty young enough. 1752 01:22:42,966 --> 01:22:44,100 We could have some fine kids. 1753 01:22:44,100 --> 01:22:46,033 Your life wouldn't be so empty. 1754 01:22:55,033 --> 01:22:57,166 - Factual, you know, shot on the streets. 1755 01:22:57,166 --> 01:22:58,300 Val Guest directed. 1756 01:22:59,500 --> 01:23:01,666 I did a war story, a very strong story, 1757 01:23:01,666 --> 01:23:04,666 about war crimes and how a crime is a crime when 1758 01:23:04,666 --> 01:23:06,433 it's done by the enemy, but when it's done 1759 01:23:06,433 --> 01:23:09,467 by your own troops, it's supposedly, you know, 1760 01:23:09,467 --> 01:23:11,133 you had to do it, but to survive. 1761 01:23:12,500 --> 01:23:14,467 - You won't understand what I'm saying. 1762 01:23:15,633 --> 01:23:17,133 It doesn't really matter anymore. 1763 01:23:18,233 --> 01:23:21,233 Two days ago, I had a wife. 1764 01:23:22,733 --> 01:23:24,699 A wife I loved very dearly. 1765 01:23:24,699 --> 01:23:26,266 You murdered her. 1766 01:23:26,266 --> 01:23:28,100 I still have a five-year-old son. 1767 01:23:29,500 --> 01:23:32,066 My last prayer is that he will live long enough 1768 01:23:32,066 --> 01:23:35,467 to forget your vile, inhuman... 1769 01:23:38,467 --> 01:23:39,433 - Holy cow. 1770 01:23:42,999 --> 01:23:45,066 - And then Tony found The Pony Cart, 1771 01:23:45,066 --> 01:23:47,699 which I think was a play if I'm not mistaken, 1772 01:23:47,699 --> 01:23:51,500 and turned it into a very strong film, a warning, 1773 01:23:51,500 --> 01:23:53,799 never take sweets from a stranger. 1774 01:24:21,367 --> 01:24:22,766 - That's right, that was the only film 1775 01:24:22,766 --> 01:24:24,766 I photographed for them, yes. 1776 01:24:24,766 --> 01:24:26,467 Which I thought was a very good film. 1777 01:24:26,467 --> 01:24:28,233 I think that's the trouble if you have a sort of 1778 01:24:28,233 --> 01:24:31,666 a trademark like Hammer, you have to keep producing 1779 01:24:31,666 --> 01:24:32,933 the same films. 1780 01:24:32,933 --> 01:24:34,233 - Don't put that little girl of yours 1781 01:24:34,233 --> 01:24:36,066 on the stand to testify against my father. 1782 01:24:36,066 --> 01:24:36,999 Now don't do that. 1783 01:24:36,999 --> 01:24:38,166 - Get out of here. 1784 01:24:38,166 --> 01:24:39,133 - They'll tear her apart, and they'll do it 1785 01:24:39,133 --> 01:24:40,433 on my instructions! 1786 01:24:40,433 --> 01:24:42,100 - Well maybe she had something on. 1787 01:24:42,100 --> 01:24:43,300 - Maybe you had something on. 1788 01:24:43,300 --> 01:24:44,567 - I didn't, I didn't! 1789 01:24:44,567 --> 01:24:47,533 - Maybe you were fully dressed the whole time 1790 01:24:47,533 --> 01:24:50,600 and this whole outrageous story of Mr. Olderberry 1791 01:24:50,600 --> 01:24:52,899 making you undress is a lie. 1792 01:24:52,899 --> 01:24:54,467 - It isn't, he did. 1793 01:24:54,467 --> 01:24:55,400 I like dance. 1794 01:24:55,400 --> 01:24:56,933 - With nothing on? 1795 01:24:56,933 --> 01:24:57,966 - Sometimes. 1796 01:24:57,966 --> 01:24:59,533 - Do you do it often? 1797 01:24:59,533 --> 01:25:01,100 - Sometimes after my bath. 1798 01:25:01,100 --> 01:25:02,799 - In front of other people? 1799 01:25:02,799 --> 01:25:03,633 - For daddy and-- 1800 01:25:03,633 --> 01:25:04,866 - Oh. 1801 01:25:04,866 --> 01:25:08,033 So your daddy likes to see you dance naked? 1802 01:25:08,033 --> 01:25:09,266 - Yes. 1803 01:25:09,266 --> 01:25:11,533 - Well, what a very unusual household. 1804 01:25:11,533 --> 01:25:12,766 - Your honor, I object... 1805 01:25:12,766 --> 01:25:14,899 - The problem there was that the critics never 1806 01:25:14,899 --> 01:25:16,367 forgave us for being successful. 1807 01:25:16,367 --> 01:25:18,699 There's no doubt about that and, 1808 01:25:18,699 --> 01:25:22,666 when they saw this film, which was serious, 1809 01:25:22,666 --> 01:25:25,633 they accused us of really trying to capitalize 1810 01:25:25,633 --> 01:25:27,266 on the elements. 1811 01:25:27,266 --> 01:25:30,500 It was a very, very wrong criticism, in my opinion, 1812 01:25:30,500 --> 01:25:32,200 and it was started by a couple of critics 1813 01:25:32,200 --> 01:25:34,266 who actually never, ever gave a Hammer film 1814 01:25:34,266 --> 01:25:35,666 of any sort a good critique. 1815 01:25:37,567 --> 01:25:39,100 - The Damned. 1816 01:25:39,100 --> 01:25:42,166 An intelligent and subtle science fiction thriller, 1817 01:25:42,166 --> 01:25:44,100 also lost money at the box office. 1818 01:25:46,133 --> 01:25:48,633 - Joe Losey on The Damned, 1819 01:25:48,633 --> 01:25:52,100 he took a lot of interest in the music. 1820 01:25:52,100 --> 01:25:55,166 The people in sort of frightening looking uniforms 1821 01:25:55,166 --> 01:25:56,999 who had to go in and visit the children 1822 01:25:56,999 --> 01:25:59,766 who were being kept underground to survive 1823 01:25:59,766 --> 01:26:01,333 after the world had been blown up 1824 01:26:01,333 --> 01:26:02,567 by an atomic bomb. 1825 01:26:03,733 --> 01:26:07,866 It had a sort of slow, sinister kind of walking 1826 01:26:08,733 --> 01:26:10,033 little themes. 1827 01:26:11,066 --> 01:26:12,799 "I need some little high sound." 1828 01:26:13,799 --> 01:26:15,033 I didn't know what he meant, 1829 01:26:15,033 --> 01:26:16,567 as often directors don't know, really, 1830 01:26:16,567 --> 01:26:17,799 what they want. 1831 01:26:17,799 --> 01:26:19,567 They know it's not what I want, they do want, 1832 01:26:19,567 --> 01:26:21,166 but they don't know how to explain it. 1833 01:26:21,166 --> 01:26:23,233 So John Hollingsworth said to me, 1834 01:26:23,233 --> 01:26:27,833 "Jimmy, go to the piano and stand over the strings, 1835 01:26:27,833 --> 01:26:30,333 "not by the notes, but over the strings of the piano, 1836 01:26:30,333 --> 01:26:34,833 "and when I do that, just plink one of the strings." 1837 01:26:34,833 --> 01:26:37,033 And we did that 1838 01:26:37,033 --> 01:26:39,500 at certain moments, and Joe at the end said, 1839 01:26:39,500 --> 01:26:41,533 "Perfect, that's just what I wanted." 1840 01:26:41,533 --> 01:26:42,933 - Even a picture like These Are the Damned, 1841 01:26:42,933 --> 01:26:44,733 which is one of my favorite Hammer films which 1842 01:26:44,733 --> 01:26:46,266 is kind of an atypical Hammer film, 1843 01:26:46,266 --> 01:26:48,300 it's sort of intellectual and I don't think that 1844 01:26:48,300 --> 01:26:51,433 the studio really was that crazy about the movie, 1845 01:26:51,433 --> 01:26:55,733 is the ads in Britain are basically big, busty shots 1846 01:26:55,733 --> 01:26:57,333 of Shirley Anne Field and, 1847 01:26:57,333 --> 01:27:02,333 you know, the intonations of incest and, you know, 1848 01:27:03,066 --> 01:27:03,300 all sorts of dirt. 1849 01:27:04,933 --> 01:27:06,400 - Don't ever do that again, Joanie. 1850 01:27:06,400 --> 01:27:08,600 - I'll do what I like, King. 1851 01:27:08,600 --> 01:27:09,699 - Do you think I'll let a man put his 1852 01:27:09,699 --> 01:27:11,133 dirty hands on you? 1853 01:27:11,133 --> 01:27:12,766 - And the American ads are no better. 1854 01:27:12,766 --> 01:27:14,200 They have children with, like, 1855 01:27:14,200 --> 01:27:16,133 icicles hanging off their noses or something. 1856 01:27:16,133 --> 01:27:18,833 That's really a much maligned and not very 1857 01:27:18,833 --> 01:27:20,233 appreciated picture, but I think one of the 1858 01:27:20,233 --> 01:27:21,367 best things they ever did. 1859 01:27:21,367 --> 01:27:24,766 - Let me go! 1860 01:27:30,467 --> 01:27:32,233 - Why are you doing this? 1861 01:27:32,233 --> 01:27:33,133 What's it all for? 1862 01:27:34,633 --> 01:27:37,333 What are you trying to make out of these children? 1863 01:27:37,333 --> 01:27:38,899 - The financial failure of these 1864 01:27:38,899 --> 01:27:42,333 experiments convinced James Carreras to stay 1865 01:27:42,333 --> 01:27:44,567 within the proven formula. 1866 01:27:49,133 --> 01:27:52,633 It was hard to argue with success. 1867 01:27:52,633 --> 01:27:55,266 Michael Carreras ordered the back lot 1868 01:27:55,266 --> 01:27:58,100 transformed for a film about the Inquisition, 1869 01:27:58,100 --> 01:28:00,567 but the Catholic League of Decency threatened 1870 01:28:00,567 --> 01:28:02,066 to ban it. 1871 01:28:02,066 --> 01:28:05,233 Luckily, Jimmy Carreras sold Universal on another movie 1872 01:28:05,233 --> 01:28:06,833 on the basis of a poster. 1873 01:28:06,833 --> 01:28:10,733 But Hammer had to absorb the cost of a Guy Endore novel, 1874 01:28:10,733 --> 01:28:13,133 Werewolf of Paris. 1875 01:28:13,133 --> 01:28:14,733 With no money left, 1876 01:28:14,733 --> 01:28:17,766 Tony Hinds became a writer out of necessity. 1877 01:28:17,766 --> 01:28:19,233 - And all I know is I was landed with a set 1878 01:28:19,233 --> 01:28:20,666 of Spanish sets. 1879 01:28:20,666 --> 01:28:23,533 - British census objected to everything. 1880 01:28:23,533 --> 01:28:26,633 Violent conception of the werewolf child, 1881 01:28:26,633 --> 01:28:29,966 his sacrilegious birth on Christmas day. 1882 01:28:29,966 --> 01:28:34,233 Even a nobleman picking a scab from his nose. 1883 01:28:34,233 --> 01:28:37,133 Hammer argued that the film was less graphic 1884 01:28:37,133 --> 01:28:38,933 than Hitchcock's Psycho. 1885 01:28:38,933 --> 01:28:42,500 The censor replied, "Terrence Fisher is not 1886 01:28:42,500 --> 01:28:44,100 "Alfred Hitchcock." 1887 01:28:45,266 --> 01:28:46,833 - Oliver Reed was one of the many 1888 01:28:46,833 --> 01:28:49,433 who got early breaks with Hammer. 1889 01:28:49,433 --> 01:28:53,233 Including Lesley-Anne Down, Donald Sutherland, 1890 01:28:53,233 --> 01:28:55,200 and Freddie Jones. 1891 01:28:55,200 --> 01:28:58,200 Recurring character actors like Michael Ripper, 1892 01:28:58,200 --> 01:29:00,233 Richard Wordsworth, George Woodbridge, 1893 01:29:00,233 --> 01:29:03,633 and Miles Malleson, gave the films the cozy feel 1894 01:29:03,633 --> 01:29:04,833 of a Rhett company. 1895 01:29:06,266 --> 01:29:08,333 - The quality of acting in those pictures was way 1896 01:29:08,333 --> 01:29:11,066 above what you would usually get in that kind of film. 1897 01:29:11,066 --> 01:29:13,633 People realized that good actors could indeed 1898 01:29:13,633 --> 01:29:16,666 find elements in these characters that really 1899 01:29:16,666 --> 01:29:18,166 brought out some of the drama. 1900 01:29:41,266 --> 01:29:43,166 - Professional frustration caused 1901 01:29:43,166 --> 01:29:46,233 Michael Carreras to leave in 1961. 1902 01:29:46,233 --> 01:29:48,467 - I mean, I went off and did my thing for a couple 1903 01:29:48,467 --> 01:29:49,733 of years. 1904 01:29:49,733 --> 01:29:51,533 I did a musical, which I always wanted to do. 1905 01:29:51,533 --> 01:29:53,600 I made a western, which, things I would have 1906 01:29:53,600 --> 01:29:55,433 never been able to do at Hammer. 1907 01:29:55,433 --> 01:29:57,966 - Executive chores fell to Tony Hinds 1908 01:29:57,966 --> 01:29:59,367 who handed the producer's reins 1909 01:29:59,367 --> 01:30:02,633 to Tony Nelson-Keys and later, Aida Young, 1910 01:30:02,633 --> 01:30:05,866 one of the first female producers in England. 1911 01:30:05,866 --> 01:30:09,500 - I don't think Aida was as dedicated as we were. 1912 01:30:09,500 --> 01:30:12,233 She, um, rightly so, in a way, 1913 01:30:13,567 --> 01:30:16,400 her idea was just to get the film through. 1914 01:30:16,400 --> 01:30:17,933 - Everybody who worked for Hammer loved 1915 01:30:17,933 --> 01:30:18,866 what they were doing. 1916 01:30:18,866 --> 01:30:20,367 We didn't have enormous budgets. 1917 01:30:20,367 --> 01:30:23,933 We worked very long hours, in very cramped facilities. 1918 01:30:23,933 --> 01:30:25,633 It was only a big old house, 1919 01:30:25,633 --> 01:30:27,066 and we did remarkable things. 1920 01:30:27,066 --> 01:30:29,133 If you look at the old films, the old horror films, 1921 01:30:29,133 --> 01:30:31,567 that were made in that old house, 1922 01:30:31,567 --> 01:30:32,833 it's quite remarkable. 1923 01:30:32,833 --> 01:30:35,333 You'd think we'd shot it at MGM or Pinewood. 1924 01:30:35,333 --> 01:30:37,266 - It was Tony Hinds' unpleasant duty 1925 01:30:37,266 --> 01:30:39,100 to keep costs down. 1926 01:30:39,100 --> 01:30:43,066 Jack Asher's pain staking photography took time. 1927 01:30:43,066 --> 01:30:44,699 Time was money. 1928 01:30:44,699 --> 01:30:47,833 Other cameramen like Michael Reed and Arthur Grant 1929 01:30:47,833 --> 01:30:49,633 became regulars. 1930 01:30:49,633 --> 01:30:52,799 Budgets were stretched to the limit. 1931 01:30:52,799 --> 01:30:54,033 - I said, "There's one way you can make them. 1932 01:30:54,033 --> 01:30:55,300 "You can make them back to back." 1933 01:30:55,300 --> 01:30:56,567 That is if to say we do a picture, 1934 01:30:56,567 --> 01:30:59,133 same cast, same sets, and do two pictures. 1935 01:30:59,133 --> 01:31:00,933 - I remember seeing Rasputin the Mad Monk 1936 01:31:00,933 --> 01:31:03,100 and The Reptile and they were all shot 1937 01:31:03,100 --> 01:31:06,233 on the same sets and Dracula Prince of Darkness 1938 01:31:06,233 --> 01:31:07,367 and Plague of the Zombies were all shot 1939 01:31:07,367 --> 01:31:08,766 on the same sets. 1940 01:31:08,766 --> 01:31:11,467 So, it was sort of like watching the same picture twice. 1941 01:31:21,933 --> 01:31:23,699 - I think it's probably the best thing 1942 01:31:23,699 --> 01:31:25,333 Christopher Lee's ever done. 1943 01:31:25,333 --> 01:31:27,200 Rasputin was supposed to have had this ability 1944 01:31:27,200 --> 01:31:28,467 to hypnotize people. 1945 01:31:28,467 --> 01:31:32,500 Well, Chris practically developed that ability. 1946 01:31:33,567 --> 01:31:34,866 It was an incredible performance. 1947 01:31:34,866 --> 01:31:37,500 - Tomorrow you are taking the little czar 1948 01:31:37,500 --> 01:31:39,100 to the frozen river. 1949 01:31:40,367 --> 01:31:42,400 While you are there, 1950 01:31:42,400 --> 01:31:45,699 you will see to it that he meets with an accident. 1951 01:31:46,866 --> 01:31:48,367 He will be hurt, 1952 01:31:48,367 --> 01:31:50,567 and you will send for me. 1953 01:31:55,533 --> 01:31:56,833 You will go away 1954 01:31:58,100 --> 01:32:00,766 and destroy yourself. 1955 01:32:01,733 --> 01:32:03,433 - Gregory, no! 1956 01:32:03,433 --> 01:32:05,733 - Two weeks into the shooting of my Rasputin, 1957 01:32:05,733 --> 01:32:07,233 Tony Hinds came to me and said, 1958 01:32:07,233 --> 01:32:10,233 "Don, we're in trouble, we've got to save money." 1959 01:32:10,233 --> 01:32:14,533 "Now, we've worked out possible savings. 1960 01:32:14,533 --> 01:32:16,133 "There's this way of doing it, 1961 01:32:16,133 --> 01:32:17,433 "and this way, and this way. 1962 01:32:17,433 --> 01:32:19,899 "Each of those would save 25,000. 1963 01:32:19,899 --> 01:32:22,866 "Look at these suggestions, take 'em home, 1964 01:32:22,866 --> 01:32:24,400 "think about them over the weekend, 1965 01:32:24,400 --> 01:32:26,966 "but on Monday morning, I want a decision from you." 1966 01:32:26,966 --> 01:32:28,633 But this was the marvelous thing: 1967 01:32:28,633 --> 01:32:33,200 he left it to me to decide 1968 01:32:33,200 --> 01:32:36,166 which would do the least damage in telling the story. 1969 01:32:36,166 --> 01:32:38,100 He left it to me to say, 1970 01:32:38,100 --> 01:32:40,433 "Alright, we can keep that sequence but 1971 01:32:41,600 --> 01:32:42,866 "we don't have to build that separate. 1972 01:32:42,866 --> 01:32:45,533 "I can put it into a set we've already used." 1973 01:32:45,533 --> 01:32:47,533 - Cary Grant suggested he'd like 1974 01:32:47,533 --> 01:32:50,866 to try a horror picture so Tony Hinds reworked 1975 01:32:50,866 --> 01:32:52,567 Phantom of the Opera, 1976 01:32:52,567 --> 01:32:54,066 but Grant dropped out. 1977 01:32:55,233 --> 01:32:56,933 The role was played by Herbert Lom. 1978 01:33:01,500 --> 01:33:02,666 - Young woman. 1979 01:33:03,567 --> 01:33:05,400 You must come with me. 1980 01:33:06,533 --> 01:33:08,500 - More than in any other film, 1981 01:33:08,500 --> 01:33:12,633 Terry Fisher emphasized the romance and sadness 1982 01:33:12,633 --> 01:33:13,467 in the story. 1983 01:33:14,633 --> 01:33:17,899 Because the script was written for Cary Grant, 1984 01:33:17,899 --> 01:33:20,467 the dirty business was left to a homicidal dwarf. 1985 01:33:21,766 --> 01:33:25,033 The distributor publicized the film widely 1986 01:33:25,033 --> 01:33:26,200 as a horror story. 1987 01:33:32,467 --> 01:33:34,233 - But as anyone knows who has read the 1988 01:33:34,233 --> 01:33:36,500 Gaston Leroux novel, or seen the 1989 01:33:36,500 --> 01:33:39,866 Andrew Lloyd Webber musical, it is a tragic romance. 1990 01:33:39,866 --> 01:33:42,933 Missing the point, Time Magazine called the Phantom 1991 01:33:42,933 --> 01:33:45,766 about as dangerous as dear old grand dad 1992 01:33:45,766 --> 01:33:47,433 dressed up for Halloween. 1993 01:33:47,433 --> 01:33:48,833 - Christine! 1994 01:33:48,833 --> 01:33:50,600 - The distributor blamed the failure 1995 01:33:50,600 --> 01:33:52,400 on Terrence Fisher who did not direct 1996 01:33:52,400 --> 01:33:55,200 for Hammer for two years. 1997 01:33:55,200 --> 01:33:57,367 The all new climax for Brides of Dracula 1998 01:33:57,367 --> 01:34:00,133 was revamped, too, if you'll pardon the expression, 1999 01:34:00,133 --> 01:34:02,500 by Tony Hinds in Kiss of a Vampire. 2000 01:34:02,500 --> 01:34:06,333 Director Don Sharp proved as adept at gothic eroticism 2001 01:34:06,333 --> 01:34:09,333 as savant Fisher, even more so than in Dracula, 2002 01:34:09,333 --> 01:34:12,233 vampirism is linked to sexual appetites. 2003 01:34:18,033 --> 01:34:19,400 - I don't think anybody could replace Tony Hinds 2004 01:34:20,699 --> 01:34:23,966 with that same understanding of the basic plots 2005 01:34:23,966 --> 01:34:26,333 that would adapt to the genre. 2006 01:34:26,333 --> 01:34:28,933 I don't think anybody else had the same sympathy. 2007 01:34:28,933 --> 01:34:30,899 The same feeling for quality. 2008 01:34:32,066 --> 01:34:33,533 - Richard Matheson, author of 2009 01:34:33,533 --> 01:34:36,533 The Incredible Shrinking Man, adapted his novel, 2010 01:34:36,533 --> 01:34:39,999 I Am Legend, but the script proved too intense 2011 01:34:39,999 --> 01:34:40,866 for the census. 2012 01:34:42,033 --> 01:34:43,666 Hammer sold it to Robert Lippert, 2013 01:34:43,666 --> 01:34:46,200 who shot it in Italy with Vincent Price 2014 01:34:46,200 --> 01:34:47,933 as Last Man on Earth. 2015 01:34:47,933 --> 01:34:50,699 - But Matheson also adapted a classic 2016 01:34:50,699 --> 01:34:55,100 Dennis Wheatley novel, retitled by American distributors. 2017 01:34:55,100 --> 01:34:56,933 They worried that audiences would assume 2018 01:34:56,933 --> 01:35:00,300 the Devil Rides Out to be a cowboy movie. 2019 01:35:01,500 --> 01:35:04,433 - The premise is what makes it work. 2020 01:35:04,433 --> 01:35:08,200 You don't get any idea and then say, "Well I'm gonna 2021 01:35:08,200 --> 01:35:09,666 "turn this into a scary picture." 2022 01:35:09,666 --> 01:35:12,133 The premise has to be frightening to begin with. 2023 01:35:12,133 --> 01:35:12,966 - Rex. 2024 01:35:14,033 --> 01:35:15,833 Do you believe in evil? 2025 01:35:15,833 --> 01:35:17,533 - As an idea. 2026 01:35:17,533 --> 01:35:19,799 - Do you believe in the power of darkness? 2027 01:35:19,799 --> 01:35:21,133 - As a superstition. 2028 01:35:21,133 --> 01:35:23,033 - Now there you are wrong. 2029 01:35:23,033 --> 01:35:24,500 The power of darkness is more than 2030 01:35:24,500 --> 01:35:25,933 just a superstition. 2031 01:35:27,433 --> 01:35:29,799 It is a living force, 2032 01:35:29,799 --> 01:35:33,367 which can be tapped at any given moment of the night. 2033 01:35:33,367 --> 01:35:36,133 - I remember Tony Hinds ringing me 2034 01:35:36,133 --> 01:35:39,600 and saying, "Jimmy, you've got to do a very good 2035 01:35:39,600 --> 01:35:42,699 "job on this because I don't think it's working." 2036 01:35:42,699 --> 01:35:45,966 And he was quite wrong in his judgment, wasn't he? 2037 01:35:45,966 --> 01:35:47,033 - The lights. 2038 01:35:48,567 --> 01:35:51,400 - Now what about the lights? 2039 01:35:53,333 --> 01:35:55,400 - They seem to be dimmer. 2040 01:35:55,400 --> 01:35:58,066 Terry Fisher was back as director, 2041 01:35:58,066 --> 01:35:59,966 and whenever he gave me a close up, 2042 01:35:59,966 --> 01:36:01,400 I'd make a point of walking up to him 2043 01:36:01,400 --> 01:36:03,799 and slipping a fiver into his hand. 2044 01:36:03,799 --> 01:36:05,966 The crew really believed I'd bribed him 2045 01:36:05,966 --> 01:36:08,100 for a close up every time we did it. 2046 01:36:08,100 --> 01:36:10,533 - I felt kind of guilty because I, 2047 01:36:10,533 --> 01:36:14,066 I spoke ill of that picture 2048 01:36:14,066 --> 01:36:15,933 for quite a while. 2049 01:36:15,933 --> 01:36:18,567 Mostly because it seemed to me it had been miscast 2050 01:36:18,567 --> 01:36:21,400 and that several of the special effects were very 2051 01:36:21,400 --> 01:36:22,933 cheap looking. 2052 01:36:22,933 --> 01:36:26,166 - But any movie that dealt with the fantastic, okay, 2053 01:36:27,367 --> 01:36:30,166 it all automatically got a, 2054 01:36:30,166 --> 01:36:31,766 I forgave anything, right? 2055 01:36:31,766 --> 01:36:34,100 Any single thing that went wrong with it. 2056 01:36:34,100 --> 01:36:36,133 - As I watch it again, I overlook those things, 2057 01:36:36,133 --> 01:36:38,766 and it had some very good stuff in it, 2058 01:36:38,766 --> 01:36:40,533 and Christopher Lee was wonderful, 2059 01:36:40,533 --> 01:36:42,433 as Charles Gray wast, too. 2060 01:36:43,866 --> 01:36:46,400 - That light in the hall. 2061 01:36:51,999 --> 01:36:53,666 - Peggy. 2062 01:36:53,666 --> 01:36:54,500 No! 2063 01:36:54,500 --> 01:36:55,600 - No. 2064 01:36:55,600 --> 01:36:56,567 - Let me go! 2065 01:36:56,567 --> 01:36:57,933 No! 2066 01:36:59,200 --> 01:37:01,567 - I tell you, it's not Peggy. 2067 01:37:01,567 --> 01:37:02,899 - Peggy! 2068 01:37:16,033 --> 01:37:18,933 - In 1968, Hammer Films received 2069 01:37:18,933 --> 01:37:21,733 the Queens Award for Industry for bringing two and 2070 01:37:21,733 --> 01:37:24,233 a half million pounds into Britain for three 2071 01:37:24,233 --> 01:37:26,266 consecutive years. 2072 01:37:26,266 --> 01:37:28,766 - They weren't given the Queens Award for Industry, 2073 01:37:28,766 --> 01:37:29,933 whatever, for nothing. 2074 01:37:29,933 --> 01:37:32,233 I mean, they were really making a dent in 2075 01:37:32,233 --> 01:37:34,166 the American market in a way that I don't think 2076 01:37:34,166 --> 01:37:35,799 anybody has made since. 2077 01:37:35,799 --> 01:37:38,100 - The creators of the Avengers brought Hammer 2078 01:37:38,100 --> 01:37:41,833 a movie idea inspired by a lunch time joke. 2079 01:37:41,833 --> 01:37:44,266 - Brian Clemens was sitting there, 2080 01:37:44,266 --> 01:37:48,533 and Brian sat there and said, "I know what happens. 2081 01:37:48,533 --> 01:37:50,533 "He mixes up the potion, he drinks it, 2082 01:37:50,533 --> 01:37:53,133 "and he turns into a woman." 2083 01:37:53,133 --> 01:37:54,533 We all fell about laughing. 2084 01:37:55,966 --> 01:37:57,300 It was a very funny idea, but, he wasn't laughing. 2085 01:37:57,300 --> 01:37:59,733 He went home and he wrote the script. 2086 01:37:59,733 --> 01:38:02,333 - Ralph Bates played one of the title roles, 2087 01:38:02,333 --> 01:38:04,666 but the company had some difficulty coming up 2088 01:38:04,666 --> 01:38:07,300 with Dr. Jekyll's better half. 2089 01:38:07,300 --> 01:38:09,833 - There was some talk about me playing Sister Hyde. 2090 01:38:09,833 --> 01:38:10,966 It was considered for Dr. Jekyll. 2091 01:38:10,966 --> 01:38:13,933 Then a very fine actress went on to play. 2092 01:38:13,933 --> 01:38:16,567 There was quite a bit of nudity and I wasn't, uh, 2093 01:38:16,567 --> 01:38:18,133 that keen on that. 2094 01:38:18,133 --> 01:38:20,699 - David Booth, I think was the the one that said, 2095 01:38:20,699 --> 01:38:22,233 "Oh, Martine. 2096 01:38:22,233 --> 01:38:26,066 "It's perfect, you've come at the absolute perfect time." 2097 01:38:26,066 --> 01:38:28,233 And they said, "They've got the guy, and they really, 2098 01:38:28,233 --> 01:38:29,166 "and it's Hammer." 2099 01:38:29,166 --> 01:38:30,833 And I said, "Michael Carreras?" 2100 01:38:30,833 --> 01:38:32,333 He said, "Yes." 2101 01:38:32,333 --> 01:38:34,766 And I read the script and I realized that they 2102 01:38:34,766 --> 01:38:37,567 had some nudity and I said, "Okay, fine, top, 2103 01:38:37,567 --> 01:38:39,766 "but not full nudity." 2104 01:38:39,766 --> 01:38:41,433 I agreed to do that because I thought it 2105 01:38:41,433 --> 01:38:43,899 was an important change, and in fact I still think it's 2106 01:38:43,899 --> 01:38:45,833 probably one of the best scenes in the film. 2107 01:38:45,833 --> 01:38:47,200 - But of course once you saw the two of them 2108 01:38:47,200 --> 01:38:49,633 together it was a brilliant piece of casting. 2109 01:38:49,633 --> 01:38:51,600 And she did it very well, too. 2110 01:38:53,367 --> 01:38:56,533 - But unfortunately, he was pressured. 2111 01:38:56,533 --> 01:38:58,999 I think everybody was pressured, including Hammer, 2112 01:38:58,999 --> 01:39:02,633 was being pressured, into going into more nudity 2113 01:39:02,633 --> 01:39:05,333 and more nudity, you know, to compete with 2114 01:39:05,333 --> 01:39:06,233 what was going on. 2115 01:39:07,600 --> 01:39:10,966 And, um, they decided to go even further 2116 01:39:10,966 --> 01:39:13,333 to full frontal nudity. 2117 01:39:13,333 --> 01:39:14,799 When I got on the set and I said, 2118 01:39:14,799 --> 01:39:16,966 "I did not agree to that." 2119 01:39:16,966 --> 01:39:19,433 So we had a bit of a corporator. 2120 01:39:20,600 --> 01:39:23,999 However, I used all of that sort of nervousness 2121 01:39:23,999 --> 01:39:26,467 and that sort of rage and anger and stuff 2122 01:39:26,467 --> 01:39:28,467 to birth myself, really. 2123 01:39:28,467 --> 01:39:31,266 I mean, when I am there, I don't know anything 2124 01:39:31,266 --> 01:39:32,733 about my anatomy. 2125 01:39:33,966 --> 01:39:36,467 It is I who exists, Dr, Jekyll. 2126 01:39:36,467 --> 01:39:37,333 Not you. 2127 01:39:38,433 --> 01:39:40,233 It is I who will be rid of you. 2128 01:39:42,367 --> 01:39:43,933 Rid of you! 2129 01:39:43,933 --> 01:39:45,166 Rid of you! 2130 01:39:45,166 --> 01:39:46,899 An interesting idea, the male into the female, 2131 01:39:46,899 --> 01:39:49,066 and oh, this could be so great. 2132 01:39:49,066 --> 01:39:51,500 They could have taken it so much further. 2133 01:39:51,500 --> 01:39:54,033 - It's Hyde, isn't it? 2134 01:39:54,033 --> 01:39:56,433 How is your brother? 2135 01:39:56,433 --> 01:39:59,100 - He hasn't been himself of late. 2136 01:39:59,100 --> 01:40:01,467 - Years later when I saw Roy Ward Baker, 2137 01:40:01,467 --> 01:40:03,400 he said to me, 2138 01:40:03,400 --> 01:40:08,100 "Martine, I wish we had really gone into the male/female." 2139 01:40:08,100 --> 01:40:09,433 - And that they did do. 2140 01:40:09,433 --> 01:40:13,933 As the 1970s progressed, the new formula became 2141 01:40:13,933 --> 01:40:17,467 a little more blood, and a lot more flesh. 2142 01:40:21,433 --> 01:40:25,633 Victorian costumes lent themselves to fascinating visuals. 2143 01:40:25,633 --> 01:40:29,433 As early as 1959, Hammer added nudity 2144 01:40:29,433 --> 01:40:31,433 in The Man Who Could Cheat Death. 2145 01:40:34,166 --> 01:40:37,433 - Which is a remake of the Man in Half Moon Street. 2146 01:40:37,433 --> 01:40:41,166 Anton Diffring was one of the premiere actors 2147 01:40:41,166 --> 01:40:42,699 of the Berlin theater. 2148 01:40:42,699 --> 01:40:45,766 - I've been taking this fluid every six hours now. 2149 01:40:47,866 --> 01:40:49,166 - It's madness. 2150 01:40:49,166 --> 01:40:51,033 - It is what keeps me alive. 2151 01:40:51,033 --> 01:40:53,966 - It was very necessary, it was in very good taste. 2152 01:40:53,966 --> 01:40:56,899 But England at that time would have no nudity. 2153 01:40:56,899 --> 01:41:00,300 So there was a version which they paid me extra for 2154 01:41:00,300 --> 01:41:02,866 for Europe, and it was very beautifully done. 2155 01:41:02,866 --> 01:41:05,533 - It was beautifully done exploitation. 2156 01:41:05,533 --> 01:41:07,333 - I think camera films were exploitation films. 2157 01:41:07,333 --> 01:41:09,533 I mean exploitation films basically are 2158 01:41:09,533 --> 01:41:13,433 films that are designed to exploit the advertising 2159 01:41:13,433 --> 01:41:16,500 a particularly sensational aspect and if you ever 2160 01:41:16,500 --> 01:41:18,166 look at the British ads for Hammer films, 2161 01:41:18,166 --> 01:41:20,567 they are incredibly tasteless. 2162 01:41:20,567 --> 01:41:23,699 I mean, they really make the pictures look like 2163 01:41:23,699 --> 01:41:24,933 AIP pictures from the 50s. 2164 01:41:24,933 --> 01:41:27,600 It was the American ads that tend to be models 2165 01:41:27,600 --> 01:41:29,833 of restraint, actually, in comparison. 2166 01:41:29,833 --> 01:41:32,567 - A keystone of having an international appeal 2167 01:41:32,567 --> 01:41:34,699 were the lovely ladies they used on screen. 2168 01:41:38,200 --> 01:41:40,333 - Because I want to see you die. 2169 01:41:48,600 --> 01:41:51,433 - Unlike actors, actresses were often 2170 01:41:51,433 --> 01:41:53,666 used as window dressing, 2171 01:41:53,666 --> 01:41:55,666 rarely appearing in more than two or three films 2172 01:41:55,666 --> 01:41:57,200 for the company. 2173 01:41:57,200 --> 01:42:00,500 - I'd been doing a poster for an English campaign 2174 01:42:00,500 --> 01:42:02,833 called Lamb's Navy rum, and apparently 2175 01:42:02,833 --> 01:42:04,166 he used to see this big hoarding, 2176 01:42:04,166 --> 01:42:05,966 or this big poster everyday. 2177 01:42:05,966 --> 01:42:10,233 Supposedly he said, "Find that girl and bring her in." 2178 01:42:10,233 --> 01:42:14,467 And then I was put onto contract for a year, 2179 01:42:14,467 --> 01:42:15,699 which is wonderful. 2180 01:42:15,699 --> 01:42:18,033 But no, no duties, no official duties. 2181 01:42:19,766 --> 01:42:21,333 - I had a photograph on the front page 2182 01:42:21,333 --> 01:42:24,266 of one of the tabloid papers in England one Sunday 2183 01:42:24,266 --> 01:42:26,033 and Jimmy Carreras saw it and said, 2184 01:42:26,033 --> 01:42:28,066 "I'd like that girl for the next Hammer film." 2185 01:42:28,066 --> 01:42:31,367 He would take care of you, he was a fatherly type figure. 2186 01:42:31,367 --> 01:42:34,200 And he had everyone's respect. 2187 01:42:34,200 --> 01:42:36,400 - Outside producers approached Hammer 2188 01:42:36,400 --> 01:42:39,400 with a Victorian ghost story by Sheridan Le Fanu. 2189 01:42:40,467 --> 01:42:42,699 - Harry Fine and Michael Style came to me 2190 01:42:42,699 --> 01:42:44,433 and asked me to do it. 2191 01:42:44,433 --> 01:42:47,567 But they were reading into it a great deal of lesbianism, 2192 01:42:47,567 --> 01:42:49,999 which I don't think Sheridan Le Fanu would have ever 2193 01:42:49,999 --> 01:42:53,233 sort of dreamed of, and neither did I, incidentally. 2194 01:42:53,233 --> 01:42:55,567 It was the old story, a hundred of number of 2195 01:42:55,567 --> 01:42:56,833 pictures have been made. 2196 01:42:56,833 --> 01:42:59,066 What on Earth can we do next with vampires? 2197 01:42:59,066 --> 01:43:01,866 "I know, we'll make 'em lesbians." 2198 01:43:01,866 --> 01:43:02,699 Brilliant. 2199 01:43:06,500 --> 01:43:09,200 - It's very funny actually, because I walked onto 2200 01:43:09,200 --> 01:43:11,300 the set the first day of my shooting. 2201 01:43:12,933 --> 01:43:16,300 Peter Cushing was in the process of decapitating me. 2202 01:43:22,100 --> 01:43:23,567 I don't know, it made me swallow. 2203 01:43:23,567 --> 01:43:26,333 It was quite funny when he stabbed her 2204 01:43:26,333 --> 01:43:29,367 and pulled her up and slashed her head off 2205 01:43:29,367 --> 01:43:31,066 and held this head up high. 2206 01:43:33,799 --> 01:43:36,500 And I thought, "Oh, that's me." 2207 01:43:36,500 --> 01:43:38,567 And I remember showing the photograph of it 2208 01:43:38,567 --> 01:43:40,333 to my mother and she laughed and I thought, 2209 01:43:40,333 --> 01:43:42,533 "Funny, mother." 2210 01:43:42,533 --> 01:43:44,367 The fangs kept falling out 2211 01:43:46,033 --> 01:43:48,699 and they kept falling into Kate O'Mara's cleavage 2212 01:43:48,699 --> 01:43:52,667 and the crew wanted to help retrieve them. 2213 01:43:52,667 --> 01:43:55,467 - And it's easy to make lunatics or vicars 2214 01:43:55,467 --> 01:43:58,866 or indeed, lesbians, or homosexuals of various kinds, 2215 01:43:58,866 --> 01:44:00,766 to make those figures look fun. 2216 01:44:00,766 --> 01:44:02,233 - You must die. 2217 01:44:02,233 --> 01:44:03,233 Everybody must die! 2218 01:44:03,233 --> 01:44:05,333 - To me, that is fatal. 2219 01:44:05,333 --> 01:44:09,467 I think that's, well, it's downright rude and vulgar 2220 01:44:09,467 --> 01:44:10,933 apart from anything else. 2221 01:44:10,933 --> 01:44:12,933 - Co-production funds came from Hammer's 2222 01:44:12,933 --> 01:44:14,533 opposite number in Hollywood, 2223 01:44:14,533 --> 01:44:16,966 American International Pictures. 2224 01:44:16,966 --> 01:44:19,600 - I had a certain amount of criticism while I was making it. 2225 01:44:19,600 --> 01:44:21,699 That it wasn't going to be juicy enough, you know, 2226 01:44:21,699 --> 01:44:23,133 and all that. 2227 01:44:23,133 --> 01:44:25,833 - Ingrid Pitt proved as enticing to co-star 2228 01:44:25,833 --> 01:44:28,600 Ferdy Mayne as to the camera. 2229 01:44:28,600 --> 01:44:32,033 - I met her in a picture called Where Eagles Dare. 2230 01:44:33,066 --> 01:44:34,567 I won't forget that one. 2231 01:44:36,500 --> 01:44:40,266 She used rather provocative language 2232 01:44:41,966 --> 01:44:43,367 in between takes. 2233 01:44:43,367 --> 01:44:46,533 And it was rather delicious to be bitten by her. 2234 01:44:47,667 --> 01:44:49,133 You know, we knew each other. 2235 01:44:49,133 --> 01:44:51,866 We'd met and worked there together 2236 01:44:51,866 --> 01:44:54,799 and she said, "Oh yes, I remember you. 2237 01:44:54,799 --> 01:44:56,833 "You played a small part, didn't you?" 2238 01:44:58,200 --> 01:45:00,733 When she became very pleasant and rather sexy, 2239 01:45:00,733 --> 01:45:03,799 I accepted this as a full turn of character. 2240 01:45:03,799 --> 01:45:05,200 It wasn't so small anyway. 2241 01:45:06,266 --> 01:45:07,999 - In the Vampire Lovers film, 2242 01:45:07,999 --> 01:45:09,333 somebody throws a dagger. 2243 01:45:10,833 --> 01:45:12,733 And the dagger goes straight through her, 2244 01:45:12,733 --> 01:45:15,033 and she just disappears. 2245 01:45:15,033 --> 01:45:16,966 It's a romantic view. 2246 01:45:16,966 --> 01:45:19,500 An essential element in horror pictures, 2247 01:45:19,500 --> 01:45:21,966 which has been almost, well now totally lost. 2248 01:45:21,966 --> 01:45:23,866 - Even before the film was finished, 2249 01:45:23,866 --> 01:45:26,733 an ill-fated sequel began on the same sets. 2250 01:45:26,733 --> 01:45:29,033 - And we start with a title. 2251 01:45:29,033 --> 01:45:30,667 We think to ourselves, "What's a good title?' 2252 01:45:30,667 --> 01:45:33,400 And we think To Love a Vampire. 2253 01:45:33,400 --> 01:45:35,699 And so then we make a poster. 2254 01:45:35,699 --> 01:45:37,433 And with this poster, I go around and see 2255 01:45:37,433 --> 01:45:38,699 these distributors and say to them, 2256 01:45:38,699 --> 01:45:40,333 "How would you like to have a picture called 2257 01:45:40,333 --> 01:45:41,799 "To Love a Vampire?" 2258 01:45:41,799 --> 01:45:43,866 And they say, "Wonderful, when can I have it?" 2259 01:45:43,866 --> 01:45:45,266 So I say, "Well perhaps we can deliver it 2260 01:45:45,266 --> 01:45:46,933 "in about six months' time." 2261 01:45:46,933 --> 01:45:48,467 And I say you "You wanna see a script?" 2262 01:45:48,467 --> 01:45:49,533 or, "Do you wanna know who's in it?" 2263 01:45:49,533 --> 01:45:51,066 And they say, "No, don't bother. 2264 01:45:51,066 --> 01:45:53,667 "This is a Hammer film and we know it'll be alright." 2265 01:45:53,667 --> 01:45:57,100 - Yutte Stensgaard replaced Ingrid Pitt 2266 01:45:57,100 --> 01:45:58,699 as Carmilla. 2267 01:45:58,699 --> 01:46:01,500 Peter Cushing dropped out because of illness with his wife. 2268 01:46:01,500 --> 01:46:04,100 He was replaced by Ralph Bates. 2269 01:46:04,100 --> 01:46:07,400 Terry Fisher was scheduled to direct. 2270 01:46:07,400 --> 01:46:10,266 - And Terry got sick and in about within 2271 01:46:10,266 --> 01:46:12,966 two or three weeks of starting shooting, 2272 01:46:12,966 --> 01:46:14,766 and they asked me would I like to do it. 2273 01:46:14,766 --> 01:46:15,899 And I said yes. 2274 01:46:16,866 --> 01:46:19,833 I did it without much muscle. 2275 01:46:19,833 --> 01:46:21,966 I hated the movie, hated it. 2276 01:46:21,966 --> 01:46:22,999 - I spent the whole of last night 2277 01:46:22,999 --> 01:46:25,233 going through Giles' researches. 2278 01:46:25,233 --> 01:46:27,433 And believe me, they are powerful evidence. 2279 01:46:27,433 --> 01:46:28,233 - Evidence? 2280 01:46:29,400 --> 01:46:30,333 Of what? 2281 01:46:30,333 --> 01:46:31,933 - That you are a vampire. 2282 01:46:31,933 --> 01:46:32,933 - You say that 2283 01:46:35,233 --> 01:46:37,200 and tell me you love me? 2284 01:46:37,200 --> 01:46:38,699 - Prove to me that you're not. 2285 01:46:40,233 --> 01:46:41,467 Love me. 2286 01:46:41,467 --> 01:46:44,400 ♪ Strange love 2287 01:46:44,400 --> 01:46:46,367 - I hadn't even seen the first cut, 2288 01:46:46,367 --> 01:46:47,999 and I remember I go down to the seat 2289 01:46:47,999 --> 01:46:50,100 and they have some love song in it. 2290 01:46:50,100 --> 01:46:52,833 It was really quit embarrassing. 2291 01:46:52,833 --> 01:46:56,133 I mean really, incredibly embarrassing, actually. 2292 01:46:56,133 --> 01:46:57,699 I mean, maybe fortunately nobody in the audience 2293 01:46:57,699 --> 01:46:59,733 knew who I was, but I still went under the seat. 2294 01:46:59,733 --> 01:47:01,500 I curled up, I died. 2295 01:47:03,766 --> 01:47:06,367 ♪ Strange love 2296 01:47:07,799 --> 01:47:12,667 - I hope to become known as an extremely good actress. 2297 01:47:13,833 --> 01:47:15,866 And I hope to get an article sometime. 2298 01:47:15,866 --> 01:47:17,833 - With Yutte Stensgaard, I don't mean 2299 01:47:17,833 --> 01:47:19,367 to demean her talent any way, I think she's 2300 01:47:19,367 --> 01:47:21,633 very talented and did a lovely job. 2301 01:47:21,633 --> 01:47:23,933 Her claim to fame was a toothpaste commercial, 2302 01:47:25,400 --> 01:47:29,933 and, uh, very well endowed and also, which helped, I'm sure. 2303 01:47:31,400 --> 01:47:34,233 - Doubly endowed were Mary and Madeleine Collinson, 2304 01:47:34,233 --> 01:47:36,833 Playboy's first twin centerfolds, 2305 01:47:36,833 --> 01:47:40,333 stars of the third spin off directed by John Hough. 2306 01:47:40,333 --> 01:47:44,667 - The Devil has sent me twins of evil. 2307 01:47:45,933 --> 01:47:47,999 - The Carmilla character was reduced 2308 01:47:47,999 --> 01:47:49,266 to a bit part. 2309 01:47:49,266 --> 01:47:50,766 - They kept doing the same things to death. 2310 01:47:50,766 --> 01:47:52,266 I mean, it was like a big thrill to have 2311 01:47:52,266 --> 01:47:55,300 a lesbian vampire movie which it turned out to not 2312 01:47:55,300 --> 01:47:57,799 be something the people particularly wanted to see anyway. 2313 01:47:57,799 --> 01:48:00,567 - Sometimes the sex was worse than arbitrary. 2314 01:48:00,567 --> 01:48:02,600 So James insisted that Terry Fisher shoot 2315 01:48:02,600 --> 01:48:05,500 a rape scene in Frankenstein Must Be Destroyed 2316 01:48:05,500 --> 01:48:06,933 for the United States version. 2317 01:48:06,933 --> 01:48:08,766 - That was a big disappointment to me, 2318 01:48:08,766 --> 01:48:10,833 and it was to Peter as well. 2319 01:48:10,833 --> 01:48:12,166 We talked about that a lot. 2320 01:48:12,166 --> 01:48:14,000 We were not very comfortable about it because 2321 01:48:14,000 --> 01:48:16,633 we'd almost completed the whole film. 2322 01:48:17,533 --> 01:48:18,766 There was no reason. 2323 01:48:18,766 --> 01:48:20,899 I had no reaction to Frankenstein 2324 01:48:20,899 --> 01:48:23,533 as if he'd raped me, even though the scene was put in 2325 01:48:23,533 --> 01:48:24,966 the film much earlier. 2326 01:48:24,966 --> 01:48:26,699 That was a very difficult thing for me to do. 2327 01:48:26,699 --> 01:48:28,733 And it was difficult for Terry, too. 2328 01:48:29,799 --> 01:48:31,400 He was very sensitive about it and, 2329 01:48:32,633 --> 01:48:34,667 in the end he just said, "Enough is enough." 2330 01:48:34,667 --> 01:48:35,667 And he cut the cameras. 2331 01:48:35,667 --> 01:48:37,266 He just didn't want to continue. 2332 01:48:38,699 --> 01:48:40,899 - Ironically, it was later cut as unnecessary. 2333 01:48:45,233 --> 01:48:47,500 - Doctor, you'll perform an autopsy. 2334 01:48:47,500 --> 01:48:49,367 - On a body that's turned to stone? 2335 01:49:04,799 --> 01:49:07,000 - Why'd you want you want Paul out of the way, Namaroff? 2336 01:49:07,000 --> 01:49:08,166 Is it because you're afraid he'll take 2337 01:49:08,166 --> 01:49:09,433 Carla away from you? 2338 01:49:09,433 --> 01:49:11,367 Or is it because you think he'll find out 2339 01:49:11,367 --> 01:49:14,433 about the secret that you share with Ratoff? 2340 01:49:37,500 --> 01:49:38,667 - Yes. 2341 01:49:40,367 --> 01:49:42,600 - Do you realize that you get uglier 2342 01:49:42,600 --> 01:49:44,400 each time you get old? 2343 01:49:44,400 --> 01:49:46,600 And you can't go on killing forever. 2344 01:49:46,600 --> 01:49:47,467 - Why not? 2345 01:49:48,899 --> 01:49:51,233 - Female scenes never found the audience 2346 01:49:51,233 --> 01:49:52,899 of the male monsters. 2347 01:49:52,899 --> 01:49:56,667 Actresses fared better with the non fantasy thrillers. 2348 01:49:56,667 --> 01:49:58,799 Susan Strasberg in Taste of Fear. 2349 01:50:03,866 --> 01:50:04,966 - Father? 2350 01:50:10,133 --> 01:50:11,633 - I'm going to give you a sedative, young lady, 2351 01:50:11,633 --> 01:50:12,766 and in the morning when you wake up, 2352 01:50:12,766 --> 01:50:14,266 everything will be alright. 2353 01:50:14,266 --> 01:50:16,333 - But don't you understand what I'm trying to say? 2354 01:50:16,333 --> 01:50:19,433 My father is dead, his body's in the summer house. 2355 01:50:19,433 --> 01:50:22,266 - Tallulah Bankhead in Fanatic. 2356 01:50:22,266 --> 01:50:23,100 - You must die. 2357 01:50:24,300 --> 01:50:25,367 Die, my love. 2358 01:50:34,533 --> 01:50:36,600 - Bette Davis in The Nanny. 2359 01:50:37,933 --> 01:50:40,866 - You mustn't make it difficult for nanny, Master Joey. 2360 01:50:54,699 --> 01:50:57,166 - Working again with Kenny Hyman, 2361 01:50:57,166 --> 01:50:59,333 Michael Carreras found an interesting mix 2362 01:50:59,333 --> 01:51:01,333 of fantasy and flesh. 2363 01:51:01,333 --> 01:51:03,733 - And also it wasn't that much more expensive. 2364 01:51:03,733 --> 01:51:06,699 I mean, we went on location which was the great thing. 2365 01:51:06,699 --> 01:51:08,533 With She we went to Israel. 2366 01:51:08,533 --> 01:51:11,866 With One Million Years we went to the Canary Islands. 2367 01:51:11,866 --> 01:51:14,400 - They didn't like to have too large an orchestra. 2368 01:51:14,400 --> 01:51:16,933 I think the biggest I ever had might have 2369 01:51:16,933 --> 01:51:18,733 been possibly for She. 2370 01:51:18,733 --> 01:51:21,333 Michael Carreras might have let us have up to 40. 2371 01:51:21,333 --> 01:51:23,467 I think She had 50 minutes, which was a hell 2372 01:51:23,467 --> 01:51:24,699 of a lot of music. 2373 01:52:37,066 --> 01:52:39,533 - Now, H. Rider Haggard's overpowering 2374 01:52:39,533 --> 01:52:42,966 adventure classic, She, comes to the motion 2375 01:52:42,966 --> 01:52:43,966 picture screen. 2376 01:52:45,400 --> 01:52:48,367 - I thought it was boring, I must tell you simply again 2377 01:52:48,367 --> 01:52:50,899 because it's all very well to say 2378 01:52:50,899 --> 01:52:52,400 "Okay, let's do a remake." 2379 01:52:52,400 --> 01:52:54,633 But when you look at the original, 2380 01:52:54,633 --> 01:52:58,066 and it's so marvelous, and it's got scenes 2381 01:52:58,066 --> 01:53:00,166 of thousands of people, 2382 01:53:00,166 --> 01:53:02,100 and they give you four pence to do it, 2383 01:53:02,100 --> 01:53:06,333 I mean the color then shows up all the imperfections. 2384 01:53:06,333 --> 01:53:08,400 I mean, I'm not saying that Ursula Andress 2385 01:53:08,400 --> 01:53:09,400 is an imperfection. 2386 01:53:09,400 --> 01:53:11,367 She is a delight, and delicious. 2387 01:53:11,367 --> 01:53:12,899 But you couldn't make the film. 2388 01:53:12,899 --> 01:53:15,233 I mean, I kept referring to the old film and everything 2389 01:53:15,233 --> 01:53:17,233 we shot looked like a poor imitation. 2390 01:53:17,233 --> 01:53:18,866 I mean, we were the poor relatives. 2391 01:53:18,866 --> 01:53:19,866 Yes, color. 2392 01:53:19,866 --> 01:53:21,766 But we couldn't make the film. 2393 01:53:21,766 --> 01:53:23,533 I thought we tried to do too much 2394 01:53:23,533 --> 01:53:25,233 for too little money. 2395 01:53:29,133 --> 01:53:30,367 - We must stop this. 2396 01:53:30,367 --> 01:53:31,633 - How far do you think we'd get in? 2397 01:53:31,633 --> 01:53:32,567 - Don't forget, sir, they were gonna take 2398 01:53:32,567 --> 01:53:34,033 a knife and talk to Mr. Lear. 2399 01:53:34,033 --> 01:53:36,100 - The first time I filmed that I remember 2400 01:53:36,100 --> 01:53:37,799 there was a double bill that played at the 2401 01:53:37,799 --> 01:53:40,266 little theater in Bar, and the poster for that 2402 01:53:40,266 --> 01:53:43,500 featured both Raquel Welch and Ursula Andress, 2403 01:53:43,500 --> 01:53:45,467 both in the state of semi undress, 2404 01:53:45,467 --> 01:53:48,166 and I would have been 15 or 16 years old, 2405 01:53:48,166 --> 01:53:51,133 and it was an unmissable double bill. 2406 01:53:51,133 --> 01:53:52,866 Two films for the price of one. 2407 01:53:52,866 --> 01:53:55,766 - I was called on the telephone by Dick Zanick, 2408 01:53:55,766 --> 01:53:57,433 who head of the studio then. 2409 01:53:57,433 --> 01:54:00,166 He said, "We've got this fabulous project 2410 01:54:00,166 --> 01:54:01,400 "for you Raquel. 2411 01:54:01,400 --> 01:54:03,300 "It's called One Million Years B.C. 2412 01:54:03,300 --> 01:54:06,467 "and it's a remake of a Victor Mature, Carole Landis movie 2413 01:54:06,467 --> 01:54:08,033 and I said, 2414 01:54:08,033 --> 01:54:10,333 "Oh my god, not a dinosaur movie. 2415 01:54:10,333 --> 01:54:13,200 "Man, I'll never live this one down." 2416 01:54:13,200 --> 01:54:15,600 I figured, well Steve McQueen got away with The Blob, 2417 01:54:15,600 --> 01:54:18,200 you know, maybe I can get away with One Million Years B.C. 2418 01:54:18,200 --> 01:54:19,733 You know, nobody will remember this thing. 2419 01:54:19,733 --> 01:54:21,933 I can shove it under the carpet, you know? 2420 01:54:23,133 --> 01:54:24,000 But, uh, 2421 01:54:25,133 --> 01:54:27,667 people remembered it. 2422 01:54:27,667 --> 01:54:29,633 For the kind of films that Hammer makes, 2423 01:54:29,633 --> 01:54:32,133 I thought that they always do a very good job. 2424 01:54:32,133 --> 01:54:33,933 They have a certain budget, and they have a certain 2425 01:54:33,933 --> 01:54:35,600 look they're trying to achieve. 2426 01:54:35,600 --> 01:54:37,133 It's not Gone With the Wind. 2427 01:54:37,133 --> 01:54:38,733 It's not a David Lee movie. 2428 01:54:38,733 --> 01:54:40,966 Relatively speaking, I thought it was a pretty 2429 01:54:40,966 --> 01:54:42,866 well done movie. 2430 01:54:42,866 --> 01:54:46,266 Ray Harryhausen who was a kind of genius of sorts 2431 01:54:46,266 --> 01:54:48,667 to do all of these special effects 2432 01:54:48,667 --> 01:54:50,799 and his frame by frame photography and it was 2433 01:54:50,799 --> 01:54:53,433 all explained to me, you know, in great detail. 2434 01:54:53,433 --> 01:54:56,433 - So I took on the project with the Hammer company 2435 01:54:56,433 --> 01:54:57,699 in London. 2436 01:54:57,699 --> 01:54:59,933 It was a pleasure to get back to dinosaurs again. 2437 01:54:59,933 --> 01:55:01,667 They were my first love. 2438 01:55:01,667 --> 01:55:03,467 - The man was a genius. 2439 01:55:03,467 --> 01:55:05,166 The frightening thing of course is that when 2440 01:55:05,166 --> 01:55:08,166 you're looking at the rushes after a few days work, 2441 01:55:08,166 --> 01:55:09,633 you go into the theater the next day, 2442 01:55:09,633 --> 01:55:11,866 you've got six frames, you know. 2443 01:55:11,866 --> 01:55:13,633 It's better to hold them up to the light 2444 01:55:13,633 --> 01:55:15,600 'cause otherwise, they've gone through so quickly. 2445 01:55:21,066 --> 01:55:24,766 - Carl Toms really made the most of this little 2446 01:55:24,766 --> 01:55:28,133 doe skinned number that I was supposed to wear, 2447 01:55:28,133 --> 01:55:31,133 so this costume got smaller and smaller 2448 01:55:31,133 --> 01:55:32,766 as the production went on, 2449 01:55:32,766 --> 01:55:35,100 and I felt a little self conscious with this 2450 01:55:35,100 --> 01:55:37,033 very brief thing on all the time. 2451 01:55:37,033 --> 01:55:38,999 Alternately, I would try to 2452 01:55:38,999 --> 01:55:41,033 sort of strut my stuff to make the most of it 2453 01:55:41,033 --> 01:55:43,866 because I figured, obviously this is why they've 2454 01:55:43,866 --> 01:55:45,400 cast me in this movie. 2455 01:55:45,400 --> 01:55:48,533 Not for my acting ability, because I have no lines. 2456 01:55:48,533 --> 01:55:52,567 - I think if cave women in the early days looked 2457 01:55:52,567 --> 01:55:56,799 like Raquel Welch, well we've regressed considerably today. 2458 01:55:58,300 --> 01:56:00,166 - When you were doing it, it just seemed 2459 01:56:00,166 --> 01:56:02,899 so ridiculously silly. 2460 01:56:02,899 --> 01:56:05,467 I felt like a fool. 2461 01:56:08,766 --> 01:56:13,066 - Jamaican born Martine Beswick writhed her way through 2462 01:56:13,066 --> 01:56:16,000 her portrayal of the naughty Neanderthal. 2463 01:56:16,000 --> 01:56:18,633 - What was happening was Raquel had this lovely, 2464 01:56:18,633 --> 01:56:20,200 everything was like perfect, 2465 01:56:20,200 --> 01:56:22,433 and mine looked like a rag, you know? 2466 01:56:22,433 --> 01:56:25,066 So I was a bit jealous. 2467 01:56:26,333 --> 01:56:28,033 And she had more makeup and she had eyelashes, 2468 01:56:28,033 --> 01:56:29,966 and I had to go like a pig woman. 2469 01:56:29,966 --> 01:56:32,133 - And then you have this big girl fight in the middle. 2470 01:56:32,133 --> 01:56:34,467 The queen of the Shell people and the queen 2471 01:56:34,467 --> 01:56:36,600 of the Rock people had to have a girl fight, 2472 01:56:36,600 --> 01:56:39,233 and we had to do Destry Rides Again in the caves 2473 01:56:39,233 --> 01:56:40,467 of Tenerife. 2474 01:56:40,467 --> 01:56:42,633 The whole thing was kind of like a dance. 2475 01:56:42,633 --> 01:56:46,733 Martine and I worked out this whole routine together. 2476 01:56:46,733 --> 01:56:48,933 I just loved to do the action stuff. 2477 01:56:48,933 --> 01:56:50,166 I should have been a boy. 2478 01:56:51,500 --> 01:56:53,699 - That got on really well with everybody, 2479 01:56:53,699 --> 01:56:55,467 particularly John Richardson. 2480 01:56:55,467 --> 01:56:59,733 We didn't actually marry, but we were, for a long time, 2481 01:56:59,733 --> 01:57:01,133 we were together for a long time. 2482 01:57:01,133 --> 01:57:03,066 - My leading man was like to die over. 2483 01:57:03,066 --> 01:57:05,933 He was probably, when I first saw him, 2484 01:57:05,933 --> 01:57:09,899 one of the most beautiful men I have ever seen in my life. 2485 01:57:09,899 --> 01:57:11,133 I was like dumbstruck. 2486 01:57:11,133 --> 01:57:14,233 I thought, "Man, look at this guy." 2487 01:57:14,233 --> 01:57:16,066 I mean, those blue, I mean that fa-- 2488 01:57:16,066 --> 01:57:17,766 I mean, he's the pretty one. 2489 01:57:17,766 --> 01:57:19,766 I look butch next to him. 2490 01:57:19,766 --> 01:57:22,433 - We often wonder whether the attraction 2491 01:57:22,433 --> 01:57:25,433 of Miss Welch or the dinosaurs were the important thing 2492 01:57:25,433 --> 01:57:26,500 in the picture. 2493 01:57:27,433 --> 01:57:29,733 - It started me off. 2494 01:57:29,733 --> 01:57:33,633 So, I guess Dick Zanick was right, you know? 2495 01:57:35,133 --> 01:57:38,433 - We had some set standing from One Million Years B.C. 2496 01:57:38,433 --> 01:57:40,400 The idea came on to make a quickie. 2497 01:57:41,600 --> 01:57:44,333 - And he said, "Martine, I've got something." 2498 01:57:44,333 --> 01:57:46,833 He said, "I want you to be my queen." 2499 01:57:46,833 --> 01:57:48,233 I said, "Oh? 2500 01:57:48,233 --> 01:57:50,467 "Alright darling, what?" 2501 01:57:50,467 --> 01:57:52,433 "Well I want to do this film called..." 2502 01:57:52,433 --> 01:57:55,100 - Slave Women of the White Rhino, 2503 01:57:55,100 --> 01:57:56,433 I mean what else can I say? 2504 01:57:58,367 --> 01:58:00,799 - You've got to be kidding. 2505 01:58:00,799 --> 01:58:02,133 Why did you come? 2506 01:58:02,133 --> 01:58:05,866 - I can only believe the fates brought me here. 2507 01:58:05,866 --> 01:58:07,333 - And they brought you to me. 2508 01:58:08,833 --> 01:58:11,066 And all the little blondies had these, 2509 01:58:11,066 --> 01:58:14,833 they just came right out acting school, 2510 01:58:14,833 --> 01:58:17,467 and everybody had these like really English 2511 01:58:17,467 --> 01:58:21,000 voices like this, and it was hysterical. 2512 01:58:21,000 --> 01:58:22,333 I am queen here. 2513 01:58:22,333 --> 01:58:23,699 I will not be denied. 2514 01:58:28,633 --> 01:58:31,733 Bosco Holder, Jeffrey Holder's brother, 2515 01:58:31,733 --> 01:58:33,966 and he did all of the dance scenes. 2516 01:58:33,966 --> 01:58:36,799 I sort of let loose after he choreographed it. 2517 01:58:36,799 --> 01:58:38,533 I thought, "Listen, this is my vehicle. 2518 01:58:38,533 --> 01:58:40,233 "I get to have eyelashes in this one 2519 01:58:40,233 --> 01:58:42,333 "and I get to have my costume fit. 2520 01:58:42,333 --> 01:58:43,833 "I am going to make this work 2521 01:58:45,633 --> 01:58:47,567 "no matter what he says." 2522 01:58:47,567 --> 01:58:48,833 - We made a huge mistake on that film 2523 01:58:48,833 --> 01:58:51,500 because we really should have had those wonderful 2524 01:58:51,500 --> 01:58:53,833 cartoon biff, bang, ouch. 2525 01:58:53,833 --> 01:58:55,799 It should have been done like that. 2526 01:58:55,799 --> 01:58:57,300 - Who are you? 2527 01:58:58,233 --> 01:58:59,966 - I mean those films did well. 2528 01:59:01,400 --> 01:59:05,300 But as a mainstay, they didn't have the running power 2529 01:59:05,300 --> 01:59:07,233 of the gothic horrors. 2530 01:59:07,233 --> 01:59:09,799 - International beauty Carita, 2531 01:59:09,799 --> 01:59:12,033 and a thousand other sights of savagery 2532 01:59:12,033 --> 01:59:14,133 and splendor are yours to behold. 2533 01:59:16,066 --> 01:59:17,300 The Viking Queen. 2534 01:59:25,266 --> 01:59:27,866 - Olinka Berova, a new star. 2535 01:59:27,866 --> 01:59:30,533 Remember the name, you'll not forget the woman. 2536 01:59:33,200 --> 01:59:35,033 - Val Guest directed the third saga 2537 01:59:35,033 --> 01:59:37,833 created in Sir James' typical manner. 2538 01:59:37,833 --> 01:59:39,866 - Do me a picture with dinosaurs, 2539 01:59:39,866 --> 01:59:42,066 and then there was a dinosaur with a girl in his mouth, 2540 01:59:42,066 --> 01:59:44,733 and they did this enormous, great poster, 2541 01:59:46,233 --> 01:59:48,266 with sex and bikinis. 2542 01:59:49,633 --> 01:59:52,166 And Jimmy said, "Fine. 2543 01:59:52,166 --> 01:59:53,433 "Okay." 2544 01:59:53,433 --> 01:59:54,533 So he sent that to America and said, 2545 01:59:54,533 --> 01:59:55,999 "What about a picture? 2546 01:59:55,999 --> 01:59:57,066 "Here's the poster." 2547 01:59:58,233 --> 02:00:00,266 And they set up the picture on the poster. 2548 02:00:02,133 --> 02:00:04,033 - The dinosaurs were created 2549 02:00:04,033 --> 02:00:08,033 by American Jim Danforth, unusual its past budget. 2550 02:00:08,033 --> 02:00:10,266 - He was a brilliant little guy because he used 2551 02:00:10,266 --> 02:00:12,966 to work out all those monsters with little 2552 02:00:12,966 --> 02:00:16,100 human traits to them, which I have never seen done before. 2553 02:00:17,233 --> 02:00:18,467 - Sir James came first with 2554 02:00:18,467 --> 02:00:21,033 producer Aida Young and Brian Lawrence 2555 02:00:21,033 --> 02:00:23,100 later would head the company with accountant 2556 02:00:23,100 --> 02:00:24,233 Roy Scaves. 2557 02:00:24,233 --> 02:00:25,600 - Wonderful. 2558 02:00:25,600 --> 02:00:26,833 They've got very good face. 2559 02:00:26,833 --> 02:00:29,300 Isn't it exciting to find someone new? 2560 02:00:29,300 --> 02:00:30,533 - It'd be exciting if you could find 2561 02:00:30,533 --> 02:00:31,467 somebody that looks like this. 2562 02:00:31,467 --> 02:00:32,999 I agree. 2563 02:00:32,999 --> 02:00:35,266 - She had to have a special kind of magnetism. 2564 02:00:37,200 --> 02:00:39,766 I can't describe it, but I'll know it when I see it. 2565 02:00:41,833 --> 02:00:43,699 And Victoria Vetri has it, I'm sure. 2566 02:00:45,866 --> 02:00:48,233 - That was a fait accompli yes, that came over. 2567 02:00:48,233 --> 02:00:51,467 She had been a centerfold in Playboy or something 2568 02:00:51,467 --> 02:00:54,033 and whoever was doing it, I don't know who the picture 2569 02:00:54,033 --> 02:00:56,233 was done for over there, it was AIP 2570 02:00:56,233 --> 02:00:57,467 or whoever it was. 2571 02:00:57,467 --> 02:00:59,166 Was it Warners? 2572 02:00:59,166 --> 02:01:01,899 Warners said, "Well give us some glamor that we know." 2573 02:01:03,333 --> 02:01:06,233 - Although there is a more final judge than me, 2574 02:01:06,233 --> 02:01:09,367 and that's the audience when they see Victoria Vetri 2575 02:01:09,367 --> 02:01:10,733 for the first time. 2576 02:01:10,733 --> 02:01:13,633 - But lightening didn't strike twice. 2577 02:01:13,633 --> 02:01:16,833 The distributor didn't push the film widely, 2578 02:01:16,833 --> 02:01:20,133 nor did audiences take Victoria Vetri to heart 2579 02:01:20,133 --> 02:01:21,933 as they did Raquel Welch. 2580 02:01:23,733 --> 02:01:27,433 Danforth received an Oscar nomination for their effects, 2581 02:01:27,433 --> 02:01:30,133 but lost to the Disney musical, 2582 02:01:30,133 --> 02:01:31,633 Bed Knobs and Broomsticks. 2583 02:01:33,033 --> 02:01:35,100 - When Dinosaurs Ruled the Earth. 2584 02:01:35,100 --> 02:01:37,833 - Cost cutting on Creatures the World Forgot 2585 02:01:37,833 --> 02:01:42,600 meant no dinosaurs, no dialogue, and no clothes whatsoever. 2586 02:01:43,833 --> 02:01:46,833 Hammer was now imitating its own films. 2587 02:01:46,833 --> 02:01:49,833 Unfortunately, so were a lot of other people. 2588 02:01:56,766 --> 02:01:58,400 - It's over? 2589 02:01:58,400 --> 02:01:59,266 - Yes, son. 2590 02:02:00,500 --> 02:02:01,733 It's all over. 2591 02:02:01,733 --> 02:02:05,400 As early as 1958, Eros films mimicked 2592 02:02:05,400 --> 02:02:09,699 the Quatermass style with a Trollenberg terror. 2593 02:02:09,699 --> 02:02:12,367 - Where there are mountains, there are always clouds. 2594 02:02:12,367 --> 02:02:14,633 - But this one remains static on the side 2595 02:02:14,633 --> 02:02:17,333 of the Trollenberg, it never moves. 2596 02:02:17,333 --> 02:02:18,300 - Freak of nature. 2597 02:02:20,200 --> 02:02:21,833 - A radioactive freak of nature? 2598 02:02:27,033 --> 02:02:29,533 - They also produced a technicolor chiller 2599 02:02:29,533 --> 02:02:33,333 with a script credited to Jimmy "Frankenstein" Sangster. 2600 02:02:33,333 --> 02:02:35,000 - It's sickening, isn't it? 2601 02:02:36,866 --> 02:02:40,066 - No longer could there be this indirection and 2602 02:02:40,066 --> 02:02:42,133 not showing things and people, you know, 2603 02:02:42,133 --> 02:02:43,633 describing things that had happened, 2604 02:02:43,633 --> 02:02:44,933 as opposed to seeing them. 2605 02:02:44,933 --> 02:02:48,133 The pictures were very graphic. 2606 02:02:49,467 --> 02:02:51,533 - Made in Hollywood by Herman Cohen 2607 02:02:51,533 --> 02:02:53,833 within months of Curse of Frankenstein, 2608 02:02:53,833 --> 02:02:56,233 this film reverted at the doctor's ancestral home 2609 02:02:56,233 --> 02:02:58,467 in England, creates in his lab, 2610 02:02:58,467 --> 02:03:02,766 or even stints of the address, 113 Wardour Street 2611 02:03:02,766 --> 02:03:04,799 West One, London. 2612 02:03:04,799 --> 02:03:06,433 - Well that's because Herman Cohen's office 2613 02:03:06,433 --> 02:03:08,467 was on Wardour Street. 2614 02:03:08,467 --> 02:03:10,866 In the same building as the Hammer Films office. 2615 02:03:14,133 --> 02:03:16,899 - But not all imitations were cheaply done. 2616 02:03:16,899 --> 02:03:20,333 Roman Polanksi made dunce of the vampires, also known 2617 02:03:20,333 --> 02:03:22,733 as the Fearless Vampire Killers, 2618 02:03:22,733 --> 02:03:25,766 spoofing Brides of Dracula and Kiss of the Vampire. 2619 02:03:26,700 --> 02:03:27,533 - You. 2620 02:03:29,933 --> 02:03:32,799 - Christopher I don't think ever forgave me. 2621 02:03:32,799 --> 02:03:34,266 He said, "How dare you? 2622 02:03:34,266 --> 02:03:39,033 "How dare you make a funny character out of the serious? 2623 02:03:42,633 --> 02:03:45,899 "Something that should be interpreted seriously, 2624 02:03:45,899 --> 02:03:48,033 as he's done it, of course. 2625 02:03:48,033 --> 02:03:50,933 - Nevertheless, Frankenstein and Count Dracula 2626 02:03:50,933 --> 02:03:53,166 himself returned in this musical. 2627 02:03:54,567 --> 02:03:55,866 - Real monsters, I've seen 'em all in the movies. 2628 02:03:55,866 --> 02:03:57,166 You've got Frankenstein's monster, 2629 02:03:57,166 --> 02:03:58,600 you've got Egor 2630 02:03:58,600 --> 02:03:59,933 and on the table is this beautiful chick, 2631 02:03:59,933 --> 02:04:01,733 long blonde hair goin', "Hey sweet cakes, 2632 02:04:01,733 --> 02:04:02,567 "how are ya?" 2633 02:04:02,567 --> 02:04:03,667 You got Frankenstein. 2634 02:04:03,667 --> 02:04:05,233 - Ah ha. 2635 02:04:05,233 --> 02:04:06,433 We have a visitor. 2636 02:04:06,433 --> 02:04:08,433 - And you also got the vampire. 2637 02:04:08,433 --> 02:04:11,266 - Won't you join our little party? 2638 02:04:12,700 --> 02:04:14,567 ♪ You'll get the feeling, you'll lose your mind ♪ 2639 02:04:14,567 --> 02:04:16,533 ♪ Feeling make you holler one more time ♪ 2640 02:04:16,533 --> 02:04:18,966 ♪ You go oh, oh, oh 2641 02:04:18,966 --> 02:04:20,933 ♪ The feelin' hits ya 2642 02:04:20,933 --> 02:04:22,100 - A funny one? 2643 02:04:22,100 --> 02:04:25,533 My god, he had no reason to criticize me. 2644 02:04:25,533 --> 02:04:28,367 Bring him up now and say, "I can see you." 2645 02:04:30,833 --> 02:04:33,467 - Hammer's use of color and period decor 2646 02:04:33,467 --> 02:04:36,066 beget the Edgar Allan Poe films in Hollywood, 2647 02:04:36,066 --> 02:04:38,166 directed by Roger Corman. 2648 02:04:38,166 --> 02:04:40,266 Hazel Court became a familiar sight 2649 02:04:40,266 --> 02:04:42,266 in these American international pictures. 2650 02:04:42,266 --> 02:04:44,500 - Your hands are so cold. 2651 02:04:44,500 --> 02:04:46,367 Well I don't think there's really any difference. 2652 02:04:46,367 --> 02:04:49,533 You just have better facilities here instead of a house, 2653 02:04:49,533 --> 02:04:51,333 you know, that leaks. 2654 02:04:51,333 --> 02:04:52,933 - We often found ourselves employed 2655 02:04:52,933 --> 02:04:55,166 by the competitors, like the partnership 2656 02:04:55,166 --> 02:04:56,799 of Rosenberg and Subotsky, 2657 02:04:56,799 --> 02:04:58,733 which was actually Frankenstein to Hammer 2658 02:04:58,733 --> 02:05:00,266 back in 1956. 2659 02:05:02,966 --> 02:05:05,367 - During the 60s, there were a lot of imitators of Hammer. 2660 02:05:05,367 --> 02:05:07,533 Amicus pictures looked virtually the same, 2661 02:05:07,533 --> 02:05:10,667 had identical casts, and I think the studio 2662 02:05:10,667 --> 02:05:12,433 started losing its identity a little bit. 2663 02:05:12,433 --> 02:05:13,500 - It's alive. 2664 02:05:14,899 --> 02:05:16,467 In someone on this train. 2665 02:05:17,700 --> 02:05:19,600 - You're a very good detective. 2666 02:05:19,600 --> 02:05:23,899 You've discovered everything except who is now the host. 2667 02:05:23,899 --> 02:05:25,133 - That's our next step. 2668 02:05:26,266 --> 02:05:27,633 - I thought this might come in handy. 2669 02:05:27,633 --> 02:05:28,567 - Oh, good idea. 2670 02:05:28,567 --> 02:05:29,700 - The two of you together? 2671 02:05:29,700 --> 02:05:31,266 That's fine. 2672 02:05:31,266 --> 02:05:34,266 But what if one of you is the monster? 2673 02:05:34,266 --> 02:05:35,100 - Monster? 2674 02:05:36,100 --> 02:05:37,533 We're British, you know. 2675 02:05:37,533 --> 02:05:40,600 - Hollywood began spending millions on films 2676 02:05:40,600 --> 02:05:42,667 we'd done for really nothing. 2677 02:05:43,567 --> 02:05:46,100 Great stars, elaborate effects. 2678 02:05:47,667 --> 02:05:49,700 And on the low budget end, 2679 02:05:49,700 --> 02:05:52,933 violence we'd used as punctuation 2680 02:05:52,933 --> 02:05:55,133 became the raison d'etre. 2681 02:05:55,133 --> 02:05:58,633 Nothing succeeds like excess. 2682 02:05:58,633 --> 02:06:00,600 The face of Hammer changed. 2683 02:06:00,600 --> 02:06:04,100 Tired of making quality films on diminishing budgets, 2684 02:06:04,100 --> 02:06:07,166 Tony Hinds retired at 46, 2685 02:06:07,166 --> 02:06:08,633 though he continued to write scripts. 2686 02:06:08,633 --> 02:06:11,266 - I think they went wrong when Tony Hinds left. 2687 02:06:11,266 --> 02:06:12,933 Other producers took over, 2688 02:06:15,500 --> 02:06:16,933 but, they were copies. 2689 02:06:16,933 --> 02:06:19,633 They didn't have that original inspiration that he had. 2690 02:06:19,633 --> 02:06:23,500 To me, Tony Hinds, was Hammer. 2691 02:06:24,933 --> 02:06:27,066 - So James used all his sales ability 2692 02:06:27,066 --> 02:06:29,667 to lure his son back to the foe. 2693 02:06:29,667 --> 02:06:31,333 - Money, I mean I needed that. 2694 02:06:32,333 --> 02:06:34,700 You know, I cleared my brain, 2695 02:06:34,700 --> 02:06:36,966 and came back and got on with the job. 2696 02:06:38,100 --> 02:06:40,899 - Inside Michael was another kind of producer 2697 02:06:40,899 --> 02:06:43,033 trying to get out, and I think Michael had 2698 02:06:43,033 --> 02:06:47,766 a lot more ambition for Hammer produce 2699 02:06:48,933 --> 02:06:50,933 and wanted to go very much further. 2700 02:06:59,933 --> 02:07:02,933 - We had a period of very good thrillers, 2701 02:07:02,933 --> 02:07:05,899 of which Jimmy wrote, Jimmy Sangster wrote many of the very 2702 02:07:05,899 --> 02:07:06,733 good ones. 2703 02:07:07,700 --> 02:07:08,533 - Auntie, dear. 2704 02:07:09,467 --> 02:07:11,133 My sister's insane. 2705 02:07:11,133 --> 02:07:11,966 - Go away! 2706 02:07:13,166 --> 02:07:14,766 Don't come near me! 2707 02:07:14,766 --> 02:07:16,700 Don't come near me! 2708 02:07:16,700 --> 02:07:18,266 I'm like Simon! 2709 02:07:18,266 --> 02:07:19,933 I'm mad, I'm insane! 2710 02:07:31,500 --> 02:07:32,799 - Diaboliques. 2711 02:07:32,799 --> 02:07:34,033 I remember seeing that at first. 2712 02:07:34,033 --> 02:07:36,266 I didn't know what, my wife was highly pregnant 2713 02:07:36,266 --> 02:07:38,400 when we saw that, and I thought we'd nearly 2714 02:07:38,400 --> 02:07:41,233 lost the baby there, she was so frightened. 2715 02:07:41,233 --> 02:07:44,033 I thought, "I'd love to do a movie like that." 2716 02:07:44,033 --> 02:07:45,166 - Simon belongs to me. 2717 02:07:46,467 --> 02:07:48,233 No one shall have him 2718 02:07:58,999 --> 02:08:00,866 - If an audience thinks about Jimmy's script, 2719 02:08:00,866 --> 02:08:02,933 then you're dead, but Jimmy used to get them 2720 02:08:02,933 --> 02:08:04,233 rattling along at such a pace that the audience 2721 02:08:04,233 --> 02:08:07,600 didn't have time to think about them. 2722 02:08:07,600 --> 02:08:08,799 - Diaboliques. 2723 02:08:08,799 --> 02:08:10,066 I'm trying to remember the English title. 2724 02:08:10,066 --> 02:08:10,999 The Devils, it was called, wasn't it? 2725 02:08:10,999 --> 02:08:12,500 It was, it was. 2726 02:08:12,500 --> 02:08:15,166 I must have written that about four times, I think, 2727 02:08:15,166 --> 02:08:16,400 Diaboliques. 2728 02:08:16,400 --> 02:08:17,633 - So we had to do something else. 2729 02:08:17,633 --> 02:08:18,866 You couldn't just go on churning out. 2730 02:08:18,866 --> 02:08:20,100 I think it total, if I'm not mistaken, 2731 02:08:20,100 --> 02:08:22,833 we did 36 gothic horrors anyhow, so, you know, 2732 02:08:22,833 --> 02:08:24,400 what more could you want? 2733 02:08:24,400 --> 02:08:26,999 - When Mike took over Hammer, 2734 02:08:28,733 --> 02:08:31,100 he had Jimmy breathing down his neck saying, 2735 02:08:31,100 --> 02:08:33,133 "Oh you're an idiot. 2736 02:08:33,133 --> 02:08:35,033 "You can't do this." 2737 02:08:35,033 --> 02:08:36,799 So he was fighting that. 2738 02:08:36,799 --> 02:08:38,833 - I've never come across anything like that before. 2739 02:08:39,667 --> 02:08:40,667 Leave him! 2740 02:08:54,799 --> 02:08:56,933 - The sea. 2741 02:09:03,333 --> 02:09:06,467 You will see torture pits for forbidden lovers. 2742 02:09:09,133 --> 02:09:10,533 Barbaric sacrifice. 2743 02:09:12,033 --> 02:09:12,833 - No! 2744 02:09:15,933 --> 02:09:18,266 - Out on the starboard side! 2745 02:09:19,567 --> 02:09:22,100 - A living hell that time forgot 2746 02:09:22,100 --> 02:09:23,700 on The Lost Continent. 2747 02:09:32,766 --> 02:09:35,633 - Michael Carreras arranged a co-production 2748 02:09:35,633 --> 02:09:39,266 with the Run Run Shaw Studio in Hong Kong. 2749 02:09:39,266 --> 02:09:42,066 - It seemed to me that if we were going to go back 2750 02:09:42,066 --> 02:09:44,633 and make another Dracula type, 2751 02:09:44,633 --> 02:09:47,899 that we really ought to find a new way of telling the tale. 2752 02:09:47,899 --> 02:09:50,700 So, the Shaws, who I've always admired anyhow 2753 02:09:50,700 --> 02:09:52,700 in their attitude to film making, 2754 02:09:52,700 --> 02:09:55,467 it seemed to me a natural marriage. 2755 02:09:55,467 --> 02:09:57,467 - The idea of going to Hong Kong to make a picture 2756 02:09:57,467 --> 02:09:59,433 of course was, 2757 02:09:59,433 --> 02:10:01,933 wonderful, if you'd never been to Hong Kong. 2758 02:10:03,100 --> 02:10:05,467 The difficulties were absolutely enormous, 2759 02:10:05,467 --> 02:10:07,600 but I think the combination of trying to put 2760 02:10:07,600 --> 02:10:10,567 kung fu with straight forward power didn't work, 2761 02:10:10,567 --> 02:10:12,966 or at least we didn't have a script that made it work. 2762 02:10:12,966 --> 02:10:17,233 - Because it was kind of a cynical exercise in exploitation 2763 02:10:17,233 --> 02:10:21,367 of that market interest, as were most Hammer films, really. 2764 02:10:21,367 --> 02:10:24,866 But the result was absolutely brilliant, in my view. 2765 02:10:24,866 --> 02:10:27,300 It was, again, extremely intense, 2766 02:10:28,766 --> 02:10:31,033 wonderfully shot, and the zombies in that film were, 2767 02:10:31,033 --> 02:10:35,467 at the time, were the best zombies ever captured on film. 2768 02:10:35,467 --> 02:10:38,266 - Christopher declined this final indignity. 2769 02:10:38,266 --> 02:10:42,033 Instead, the Count was played by John Forbes-Robertson. 2770 02:10:42,033 --> 02:10:44,799 At least I had the honor of driving one final 2771 02:10:44,799 --> 02:10:45,700 wooden stake. 2772 02:10:47,966 --> 02:10:50,866 - As the seven brothers and their one sister 2773 02:10:50,866 --> 02:10:51,667 meet Dracula. 2774 02:10:56,233 --> 02:10:58,667 - If you're looking for trouble, you're staring it 2775 02:10:58,667 --> 02:10:59,600 right in the face. 2776 02:11:07,400 --> 02:11:09,833 - Shatter, you're marked. 2777 02:11:09,833 --> 02:11:11,600 You're waiting on the other side. 2778 02:11:11,600 --> 02:11:13,899 - The idea came on to make a quickie. 2779 02:11:13,899 --> 02:11:16,200 That was my idea, you know, shot on the streets. 2780 02:11:16,200 --> 02:11:18,133 A police type drama. 2781 02:11:18,133 --> 02:11:19,866 It wasn't at the peak of the kung fu. 2782 02:11:19,866 --> 02:11:20,799 It was a bit late. 2783 02:11:20,799 --> 02:11:22,667 Probably we were too late again. 2784 02:11:22,667 --> 02:11:24,999 But I think it's something else that didn't work. 2785 02:11:24,999 --> 02:11:27,799 I'm not saying that it necessarily makes for 2786 02:11:27,799 --> 02:11:29,533 a better picture to have those ingredients, 2787 02:11:29,533 --> 02:11:32,033 'cause you're fighting the believability factor 2788 02:11:32,033 --> 02:11:33,567 all the time. 2789 02:11:33,567 --> 02:11:35,999 The representatives of the major American companies, 2790 02:11:35,999 --> 02:11:38,400 they should have said, "This is no good." 2791 02:11:38,400 --> 02:11:40,300 But what they said instead was, 2792 02:11:40,300 --> 02:11:42,100 "If you can make it cheaper, 2793 02:11:42,100 --> 02:11:44,799 "or if you can show a little more of this, 2794 02:11:44,799 --> 02:11:46,600 "that, or the other, we'll do it." 2795 02:11:46,600 --> 02:11:49,966 And I think they misled us in a way. 2796 02:11:49,966 --> 02:11:51,999 - I think that had a lot to do with 2797 02:11:51,999 --> 02:11:53,567 the downfall of Hammer. 2798 02:11:53,567 --> 02:11:54,866 They lowered their standards, 2799 02:11:54,866 --> 02:11:56,933 because they had a, they had their own, 2800 02:11:59,367 --> 02:12:02,266 venue, their own way of doing things. 2801 02:12:02,266 --> 02:12:04,500 And then suddenly, because everybody was doing 2802 02:12:04,500 --> 02:12:07,300 nudity and because it was attracting more, 2803 02:12:07,300 --> 02:12:08,966 well it's happening again right now. 2804 02:12:08,966 --> 02:12:10,533 The same thing's happening now. 2805 02:12:11,667 --> 02:12:13,500 - I think they knew pretty much what 2806 02:12:13,500 --> 02:12:16,533 they could get away with so that when 2807 02:12:16,533 --> 02:12:19,100 the films were submitted for censorship, 2808 02:12:19,100 --> 02:12:20,766 they knew what they could get away with, 2809 02:12:20,766 --> 02:12:22,633 but definitely that was a ploy that they would use 2810 02:12:22,633 --> 02:12:24,233 to leave something in that they knew they 2811 02:12:24,233 --> 02:12:27,533 could take it out later without ruining the story. 2812 02:12:27,533 --> 02:12:29,966 But we wanted to keep on his good side socially. 2813 02:12:36,833 --> 02:12:38,933 You knew you had a problem picture coming up, 2814 02:12:38,933 --> 02:12:40,367 we took him to get him a good lunch, 2815 02:12:40,367 --> 02:12:42,266 Leison Best is one of the big restaurants 2816 02:12:42,266 --> 02:12:44,833 in town used by the film people. 2817 02:12:44,833 --> 02:12:47,066 - Knighted and respected, Sir James wished 2818 02:12:47,066 --> 02:12:49,933 to retire and sell off the company. 2819 02:12:49,933 --> 02:12:52,567 Michael wanted to keep it in family hands. 2820 02:12:54,333 --> 02:12:56,367 - I think Jimmy was bought out for a while, 2821 02:12:56,367 --> 02:12:57,999 though Mike got controlling interest. 2822 02:12:57,999 --> 02:13:00,467 - Our horror stories by that time were passe. 2823 02:13:00,467 --> 02:13:02,433 I mean, they were children's stuff. 2824 02:13:02,433 --> 02:13:05,133 You get into the chainsaw massacres and what have you. 2825 02:13:06,066 --> 02:13:07,733 I suppose I wasn't in tune. 2826 02:13:07,733 --> 02:13:11,100 I have to take the blame for this, I was in charge. 2827 02:13:11,100 --> 02:13:13,799 - And Mike swears that Jimmy went 'round the industry 2828 02:13:13,799 --> 02:13:15,367 and said, "Don't help my son." 2829 02:13:17,100 --> 02:13:18,966 That's Mike's end of it. 2830 02:13:21,066 --> 02:13:24,433 Jimmy on the other hand, I wouldn't put anything past him. 2831 02:13:24,433 --> 02:13:27,700 Jimmy got on with that wide eyed face and say, 2832 02:13:27,700 --> 02:13:29,633 "I wish him all the luck in the world." 2833 02:13:30,833 --> 02:13:31,833 - Everything 2834 02:13:32,966 --> 02:13:35,400 is born, it flowers, and then it fades away, 2835 02:13:35,400 --> 02:13:36,633 and eventually it dies. 2836 02:13:36,633 --> 02:13:38,899 - The Hammer period was like the last gasp of 2837 02:13:38,899 --> 02:13:40,133 world cinema. 2838 02:13:40,133 --> 02:13:42,333 - I think a moment came to an end. 2839 02:13:42,333 --> 02:13:44,100 Sir James left, retired. 2840 02:13:45,233 --> 02:13:47,700 I think the moment came to an end, you know. 2841 02:13:47,700 --> 02:13:49,799 There was a time, and then there wasn't a time. 2842 02:13:49,799 --> 02:13:51,733 - And as it happened, the horror thing 2843 02:13:51,733 --> 02:13:53,266 can't go on forever. 2844 02:13:53,266 --> 02:13:58,266 Sadly, some of the other streams that I tried to instill 2845 02:13:58,266 --> 02:14:01,467 into the company's product line just didn't work. 2846 02:14:01,467 --> 02:14:03,799 - I thought Vampire Circus was one of the best 2847 02:14:03,799 --> 02:14:05,733 Hammer horror movies of the whole lot. 2848 02:14:05,733 --> 02:14:08,467 I thought Robert Young did a marvelous job. 2849 02:14:09,633 --> 02:14:12,033 And there were some fantastic scenes where 2850 02:14:12,033 --> 02:14:15,200 the humans transformed into animals and animals 2851 02:14:15,200 --> 02:14:17,467 transformed back into humans. 2852 02:14:17,467 --> 02:14:18,433 It was all a very, very sexy film. 2853 02:14:18,433 --> 02:14:20,133 There was lots of sex in it. 2854 02:14:20,133 --> 02:14:22,433 I still think it was one of the very, very best 2855 02:14:22,433 --> 02:14:23,367 of the Hammer movies. 2856 02:14:23,367 --> 02:14:24,633 I played the circus strongman. 2857 02:14:26,100 --> 02:14:27,467 I went through the entire film. 2858 02:14:27,467 --> 02:14:29,233 So it was a really good part for me. 2859 02:14:29,233 --> 02:14:31,766 - No, it was none of the old gang. 2860 02:14:31,766 --> 02:14:34,133 We saw this disintegration happening 2861 02:14:34,133 --> 02:14:35,899 and we were rather sad for it. 2862 02:14:35,899 --> 02:14:39,200 Because the people who were concerned with Hammer, 2863 02:14:39,200 --> 02:14:42,567 really, other than Mike, were no longer around him. 2864 02:14:44,066 --> 02:14:45,966 - The novelty of color was now standard, 2865 02:14:45,966 --> 02:14:47,467 even on television. 2866 02:14:47,467 --> 02:14:49,700 Concepts often seemed strained. 2867 02:14:49,700 --> 02:14:52,133 - It is common to suppose that the vampire attacks 2868 02:14:52,133 --> 02:14:54,933 in only one way: by biting the neck and draining 2869 02:14:54,933 --> 02:14:56,533 the victim of blood. 2870 02:14:56,533 --> 02:14:58,633 The girls you spoke of, 2871 02:14:58,633 --> 02:15:01,700 they were not drained of blood, but youth. 2872 02:15:01,700 --> 02:15:03,233 Of life itself. 2873 02:15:12,933 --> 02:15:15,233 - But they wanted, 2874 02:15:15,233 --> 02:15:17,367 they wanted it to appear nude. 2875 02:15:17,367 --> 02:15:20,100 So we kind of came to a compromise, 2876 02:15:20,100 --> 02:15:23,100 in so far as my hair was a lot longer in those days, 2877 02:15:23,100 --> 02:15:27,700 and uh, and so that covered my upper chest. 2878 02:15:27,700 --> 02:15:29,233 - When we were making that picture, 2879 02:15:29,233 --> 02:15:31,400 I didn't realize that she didn't want 2880 02:15:31,400 --> 02:15:34,133 to show any of her top. 2881 02:15:34,133 --> 02:15:36,999 But it's become very apparent when you see the movie, 2882 02:15:36,999 --> 02:15:39,700 that she didn't show anything. 2883 02:15:39,700 --> 02:15:41,233 - And I think I actually used 2884 02:15:41,233 --> 02:15:43,533 some sort of gaffer tape or something to stick it down, 2885 02:15:43,533 --> 02:15:47,066 so I felt quite secure in that sense. 2886 02:15:47,066 --> 02:15:51,433 And then a pair of flesh color knickers, briefs, 2887 02:15:51,433 --> 02:15:52,933 and I was alright. 2888 02:15:52,933 --> 02:15:55,766 I was all set, so it was like being on the beach, really. 2889 02:15:55,766 --> 02:15:58,600 - Captain Kronos, in fact, I just watched Kronos today. 2890 02:15:58,600 --> 02:16:00,667 I was amazed that the fight in the cemetery 2891 02:16:00,667 --> 02:16:03,533 was all done on the back lot at Elstree which 2892 02:16:03,533 --> 02:16:05,133 was not a big back lot. 2893 02:16:05,133 --> 02:16:08,033 It had houses pretty much all the way around, 2894 02:16:08,033 --> 02:16:10,467 but Captain Kronos, where the cemetery was shot, 2895 02:16:10,467 --> 02:16:12,567 was a small little hill. 2896 02:16:12,567 --> 02:16:14,367 And when you look at the show, it's just like up 2897 02:16:14,367 --> 02:16:16,833 the hill and down the hill because 2898 02:16:16,833 --> 02:16:19,100 the camera angles, as if it was filmed any differently, 2899 02:16:19,100 --> 02:16:22,100 would have had houses eventually within 25 yards 2900 02:16:22,100 --> 02:16:23,999 of that place. 2901 02:16:23,999 --> 02:16:25,667 - Her life will be yours. 2902 02:16:27,600 --> 02:16:28,433 Yours. 2903 02:16:29,833 --> 02:16:34,667 Her youth will pulse through your veins, my darling. 2904 02:16:35,766 --> 02:16:37,766 Replenishing, restoring, take her. 2905 02:16:47,367 --> 02:16:48,266 - To death. 2906 02:16:59,033 --> 02:16:59,899 Yes. 2907 02:16:59,899 --> 02:17:01,133 You bleed, my lord. 2908 02:17:02,100 --> 02:17:03,667 This is God's blade. 2909 02:17:05,467 --> 02:17:08,033 Forged for your black heart. 2910 02:17:09,733 --> 02:17:11,667 - A lack of audience response killed 2911 02:17:11,667 --> 02:17:14,700 Captain Kronos as a potential series. 2912 02:17:15,899 --> 02:17:17,467 - Possibly it was too romantic. 2913 02:17:17,467 --> 02:17:20,567 Maybe it was either ahead of its time, or, 2914 02:17:21,600 --> 02:17:22,833 you know, the other way. 2915 02:17:22,833 --> 02:17:25,433 Maybe it was kind of lost in time. 2916 02:17:25,433 --> 02:17:27,033 I'm not too sure. 2917 02:17:27,033 --> 02:17:29,033 The timing was wrong, anyway, I think. 2918 02:17:29,033 --> 02:17:32,066 - Hammer flowed with the tide of television 2919 02:17:32,066 --> 02:17:34,166 by adapting a BBC serial. 2920 02:17:46,367 --> 02:17:48,966 - And On the Buses is one of my least favorite films, 2921 02:17:48,966 --> 02:17:51,433 and I don't know anyone who would put that high 2922 02:17:51,433 --> 02:17:52,866 on their list. 2923 02:17:52,866 --> 02:17:54,799 Interestingly, it is without doubt, 2924 02:17:54,799 --> 02:17:57,766 the most successful commercially of all the Hammer films, 2925 02:17:57,766 --> 02:18:01,667 and still generates a royalty income for the company today. 2926 02:18:04,533 --> 02:18:07,333 - Hammer's last horror picture, so far, 2927 02:18:07,333 --> 02:18:09,500 was made in 1975. 2928 02:18:12,300 --> 02:18:15,533 - 98% of so-called Satanists are nothing but 2929 02:18:15,533 --> 02:18:17,367 pathetic freaks 2930 02:18:17,367 --> 02:18:19,500 who get their kicks out of dancing naked 2931 02:18:19,500 --> 02:18:21,600 in freezing church yards. 2932 02:18:21,600 --> 02:18:23,966 I have a feeling I'm dealing with the 2933 02:18:23,966 --> 02:18:25,266 other two percent. 2934 02:18:26,700 --> 02:18:30,533 - Richard Widmark challenges Christopher Lee 2935 02:18:30,533 --> 02:18:32,600 for the soul of a girl named Catherine. 2936 02:18:38,999 --> 02:18:40,600 - They got Catherine. 2937 02:18:42,033 --> 02:18:44,166 And we've got to get her back before it's too late. 2938 02:18:44,166 --> 02:18:46,066 - By then the so-called low budgets 2939 02:18:46,066 --> 02:18:47,333 net a half million pounds: 2940 02:18:47,333 --> 02:18:49,433 over a million dollars. 2941 02:18:49,433 --> 02:18:51,300 Hedging their bets, Hammer brought in 2942 02:18:51,300 --> 02:18:54,533 German Co financing, and an American star, 2943 02:18:54,533 --> 02:18:55,933 Richard Widmark. 2944 02:18:55,933 --> 02:18:58,166 Appropriately, Christopher Lee was the heavy. 2945 02:19:04,833 --> 02:19:06,567 - When this ceremony has been performed, 2946 02:19:06,567 --> 02:19:08,467 I shall destroy you, John Varney. 2947 02:19:08,467 --> 02:19:12,033 - The demons hate you, Rayner, they're waiting for you. 2948 02:19:12,033 --> 02:19:13,033 - Catherine. 2949 02:19:14,367 --> 02:19:15,200 Catherine. 2950 02:19:17,166 --> 02:19:18,166 - You are warned. 2951 02:19:18,166 --> 02:19:18,999 - It's me. 2952 02:19:18,999 --> 02:19:20,567 Don't! 2953 02:19:26,200 --> 02:19:27,033 Damn you! 2954 02:19:28,367 --> 02:19:29,200 Damn you! 2955 02:19:32,833 --> 02:19:34,033 - The nude permissiveness 2956 02:19:34,033 --> 02:19:36,266 extended to a nude photograph of 2957 02:19:36,266 --> 02:19:39,667 teenage Nastassja Kinski in the press book. 2958 02:19:39,667 --> 02:19:41,266 - Hammer's last theatrical venture 2959 02:19:41,266 --> 02:19:43,966 was made in 1979. 2960 02:19:43,966 --> 02:19:45,899 - The Lady Vanishes. 2961 02:19:45,899 --> 02:19:47,633 - Michael Carreras planned a 2962 02:19:47,633 --> 02:19:50,567 new version of the thriller by Hitchcock himself. 2963 02:19:51,733 --> 02:19:52,999 - He was a journalist. 2964 02:19:52,999 --> 02:19:54,833 She was a mad cap American heiress. 2965 02:19:54,833 --> 02:19:57,266 Miss Froy was an English nanny. 2966 02:19:57,266 --> 02:20:00,799 - I'm talking about the lady who's sitting right there. 2967 02:20:00,799 --> 02:20:03,100 - There has been no English lady here. 2968 02:20:03,100 --> 02:20:04,799 - There's a woman missing on this train. 2969 02:20:04,799 --> 02:20:06,233 I saw her. 2970 02:20:06,233 --> 02:20:08,200 And now people keep saying she was never there. 2971 02:20:08,200 --> 02:20:10,633 You saw her, I know you did. 2972 02:20:10,633 --> 02:20:12,667 - Ultimately, it was a Hammer film 2973 02:20:12,667 --> 02:20:13,866 in name only. 2974 02:20:15,300 --> 02:20:17,633 The dirty business was left to Phantom of the Opera's, 2975 02:20:17,633 --> 02:20:19,000 Herbert Lom. 2976 02:20:19,000 --> 02:20:20,667 - You're asking me to remove the bandages? 2977 02:20:20,667 --> 02:20:22,133 - No, no, not the whole business. 2978 02:20:22,133 --> 02:20:24,533 Just enough so we can get one teeny, tiny peak. 2979 02:20:24,533 --> 02:20:25,866 Just so we can see the face. 2980 02:20:25,866 --> 02:20:27,233 - But there is no face. 2981 02:20:27,233 --> 02:20:29,400 Nobody believes you now. 2982 02:20:29,400 --> 02:20:30,899 Nobody will believe you later. 2983 02:20:32,367 --> 02:20:34,866 - The Lady Vanishes received scant distribution, 2984 02:20:34,866 --> 02:20:38,667 a Loch Ness movie drowned in a sea of delay. 2985 02:20:38,667 --> 02:20:41,933 - Michael Carreras left in 1979. 2986 02:20:41,933 --> 02:20:44,733 Royce Keggs helmed the company through the 2987 02:20:44,733 --> 02:20:47,667 dungeons of the British film industry by producing 2988 02:20:47,667 --> 02:20:50,200 two TV suspense series. 2989 02:21:14,633 --> 02:21:16,966 - Bastard, bastard, bastard. 2990 02:21:20,899 --> 02:21:24,100 - He makes such a noise when anything unusual happens. 2991 02:21:25,300 --> 02:21:26,600 - Will you let me out? 2992 02:21:26,600 --> 02:21:27,433 Now? 2993 02:21:27,433 --> 02:21:28,400 - Oh no. 2994 02:21:28,400 --> 02:21:30,100 Not until you are trained. 2995 02:21:30,100 --> 02:21:33,367 Now please, we're not trying to thwart my plans. 2996 02:21:33,367 --> 02:21:35,833 If you cause me to close this hatch, 2997 02:21:35,833 --> 02:21:37,266 nobody will hear you. 2998 02:21:38,367 --> 02:21:39,200 Ever. 2999 02:21:40,600 --> 02:21:42,166 - The pictures that I worked on over there 3000 02:21:42,166 --> 02:21:44,266 were Hammer pictures, and they ended up in the space 3001 02:21:44,266 --> 02:21:45,433 of ten years. 3002 02:21:45,433 --> 02:21:46,533 So that's how important they were. 3003 02:21:46,533 --> 02:21:48,233 They provided so many jobs. 3004 02:21:48,233 --> 02:21:51,500 Now, if Hammer wasn't around, a lot of people wouldn't 3005 02:21:51,500 --> 02:21:53,733 have been in the business. 3006 02:21:53,733 --> 02:21:55,033 You know, and that's from art directors, 3007 02:21:55,033 --> 02:21:56,700 all the way through. 3008 02:21:56,700 --> 02:21:59,300 - I get asked time and time again in letters 3009 02:21:59,300 --> 02:22:01,300 and in interviews and things, 3010 02:22:01,300 --> 02:22:02,933 "When is Hammer gonna return?" 3011 02:22:02,933 --> 02:22:04,166 Or, "Will Hammer return?" 3012 02:22:05,100 --> 02:22:06,333 - It's a shame. 3013 02:22:06,333 --> 02:22:08,333 I think someone should really pick up the torch 3014 02:22:08,333 --> 02:22:09,799 and run with it. 3015 02:22:09,799 --> 02:22:11,933 - Now Hammer has contracted to make 3016 02:22:11,933 --> 02:22:15,533 horror, suspense, and science fiction films 3017 02:22:15,533 --> 02:22:19,133 with name stars and top creative talent. 3018 02:22:19,133 --> 02:22:20,833 - Hammer's changed hands a couple of times 3019 02:22:20,833 --> 02:22:22,433 over the last 10 years. 3020 02:22:24,100 --> 02:22:25,933 The new Hammer obviously has to move into 3021 02:22:25,933 --> 02:22:29,033 the 21st century with new techniques and new stories 3022 02:22:29,033 --> 02:22:31,467 and so on, appealing to contemporary audiences, 3023 02:22:31,467 --> 02:22:33,467 and that's what they plan to do. 3024 02:22:33,467 --> 02:22:37,233 But always with a respectful nod backward 3025 02:22:37,233 --> 02:22:39,633 to what the company has always represented. 3026 02:22:39,633 --> 02:22:41,033 Quality film making. 3027 02:22:41,033 --> 02:22:43,933 Once in a while, maybe some gothic horrors. 3028 02:22:43,933 --> 02:22:46,799 - Entertainment technology has changed radically 3029 02:22:46,799 --> 02:22:49,733 since the 1950s, yet Hammer thrives in this 3030 02:22:49,733 --> 02:22:52,933 new incarnation, inspiring a nostalgic cult 3031 02:22:52,933 --> 02:22:55,233 that reaches around the world. 3032 02:22:55,233 --> 02:22:57,500 - They've often said, "We grew up with you. 3033 02:22:57,500 --> 02:22:59,000 "You are part of the family. 3034 02:22:59,000 --> 02:23:01,667 "We'd go on a Saturday and see these horror films 3035 02:23:01,667 --> 02:23:03,033 "and scream and yell, 3036 02:23:03,033 --> 02:23:05,833 "so we've always considered you a part of us." 3037 02:23:05,833 --> 02:23:07,300 Which is wonderful. 3038 02:23:07,300 --> 02:23:09,833 - Fan periodicals, like Little Shoppe of Horrors 3039 02:23:09,833 --> 02:23:12,999 published by Richard Klemensen, savored the films 3040 02:23:12,999 --> 02:23:15,300 like fine old wines. 3041 02:23:15,300 --> 02:23:18,633 - Top professional tip their hats to Bray. 3042 02:23:19,799 --> 02:23:21,166 - Gremlins fashioned its climax 3043 02:23:21,166 --> 02:23:23,567 on the end of Hammer's original Dracula. 3044 02:23:23,567 --> 02:23:26,866 Director Joe Dante cast Christopher Lee himself 3045 02:23:26,866 --> 02:23:28,467 in Gremlins 2. 3046 02:23:28,467 --> 02:23:32,066 - He said, "But you have to remember, Christopher, 3047 02:23:32,066 --> 02:23:36,533 "that I and all my peers, and all my colleagues," 3048 02:23:36,533 --> 02:23:37,734 and there's a great many of them. 3049 02:23:37,734 --> 02:23:41,799 Martin Scorsese, Brandon Palmer, John Landis, 3050 02:23:41,799 --> 02:23:43,966 Steven Spielberg, Joe Dante, 3051 02:23:43,966 --> 02:23:45,100 and many, many, many other who don't come 3052 02:23:45,100 --> 02:23:46,433 to mind at the moment, he said, 3053 02:23:46,433 --> 02:23:48,500 "We were brought up on your films 3054 02:23:50,066 --> 02:23:52,933 "when we were teenagers and young men. 3055 02:23:52,933 --> 02:23:54,700 "We were brought up on your films. 3056 02:23:54,700 --> 02:23:56,533 "We liked them, we loved them." 3057 02:23:56,533 --> 02:23:58,700 And I'm naturally very grateful for that. 3058 02:23:59,567 --> 02:24:00,933 It means that don't forget. 3059 02:24:00,933 --> 02:24:02,700 - I'm not giving you bullshit. 3060 02:24:02,700 --> 02:24:04,999 They were made by people who cared. 3061 02:24:04,999 --> 02:24:08,066 - While we were doing them, we were dedicated to them. 3062 02:24:08,066 --> 02:24:09,066 - As a matter of fact, as it were done, 3063 02:24:09,066 --> 02:24:10,433 it couldn't have been better. 3064 02:24:10,433 --> 02:24:11,866 - Those films will last forever. 3065 02:24:11,866 --> 02:24:14,033 - Mocked and vilified in their time, 3066 02:24:14,033 --> 02:24:16,066 these films are now revered in places 3067 02:24:16,066 --> 02:24:18,734 like the British Film Institute as classics 3068 02:24:18,734 --> 02:24:21,533 of their era, and the world has finally come 'round 3069 02:24:21,533 --> 02:24:24,033 to know what we've really known all along: 3070 02:24:24,033 --> 02:24:26,866 anything made by Hammer is the best. 3071 02:24:28,899 --> 02:24:31,533 - Quite ironic, it's got to be anything. 3072 02:24:31,533 --> 02:24:32,766 And here it is. 3073 02:24:32,766 --> 02:24:34,500 You know, they're showing them at the 3074 02:24:34,500 --> 02:24:36,799 Museum of Contemporary Art and the Lincoln Center, 3075 02:24:36,799 --> 02:24:38,667 all those horror films. 3076 02:24:38,667 --> 02:24:39,933 - It's in our blood. 3077 02:24:39,933 --> 02:24:42,433 Film is in our blood. 3078 02:24:42,433 --> 02:24:43,933 - Fun days. 3079 02:24:43,933 --> 02:24:46,533 - Hammer was one of the happiest studios I've ever 3080 02:24:46,533 --> 02:24:47,966 worked in in my life. 3081 02:24:47,966 --> 02:24:50,166 And it was a family. 3082 02:24:50,166 --> 02:24:52,200 - These motion pictures created an 3083 02:24:52,200 --> 02:24:56,400 insular fantasy world with fiery images of love 3084 02:24:56,400 --> 02:24:59,766 and innocence, of dark sexuality, 3085 02:24:59,766 --> 02:25:01,866 and hideous death. 3086 02:25:01,866 --> 02:25:03,766 - We who created that world 3087 02:25:03,766 --> 02:25:05,799 have a touch of immortality through them. 3088 02:25:06,966 --> 02:25:09,233 And you who share that world over the years 3089 02:25:09,233 --> 02:25:11,600 can revisit it as you would recall 3090 02:25:11,600 --> 02:25:13,700 a favorite fairy tale. 3091 02:25:13,700 --> 02:25:17,667 Secure that in the end, good will always triumph 3092 02:25:19,100 --> 02:25:19,966 over evil. 3093 02:25:21,133 --> 02:25:24,500 - That is, until the next sequel.