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06 February, 2010

The Crypt-ic Correspondent: Bobbie Culbertson's Interview with Constantine Nasr

[CORRECTION: Due to an error on our part, author Greg Mank's name was misspelled when this was posted. That mistake is now corrected, with apologies to all concerned. Ed.]

[Editor’s Note: Recently, Bobbie Culbertson, someone who has grown increasingly familiar to the Crypt’s readership, had the opportunity to interview filmmaker Constantine Nasr. Nasr, who has amassed quite an impressive filmography according to www.IMDb.com, is familiar to fans of Universal Horrors as the creator of documentaries examining the lives and careers of Bela Lugosi and Boris Karloff, and has now done the same for Lon Chaney, Jr. Bobbie spoke to him regarding that documentary, which will be on the upcoming Universal Legacy Series THE WOLF-MAN Special Edition DVD, and is sharing that conversation with The Unimonster’s Crypt.]

Bobbie Culbertson: Will this documentary be about just THE WOLF-MAN movie or will it be about Lon Chaney, Jr's entire life?

Constantine Nasr: Umm. Well. We made two new documentaries for the release. The first and really the foremost documentary was a biography of Chaney, Jr. And that's something I have been wanting to do for quite some time and it's always good to know that the studio would actually back that. Um, as they had done with some documentaries I had done on Karloff and Lugosi. And, prior to that, Jack Pierce.

BC: Yes. I've seen all three of those.

CN: Oh. Good, well I hope you liked them. I actually think Chaney might be the best of all to be honest with you. Um, just because I think, well, although Jack Pierce was very special because no one had really tackled that subject. But I think that people know Chaney, Jr and they just have never given him the break even in the one or two documentaries there have been about his life. So I kind of wanted to rectify that if that was possible. And, try to, you know, in other people's words—because it's the people that are talking—help prove that Chaney was a better actor than he really got credit for.

BC: I totally agree with you. I mean, he was in an Oscar-nominated movie, OF MICE AND MEN. And I think in a lot of ways he reprised his role through everything he did after that. You know, that vulnerable kind of...

CN: He... he, yah. He definitely had a type of performance and a persona that I think even if he was... You know, I mean sometimes when he was playing Dracula, Lenny didn't... didn't come through. But then again, when he played Dracula he had a different slant on that character too that I think is... is something that's noted in the documentary. Something that's...empowering. Physically empowering. And I think that's one thing that you definitely get whenever you see Chaney. Is a physically empowering...you know, gentleman. (laughter)

BC: Yes. That's true.

CN: So, I mean. I would have loved to have met him. I didn't meet him, but, I'm sure he would have been. You know. They talk about the big bear hugs that Lon used to give. and I think he probably meant that with ... Those bear hugs were representative of the big gentle giant within, let's say.

BC: About his relationship with Jack Pierce. I've read articles that indicate he and Jack pierce had a rather acrimonious relationship on the set of THE WOLF-MAN and Lon Jr accused Jack Pierce of purposefully burning him with a curling iron several times. And I was wondering of there was any truth. Did you find out if there's any truth behind that?

CN: Well, it's very hard to find out what is truth and what is sort of legendary hearsay that sort of becomes... becomes true. And that's hard enough when you read biographies written by people who never met him. Who were never there. You know. In my documentary only a few people that I met. Actually, I did interview some people that worked with Jack...worked with Lon Chaney, including director Jack Hill, actor Sid Haig, Bob Burns, and Janet Anne Gallow who was a little girl in Ghost of Frankenstein. She was like six or seven when she worked with him, but she had memories.

With regard to what you're saying, I guess when it comes down to it. That...it. It's most likely a fact that sitting in that chair for hour after hour with people playing with your face really got on Lon's nerves. And it was probably especially later on. I mean, after he was hoping that after THE WOLF-MAN he would probably have some bigger success. But all they kept bringing him back was for mummy movies and things, so... my feeling is that there is truth and that he gave Jack a hard time and Jack, who was the master of his domain, you know possibly singed Lon (laughter) to prove... you know, look. You just sit in that chair and do what you're being told to do. I mean, these were two guys who were probably appreciated each other's work when the day was done. And probably when they both would go and have a drink together? If that was ever possible? But during the tension of 8 hours in the make up chair putting on the hair... you know, you can't blame Chaney for probably getting mad at Jack for his meticulous attitude and nature.

BC: And the man was definitely meticulous. There's never been anyone else like him.

CN: Yah. And I think that, you know, that's part of Jack's downfall, but that's part of his genius. And so, I'm sure that Lon would have loved to just put on a mask like he did for The Mummy. (laughter) But instead, you know, even in HOUSE OF DRACULA. Fourth time in a row. He was like, do I have to do this again? You know, I'm sure that was Chaney's attitude. BUT. He loved his character and you know, at the end of the day I really don't think he gave a bad performance as THE WOLF-MAN. So...

BC: Oh no. It's his one stand out performance other than OF MICE AND MEN. That's what he's remembered for is THE WOLF-MAN.

CN: Yah. Yah. Yah. Even, even, even when he came back, you know, to do FACE OF THE SCREAMING WEREWOLF in Mexico. I think even then there was like some attempt to bring Lon Chaney's pedigree to the table. But that movie is very sketchy. (laughter) I don't know if you've seen that one.

BC: Yes. I have actually.

CN: So, anyway.

BC: Do you think that Lon Chaney, like Bela Lugosi, was both blessed and cursed with his role? Bela in Dracula and Chaney in THE WOLF-MAN?

CN: Well, that's a good question. I think that both actors were stars for a reason. They had a persona. And that... you know, I think Lugosi's struggles were almost... I don't want to say rather unfair. Both of them had issues. Both of them had. I think Lugosi had a... let's put it this way. Both had greater talents than people appreciate them for now, outside of their cult fan base. And, I mean, that's I think evident if you really explore the work of Lugosi and if you really explore the work of Chaney. And in the documentary we tried to show. We showed a clip of this TV film called the GOLDEN JUNK MAN, in which Chaney Jr gives a really stand out performance. and makes you wish that he had given... that he had opportunities that gave him more character roles like this. Both men grew into, they grew in older age, reliable character actors. But they really wanted to be stars. I think definitely Lugosi, more so that Chaney. But, I think that's kind of what happens when you define something. When you become so associated with a character. It is somewhat a blessing or a curse. And, somehow, Karloff escaped it, but Chaney, Jr didn't. But frankly, I mean, you could say Karloff was much more versatile. Even more versatile than Lugosi. You can say that. I don't necessarily agree with these things.

BC: No, no. I think, by and large, Lon had a... a broader talent base because he did a lot of other memorable roles. He was in ALLIGATOR PEOPLE, admittedly a very cheesy movie. And speaking of Jack Hill, SPIDER BABY.

CN: Oh, SPIDER BABY is fantastic. In fact, we do show some of Lon's best work in SPIDER BABY in the documentary. So, whenever I do these things, and it's very, very hard because fans want to see everything. They often don't understand the, uh, not simply the creative but the budgetary and production time limitations, the legal limitations that we're given. You know, what films are in public domain may not be in public domain to other companies. You know, every studio respects the ownership rights of other studios. So things don't, might be in public domain, you know, to Universal, they are not going to like go out there and steal some other films. We have to do all of this very carefully. So, fortunately, in the documentary we were able to license some clips from OF MICE AND MEN and from SPIDER BABY and show some other images and clips from other of Lon's work. Some good, some not so good. But, the great thing when you're doing, when you're doing a project like this for Universal, is that you have practically free access to their library. So, and most of Lon's, the work that everyone loves Lon for, for the most part, is his work in the 1940s. And so we really tried to show some moments from the INNER SANCTUM movies or even tiny little clips from NORTHWEST MOUNTED POLICE. Stuff like that. But, um, I'm sorry. Your question was regarding... Oh. SPIDER BABY.

I just want to go back to the issue with Chaney as an actor who was typecast. You know, it's easy to blame... There's a lot of easy outs with Chaney's life that you could say, well, it was his father or it was his alcohol, or it was his family. All these things, but I think, at this point, it would probably be best to focus on the things we do have. And see what he did offer to the world. And that's like the movies he did leave us. And it's very clear when you watch these films that there's an appeal in these movies when he's on screen. That, even when he's in, even when he's the Mummy, I mean, I know that's not his best role, but, there are things that he's doing that at least allow you to see that he's trying to make the performance better. A lot of people knock his performance of the Frankenstein Monster on Tales of Tomorrow for whatever reason.
Whether he was imbued at the time or he thought it was a rehearsal. But the truth is, in my opinion, if you watch that, he's performing the monster role as a newly birthed child, which is exactly what, you know, that's what the script calls for. So if he thought it was a rehearsal. But I think if you just watch it, you know, it's not an Oscar winning performance, but it's certainly something that is different and something that... I mean, different in a way where you see he didn't want to do Karloff. He wanted to do something that was his own. He tried doing Karloff's, you know acting in GHOST OF FRANKENSTEIN, and I think he did an admirable job. You know, who else could have done that? I think that was an important role, GHOST OF FRANKENSTEIN. But I think, you know, Chaney wanted to do something different. And I think if people viewed it that way and appreciated what is his role supposed to be and what is the role he delivered. I don't think that was a bad performance.

Anyway, I kind of went off on that, but I do believe that Chaney... It's easy to knock performances like that because "Oh, he was drunk" or "He wasn't reading the script. Someone had to tell him his lines.” Come on. We know now that there are actors that don't even memorize their lines. And they don't get knocked for that. But Chaney was a professional. He showed up every day. That's the truth. I mean, that was actually said in the documentary by his producer friend A. C. Lyles that Lon was a complete professional. He always showed up on time. That's what Jack Hill said and these were people who worked with Lon Chaney. You can read books about people written by people who have absolutely no idea about what the guy was like on the set back in the 1950s. Or you can talk to people that actually produced movies with him and said "Yah. I made 10 films with Lon. He was there every day, on time, gave great performances, and was there to support the team.” So, anyway, that's kind of my, my gist of Lon's, you know. How do you feel sorry for him? I just think we should appreciate what we have.

BC: Definitely. I agree entirely. There was one other thing that I wanted to ask you. He's quoted as saying, "I am most proud of the name Lon Chaney. I am not proud of Lon Chaney, Jr because they had to starve me to make me take this name.” There are two theories behind that. That Lon... that Creighton took Lon Chaney, Jr in order to get more roles because he'd been playing stagehands and everything else up to then. Or, that he was kind of frozen out of the system until he agreed to change his name. Um, so, it once again depends on who you read.

CN: Yah, um, so are you asking me what is my opinion? Why did he take the name?

BC: Yes. Your opinion of why he took the name.

CN: Um, well, again, I wish I could have asked Lon that myself. And I think I'm going to defer to what Lon himself said. Because I guess the facts are all pretty much there. Yes, he was doing bit parts and yes, he really wasn't making it a success. But the thing is that, when he chose to be an actor, he didn't take the name of Lon Chaney, Jr. at all - when he could have. Because when he became an actor (after) his dad was dead. It's not like he was going to offend his dad or if he really cared that much. But he tried to stick it out as Creighton Chaney and the other fact is that by the time, you know, let's say that the horror film boom was being resurrected with SON OF FRANKENSTEIN. That was not something that Karloff wanted to be a part of. And that was not something that I think Hollywood wanted Lugosi to be a part of. I mean, that's the irony of this. That, that it was like forced upon him. Because, you know, when you look at it, you know, Lugosi became the star because Chaney died. And then Karloff became the star because Lugosi didn't want, you know, everyone became a star because.

And then when Karloff didn't want this and they didn't want Lugosi. Oh, well, we need some movie star. And, I mean, they tried him out. He wouldn't have been a star if he didn't work in MAN-MADE MONSTER. And they wouldn't have given him the break if he wasn't so good in OF MICE AND MEN. So, I just think that it became something that Hollywood pretty much thrust on him. I'll have to defer to Lon Jr because, like, based on the facts, it's like he could have done this for ten years, the whole decade of the '30s. And he didn't do it. And, you know, whatever his name was, I mean, he still was the one performing and turning in something as good as OF MICE AND MEN. That was all Lon...Creighton...Chaney's work.

BC: Well, I have to admit, even in his later years when, when he had been relegated to B movie status and was being used mostly for his name he still put in the performance. You could still feel the magic when he was on screen.

CN: Oh yah. And, I think that's what is... that's what fantastic about all of these stars. I mean... like, when you see Peter Lorre when, in later years. Or, uh, I mean, Lugosi. I can still sit there and appreciate something like BELA LUGOSI MEETS A BROOKLYN GORILLA. The worst, you know, the worst movie that Peter Cushing is in, but when you've got a good actor in there, that knows how to at least make at their performances worthwhile. I'm not saying it's going to raise the whole film up, but, you know, DRACULA vs. FRANKENSTEIN really can't be elevated because of Chaney's performances. But for the most part, I mean, he does make you want to keep watching what's on screen. I mean, I...I think to some degree you have to be a fan of his to begin with to watch some of these later films. But when he's in THE DEFIANT ONES or when he's in HIGH NOON or, you know, even like THE ALLIGATOR PEOPLE, fine films. You know, not the greatest, but, you know, for what it is.

BC: His performance in it was amazing. It's the best part of the movie.

CN: Oh yah. When he comes on screen even though he's not the lead star, you know, you sit up. Because he was a star. You know. So there's a quality about him that certainly... We remember him for a reason. His, performances in any of these films were at least worthy of taking a look at. Even the worst of them. And when it was, you know, some of the best performances - they're worth talking about.

BC: When Lon Chaney attacks Beverly Garland in THE ALLIGATOR PEOPLE, I mean, it really felt very real. It felt like he was flinging her around the room and I thought that was an outstanding scene. And in DRACULA vs. FRANKENSTEIN, his last movie, I almost cried to see him in that performance. I mean, he... he was still... he still was projecting star quality, but it was just a sad thing to see. He...

CN: Yah. I think that... at least in the documentary that we made, we tried to... Let me rewind here. When we did the DRACULA or the Karloff and Lugosi documentaries, we didn't, unfortunately, have the budget to be able to include things we wanted to show. We talked about TARGETS as far as Karloff's career. And Karloff had an unbelievable career. That thing is worth studying over and over again. But, um, you know, it is too bad that Lugosi didn't have something like TARGETS, but Chaney did and that's SPIDER BABY. I mean, we kind of end on SPIDER BABY. We mention to some degree the other roles that Chaney did, but it was, it was a sad end those last few years. But SPIDER BABY is a great one to end on. And what I think we all learn is that he, could do, you know, comedy, if you [sic] just had better opportunities. And it, is too bad that he didn't have...uh.. I mean, his health took him out early and he had his own battles throughout his life. But, there are still plenty enough gems that, you know, you look at James Dean and he had, what, a handful of films?

BC: (Chuckle) Yes.

CN: And, then there are other actors that, as one of our commentators, Kim Noonan, says, they're people at the time who were major stars that nobody cares about now. Or, you know, there are even smaller cults. I mean, like, how many people were talking about Broderick Crawford, you know? And,, without Broderick Crawford we wouldn't have had OF MICE AND MEN—at least the situation that put Chaney where he was. And, you know, I don't know how many hundreds of people are talking about who Broderick Crawford is compared to the thousands of Chaney fans across the globe. Or tens of thousand or even a hundred thousand Chaney fans. You know.

BC: I read that when they were both doing the stage play OF MICE AND MEN that they would quite often get drunk and beat each other up.(Laughter) So...

CN: Yah. There's a picture we found of, I can't remember what... actually... my book is not here... what movie set it is from. They did something in the mid-'40s and they, uh, there's a picture of the two of them brawling. I guess as a publicity still.

BC: That would have been something worth seeing as they were both very large, powerful men.

CN: Oh yah.

BC: Well, I thank you for your time today. And...

CN: Sure.

BC: ...I'm looking forward to THE WOLF-MAN. And I feel somewhat reassured that you will treat him as kindly as you did in the Lugosi documentary.

CN: Well, thank you. I... I think...It could have been very easy, like I said, to have gone into other areas. And my intention was not to do that because to be, to be honest with you, it had already been done. People already know those things. Or they think they know the things. We tried to just... you know, we didn't brush over them. Okay? I mean, that... they, they are discussed, but almost in a way in which it may help you understand the performances he was giving. And I didn't want to say that in this interview. And I want the documentary to kind of speak itself. Or speak to, to that. And the thing is, you know, Chaney is just very, very complicated. As a lot of these actors are. I don't know if you've read... One of my friends is a writer, Greg Mank. I'm sure you know his work. Have you read his work?

BC: I believe so. Yes.

CN: He just did an excellent revised edition of Karloff and Lugosi. This gigantic, 1000-page tome of their life. And you kind of come away, really walking away from that book, now I'm promoting his book, where you get almost a really humanized portrait of both men. More on Lugosi. Karloff you're wondering, wow. This guy, he truly lived for acting. That was his...almost his curse. You know? But what I discovered with Jr was that I think he really... he's... as complicated as his relationship was with his father, he really wanted to see the Chaney name continue. I think he... once he became Lon Chaney, Jr, as opposed to Creighton, I think he bore the responsibility. You know, he like, put that on his shoulders himself. And, I mean, he didn't ask for these roles. I've not read anywhere where it's like Lon Chaney fought for the role of Dracula and kicked out Lugosi. (Laughter) It was none of that. You know, he just, he was saddled with this and then tried to do his very best.

BC: Well, I know in '41 he was promised the role in THE INVISIBLE MAN and it went to Claude Rains. And then the very next year he does THE WOLF-MAN with Claude Rains and I don't remember reading about any acrimonious relationship developing there so I think he must have been very forgiving.

CN: Oh, wait. Um, I'm sorry. You've got me confused. THE INVISIBLE MAN. Claude Rains. That was '33. So you mean THE INVISIBLE MAN RETURNS?

BC: Yes.

CN: Oh. OK. No. I mean, I don't think. No. The only people who seem to have not gotten along with Chaney, Jr was, you know, he'd complain about Evelyn Ankers being too heavy. I mean that it was a joking nature rather than, really animosity. Uh, I mean, I think he joked and teased Lugosi for being older than him. But the truth is, I mean, he seemed like a very, very good, warm person. Very complicated. Probably needed a lot of love that he probably didn't get all the time. Whether it was from his co-workers or studios. I'm sure from his wife. But he also, you know, I think he... it's that troubled childhood. I don't think you can escape that. You know, I think that he cared about his dad quite a bit. But I think it was very, very complicated. And it's very easy to just sort of accuse it. It's just too complicated to really understand. And the one thing I would love to see is this Chaney book—A Century of Chaneys—, which Jr was trying to finish back in the '70s. He died in the middle of writing it. And, for 40 year now, it has been talked about like they're going to put it and publish it and finish it and it's never been done. And, um...

BC: I think his grandson, Ron Chaney, is working on it. That's the last I heard.

CN: Yah. I hope it happens because it's been going on for 20 years that it's going to be finished. And the truth is, if the next generation doesn't understand or know who Chaney is, we can lose the importance of these people very quickly. You know? I mean, that's, that's the sad thing about. Each generation passes and they're going to take their love of their stars with them.

BC: I don't think that's possible with Lon Chaney, Jr. Not after he did THE WOLF-MAN. He will always live on. If in nothing else, then as THE WOLF-MAN. And the re-release next month... I know I and my friends are very excited about this.

CN: I agree with you. But, it... um, it's fantastic that you're willing to publicize this and help support the release, believe me. That's the fantastic thing. I want more people to do that. I've struggled very long and hard, as you do, to keep the memory of these classic films alive. And all I can say is that when young people today, who are five or six years old, that grow up watching television have no idea who Bugs Bunny is... How are they going to know (laughter) I mean, I'm just saying, you know, it's not in the consciousness as it was. You know, I grew up with... I grew up with Starlog and Fangoria. My very last issue.. The only, the only issue I ever bought on the newsstand of Famous Monsters was the last issue. But all that said, I was very fortunate to at least know Forry Ackerman and actually be part of that whole... You know, I mean, that's why I'm getting people like John Landis and Joe Dante and these filmmakers that love these movies to come forward and say it. But the point is, at the end of the day, I don't think you'll ever replace Lon Chaney Jr's WOLF-MAN with any other werewolf character, bar none. As much as there are werewolf films, and there's going to be this new remake, which I think looks fantastic. But it's going to be Lon Chaney Jr when it comes to werewolf movies.

BC: Yes.

CN: You gotta share that with the next generation. You've gotta keep it in the public consciousness. And that is extremely hard today when it's an old movie and black and white, and... believe me. I love silent films and it's hard to keep Chaplin important. You know?

BC: This is true. I mean, it's rather sad that if you mention something that you know for a fact is a re-release that's coming out or a redo and the younger generation will go "Oh, that's so unique and refreshing.” And you actually have to point out that that was done 30 years ago. It's a redo. (laughter). So, it is kind of sad. but...

CN: No, I know. I know. But that's why, you know, it's like THE LORD OF THE RINGS. If people love it. Or even the original FRANKENSTEIN, that book's public domain had been out of the... no one is making real profit on that book right now. No individual, so it's not like there's a reason to, you know, for any major publisher to be putting out Frankenstein. But if you don't keep putting it out, it becomes a relic. It's like "Oh, that thing. Oh yah, Frankenstein.". But, it's like THE WOLF-MAN. If you don't keep putting it out, or these classic movies, or Charlie Chaplin, whatever it might be. Then the fans keep complaining about the reissue. "Why are they re-releasing it? I've bought it four times now.” But if you don't keep putting it out there, then the person who has never seen THE WOLF-MAN will never see it. I hate to say it, but these disks that are coming out, they have a certain amount of shelf life. They only print so many. So, even though you've had, say, three versions of THE WOLF-MAN, that first version that came out in 1999, that's out of print. So if you don't keep putting it out there it's not going to be there anymore. And that's what I think sometimes the fans are missing. And I understand the complaint, but if you really want to help keep THE WOLF-MAN alive... I've just said, I just posted on the classic horror film board a couple of weeks ago, buy this copy and give it to someone for their birthday. Or tell somebody about it. Or just be happy that, hey, THE WOLF-MAN is coming out again. I won't buy it, but hey. Tell someone else about it.

BC: Oh, trust me. We do. (laughter)

CN: I know. I know. So, I'm not trying to be a salesman for this particular release. I'm trying to let people know that if they don't support these things... classic movies, I mean, they're shutting the doors on these catalog films like you wouldn't believe. And I've produced a lot of them. And it's bad. I used to do, I used to do like 20 audio commentaries a year. I haven't done anything in a year.

BC: You have a very impressive filmography on IMDb though.

CN: Oh. Thank you. There's, a lot of other things that I just haven't done that I... I was telling someone that I did the commentary for WAGON MASTER, which just came out, and we had the great fortune of having Harry Carey, Jr and Peter Bogdanovich come and we did the commentary and we got some of John Ford's original audio into this, hearing John Ford talk about WAGON MASTER. No one will ever know I did that except for, like, I'm telling you now.

BC: Except me. (laughter)

CN: Yah, yah. (laughter) Except the people who know I did it. One day I'll put that on IMDB. But, I haven't done any... That was like a year and a half ago. And WAGON MASTER sat on the shelf for about a year. It finally came out. And there are so many great films that have yet to be released. By major stars and major studios. And you know, maybe this article will... Who knows. If you type "Hey, Universal. Put out ISLAND OF LOST SOULS next in your Legacy series.” Believe me.

BC: Oh, I would agree. ISLAND OF LOST SOULS is a marvelous movie!

CN: I've been trying for... seven years now? ... to promote getting out a Paramount horror collection. Or thriller. Or... you start naming anything that's not already been out there. It's very, very hard. And sometimes I've been able to get things out there just because the studio doesn't know and I inform them that, this is just my opinion, hey, you've got a movie like The Undying Monster or let's do a John Brahm collection for Fox. And, you know what, they listen. And we, did a box set on John Brahm movies. I'm like, how did that happen? You know?

BC: Well, please, from all the fans of these movies everywhere, I'm speaking for all of them, please keep talking to these people. Because we need to have these movies released.

CN: Oh, I will do my very best. And, what you're doing is excellent because the more people will, not only go to your Web site, but if the studio even takes a look at what you've written, like "Oh. You know what. Maybe there's a reason to put out ISLAND OF LOST SOULS now." or "Let's do a 75th edition of THE BRIDE OF FRANKENSTEIN."

BC: Oh please!

CN: Well, that's what I want. Honestly. I want THE BRIDE OF FRANKENSTEIN and I want to do a James Whale a documentary, so, you know, there's a lot to be done. And we'll see how it goes.

BC: THE BRIDE OF FRANKENSTEIN is, I think, superior to even to the movie FRANKENSTEIN. I mean, it's a perfect movie.

CN: Yah. You know it! . Let's just hope. You know. And uh, if there's anything else that I can ever do. Or if you want to talk about other horror films. Or you have friends that... I'll do... It's not like I really want to do interviews just to do them but if I can, if I can help get a public voice out there to... You know, if there's a reason for someone to write an article about a classic monster movie that needs to come out, then I, believe me, the studios will listen.

If there's enough of a hubbub that goes on for a film that you really want, and there's some press about it, or there's, I don't know, some talk about Island of Lost Souls, then they might listen. But what the fans will need to do is go and support WOLF-MAN because if WOLF-MAN doesn't get support, they're not going to do this again. I haven't seen a Legacy series release... this is the last one that I know of for quite some time. So if the fans come out and support it, then, you know, there might be. So maybe in your article you could say, "Hey. ISLAND OF LOST SOULS could be next.” Or whatever you want. (laughter)

BC: Or THE BRIDE OF FRANKENSTEIN.

CN: Or yah. THE BRIDE OF FRANKENSTEIN. It is the 75th anniversary and, um, you know. But, all that said, I was very grateful to Universal. There's also another little documentary on Curt Siodmak and his werewolf-WOLF-MAN mythology on the DVD, So I hope you take the time to look at that as well.

BC: Thank you. I will.

CN: And, that was my little giving some love to Curt. And uh, yah, when you see it, please let me know. I'll give you my email address. I would be happy to do that if you would like. I would just love to know what you think of the doc. Even if you like it, hate it. I wish you had shown this clip. Uh. that's fine with me. I'll take notes for the sequel.

BC: Thanks!

CN: And I'm a producer, senior producer and filmmaker over at New Wave Entertainment. We're out of Burbank. And you've obviously seen my other horror movie stuff.

BC: And I thought they were wonderful too.

CN: Thank you. Thank you very much. I do it for fans like you. I do try to keep you all in mind. Even though I don't know you, I'm one of you so...

BC: Well, trust me. I'm one of the least rabid of all the fans I know. So when the word gets out you will get supported.

CN: Well, thank you very much. I appreciate it. And if there's anything I can do for you in the future, please do not hesitate to call or email me. OK?

BC: Thank you very much.

[Author’s Note: I want to urge readers of the Unimonster’s Crypt to please encourage family, friends and fellow-fans to write to: Evan Fong c/o Universal Studios at 100 Universal City Plaza, Universal Studios, CA. 91608 and request a Legacy Series re-release of THE BRIDE OF FRANKENSTEIN and ISLAND OF LOST SOULS. Thank you!]

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