Masters Of The Universe (The 1987 Film)

Promotional Material: African Film Poster Painting

2012-01-27T07:00:00.000-08:00

Check out this amazing rendition of the Drew Struzan poster used to promote showings of the film in Africa-

This painting was used to advertise a mobile film screening in Ghana. What you are seeing here is an actual oil painting used for promotion- not a print or a copy.

Here's a little more info on how these were used (taken from a book based on this procedure):

"During the 1980s a group of entrepreneurs in Ghana created small-scale, mobile film-distribution empires, hitting the road with videocassettes, television monitors, portable gas-powered generators and rolled-up, hand-painted, artist-signed canvas posters. This new medium created the first opportunity for some of the best young painters in Ghana to express themselves on a public scale. In the frequent absence of an original image upon which to base the work they had been commissioned to produce, the artists inevitably created cinematic paintings that were largely interpretive and imagination-driven."

The painting is actually for sale right now here: MOTU Painting On Etsy. If I had the extra cash, I would be all over it. Even though we've seen this art many times before... hearing how this came to be is quite cool. :)

Pre-Production Art: Gwildor Case Study

2012-01-05T17:25:00.000-08:00

Pictures of this amazing Gwildor case study were posted by Theresa Cardinali, who is listed in the film credits as being part of the crew. The maquette was produced to give a three-dimensional rendering of Gwildor's look before filming began. Theresa's explanation follows the pics...

1987 Masters of the Universe Costume design study for Character: Gwildor. I was literally asked to sculpt this figure over night by Gary Goddard, Director and my boss at at the time at Landmark Entertainment Group. Artwork designs were provided. I was especially intrigued by making all the accouterments Gwildor was wearing and holding. Joe De Reis, My art director at the time, completed the figure finishing in even less time then i had to sculpt. Joe are in the film credits and listed as Other Crew. The Maquette went missing after the film was finished but, I am sure it has a good home... -Theresa Cardinali

This is a truly amazing piece that shows the detail that went into every aspect of this film. I would love to know where this ended up!

To see more of Theresa's work, check out her Flickr account HERE.

... and a huge thanks to Tallstar for finding these pictures!

Masters Of The Universe Official Poster Magazine Article- "Bounty Hunters" Poster

2011-12-08T14:20:00.000-08:00

Here's a pretty cool shot of the curious quartet from the "Official Poster Magazine". This is actually one of the large, fold-out posters from the book, but it appears to perhaps be a behind-the-scenes photo (as evidenced by the rather large grin on Blade's face). Kinda reminds of a yearbook photo- "Snake Mountain High Fencing Team, Class of 1987"

Oh... And please pardon my poor photoshop skills in reassembling the image... but you get the idea. :)

Movie Memorabilia: Japanese Movie Ticket

2011-09-18T06:14:00.000-07:00

Really quick post today- A used ticket presumably from the premiere of the film in Japan. I wish movie tickets looked this cool here in the states...

Storyboard Comparison- "Skeletor's Arrival On Earth"

2011-09-12T14:19:00.000-07:00

After a long delay... Here is MOTUMovie.com's second storyboard comparison! This time around, we're looking at the storyboards for one of the more iconic scenes in the film- Skeletor's arrival on Earth!

The storyboard set opens with the good guys moving cautiously through the streets...

Sounds rise from the dimensional door, causing the group to turn.

The door brightens in intensity as it opens, building into an almost blinding white-violet.

Since the storyboards were drawn during an early stage of production, many differences in the story appear throughout. This storyboard shows our first divergence in the scene. In the film, Evil-Lyn and the mercenaries were not present at Skeletor's arrival. Her group was located in a different part of the city, forcing Skeletor to communicate with her through their ships. In this earlier version, Evil-Lyn and her group are at the location of Skeletor's arrival. Though this scene doesn't appear in the film, the staging is close to an earlier scene of Evil-Lyn opening the portal-

It isn't hard to imagine these scenes taking place in the same area.

As the portals size and power increases, the heroes can do little more than look on in astonishment.

Another shot not in the film. Evil-Lyn and her group were originally intended to stand in silhouette against the portal's brightness.

A closeup of He-Man's reaction to the portal. Not used in the film, but similar in structure to an earlier brief solitary shot of He-Man.

The scenes of Skeletor's troops (and ship) emerging through the portal are recreated almost exactly in the film. This was most likely due to the heavy effects work in theses scenes. Note again the presence of Evil-Lyn and one of the mercenaries in the latter 2 boards.

Skeletor's ship arrives, dominating the scene...

...followed by a closeup shot of Skeletor.

Due to the overwhelming amount of Skeletor's forces, the heroes are forced to flee from the scene. Note that in the storyboards, Gwildor runs on his own. He is carried by He-Man in the film, most likely due to Billy Barty's bad leg.

Another scene not used in the final film- Detective Lubic tries to use the radio in his car and a pay phone to call for backup, but has no luck with either. Lubic then witnesses Skeletor's forces moving down the street and immediately jumps in his vehicle and beats a hasty retreat.

The storyboards shift back to Skeletor with a view of the ship's control area. Note that in the stroyboard, Evil-Lyn is present in this scene. A pretty major divergence occurs again here. In the original storyboards, Evil-Lyn explains in person that they have captured the key, but that "the Thenurian has escaped us".

Skeletor's reaction to this news is much different in the original storyboards than it is in the film. Instead of showing disappointment in the heroes' escape, Skeletor says "I will see to He-man... You have done well".

Evil-Lyn then moves off, commanding troops as she walks.

A revised set of storyboards show a version much closer to the actual film-

A comtech advises Evil-Lyn that Skeletor demands a report. Evil-Lyn replies that they have the key, but that He-Man has eluded them. The storyboard only shows one perspective on this scene, which is split into two different shots in the movie: a group shot on Evil-Lyn's barge, and a closeup of Evil-Lyn.

Skeletor's displeasure is present on the revised boards. Here, he reacts with a quick "That will be all", just like in the film.

The final shot of these revised boards shows the pilot of Skeletor's ship relaying his message, which is not present in the final film.

The film gets back on track with the original storyboards, as Skeletor motions his air centurions to begin their pursuit.

Evil-Lyn moves off with her forces in this closing shot from this set of boards- a scene not shown in the film.

Next time around: "The Air Centurion Sequence"!

Pre-Production Painting: "Eternia"

2011-08-27T05:31:00.000-07:00

This painting was part of a batch of pre-production art for the film sold on eBay recently. A giant landscape of Eternia is the setting for this concept piece. The conceptual art featured here shows the vast scope that the film employed before budgetary constraints forced a more focused view for Eternia, primarily limited to Castle Grayskull itself. One of the more interesting aspects of this beautiful piece is the situation of Grayskull atop a large mountain... which may have been due to the deleted scenes dealing with the "catacombs beneath Grayskull". Though listed as conceptual art, this might have also been done as a possible cover piece for some sort of publication. If you look at the art, it seems as if Grayskull and the MOTU logo are meant as a front cover, with the landscape folded around onto the back. There's also the large space above the cityscape, which was possibly left open for text. Very cool stuff!

Landmark credits the art to a "D. Magnon", though this may be an error. I can't find any listing for a Magnon in the credits, and the signature on the piece looks more like "D. Negron"-

The credits do list a David Negron as a storyboard artist for the film. It is possible that this piece was painted by him.

Masters Of The Universe Magazine Summer 1987 Earl Norem Poster Insert

2011-08-17T06:24:00.000-07:00

Been meaning to update this one for awhile now... Here's a better version of the Earl Norem poster previously spotlighted HERE. Clicking the image below should bring up a much larger version. HUGE thanks to Mr. Eamon O'Donoghue for cleaning up my scans and reassembling this beauty for us!

Evil-Lyn's Barge Miniature Shooting Model

2011-08-08T07:33:00.000-07:00

This miniature model (used for filming scenes featuring the full shots of Skeletor's barge) was auctioned off a few years ago through "Profiles In History". It is constructed of resin and plastic elements, and measures 61 in. long x 34 in. wide (at wing tips). This barge/troop transporter was designed by master illustrator Ron Cobb and built by the Boss Film modelshop.

And how it appeared in the film:

Skeletor's Barge Miniature Shooting Model

2011-04-12T07:55:00.000-07:00

This miniature model (used for filming scenes featuring the full shots of Skeletor's barge) was auctioned off a few years ago through "Profiles In History". It is constructed of resin and plastic elements, and measures 51 in. long x 23 in. tall. The model was wired with electronics so that the ship could have it's own interior lighting.

The model features miniature figures of Skeletor, 2 warriors, and one of the "warlords". Since these wouldn't be clearly visible on screen, the figures aren't incredibly detailed... but still manage to capture the look of the characters.

Lastly, here are a couple of shots of the model as it appears in the film-

*Credit to "Profiles In History" for the pictures presented here.

Movie Memorabilia: Film Crew Jacket

2011-03-29T14:04:00.000-07:00

Like many other film projects, the production crew on Masters were given special jackets while making the movie. The MOTU crew jacket was made by "On Stage Design" (conveniently located in California). The back of the jacket features a beautifully embroidered "Masters" logo, with the film's tagline "Coming To Earth 1987" and "Canon Films Inc." placed directly beneath it.

Each jacket was individually embroidered with the crew member's name, followed by the division of production in which they worked. In the case of this jacket, the worker's name was Ben, apparently from the stunt department.

The credits from the film list a Ben Scott as working in the stunt department. Ben Scott is the son of the film's stunt coordinator Walter Scott (who also portrayed Julie's father). In all likelihood, this jacket belonged to him.

Pre-Production Painting: "Stalking He-Man" (By Claudio Mazzoli)

2011-03-25T07:12:00.000-07:00

This piece of art was part of a batch of pre-production paintings for the film sold on eBay recently. The painting depicts a scene of He-Man and Julie hiding amongst the trees, while an army of Skeletor's troops moves from the city towards them. While this scene does not appear in the film, the He-Man and Julie pairing survives in the scene where He-Man defends her from the "curious quartet". Of interest here is the early take on He-Man's appearance. While the sword is fairly close to what would be seen in the film, He-man's attire looks very much like the vintage "Battle Armor" action figure...

Storyboard Comparison- "The Curious Quartet"

2011-01-18T06:52:00.001-08:00

Presenting the first of MOTUMovie.com's storyboard sequence comparisons! I figured what better way to start than with one of my favorite scenes from the film- The introduction of Skeletor's warriors!

What makes this one extra neat is the fact that the storyboard for this sequence was handled by William Stout, the film's production designer! Here's his original setup for the sequence-

Stout makes note of "makeshift electrical overrides" in his intro, alluding to the fact that Skeletor and his crew have had to convert this room in Castle Grayskull to their own purposes.

The opening board has the viewscreen dominating most of the shot. Take note of Stout's breakdown of character placement, especially the "quartet".

The scene from the film mirrors Stout's board almost exactly. Karg and company are visible in this shot, which you may have missed when viewing the film.

The next board shows a comm tech making adjustments in his crane-like pod. The shot in the film is pretty close here, but actually takes place before the viewscreen shot.

Stout describes the zooming shots on the viewscreen as "powers of 10" on these storyboards, meaning the camera is homing in on the key's location by degrees of 10.

The next board shows a scene not featured in the film. Instead of Skeletor merely doing a voice over for the "that's close enough" line, the scene originally shows Skeletor speaking this line in view of the camera. Evil-Lyn would have also reacted in shock, now knowing that Skeletor had glided up beside her.

We quickly shift back to the viewscreen, where the "powers of 10" has come to a stop. Red arrows illuminate the key's position. This shot is replicated almost exactly in the film, though the zooming sequence is uninterrupted by the Skeletor shot in the final version.

Next, the storyboards show Skeletor striding towards the screen, fixated on the image and ignoring Evil-Lyn. This scene does not appear in the film, though the placement of the characters is the same as in later shots from this sequence-

Skeletor stares at the screen in the next shot. This scene is also not present in the film, though the staging is the same as another shot later in the sequence. In the film, Skeletor only stares at the image for a brief moment before turning to Evil-Lyn and inquiring on the status of the mercenaries.

The introduction of the mercenaries flows a bit differently in the storyboards than it does in the film. Originally, Skeletor would have addressed them directly instead of Evil-Lyn introducing them. Skeletor's turn towards the henchman is still present in the movie, though he is now accompanied by Evil-Lyn (who now provides the dialogue).

Though not quite as shadowed as they were in the storyboard, the introducing shot of the mercenaries is pretty close in the film version. The main difference is the order in which the characters are placed. The storyboards have a different sequence of introduction than the film, so the characters were switched around to reflect this change.

The boards show Skeletor addressing Karg first, while the film has Evil-Lyn introducing Blade initially.

Karg moves into the light from the group shot in response to Skeletor in the storyboards, while he is actually introduced last in the film. Each of the mercenaries "walk into the light" in the film, though they are isolated solo shots instead of moving forward from a group.

Next up is Blade, who is actually the first introduced in the movie.

Lastly, Beastman and Saurod are introduced. Though the board shows both lighted at once, the intention was for each to come forward separately as seen in the film.

The closing storyboard of the sequence has Skeletor giving command of the expedition to Karg, while the film shows a panning shot of Skeletor addressing the group as a whole. It's interesting to see Karg's importance in these boards, as the film does seem to show him in command of the mercenaries, but doesn't explain it to this degree.

Hope you enjoyed this first one! More to come!

-James

UK Masters Of The Universe Magazine Issue 46 Movie Advertisement

2011-01-17T06:44:00.000-08:00

Here's a great full page ad for the film from issue 46 of the UK MOTU Magazine. I'm a huge fan of the poster that this ad is derived from...

Pre-Production Painting: "Jumpstarting The Machine" (By Claudio Mazzoli)

2010-12-28T06:38:00.000-08:00

This piece of art was part of a batch of pre-production paintings for the film sold on eBay recently. The painting depicts an early version of the scene where the heroes must repair the broken Cosmic Key so they can return to Eternia. What makes this one interesting is the fact that He-Man is present here, just like in the Star Comics adaption but unlike in the final version of the film. Also interesting is the early version of Gwildor, who looks like something out of "Dark Crystal"...

*Credit to eBay user kolektit for the images.

Q & A With Actor Anthony De Longis (Blade)!

2010-11-18T05:02:00.000-08:00

Another great interview from my friend John Atkin... This time it's with the man behind Blade- Anthony De Longis!

Based in Los Angeles, the multi-talented Anthony De Longis masters careers as an actor, stuntman, fight director, whip master, horseman, bladed weapons specialist and trainer, and Voice Over artist. He has trained such notable stars as Harrison Ford, Michelle Pfeiffer, Jet Li, Christian Kane, Anjelica Huston, Bo Derek, Placido Domingo, and Tom Cruise. De Longis is the whip expert who taught Michelle Pfeiffer how handle the bullwhip as Catwoman in “Batman Returns”, and who helped Harrison Ford brush up on his whip skills for “Indiana Jones and the Kingdom of the Crystal Skull”. De Longis directed and starred in a short western filmed at his private ranch, Rancho Indalo, called “Blood Trail”, which won the Action On Film Festival award for Best Western. He also received the AOF Festival Dragon Award for Action Excellence.

De Longis starred as Kazon leader “First Maje Culluh” in five episodes of the hit series Star Trek: Voyager”. His combined abilities as an actor, swordsman, and bladed weapons scholar helped create one of the most popular episodes of “Highlander: The Series”. He has guest-starred on “Justified”, “Leverage”, “The Outer Limits”, “Queen of Swords”, “The Adventures of Sinbad”, “Conan the Adventurer”, “Battlestar Galactica” and “Babylon 5". De Longis has also appeared in the popular movies “Fearless”, “Far and Away”, “Road House”, “The Sword and the Sorcerer”, and “Masters of the Universe”.

De Longis was Swordmaster / Stunt Coordinator for episodes 1-6 of “Queen of Swords”, and was the Scottish claymore & war hammer expert in the “Deadliest Warrior” (Season 1) episode "William Wallace vs Shaka Zulu”. For Seasons 2 & 3, he supplied weapons and trained horses for sharp blade, spear, live ammo pistol and rifle tests. From 1985 to 2005, he was Fight Director for the Los Angeles Music Center Opera. De Longis is a professional stage movement and combat instructor, teaching at his private school at Rancho Indalo, and in academic, small group, and private settings. He is a member of the Society of Canadian Fight Directors, and an honorary member of the Society of American Fight Directors. This past year, De Longis was awarded his Godan (5th degree Black Belt) at Jerry Beasley’s Karate College.

Anthony De Longis owns and runs Rancho Indalo in Canyon Country, California. Professional performers and enthusiastic amateurs can visit Anthony's one-stop-multi-skills training facility to learn new skills, or have an action vacation while training to be their favorite action figure!

Masters of the Universe: The Motion Picture

In the 1987 movie Masters of the Universe, Anthony De Longis played the part of the aggressive swordsman known as Blade. He is introduced in the film by Evil Lyn (Meg Foster) as being one of Skeletor’s (Frank Langella) finest warriors. Bald with an eye-patch and a scar on his head, he wore armor covered in chain-mail and spikes. Blade was armed with two large swords, and carried an array of knives and projectile weapons.

Skeletor sends Blade, Saurod, Karg and Beastman to Earth to find He-Man and the second Cosmic Key. Blade faces He-Man in a sword fight, but is unable to defeat him, and retreats with the others back to Eternia. Chastised for their failure, Blade watches in horror as Skeletor executes Saurod in front of him. Blade and his two surviving comrades return to Earth with Evil-Lyn, where they succeed in capturing both the Cosmic Key and He-Man. Skeletor agrees to spare the lives of He-Man's friends if he comes back to Castle Grayskull as his slave, and He-Man surrenders his sword, which Blade takes away with great satisfaction. Back at Castle Grayskull, Skeletor has Blade whip He-Man with a laser whip to break his spirit. The stranded heroes left on Earth find a way to return to Grayskull, and in a final confrontation with He-Man, Blade is knocked into one of the deep pits inside the Castle. His final fate is left a mystery.

I recently had the chance to chat with Anthony De Longis about his work on the film, and he shared some of his stories about his time in the world of He-Man and the Masters of the Universe...

20 Questions: Anthony De Longis

1 - What was the process that led to you being cast as the gruff and aggressive swordsman known as "Blade" in the movie Masters of the Universe?

I was recommended to Director Gary Goddard as both an actor and sword expert. Gary liked my reading and skill set and cast me in the role.

2 - Not only did you act in the film as one of main villains, but you also served as a broadsword trainer and fight co-choreographer. How much time did you spend working on the film, and what key scenes were you responsible for choreographing?

The great Walter Scott was our Stunt Coordinator. I've since worked for Walter on “MAGNIFICENT 7", as well as choreographing the flashback sword action and training the actors for SECONDHAND LIONS. Stunt legend Loren Janes (Steve McQueen's double) was assisting Walter and was set to train Dolph Lundgren. I had worked with Loren on MACGYVER, and Loren very graciously said, "you know more about swords than I do - you train Dolph." So I did. I choreographed both the Blade vs He-Man sword fight and the Skeletor vs He-Man climactic Power Staff / Sword of Grayskull duel at the end (doubling Frank Langella for the action).

3 - What was it like sparing with Dolph Lundgren during the sword fights? What type of training did he require from you to do the scenes?

Two funny stories follow that will give your readers an idea of how things work far too often in films. I trained Dolph for a month giving him a solid one and two handed broadsword vocabulary. He's a terrific athlete and a trained kick boxer so he had terrific natural skills. Then, due to the filming schedule, I didn't even see him for the better part of the next month. I kept asking Walter Scott when I could see the location so I could plan choreography for the film. The environment always plays an important part of any action scene and can either be embraced or struggled against. I prefer to make the setting an active character in the scene when I can. Walter assured me we'd have "plenty of time once we got there." Guess what scene we shot FIRST on the very evening we arrived at our Whittier location. You guessed it, the big sword fight. Fortunately I'd taught Dolph some double sword vs single sword choreography as part of our training regimen and that gave us something to build on with virtually no rehearsal.

4 - What did you think of William Stout's elaborate costume design for Blade? With all the armor you had to wear, was it difficult to perform in during the fight scenes?

It was not user friendly. My chain-mail was 10 six foot lengths of steel pipe cut into 1/4 inch pieces. They never would tell me how much it actually weighed but it was definitely in excess of 50 pounds. My dresser actually wrote me a letter because she was worried about my health and the strain this would put on me physically since all this weight was on top of a suit of surgical rubber. Initially I had no exposed skin other than my head. I was able to convince them to cut the arms out of the wardrobe so my skin could breath a little, but I regularly poured my sweat out of my boots at the end of every shooting day as if I'd been wading in a river.

Second funny story: this one also involving wardrobe that looked great but was a bitch to work in. When I choreographed the story of the final duel with Skeletor and He-Man, I was assured Skeletor's helmet wouldn't restrict the movement of his Power Staff. I designed some practical but very complex and flowing attacks and defenses to make the duel a clash of titans, and to give Skeletor's character credibility by pitting He-Man against a worthy opponent.

Day of filming, and I'm given the post transformation Golden Helmet that looked like the skyline of New York with elk horns jutting out into the neighboring states. Most of the choreography I'd created was impossible to execute due to my chapeau's superstructure. I couldn't wield the staff around my head or even efficiently around my body without clipping the projecting horns, so a quick on-the-spot adaptation of the action was required. Action execution was made even more difficult by the fact that the helmet's eye slits only let me see straight ahead cutting my peripheral vision to nil. I literally couldn't see the stairs or ground where I was fighting. Every step was a treacherous adventure since I was in Langella's leather soled boots and the smoke that made the lighting so beautiful, also covered the floor with a fine sheen of slippery oily film. It was like fighting on an icy precipice, with Dolph swinging his enormous and very heavy sword that I affectionately dubbed the "Buick Slayer."
And you thought working in show biz was easy and glamorous. Sometimes it's a fight for survival.

5 - One of the personal sacrifices you had to make for the role of Blade was to shave your head. How did you feel about having to do that for the role?

I had two choices for the Blade look, I could spend an hour in the makeup chair like Karg and Beastman, or I could shave my head. I opted for the latter. Now remember, this was long before Michael Jordan, et al, had popularized the look, so some people found it a bit alarming. I was always a fan of Yul Bryner, so I didn't mind. We did 6 weeks of night locations in Whittier, which meant I'd hit rush hour traffic both going and coming to work. I used the time to shave my head with an electric razor and glare at the other drivers. Good times.

6 - Blade was shown as being He-Man's near equal in sword play. When he first challenges He-Man to a sword fight on Earth, he acts like he has a personal vendetta against the hero. Some fans have speculated that this was because he had lost an eye in a previous dual with He-Man. Were you ever given any back story for your character as to why Blade hated He-Man so much?

No, I was never given anything specific, but I always felt they'd crossed paths before and Blade was out for a re-match. They definitely had a past and a great deal of respect for each other's deadly array of skills. I believe it's important for an adversary to push a hero to his very limits or your hero is weakened for lack of a challenging, worthy opponent. If they don't have to dig deep, if the victory is a foregone conclusion and there's never any real jeopardy, if the hero is never truly challenged… they're not much of a hero. Ultimately the audience is denied the emotional investment and suspense that comes from genuine peril and danger and the resulting rise to the challenge heroism that only a strong foe can offer.

7 - In one memorable scene, Skeletor orders Blade to whip He-Man into submission with a red “laser” whip. The Director (Gary Goddard) had you hold the handle - minus the whip - while shooting the actual scene. A special effects artist was given film of you using an actual whip, and hand painted the laser effect on film. Do you think the scene could have been blocked differently to allow you to safely use an actual whip, or were you happy with the end result?

If you go to the Whip Master chapter of my SKILLS reels at www.delongis.com, you'll see me cut the wick out from under the flame of a candle, cut through a wine glass my partner Dave Baker is holding in his bare hand, and see me sever a target from Dave's fingers at full gallop as we pass on two charging horses. When you can do it for real, filming is easy.

But for MASTERS, they wanted to show off their special effects. I asked that they let me show them how a whip actually works and demoed my unique "De Longis Rolling Loop" style that I used for Michelle Pfeiffer and later taught Harrison Ford. Frankly, I prefer real skills done in real time. I think it provides a character credibility and offers the audience more emotional investment and ultimately a more satisfying movie going experience.

Perhaps you fans can write letters and get me back to play the more experienced Blade in the next movie, complete with more refined skills.

8 - The final fate of Blade has been a mystery to fans over the years. During his final battle with He-Man at Castle Grayskull, Blade is hit with the back of a rifle and sent stumbling off camera. Although we never see it, it is implied that Blade fell down into one of the open pits. Do you know if Blade actually died in the film, or do you think he survived?

Thanks for remembering. I absolutely believe that Blade survived. I'd love to see my character brought back, especially if I'm playing the role. Again, I believe in the power of the fan base, so please write letters and accept no substitutes. Thank you.

9 - You were Frank Langella's stunt double during the climatic sword fight between Skeletor and He-Man at the end of the film. Did you know when you were cast that you would be Langella's stunt double for the fight scene, and what was it like being dressed up as Skeletor?

No, that was a decision made at the end of the film just before we shot the scene. I worked out the choreography as outlined above, and then suited up to shoot the action that we had to instantly amend and adjust, pretty much on the spot.

I'm reminded of when I later worked with Jet Li in FEARLESS. He and I met when I walked on the set and we shook hands. Immediately Woo Ping's team started throwing out ideas. When Jet and Woo Ping were satisfied with the story of the action phrase, Jet and I walked it a couple of times and then shot it at speed, never more than two takes before Woo Ping was satisfied and we moved on to create our next brand new phrase. Believe me, Jet Li at full speed is quite the dance partner. Neither one of us had memorized the choreography we'd just created, but once in distance our decades of respective training had us moving automatically in response to each other's energy.

Working with Dolph Lundgren, another amazing athlete, was pretty much the same situation. Working in this manner requires tremendous ability and much practiced high level skills. Everyone has to bring their "A" game. Not my favorite way to work, as I like a little rehearsal, but it's always fun rising to the challenge when failure isn't an option.

10 - Masters of the Universe was originally set up to be a trilogy of films, with many of the principal actors having signed on for three films. If a sequel had been made, do you know if Blade would have returned, or if you would have been working behind the scenes again?

I always hoped there would be a sequel and I would very much like to contribute to the success of that project. I'd love to bring a new dimension to the role of Blade and I'd be very pleased to help create new and exciting action sequences for a future film.

11 - What memories do you have of working with Gary Goddard, Dolph Lundgren, Frank Langella, and the rest of the cast and crew? Have you kept in touch or worked with any of the cast and crew on other projects?

Lovely memories of working with all of them. Meg Foster was also a delight; gorgeous, and deliciously, sensually evil. Alas, I've had no contact with any of them since filming other than running into Gary Goddard at a restaurant a decade ago after a screening at the Motion Picture Academy. That's one of the downsides of working in the movies. You become a team working intimately together to overcome the obstacles that are inherent in making something as challenging and fragile as a movie. When it's over, everyone moves on to the next job, often never to see each other again.

12 - After filming wrapped, did you get to keep any cool props or memorabilia from the film?

I was able to keep my Blade swords. I donated one to a Highlander charity a few years ago and still have the other in my office.

13 - You have had many memorable guest starring roles over the years in film and television, often playing villains that viewers love to hate, on shows like Highlander: The Series and Star Trek: Voyager. Do you think your work on Masters of the Universe helped lead to any of those parts?

Work always helps generate work so I'm sure it didn't hurt. I love to play strong antagonists because as mentioned earlier, a hero needs a worthy adversary to be truly heroic. I never play the villains as "bad" guys. I always think of myself as the hero. I play by my own rules because I can, at least until I encounter a hero strong enough to thwart my intentions.

14 - What did you think of the film when you first saw it back in 1987? Looking back, how do you feel about the film now?

I liked much of what I saw, but felt there were things that could have been more effective, but then I believe you should always strive to be better and never settle. OK is never good enough. I'm afraid I haven't seen the film in over 20 years. I'd like to see it again and see how it holds up.

15 - Blade’s sly mix of humor and intimidation, along with his cool costume, swords, and projectile weapons, turned him into a fan favorite. Many folks at www.he-man.org have said that Blade was their favorite new character in the film. Have you been aware over the years of your character’s popularity? What do you think it is that made your character stand out?

That's exactly what I was going for. Seriously, I had no idea my character was so popular. That's very gratifying. My thanks to you and the fans. I gave the portrayal of Blade my all, and did the very best I could with every scene. I always do. I'm very pleased to hear the fans were pleased with my efforts.

16 - Blade was one of only three characters from the movie to receive an action figure. What did you think of it when you first saw it?

I wished it looked more like me (I suspect they didn't want to pay royalties). I still have a lone action figure but I'm afraid the weaponry and accessories disappeared over the years.

17 - Mattel has a new He-Man toy line in production for adult collectors (Masters of the Universe: Classics.) Would you like to see an updated version of Blade made as an action figure?

Yes! Especially if it looks more like how I portrayed Blade in the film.

18 - A number of older sci-fi/fantasy films like Star Wars and Star Trek have received "special editions" on DVD. Some of these films had new special effects added to visually enhance them. Do you think a film like Masters of the Universe could benefit from a similar treatment?

Undoubtedly. Much of the FX were pretty crude in those days. The technology has grown exponentially since we made the film.

19 - You have done voice work on a number of popular video game and animation projects. If a new Masters of the Universe cartoon is ever released, would you be interested in doing voice work on it?

I'd love to! Voice-over acting is one of my favorite things to do. If you ever get to play RED DEAD REDEMPTION you can bring justice to the wild west riding with my character Marshal Leigh Johnson. I had a great time doing both the voice and the performance capture and I've created a new deliciously bizarre character for Epic Games BULLETSTORM, coming out the first of next year. Last week I recorded three characters for REDEMPTION 3. I enjoy VO work; it's "theatre of the mind" and it keeps my acting chops sharp. It would be great to get another shot at a Masters of the Universe role.

20 - There is talk of a new Masters of the Universe film being produced by Sony Pictures in the near future. Given the chance, would you ever want to reprise your role as Blade in a new He-Man film, or possibly play another sword wielding character like Tri-Klops? Would you also be interested in doing any behind the scenes work again as a fight choreographer?

In a heartbeat. I've got 38 years as a working professional on both sides of the camera to bring to the new project. I'd love to contribute to the success of a new MASTERS OF THE UNIVERSE film as an actor, fight director, action choreographer or voice over artist. I'd be most appreciative if you fans wanted to spear head a write in campaign to have me return. I'd love to play a part (like Tri-Klops) but it would be nice to see some of my face on screen should that opportunity come to pass. I can be much more expressive when I'm not wearing a full helmet. I'm just saying.

-----------------------

Many thanks to Anthony for taking the time to answer questions for fans here at motumovie.com and he-man.org. His answers really give new insight into the making of the film. To learn more about Anthony and his performance career, you can check out his personal website at www.delongis.com

Anthony owns and runs Rancho Indalo in Canyon Country, California. For those interested in building new skills, improving existing ones, or simply enjoying a vacation training to be their favorite action hero, be sure to check out his site. Hourly, day, and weekly packages are available. To find out more about Rancho Indalo, you can visit their website at www.delongis.com/indalo

A Tease Of Things To Come... Original Storyboard Sequences!

2010-10-21T07:30:00.000-07:00

Hello all!

I recently just made a purchase that I think will add a really cool feature to the site- A huge collection of original storyboard sequences for the film... including the original unused ending! I plan on breaking down each sequence that I have with comparison pictures from the film, which will take some time, but should be worth the wait! For now, here are a few teasers-

-James

Masters Of The Universe Magazine Summer 1987 "Movie Collector Issue!"

2010-09-07T15:25:00.000-07:00

Touted as their "Movie Collector Issue", the Summer 1987 issue of the MOTU Magazine is chock full of movie goodness, starting with the great Dolph cover-

The table of contents shows the heavy influence the film has on this issue, with an illustration of Saurod and pictures of Lundgren and Langella in their respective roles...

Next is a BEAUTIFUL illustration by the great Earl Norem of He-Man and Gwildor brandishing their weapons. Note that Gwildor's key here is colored almost exactly like the unreleased Cosmic Key toy!

The comic in the issue, while not truly "movie-centric", does feature many of the film characters...

Followed by a 2 page spread about the "Most Powerful Movie In The Universe"...

Last, but certainly not least, is the fold-out poster from the issue: Another amazing Earl Norem painting, this time featuring He-Man battling Blade while many of the other movie characters look on! (I did my best to put this together after scanning it in 4 chunks... hope it looks okay!)

-James

Masters Of The Universe Official Poster Magazine Article- "Bounty Hunters" Article

2010-08-30T08:23:00.000-07:00

Another article from the "Official Poster Magazine"... this time focusing on the "curious quartet". Interesting stuff here, including some dialogue not in the final version of the film.

-James

Masters Of The Universe Official Poster Magazine Article- Frank Langella Interview

2010-08-23T08:08:00.000-07:00

Today we take a look at another article from the "Offical Poster Magazine"... The Skeletor/ Frank Langella segment!

-James

Marvel/ Star Comics Masters Of The Universe Motion Picture Adaption

2010-08-05T08:33:00.000-07:00

I know we already took a brief look at the Star/ Marvel movie tie-in comic once before, but I posted the entire book at my other site www.motucfigures.com today and thought folks might like to check it out here too...

-James

1989 COSI Exhibit

2010-07-19T13:53:00.000-07:00

Thanks to Josh Hawkins for this great picture of a MOTU movie exhibit featured at COSI back in 1989-

The case holds the masks for Gwildor, Skeletor, Beast Man, Karg, and the interior portion of Saurod. Apparently, the exhibit featured props and special effects material from various films under a "movie magic" theme. Here's what Josh remembers:

All I remember about the display was it was something about movie magic. There was also the Alien fighting Ripley from Alien and there was the Shark from Jaws. I remember being super excited about the MotU masks and begged my mom to let me see them. Gwildor was my favorite and Karg scarred the bejesus out of me (still kinda does). The picture is one of my favorite memories from my childhood because I feel like I was able to get closer to MotU than most other kids I knew.

What a cool find! And I have to admit, a bit of a bummer for me since I lived only and hour and a half away from COSI and had no idea it was there... If anyone else remembers the exhibit or has more pics of it, please send me an e-mail at james@motumovie.com and I'll update this post with the additional info! Thanks again to Josh for sharing this!

-James

Cannon Films Media Press Kit Photos

2010-07-16T12:16:00.000-07:00

...And here are the 8 X 10 Photos from the kit! For some reason the last pic featuring Skeletor is numbered MU12, but I've only ever seen these 9 photos.

-James

Cannon Films Media Press Kit

2010-07-15T07:09:00.000-07:00

Here's the media press kit from the film! Press kits are sent out by production companies to various media outlets to familiarize them with an upcoming project. In the case of MOTU, the press kit consists of a booklet detailing aspects of the film and a set of 8 X 10 stills from the film. First up is the book- (WARNING! It's LONG!)

-James

Cannon Films Promotional Image Packet

2010-07-12T14:25:00.000-07:00

Picked up a few promotional items lately. First up is the collection of promotional images distributed by Cannon films for use in advertising and such...

Up next... the press kit (warning- it's LONG.)

-James

Q & A With Production Designer William Stout

2010-06-29T18:15:00.000-07:00

Redesigning the entire He-Man franchise for a live-action film debut would seem a daunting task to just about anyone. A designer would have to somehow maintain the eclectic mix of sci-fi and fantasy elements under budgetary constraints and still try to give the film a level of believability. That was the task set before Bill Stout for the 1987 live action film version of "Masters of the Universe". A true visionary in the field, Stout's designs supplied a fresh take on the heroes, villains, and locations while still maintaining the flavor of the original concepts. Mr. Stout took some time out of his schedule to sit down and answer a few questions about his design work and the finished film.

1) Let's start at the beginning... What was your job title on the film?

Initially I was hired to do storyboards. I began to create concept art as well, almost right from the start. When production designer Geoffrey Kirkland left the film, he recommended me to take his place as the film’s production designer. Production Designer was my ultimate credit on the picture.

2) What segment of the production were you responsible for?

As production designer I was responsible for everything you saw on the screen except for the performances of the actors.

3) How did you first get approached for the project?

I was very in-demand as a film designer at the time. I had also just worked for Cannon Films on the remake of Invaders From Mars. As I recall, it was just another phone call and job that came my way. I typically got about five or six film offers every January back then. I’d just choose the ones that seemed the most interesting.

4) So were you responsible for the full designs on all the new characters featured in the film (Gwildor, Saurod, Blade, & Karg)?

Although I designed the others you mentioned (and re-designed the old characters), Gwildor was mostly designed by Claudio Mazzoli.

5) Can you tell us more about the process in designing and bringing these characters to life?

It all starts with the script, then early consultations with the director. I try to create mini-histories of each character to make them real in my mind. If I’m not convinced they’re real, how can I expect to convince our audience? I try to imagine the culture of each creature or character and what would be important to them within the context of their culture and habitat.

6) Were there any of these new characters that differed greatly in the film from your original concept, or were they all pretty close to your designs?

I insisted that my designs be followed to the letter. The only ones that differed greatly were Skeletor’s Stormtroopers. I fought hard not to have them look like Star Wars Stormtroopers painted glossy black but I sadly lost that battle.

7) As you stated, you also had to go back and redesign many of the established characters, such as Skeletor and He-Man. How did you approach that task and what sort of restrictions (if any) did Mattel place on this process?

I knew I had to do some pretty major re-designs of the established characters for a number of reasons. Mattel had so many of those stupid, interchangeable limbs and bodies. You can’t repeat costuming like that in a film. It will make your movie look ridiculously cheap if you do. He-man’s appearance and haircut were quite dated and, frankly, lame. I couldn't wait to get rid of his silly bangs. I wanted this film to kick ass, enchant and appeal to everyone --- not just the little kids who owned the toys.

Mattel fought me on my re-design of He-man and I fought right back. I hired Jean (“Moebius”) Giraud to do a re-design of He-man. Jean came up with a brilliant concept, that He-man’s armor was improvised and made from high tech metal trash left on the battlefield. Mattel didn’t get it. Sadly, despite my best efforts, I had to compromise and create a design that was halfway between the old He-man and what Moebius had drawn. Idiots! Mattel’s management at that time was pretty clueless and fearful. They were quite adept at regularly snatching defeat from the jaws of victory.

8) So both Moebius and Caludio Mazzoli were part of the design team pretty early on then?

Yes. Claudio was already there when I was hired. He was hired by the director who had previously worked with Mazzoli on a number of theme park attractions. I brought my friend Jean (Moebius) Giraud on board after I became the Production Designer.

9) What was their part in the process and how much interaction did you have with them?

Because he is such a spectacularly creative guy, I threw a few specific very difficult problems at Moebius. I mainly had him do his takes on the Throne Room, on the re-design of He-man and had him create ideas in regards to the appearance of the Sorceress. Moebius lived in nearby Santa Monica. My assistant would drive over there and pick up his work each day.

Claudio was right there in the production offices, so I saw him every day. He was a very funny guy. It blew my mind to meet an Italian who didn’t care much about food! At the behest of the director, Claudio designed those very Star Wars-ian Stormtroopers. He also designed most of Gwildor. I loved Claudio but I had a lot of problems with his color sense and design sense. In some ways he was very Italian…

10) When designing the characters, were you aware of who would be portraying He-Man and Skeletor?

Yes; I worked over photographs of the actors.

11) Did the actors have any input on their designs?

Dolph Lundgren tried to and Frank Langella did. We had several fittings with Frank. His input was valuable. During the fittings with Dolph I talked him out of what he wanted to do, costume-wise.

12) Oh really? What was it Dolph wanted to do?

Julie Weiss, my costume designer, called me in a panic from a fitting with Dolph. He was insisting on wearing these kick boxing boots that were cut mid-lower leg. I immediately drove over to the fitting. I looked at Dolph in the short boots (Julie and I both wanted him in long boots). I told him they looked just terrific, except for the fact that they made him look rather effeminate.

Whoosh! Off came the short boots; on went the tall boots. The boots were never an issue again.

13) Funny to hear the opposite ends of the spectrum there. How do you feel about the translation of your designs into the film?

By the time I was making Masters, I had logged plenty of film design experience. I knew how to get the best from people. If, after my best efforts, people didn’t execute things the way I wanted, I either fired them or gave their particular design job to someone else. I knew feelings would be hurt but I also knew that in ten years the public wouldn’t give a damn about whether some one’s ego got bruised during the making of our movie. Pain is temporary; the film is forever.

That’s my way of saying that I think overall the film looks damn good, considering.

14) So I guess it's fair to say you were pleased with how everything turned out?

I was and am. I’m especially proud of the Throne Room. For a while that was the number one Photo-Op in Los Angeles if you were lucky enough to visit the set.

15) I wish I could have seen that in person! Looking back, do you feel any particular characters or themes were handled better than others?

Yes; most people on the film were really disappointed that Saurod met such an early demise. He looked great --- very distinctive. And Pons Maar moved incredibly well in that costume. He really brought Saurod to life. We should have had Skeletor kill some of the other henchmen instead of Saurod prior to Saurod’s death.

Frank Langella’s performance as Skeletor, despite having to wear a mask that hid his expressive face, was stunning. What a talented actor! The way he moved!

16) We know that the Snakemen and She-Ra were featured in some early drafts of the film. Did you do any conceptual work on these characters or any others that didn’t make it into the film?

I didn’t do any Snakemen designs (Claudio might have) but I did design a new costume for She-Ra, which the director approved.

17) Were there any existing characters from the cartoons or toys that you wanted to take a crack at redesigning that weren’t part of the film, like Trap Jaw or Tri-Klops?

I know that no one wanted to do Stinkor…

I was disappointed when She-Ra was cut. Unless they were already in the script, there really wasn’t much time available to spend lamenting about which toys didn’t make it into the film. We were busy... we had to make a movie!

18) Set design was also one of your duties, including everything from the enormous Castle Grayskull to the Robby's Ribs restaurant...

Creepy) Masters Trivia: The front parking lot of Robby’s Ribs ‘n’ Chicken in reality is where Rodney King was beaten years later.

19) Yikes! I did not know that... Can you take us behind the process of designing something as epic as Grayskull, both interior and exterior?

I knew the Grayskull exterior was going to be a matte painting, so that freed me to design whatever I wanted. I was mostly inspired by Xanadu in Citizen Kane and Skull Island in Disney’s Peter Pan. Coincidentally, we were shooting at Culver City’s Laird Studios, originally the old RKO Studios, where King Kong and Citizen Kane were made. I spent one morning I rummaging around in their old prop house, hoping to find another Rosebud.

My designs for the Grayskull interior were sparked by what Moebius had drawn. I took his ideas and expanded upon them. This was the seat of power for the entire universe. I reasoned that power is neither good nor bad --- it’s what you make of it and how you use it. So, above floor level were what I called the Space Gods, giant bronze statues of those who had used the power based in that room for good. Below floor level was the dark side, demonic creatures that represented power used for bad or evil.

Once I had a design I was happy with my job became a matter of finding the right painters, builders and sculptors to execute it --- and then to make sure that it was lit properly.

20) I truly believe that the Grayskull throne room set is one of the most impressive physical sets ever created for film. It's so enormous! How did you pull that off?

For the Throne Room I used the two largest adjoining sound stages then had the wall knocked out between them to make one gigantic sound stage. It was the largest set Hollywood had seen in about forty years. Everyone in the business came to see it.

21) What was it like walking onto this set after having designed it?

Quite frankly, I felt like God.

22) I'll bet! Were there any parts in the design that particularly jumped out at you in finished form?

It still blows my mind that in just a few minutes my set painters could make plywood look so much like marble that you had to get mere inches away from it to see that it wasn’t.

23) The counterpart to Castle Grayskull in the He-Man mythos is Skeletor’s lair- Snake Mountain. Were you aware of this part of the lore and if so were you disappointed this location didn’t make it into the film?

Yes, I was aware of its lore. The creator of the Masters of the Universe world, Don Glut, is an old friend of mine. I drew a lot of Snake Mountain exteriors and interiors. It was disappointing that so little of that work or those designs ended up getting used.

24) I'm sure the fans are just as disappointed as you are that it didn't make it. Were there any set designs that were deemed too cost-prohibitive to produce or that simply didn’t make the final cut of the movie?

About a third of them, which is typical for almost every movie I’ve ever worked on (I’ve done 45 feature films). The biggest sets cut were the Eternia Royal Palace and Skeletor’s Palace. The Eternia Royal Palace looked like grand, cosmic, Cirque du Soleil Art Nouveau. Skeletor’s Palace had a series of byways throughout its floor plan with small rivers of lava flowing around his throne.

25) How do you feel about the final film overall?

I was pleased and amazed we got a coherent movie out of the whole thing. For a while it looked as if that wasn’t going to happen.

26) So were you pleased with how it turned out then?

Very pleased for the most part. I thought the performances of Frank Langella, Meg Foster, Pons Maar and Jon Cypher were especially great.

27) Mattel manufactured 3 figures based off of the film- Gwildor, Blade, and Saurod. What was it like seeing your designs produced as action figures and did Mattel work with you at all on the design of the toys?

I delivered the designs and Mattel built them pretty close to what I had done. It was really cool to see my designs as toys. Unfortunately, Masters of the Universe had long ago seen its peak; none of the figures sold the way Mattel (and all of us) had hoped.

28) If you had to do it all over again, with no budget or studio constraints, is there anything in particular you would change?

The first thing would be to re-design the Stormtroopers so that they didn’t look like rip-offs of the Star Wars Stormtroopers. That’s an irritant every time I watch the film. I’d like a different score, one that didn’t sound exactly like the score to Superman. I would also push harder for better, more spectacular special effects. And, I’d have liked to have visually explored more of Eternia.

29) Rumors are constantly swirling about a new “Masters of the Universe” film. If you could give one piece of advice to whatever team ends up doing it, what would it be?

Simple: Hire me as Production Designer (or even Director) and then stand back and let me do what I do best. I guarantee I’ll deliver a film that is so visually stunning it will make you scream for more. Honest.

That's a movie I'd like to see! Thanks for taking the time out of your schedule to do this William! It's a real treat getting to hear you take on the film and see some of the great art you're sharing with us!

For more information on William Stout, please visit: WWW.WILLIAMSTOUT.COM

-James

The Evil-Lyn Costume

2010-06-28T12:49:00.000-07:00

Another item recently sold by www.screenused.com- The Evil-Lyn costume! I never picked up on the snake designs sprinkled throughout her costume while viewing the film. It's especially intriguing in light of the fact that the Snakemen were going to appear in the film until they were dropped for budgetary reasons. Perhaps Evil-Lyn controlled the Snakemen at one point?

-James

Blade's Dagger

2010-06-28T12:26:00.000-07:00

Blade's dagger from the film. The blade of this prop is made of a thick rubber, and was probably the one worn by the actor for much of the filming (so as not to cause accidental injury). One of the 3 props in my personal collection, this one was purchased from www.screenused.com.

-James

The Skeletor "God" Costume

2010-06-28T12:19:00.000-07:00

Trying to play a little catch up on all the various costume pictures I've saved lately. Firs up- Skeletor's "God" costume recently sold at www.screenused.com. Check out the great detailing in the helmet, staff, and the tips of the gloves!

-James

Q & A With Richard Szponder (Pigboy)!

2010-06-21T06:19:00.000-07:00

My buddy John Atkin brings us another great cast interview segment... This time with Richard Szponder, who portrayed Pigboy in the film!

In 1986, Mattel announced a contest in which one lucky fan would get the chance to win a cameo in the live-action Masters of the Universe film. The winner of that contest was a young boy from Illinois named Richard Szponder. Instead of just receiving a walk-on roll, Richard was cast in a very memorable cameo as the gruesome Pigboy (evil servant of Skeletor!)

I recently had the chance to chat with Richard about the film, and he shared with me some of his favorite memories from his time spent on the set of Masters of the Universe!

20 Questions: Richard Szponder

1 - How did you find out about the movie contest? How old were you, and where were you living at the time?

Mattel advertised the contest through television commercials, and I remember seeing the “win an appearance in the MOTU live action movie” ads. At the time, I was eight years old, living in the Chicago suburbs. My mother took me to Toys R Us to get an entry form, and I remember telling her that I wanted to send in a whole bunch of forms. She told me she would give me one stamp to send in one form. And that was all I sent in.

2 - What was your reaction when you first found out that you won? What did your friends and family think at the time?

Before I ever officially won the contest, there was a lot of communication back-and-forth between my parents and the people at Mattel. They first contacted us to inform us that I had been selected as a finalist in the contest. Whether or not there were other finalists, I did not know. I assume it was precautionary to get all of the necessary permissions and paperwork signed before announcing me as the winner. It was an exciting time as we waited for phone calls and FedEx packages with documents that required my parents’ signatures.

When I finally did hear back that I had in fact won the contest, I was overwhelmed with excitement. My family and friends were very supportive, as were my teachers and local community.

3 - How long was the wait time for you between winning the contest and actually appearing in the film?

Months went by between winning the contest and the actual trip to California to complete the shooting. Several times, we would receive notification that the trip had been scheduled, only to find out later that filming had been postponed. I remember the disappointment each time the trip was pushed back. When the trip was eventually finalized, we arrived at O’Hare Airport in Chicago, and found out that our flight to Los Angeles had been cancelled. My father ran around the terminals, exchanging our tickets on United for tickets on American, and we finally departed.

4 - Before arriving on set, did you know that you were playing the role of Pigboy? Was the costume design already done for you?

Prior to arriving in California, I had no idea how they would fit me into the film. During one of our first visits to the studio, we were taken on a tour where I was shown concept drawings of the Pigboy character. The costume design was done prior to arriving on set. The concept drawings had detailed the outfit and the mask. I did have to go for costume fittings as the designers gathered the materials and manufactured the costume (I still have the costume today. It was sent to me in a package months after filming was over.) A mold of my face was taken to create a mask of the exact size and proportions.

5 - What was the process of getting into make-up and costume like for you? How long did it take?

I remember the make-up and costume process as grueling. It took hours for the make-up artist to attach the mask and complete the make-up. My family sat with me in the trailer while the artists worked on me. During that time, Billy Barty, who played “Gwildor” in the film, came into the trailer, and we talked about how he would have to spend four hours each day getting his mask and makeup done.

Putting the costume on was also cumbersome and time-consuming. It was made up of so many layers, from material that looked like an old burlapsack to the cape and the helmet. Far worse than getting into make-up and costume though, was getting out of it. I remember the skin on my face burning horribly after they took the mask off. Whatever adhesive they had used to attach the mask left my face feeling like it was on fire for days.

6 - What was it like for you as a kid being on the set of Castle Grayskull?

When I first saw the film sets, I was in awe, but I also remember thinking, “This doesn’t look like Castle Grayskull!” To this day, I still think that the sets and characters should have been more traditional to the toy line and cartoon, rather than the more interpretive sci-fi characters they were. Being on the set was still fascinating, and I remember the network of wires, cables, cameras, and props all over the place. It’s amazing to watch the film and see none of that on camera. If you’ve never been on the set of a film, you have no idea how many people are working behind-the-scenes.

7 - You have some wonderful pictures of yourself with many of the actors from the film. Did you get the chance to meet all of the principal cast? What was it like seeing Dolph Lundgren (He-Man), Frank Langella (Skeletor), Meg Foster (Evil-Lyn), and the other cast members in costume?

Meeting the actors and actresses was probably the most exciting part of the entire process. Dolph Lundgren was one of the first actors I met on the set. He was out of costume, and we met in an office building. Of everyone we met, he was always one of the most gracious. He took the time to say hello, talk with me and my family, and take plenty of pictures. He was incredibly kind. Frank Langella was also amazing, and I remember being intimidated by him. I only met him while he was in costume and makeup, so I had no idea what he looked like in reality. It wasn’t until years later, when I saw the film “Dave” that I found out what he really looked like. One of my favorite pictures from the whole experience is the photo where I’m sitting on Skeletor’s lap with Evil-Lyn standing in the background.

Meg Foster was probably the kindest of all the principal cast. Evil-Lyn was always my favorite character, and I remember being in awe of her costume. It was one of the most elaborate in the film. She spent so much time with me and my family, and I remember those moments very clearly.

People often ask me about meeting Courteney Cox. Yes, I did meet her. Unfortunately, I do not really remember meeting her. But I have the pictures to prove it! I think as an 8-year old kid, I was more enamored by He-Man and Skeletor and all the “bad guys” than by the human girl in the movie.That said, the guys who played the villains were a lot of fun. I met all of them on the set, and we took some fantastic photos together.

8 - In one fantastic photo, you are sitting on the castle throne surrounded by Skeletor’s bounty hunters, holding a rather large sword. What was it like being surrounded by such “monstrous creatures”?

I’ve always loved the villains, the bad guys, and the nasty creatures. From an early age, my father and I always watched scary movies together. Being in the company of Skeletor’s minions was awesome, and I remember some of those moments as my favorites. I remember the guys who played the villains laughing and joking with me and my family, and the pictures that resulted from those meetings are some of my favorites.

9 - In your big scene, you share the screen with Frank Langella’s imposing Skeletor. How did it feel being on stage with him, and being in front of the cameras for the first time? Also, what was it like getting the chance to hold the Havoc Staff?

Being in full makeup and costume probably made the whole experience easier, but I remember seeing through the mask was a bit challenging. We filmed at night, and I remember Mr. Langella giving me bits of advice along the way. It took a few shots to get the scene just right. I don’t recall being particularly nervous, and I do remember that everyone on set seemed excited to have me there. They were all very encouraging and helpful and treated me like a professional.

Is it called the Havoc Staff? I didn’t know that! I remember struggling a little with the staff; having trouble holding it upright and walking with it.

10 - How many days did you spend on the set, and how much time was spent filming the scene you were in?

My family and I were in California for a total of nine days. Much of the time was spent on the set. During the days I was on set, I worked with a tutor. He looked just like John Ritter. It was a legal requirement that I continue to do my schoolwork while on the set of the film. We had lunch in the studio cafeteria and mingled with the cast and crew of the film. As far as filming goes, we only filmed for the one evening.

While in California, Mattel also sent my family on a number of sightseeing trips. They paid for us to visit Disneyland and Universal Studios,and we even toured the Queen Mary. This was especially meaningful because my father traveled as an infant aboard the Queen Mary from England, where he was born, to the United States. We visited Hollywood, Santa Monica, and toured all around the LA area in a limousine that was available at our disposal.

11 - What memories do you have of the Director, Gary Goddard? It is said that after you won the contest, he struggled to find a role for you in the film. Is that true?

I remember spending a good amount of time with Mr. Goddard. He talked with me and my family about filmmaking and about the MOTU movie in particular. He walked around with us, showing us the sets and explaining many aspects of how the special effects would be added into the film.

Apparently he did have some trouble finding a spot for me in the film. I was not aware of this at the time of filming. In fact, I did not find out about that until the film was released on DVD. One of the bonus features on the disc included the ability to watch the film with Mr.Goddard’s commentary. When my scene approached, he talked extensively about the contest and the difficulty placing me in the film. It was fascinating, and the DVD release allowed me to relive the whole experience.

12 - What did you think of the film when you finally saw it in the theater? Were you excited to see your name in the credits at the end?

When the film was first released, Mattel paid for a release party for me, my family, and friends. They purchased an entire block of tickets from one of the local theaters so that I could have my own little premiere. I enjoyed the film, and I remember thinking how impressive the special effects were. I laugh at them now, but I do still think the special effects were some of the best at the time. The film had been so hyped and so promoted that I was glad to finally see it beginning to end. I remember “Good Morning America” doing multiple segments about the film, watching them, and waiting for when I could finally get to see the film.

Seeing my name in the credits was very exciting. I never thought that would be such a big deal. But simply because my name appears in the credits, all kinds of search results return when my name is ‘googled.’ My name is the last one that appears in the cast list, which is also kind of cool. It sort of lingers there as it crawls up the screen, last in line.

13 - I’ve heard that the scene you shot with Skeletor was originally longer, and that he actually spoke to you. Were you disappointed that parts of the scene were cut?

Yes, when the scene was filmed, Skeletor grabbed the staff from me, turned to look at me, and shouted, “Now leave!” I then scurried off. When I first saw the film in the theater, I actually missed my scene. I was expecting something much more significant than what ended up in the film. Of course seeing the film the first time was disappointing. What was even more disappointing, though, was when the film was first aired on television. The portion of the scene where I appeared was completely cut altogether!

14 - What are some of the things you remember most from being in the film?

I remember how kind everyone was; the actors, the Director, the film crew. It seemed that everyone enjoyed having a kid around the set, and I always felt very welcomed. The entire experience was memorable. I can’t believe it was 24 years ago because some of the memories are still crystal clear.

15 - In the credits, your character is simply referred to as “Pigboy.” Do you know if your character was ever given an actual name for the film?

At the time, they had given him the name Mata-Shai. I’m not sure if I’m spelling that correctly, but the drawings looked very much like the final Pigboy costume. Actually, it wasn’t until I watched the film in the theater and waited for my name to appear in the credits that I first saw the “Pigboy” name. You can imagine how thrilled I was at that.

16 - Did you get to keep any cool stuff from the film?

I do still have my costume. One of the coolest moments of the whole experience was when Mattel people showed up on set with boxes full of MOTU action figures. They had asked me for a list of all the action figures I already had. One day, they showed up with boxes of all the figures I didn’t already own. It was amazing! There were figures that had not even been released yet, including the new action figures based on characters from the movie. It was heaven for a kid my age!

17 - After the movie was released, did kids on the playground ask for your autograph?

No, nobody ever asked for the autograph. But it was an experience that got me a lot of attention.

18 - Are you surprised today by all the attention that your cameo as Pigboy has attracted over the years?

Yes, actually I’m very surprised. With the internet, it’s possible to find just about anyone out there. I never would have thought that an obscure character who appears in a movie for literally three seconds would cause people to be knocking on my Facebook door. It’s funny, but I enjoy it. At the Wizard World Chicago booth a few years ago, I introduced myself to the folks at the He-Man.org booth, and all of a sudden people wanted to take their pictures with me. It was pretty bizarre, but kind of neat at the same time. I’m still a fan of MOTU, and I’ve enjoyed watching as Mattel tries to recreate the line for a new generation. I thought the new cartoon series was brilliantly animated and told an amazing story, and I’m really disappointed that it didn’t take off.

19 - With the successful relaunch of the new “Masters of the Universe: Classics” toyline, do you think it’s time that Mattel finally released an action figure of Pigboy?

That would be amazing! MOTU is so unique in that so many collectors, now in their twenties and thirties, who were fans of the cartoon and the toyline are still fans today. The Classics line, more for the adult collector, is perfect for those of us who still feel passionately about the toys we grew up with. Watching the old cartoons now available on DVD, reading the comic books, and collecting the high-end statues and mini busts has been my favorite way of staying in touch with the kid in me.

20 - If asked by the powers that be, would you ever work on another MOTU project again?

Absolutely! As someone who was there in the early 80’s for the launch of the first toyline, and who has stuck by the brand for 30 years or so, I would love to put my two cents worth into a project.

-----------------------
A VERY big thank you to Richard for his kindness, and for taking the time to answer questions for the fans!

Richard has a personal website, which can be seen at
www.richardszponder.com.

Starburst Issue No. 112 December 1987 Article

2010-06-16T14:49:00.000-07:00

Mostly talks about Lundgren... but still a pretty interesting read!

-James

William Stout Designs "William Stout 2" Trading Card Set (Basic Cards)

2010-06-10T14:08:00.000-07:00

The "William Stout 2" trading cards featured MOTU designs both in the set and as a holo-chrome subset. Below are all the basic cards from the set that featured designs from MOTU.

-James

Canon Promotional Insert

2010-06-10T05:23:00.000-07:00

As promised, here's that Canon promotional insert added into many newspapers and magazines around the time of the film's release-

And I absolutely LOVE this image of Skeletor used for the back-

-James

Galactic Journal The Science Fiction & Fantasy Alternative Summer 1987 Article

2010-06-08T06:29:00.000-07:00

The article is somewhat brief, mostly focusing on director Gary Goddard's take on the sci-fi & fantasy film genres. Interesting tidbit in the begin: Gary Goddard tried (unsuccessfully) to acquire the film rights to Conan while in high school!

The magazine also includes the 4 page promotional 'flyer' that Canon paid to have inserted into some magazines and newspapers at the time. I'll post that in a bit as well.

-James

William Stout Designs "William Stout 2" Trading Card Set

2010-06-04T11:37:00.000-07:00

The "William Stout 2" trading cards featured MOTU designs both in the set and as a holo-chrome subset. Below are all the holo-chrome card, including a peek at the unused design for She-Ra!

-James

William Stout Designs "Saurians & Sorcerers" Trading Card Set

2010-06-04T11:10:00.000-07:00

The "Saurians & Sorcerers" trading card set doesn't feature any "Masters Of The Universe" designs in the basic set, but the 6 card "holo-chrome" subset is entirely devoted to MOTU! Some great bits of info on the back of these cards... like an early concept that had the Sorceress being portrayed by a 12-year-old girl! (By the way- It's a little tough to get a good scan on these due to the holographic effect on the card, so I apologize for the quality!)

-James

William Stout Designs "Lost Worlds" Trading Card Set

2010-06-04T10:36:00.000-07:00

Comic Images released 3 trading card sets featuring artwork spanning William Stout's career. William Stout (as you probably know by now) was the production designer on "Masters Of The Universe". Each of the three sets feature a few cards dedicated to the design work done for the film. The first set, "Lost Worlds By William Stout", includes the cards seen here:

I'm also including this dragon design used for the 1992 Dragon con t-shirt, as it is incredibly similar to the "Grayskull" crest used in the film-

-James

Skeletor Postcard

2010-06-04T10:19:00.001-07:00

Picked this up online this week... The card image is the same used in the color promotional 8 X 10 pictures sent out by Canon.

Nobody I knew growing up was cool enough to send me one of these while they were on vacation. ;)

-James

Marvel/ Star Comics Masters Of The Universe Comic Adaptation

2010-06-01T11:41:00.000-07:00

Marvel/ Star Comics released this adaptation of the film back in November of 1987. The book was adapted from the film script by Ralph Macchio, and featured George Tuska on pencils (Tuska previously penciled the 3 issue DC MOTU mini-series). Like most film adaptations, there are many differences between what we see in this comic and what we see in the film. Since the comic was adapted from an earlier version of the script and before many of the character looks were finalized, the book is a neat peek into what might have been.

At around 48 pages, I didn't want to bog down this post with scans of every page of the book. Instead, we'll just take a look at the drastically different plot points...

Just by looking at the cover, you are hit with one of the biggest differences in this story. All of the previously existing characters (with the exception of Beast Man) are shown in their traditional garb, not their movie costumes. Whether this was due to the fact that the movie redesigns weren't finalized or to perhaps make the comic more accessible to general audiences, I don't know... but the fact that Blade is based on an early design leads me to believe it's more the former than the latter-

The story opens in a war-torn village on Eternia, instead of Skeletor's entrance into the throne room of Castle Grayskull. In the comic sequence, we find out about Skeletor's sudden ambush of Eternia and we are introduced to the characters of Teela and Man-At-Arms-

The book then jumps back to Skeletor's introduction, the revelation of the imprisoned Sorceress, and Skeletor's speech to the people of Eternia. We then get a very different take on He-Man's introduction-

This leads into the scene of Gwildor's rescue and the reuniting of He-Man with his comrades. The book stays pretty close to the film for awhile, up until the point where He-Man and the crew are on Eternia searching for the lost Cosmic Key (which we all know Kevin has at this point). That leads to this brief scene here-

Why He-Man felt the need to go ahead and show off his sword is beyond me, but the mention that the kids are speaking "Eternian" is a plot point that is picked up again later. After this page, we follow the film through the arrival of the "curious quartet", Julie's escape, and the meeting with He-Man. The heroes all jump in Gwildor's Cadillac, and then we pick up the "Eternia/ Earth" conundrum again on the closing panel here-

The story moves along pretty closely from there, all the way to Evil-Lyn's trickery at Charlie's music store. A major change happens at the end here though; Instead of Evil-Lyn leaving with the key, the 3 "non-warrior" characters work together to get the key back (which then eliminates the scene of He-Man using Gwildor's grappler to wrest it from her clutches)-

From here we move onto the roof confrontation, which differs from the film version. Instead of capturing He-Man, Skeletor leaves him stranded on Earth with the (now destroyed) Cosmic Key. The heroes rebuild the key, Kevin remembers the tones, and everyone gets transported to Eternia. Oh, and the area of Earth that gets transferred to Eternia is MUCH larger in the comic version-

Since He-Man isn't captured in the comic version, what follows is all-out brawl to free the Sorceress, using the rebuilt Cosmic Key and Kevin's knowledge as a "master songmaker". Gwildor gets injured, but Kevin tickles the ivories and the Sorceress is freed, allowing her to heal both Julie and Gwildor-

The final confrontation between Skeletor and He-Man now takes place atop Castle Grayskull. There's no "god" Skelly in the comic version, so what follows is just a traditional He-Man vs Skeletor battle (albeit a good one)-

The final moments of the film pick the "Eternia/ Earth" thread back up. We find out the settlers of Eternia were originally from Earth-

The rest of the story is pretty much the same from there; Kevin and Julie make it back to Earth, Julie's parents are prevented from going on their flight of death, and the 2 kids meet up to reveal to each other that they both remember their adventure. All's well that ends well!

While I like some of the changes, and I think it's pretty neat to see the characters in their traditional garb, I still prefer the movie. The loss of He-Man's enslavement is a huge miss for me, and doesn't give the final battle the edge that it has in the film. Still, a pretty cool book overall!

-James

The Karg Costume

2010-06-01T07:06:00.001-07:00

Here are some great shots of Karg's costume that was sold online awhile back. Sadly, it is missing the hook attachment for the hand, and the boot heels have begun to melt away.

-James

Evil-Lyn's Radar Gun

2010-05-27T07:29:00.000-07:00

Thanks again to DolphisMaster for the tip!

Profiles In History also has the Evil-Lyn Radar Gun up for auction! This is the device Evil-Lyn used in the film to "look" into the past to verify Karg's story... which we all know wasn't exactly truthful. ;)

Here's the description from Profiles:

Meg Foster “Evil Lyn” hero motorized radar gun from Masters of the Universe. (Cannon Group, 1987) This pistol was used by Meg Foster as “Evil-Lyn” and in the film functions as a secret scanner that can be used to see into the past. Constructed of black fiberglass and aluminum parts, the piece originally had a sight on top and an additional radar arc, which are no longer present. Measures 19 in. long.

To check it out at their site, click HERE.

-James

He-Man "Hero" Costume

2010-05-27T07:15:00.000-07:00

Thanks again to DolphisMaster for the tip!

Profiles In History has one of the He-Man "Hero" costumes up for auction! Though it is incomplete, this is still a beautiful example of the suit. With an estimated value of $2500- $3500, I only wish I could afford it...

Here's the description from Profiles:

Dolph Lundgren “He-Man” hero costume from Masters of the Universe. (Cannon Group, 1987) Fantastic hero costume worn by Dolph Lundgren as “He-Man” consisting of a burgundy lace-up briefs with integral leather belts, tooled leather gauntlet, armband with faux red jewel and ornate leather spaulders (shoulder armor). Lundgren’s instantly recognizable hero costume from this popular fantasy film.

To check it out at their site, click HERE.

-James

Skeletor's Movie Costume On Display!

2010-05-26T10:08:00.000-07:00

Thanks to the head's up from He-Man.org member Dolphismaster who pointed that the Oklahoma City Museum Of Art has a display running right now entitled "Sketch To Screen", focusing on movie costumes. The display includes the main Skeletor movie costume, complete with staff and Cosmic Key props! WOW!

There's a short video on their site explaining the exhibit, with a couple of great shots of the costume. Click HERE to check it out. There's also a photo gallery from the exhibit, but these are the best 2 shots I could find of it on their site:

If any readers plan a visit, PLEASE take some pictures of it and send them over to me at mastersoftheuniverseclassics@live.com I'll be sure to credit you!

-James

"The Cosmic Key" Mattel Mini-Comic

2010-05-25T10:11:00.000-07:00

Packed in with the 3 movie-inspired action figures (Blade, Saurod, & Gwildor)included in Mattel's "Masters Of The Universe" toyline, this comic depicts a VERY different first-meeting between everyone involved. This story is one of the shortest (if not THE shortest) mini-comics produced by Mattel. It also features horrendous art and Gwildor talking in weird thought bubbles half the time. Enjoy!

Wait...huh!?!? That was Gwildor's plan? Have He-Man throw his sword at the key and that just makes it work?!? My brain hurts...

-James

Movie Memorabilia: Japanese TOWA Promotional Book

2010-05-03T14:18:00.000-07:00

Why couldn't we get a great lobby book like this here in the states? When TOWA imported MOTU into the Japanese market, the produced this lavish promotional book. The book measures around 11.5" by 8.5" and is filled with beautiful shots from the film and a bunch of text that I'm sure is quite interesting (if only I could read Japanese...).

And yes, I know the images are a bit small. I will eventually load larger pics up at he-man.org, but for now you're just gonna have to squint a little. ;)

-James

Q & A With Actor Pons Maar (Saurod)!

2010-04-09T06:32:00.000-07:00

My fellow MOTU movie fan and friend John Atkin brings us this great interview with actor Pons Maar, who portrayed Saurod in the film! Thanks John!

Pons Maar is originally from Florida, where he studied ceramics and visual arts. A keen interest in performing led him to a number of intensive workshops; encompassing everything from trapeze to improvisational ensemble theatre. After moving to San Francisco, he became a fixture on the local arts scene as a graphic designer, musician, and performance artist. He played in a couple of punk/alternative/art bands before setting out on a solo performing career. At a performance of 'Natural Enemies' he was seen by Oscar-winning Sound Designer/Editor Walter Murch, who cast him as the Lead Wheeler in the movie Return to Oz. Pons acted in the film and served as the Performance Coordinator; starting what was to become a pattern of working on both sides of the camera. Following with other non-human roles in The Golden Child and Masters of the Universe, Pons continued to delve deeper into the confines of latex makeup and hot and heavy suits. He performed in 65 episodes of the hit TV series Dinosaurs, and played the lead character in the movie Theodore Rex. Over the years, he began to focus more on Coordinating Puppets and Creatures. This lead to work on major productions like Monkeybone, Team America: World Police, and TV’s Buffy the Vampire Slayer. Pons served two years as Co-Head of the Puppeteer Committee for the Screen Actors Guild. Currently he is shooting video, editing, and working in the Naming and Branding field with the company 'A Hundred Monkeys.'

In the 1987 movie Masters of the Universe, Pons Maar played the part of the reptilian creature Saurod. His character wore an elaborate metal helmet and body armor, and was armed with a laser gun and retractable razor claws. In the film, Saurod and his fellow bounty hunters are sent to Earth by the evil Skeletor to capture He-Man and retrieve the Cosmic Key. I recently chatted with Pons about his work in the film, and he was kind enough to answer some questions and share his thoughts about his experience performing in Masters of the Universe...

20 Questions: Pons Maar

1 - The character of Saurod is one of the most popular characters from the original Masters of the Universe movie. Many fans at He-Man.org have compared your character to Boba Fett from the Star Wars films, in terms of his “coolness” factor. Were you aware of your character’s popularity within the He-Man fan community?

No, I was not aware of Saurod’s popularity at the time but I thought I definitely had the coolest character in terms of the production design done by William Stout.

2 - How did you get involved in the Masters of the Universe movie? Did you audition for the character of Saurod specifically, or did you audition for any other characters as well?

I think I went in for a bit of a group audition and then some call backs. I remember being in groups with big muscle bound guys and short little guys so it was pretty mixed up. The last call back involved all of us standing with Dolph Lundgren so the director could get a sense of how everyone looked together size-wise.

3 - How long did you work on the MOTU film for?

Can’t remember the exact amount of time but it was months. We had a pre-shooting period of training, then once shooting started I was needed at the beginning of the shooting schedule and at the end. Basically I was involved in scenes shot on location and on stage and the schedule had them spread out for practical reasons. The shoot ended up going over time-wise so I was at home being paid, waiting to be called back in for the next phase of shooting.

4 - Your character had one of the coolest, scariest, and most elaborate costumes in the film. How long did it take for you to get into makeup & costume for your scenes, and what was it like wearing the hand painted 'lizard eye' contacts?

My costume was made by a shop that did a bunch of the props and things... so, I was going in and having the suit built on me for several days. They did a great job of making the costume faithful to the production designer’s drawing but the making of it and the wearing of it were somewhat taxing. It wasn’t the easiest costume to get into and out of but it wasn’t the worst, certainly not the heaviest, suit or costume I ever wore. I know that the first time it was all assembled on-set just to get the director’s final approval it took about 8 hours to get it all on me... I was furious. But, they did get the suiting up time down to a much more reasonable amount of time.

What I really remember is the helmet. I had a partial appliance on my face because only part of Saurod’s face would show thru the helmet. The costume helmet never had a fitted interior. It was just a big open shape. My dresser would have to force foam up behind my head wedging the helmet into my face. I wore glass lenses in my eyes which, once in place, started to slowly give me tunnel vision. I think it had something to do with oxygen not getting to your eyes. It was really uncomfortable and the longer I had the helmet on and the lenses in the less I could see. I ended up doing a lot of scenes basically blind.

This was just before the complete adoption of flexible lenses. As soon as they were inserted your peripheral vision was cut in half. Then as time passed, and I mean short increments of time, the tunnel vision just got worse and worse. After one particularly long shooting day on location they put me up in a room because my eyes couldn’t completely focus and I didn’t feel safe driving home.

5 - Saurod’s costume had a movable tail that was controlled by remote control, which I understand required you to wear a special harness under your costume. Did this ever cause you any problems during the filming of your scenes?

No, I was pretty much unaware of the harness and the tail while shooting. Probably because so much else of the costume was so uncomfortable.

6 - In the movie, your character’s throat expands and contracts like a frog. How was this impressive visual effect achieved for the film?

You’re gonna love this. It was the most low tech solution but it worked well didn’t it? They had an inflatable bladder in the dewlap, as the throat pouch was called, and ran a tube into my mouth so I controlled it just by blowing into the tube. I’m pretty sure the inflatable bladder was a condom.

7 - Gary Goddard (the Director) said in a recent interview that he created Saurod so that a character could be killed off in the movie without harming the original cartoon continuity. As Saurod was a brand new character, there wasn't any previous material for you to work with. Did this allow you more freedom to flesh out the character on your own?

Well, honestly, I was just trying to make the character’s movement believable and unique. I was also just trying to survive the shoot.

8 - Your character doesn't speak in the film, but he hisses, snarls, and moves around with a great deal of vigor and enthusiasm! Did you do all the vocal sound effects for the character yourself, and did you develop the animated body movements that Saurod is known for on your own?

I don’t think I was available during post to do the audio of the character so I’m pretty sure the vocals aren’t mine. Saurod’s movement was all mine.

9 - In both your first and last scenes in the film, you share the screen with Academy Award nominee Frank Langella’s larger-than-life Skeletor. What was it like performing with him on set?

Frank was a really polite and gracious man. I think it probably had to do with his theatre background. Once, when we were on set I was in my lean board... probably need to explain that... once suited up with my mechanical tail I could only lie down on my side or, if I wanted to stand, lean against a stand that had a space for my tail to poke thru. I couldn’t sit on anything... so Frank came by and asked if I was comfortable and then wanted to know if I wanted anything to read or needed anything. This is something that very few actors I’ve worked with have ever done.

In terms of performing, you have to understand that I was performing with someone who was wearing the Skeletor mask, so it could have been almost anyone in there. Obviously Frank gave a fantastic performance but, as I’ve mentioned before, it was not the most comfortable suit or lenses to be wearing while performing so there was always an urgency for me in getting everything shot as soon and as well as possible.

10 - Skeletor kills Saurod as punishment for failing him in his mission to Earth. A lot of fans at He-Man.org have said that they felt your character was killed off too quickly in the film. Were you disappointed at all that your character died so quickly?

Only once the film was released was I aware of how little screen time my character had. I had plenty of on-set time and shooting time, so... no, I wasn’t disappointed but it would have been cool to have seen more of Saurod. Then again, I am a firm believer in leaving people wanting more.

11 - In the film, it appears that Saurod pulls out his gun to shoot Skeletor before he gets incinerated by Skeletor’s purple energy bolts. Did Saurod try to kill Skeletor before getting blasted?

Absolutely he went for his gun. Self protection, if a little late.

12 - What memories do you have of working with Dolph Lundgren and the rest of the cast? Have you kept in touch with any of the cast and crew over the years?

Pretty vague memories at this point. I remember they had a complete work-out gym for Dolph rigged up in a trailer for him. He would do curls before shooting so his muscles were ripped. It didn’t seem like he had much experience as an actor but he gave it his all and he looked fantastic. I kept up with some of the cast and crew after and I worked with a lot of the same people on other projects.

13 - After the release of the movie, Mattel turned Saurod into an action figure, whose special feature was shooting sparks from his mouth like fire. The character never displayed such an ability in the movie. Were there any scenes (deleted or not filmed due to budget constraints) in which Saurod actually had that power?

I think that originally he was supposed to have a venom like fluid he could shoot out his mouth... or was it his claws(?)... He was a reptile after all. I’m not sure when that idea was dropped during the production so maybe that was what the sparks shooting out the action figure were all about.

14 - Did you ever see (or own) the Saurod action figure, and what did you think of it? Also, were you aware that your character would get an action figure while you were making the movie?

I did own one of the action figures and thought it was really cool. During production I didn’t know which characters would be made into action figures.

15 - Did you get to keep any cool stuff from the film? (Props? Costumes? Memorabilia?)

I don’t think I have anything.

16 - You have played a number of 'creature' roles over the years in film and television. Did your work on the Masters of the Universe film help lead to any of these parts?

Well, playing 'Fu' in The Golden Child led to both Saurod and a part in Dead Heat as one of the pool zombies as it started defining me as a creature performer.

17 - What did you think of the film when you saw it back in 1987? Looking back, have your thoughts on the film changed all?

Have to say I didn’t like it that much. I was never a big He-Man fan and didn’t think the script was very strong. Also, I thought there were strong and weak parts in everything from the writing, the acting, the cinematography, and the effects. I imagine I still feel the same way about it now.

18 - With older genre movies like Star Wars and Star Trek getting "special edition" makeovers on DVD (with brand new effects added to them), do you think a film like Masters of the Universe could benefit from a similar treatment? Or should they just leave the film as is?

It’s hard to imagine anyone adding any effects to the film, as there was never a sequel, nor a studio interested in future He-Man projects to my knowledge. I would love to see a special edition DVD release if there is any behind the scenes footage, or even a collection of the production designs done by William Stout. As I’ve mentioned before, all the production design by William Stout was phenomenal. I became friendly with him and years after the film I was able to purchase the original character design (ink and water color) for Saurod. William (Bill) took it out of its frame and inscribed, “To my great and talented friend Pons who made this character come to life.” I feel honored to have it.

19 - Now that there's a new He-Man toy line in production (Masters of the Universe: Classics), would you like to see a new action figure made of Saurod?

That would be great. It’d be cool to see a reinterpretation.

20 - A new Masters of the Universe film is being produced by Sony Pictures for the big screen. If asked, would you ever work on another He-Man movie (either as an actor or behind the scenes)?

Well, of course I would. We can just keep making it till we get it right.

Thank you so much for taking the time to answer our questions this evening. Your answers really give new insight into the making of the film.

It was a pleasure answering the questions, I had to really think back and remember things. Its always a pleasant surprise knowing that there are people out there still interested in work that we did so long ago.

Q & A With Director Gary Goddard!

2010-02-24T14:37:00.000-08:00

Gary Goddard made his directorial debut with the 1987 live action "Masters of the Universe" film. Trying to bring a children's toyline to life in a serious manner while battling budget and studio constraints proved a daunting task, but Goddard persevered and completed the film amidst the turmoil. Fans have had unanswered questions regarding both the film and the process behind making it for years. Using questions submitted by fans of this blog and He-Man.org, Gary sat down to shed some light on some of these untold secrets...

The most commonly asked question from fans relates to deleted scenes- Were there any sequences filmed for Masters that ended up on the cutting room floor? Or were there any major scenes in the script that didn’t make it to the filming stage? For example, there’s a closing scene in the comic adaption where Man-At-Arms and He-Man explain to Julie & Kevin that the original colonizers of Eternia were from Earth’s NASA space program. Was this scene in the script or was it ever filmed?

Well, the last scene – the farewell scene – was slightly longer and really gave a kind of “Wizard of Oz” ending to the story – and at the preview screenings (two of them) people actually got emotional – it brought tears to people’s eyes. But I lost the battle with the Studio who demanded we trim it. There were other trims and cuts too – but I think the one that hurt the film the most was here at the farewell scene. Essentially Julie (Courteney) has a “moment” with each of her Eternian companions, leading to her departure. That scene got cut in half – and I think – we lost the heart of the moment. Other than that, yes, a number of major sequences were cut along the way to the screen, some during the shoot, some prior to the script being approved for production. In one of the first drafts, yes, the American Flag reveal was there – but having already seen that in the first Star Trek and others, I thought we’d leave that out of this first movie, so that decision was mine. Prior to production starting, I had added an entire sequence involving the caves beneath Grayskull where the Snakemen have come in order to help defeat Grayskull, joining with Skeletor. The heroes are dragged into the tunnels and a lot of action takes place amid the tension of them trying to escape from the caverns.

That sounds amazing, but would have probably been a very costly and challenging thing to film. I'm sure that making a film based on this property was filled with decisions and challenges like this. What would you say was the biggest challenge in bringing Masters Of The Universe to life on the big screen?

Juggling the needs of the movie with the desires and directives from both the Studio and Mattel Toys. At the time we started production, the He-Man toy line was beginning to wane, and Mattel was desperate to see the toyline live again. Yet, at first, the directive was “He-Man cannot kill anyone” -- and I remember saying – “well this is an action movie and He-Man’s going to have to kick some serious butt or we are going to have a problem.” The reason we came up with the robot-like sentry guards, and reason we never saw them underneath the masks, was NOT because we were emulating Star Wars (as some critics positioned), it was because the compromise I reached with Mattel was “so long as it does not look like He-Man is killing PEOPLE, then he can blast away” – so we created the complete body suits that left it to the viewer’s discretion – man or machine under the armor? Who’s to say? At one point, Mattel did not want me to punish Beastman (as he was a “regular” in the TV show and toyline) with the “energizing dissolve” in punishment for not doing as Skeletor bid. Hence, the new creation of Saurod – a villain we could dispose of as necessary for the drama of the story. Juggling Mattel’s desires and goals with the fact that Cannon Films was (unbeknown to us working on the movie) months away from going Chapter 11, created a very fluid environment during pre-production and then especially during production. There were shooting weeks when the crew threatened to stop because money was not in the bank to cover their checks. I would get assurances from the studio that the money would be there by the day’s end, and then I would coax, beg, plead, for the crew to give me the day – and in the end – they money did come through. There were many challenges to making the movie – but most of them were more having to do with the financing of the project and the day to day approvals that Mattel and Cannon both held.

It's odd that Mattel was so stubborn on certain things, but so flexible on certain aspects of the existing canon. Many of the concepts used in the cartoon and toyline were not used for the film, such as the Prince Adam/ He-Man relationship. We know that many things weren’t used due to the constraints of making a live action film, but were there any elements of the existing canon that you really wanted to bring into the film but for whatever reason weren’t able to?

The biggest complaint I always got at the time was “why didn’t you have ORKO in the film, and what happened to Battle Cat?” And of course, these were the pre-digital days of film making. The concept of having a little live action version of Orko floating around in the air in every scene he was in, was impossible given our limited budget. Likewise, doing a POOR stop-motion battle cat, or trying to deal with REAL Lion – was not just not practical – again, given our budget and schedule. As it is, what we attempted to achieve for $17,000,000 – was pushing the envelope. Also, whereas the TV show was created to sell toys, in a movie we needed to focus on a set of characters that we could get to know and care about. I created GWILDOR to provide an Orko-like comedy relief character, but one that would not need to be on wires in every scene. By the way, the idea of sending them to Earth allowed us to tell a story that did not INCLUDE Orko or Battle Cat, and did not involve Prince Adam, and yet, left it open for a sequel to bring them all into the story. In other words, Orko and Battle Cat and He-Man’s Prince Adam persona all could still exist – it’s just that under the threat of being on Earth, trapped away from Eternia, Battle Cat and Orko didn’t make the journey. With today’s digital capabilities, of course, any and all characters could be included. But at that time, on a limited budget, with a tight schedule, we already have a very ambitious script.

So did that prompt the decision to introduce new characters into the film (such as Saurod, Blade, and Karg) instead of using the pre-existing characters? Did Mattel have any influence in this decision?

New characters were necessary as we wanted to have the flexibility to would them, or as in the case of Saurod, even destroy them. With the “regulars” Mattel had strong feelings about keeping them pretty “as is” from their toy line, although we did convince them that if we were going to use a character like Beastman (which Mattel definitely wanted) that would we want to make him more believable – less cartoon like. So, I created the new characters Karg, Blade, and Saurod. Mattel loved them all and immediately added them to the toyline.

Relating to that last question, were there any pre-existing characters planned for the film that didn’t make it into the movie? We’ve seen concept art for She-Ra; any recollection as to how she figured into the movie and why she was dropped?

She-ra was considered for about five minutes – but I reasoned that we needed to focus on He-Man in the first movie – that we needed to have a central hero and a central villain that we could establish with audiences. Mattel wanted to have every character in the MOTU line up in the movie and I did my best to try and convince them we needed to focus on a central set of good guys and bad guys – I did not want to make a movie that would appear to be a commercial for toy sales.

Ah, you say "first movie" there! We all know that a sequel was planned (which eventually became the Van Damme film Cyborg), but were you ever involved in the planning of a second film? Would you have directed it and if so what sort of concepts and story would we have seen?

I had pretty much moved on after completing MASTERS and was deep into my own creation, CAPTAIN POWER at that time. I would have welcomed working on the sequel, but another director had convinced them HE could make a He-Man movie for $6,000,000 or less. I think that is what led to the CYBORG movie eventually. Mattel saw the script, or perhaps the storyboards, and pulled the license.

This somewhat relates to the last question, but if you were able to come back and do the new Masters Of The Universe film, with today’s technology and resources, what sort of story would you like to tell?

Well I think my idea always was – if the He-Man movie did well – that the sequel would take place on and in Eternia. We avoided this in the first move because there simply was not a budget for this, hence, the idea of stranding them on Earth. But the set up was always that we would rejoin them on Eternia where Skeletor, who had been cast into the pit of hell at the end of the first movie, has come out of the morass and found help among the Snakemen and perhaps part of the Horde – all living in the dark caverns underneath Grayskull. Armies would have been raised, and I had hoped to create something that fused Eternia into a kind of “Middle Earth” world – with He-Man going on a journey into Skeletor’s dark empire. Nothing was ever really settled –but thinking back, this is kind of where my head was at – at the time. I think actually, that approach would still work – and that with today’s audiences it would be even darker and harder edged than I had imagined. Also, now that Mattel no longer has their entire company riding on He-Man, I think they would be much more open to an epic saga of this kind. I think you even sense more openness even in the new animated series they did – which tried to fuse a bit of Anime styling into the He-Man Universe. But I think giving the story a sense of the Epic – and at the same time – making it a bit more intense – would only add to it.

In closing, many fans (me included) are clamoring for a special edition or blu-ray release of the film. Have you ever been approached for anything like this? Is there anything we as fans can do to help make this happen?

Yes – keep clamoring! If we can get a blu-ray made a very successful director friend of mine has committed to do the special interview for the blu-ray – so let’s make it happen!!! Clamor!!!

So there ya go folks! A VERY big thanks to Gary for participating... and sending along these great behind-the-scenes photos for us to check out!

Gary getting word that the budget was being cut. AGAIN.

Gary Goddard and Billy Barty prepare to shoot Gwildor's return to his home.

Gary sets the scene for the winner of the Mattel Toys 'win a role in the movie' contest.

Gary waiting for Meg Foster at 3AM in the alleyway behind the music store.

In the Cavern in Iceland that was to be part of the Eternia sequence (before the first budget cut).

Meg Foster amid the Armies of Darkness, waits for her close up.

Preparing for "The Fall of Eternia".

Showing Frank Langella proper blast-throwing technique.

Camera Rehearsal for ROBBY'S RIBS opening sequence.

Dolph Lundgren and camera crew setting the scene for the Eternia battle sequence.

Freddy Blankein (1st A.D.), Elliot Schick, and Gary Goddard at 6AM pre-shoot meeting.

This interview has a permanent home over at he-man.org! Check it out here:

Cinefex Number 31 Article

2010-02-09T18:14:00.000-08:00

REALLY amazing article on the special effects and making of the film. Might want to grab a snack because it's pretty long...

-James

Cinefantastique Volume 18 No. 2/3 March 1988 Article

2009-12-17T14:41:00.000-08:00

Articles from the March '88 issue of Cinefantastique-

The first spotlights the makeup work from the film. Check out the unused Skeletor mask (I prefer the one in the film personally) and Gwildor without his hair! Also of note- The article talks about an unfilmed scene of the Sorceress healing Julie, and confirmation that Langella had input on how the Skeletor makeup was handled.

The same issue also has a review of the film. The writer has a few good points, but I obviously like the film a bit more than he did ;)

-James

Movie Memorabilia: German Film Card

2009-12-10T15:16:00.000-08:00

Picked this up on eBay for $1.50 the other day-

Here was the description from the auction:

Offered is a German film card from MASTERS OF THE UNIVERSE. A unique promotional item offered in Germany is called a film card. On one side of the 4"x6" item is an image of what the German poster looks like. The reverse has information about the film. These cards, first printed in 1978, are unique because a collector can see that the German poster often differs from its American counterpart.

Seemed cool... and you can't beat the price! Now if there are any German fans out there who'd like to translate it, please do!

-James

Cinefantastique Volume 17 No. 3/4 June 1987 Article

2009-11-25T14:58:00.001-08:00

An article on the (at the time) unreleased film from the June '87 issue of Cinefantastique-

Of note here is the description of Kevin's role in the film. Instead of just finding the key, he would have supposedly been He-Man's alter-ego somehow...

Beautiful Skeletor shot from Stout-

A couple of excellent behind the scenes images, and some excellent concept art for Man-At-Arms and Teela-

Lastly, a little, slightly uninformed history of the Filmation series-

-James

The Teela Costume

2009-11-23T07:07:00.000-08:00

Another item sold by "The Prop Store Of London"- some great shots of the Teela costume worn by Chelsea Field!

And in case you wanted to know what her bra and socks looked like...

-James

Possible Movie Screening At Cincinnati-area Theater?

2009-11-22T03:20:00.000-08:00

Cincinnati/ Northern Kentucky area fans- How would you feel about a possible screening of the film? I talked to a friend of mine who manages one of the local showcase theaters about doing a screening of the film. He explained to me that while it's not impossible, the only real way of accomplishing it is to rent the theater for a showing, and then pay the fee for getting the film. The cost for getting an old film is $500, the price of renting a theater is variable depending on time and day. So here's my question... How many local fans would be willing to pay for a ticket (maybe $15 to $20 depending on how many attendees and what the final cost ends up being) and make the trip to Cincinnati/ Northern Kentucky (depending on which theater we go with) to see the film on the big screen? Again, this is nothing definitive as of yet. Just gauging interest before I research it more...

Masters Of The Universe Magazine Spring 1987 "He-Man Movie Update!"

2009-11-19T15:32:00.000-08:00

Here's a quick little tidbit from the Spring '87 issue of the "He-Man And The Masters Of The Universe" Magazine-

Just a couple of quick pics from the film. I like the somewhat candid shot of Lubic and the visible costumer's hand in the Evil-Lyn shot...but the best shot of all is the bottom pic of the page. Looks to be a possible deleted Eternia scene from the film, with He-Man helping a perhaps injured Man-At-Arms and Teela standing atop the rocks.

-James

Movie Memorabilia: Sneak Preview Ticket

2009-11-17T08:23:00.000-08:00

Oh yeah... one more quick post-

I was watching a couple of MOTU movie related items on ebay last night. One of them I won and will post pics of when it arrives- the other I unfortunately did not win. This sweet little ticket:

An unused premiere ticket to Masters Of the Universe! How cool is that? I figured there couldn't be that many of these floating around, so I popped in a pretty high bid and figured I'd be able to snag it.

I didn't. Closing price: $54.34! Now tell me this movie doesn't have a faithful following when somebody (other than me) is willing to plunk down over $50 for an old ticket to it!

Congrats to the winner. Color me jealous.

-James

The Sword Of Grayskull

2009-11-17T08:18:00.000-08:00

Just a quick post today with a couple of really nice pics of the sword prop sold awhile back. This one came from Richard Edlund's personal collection. Cast in aluminum, but still heavy enough that only a "he-man" could weild it properly!

Man how I wish a some company would step up and reproduce this thing...

Upcoming Gary Goddard Q & A!

2009-11-15T18:01:00.000-08:00

Hey all! Gary Goddard (MOTU's director) has graciously agreed to do a Q & A for the blog! So send your questions over so I can put together the best selection of topics to discuss with him. You can either post it in the comments here, make a post at the discussions tab on the facebook page, or shoot me an e-mail at mastersoftheuniverseclassics@live.com Thanks! I'm SUPER excited!

-James

Masters Of The Universe Official Poster Magazine Article- The Art Of "Masters Of The Universe"

2009-11-13T05:50:00.001-08:00

The "Official Poster Magazine" was about as close as we got to a book on the movie. The middle section contained 2 double-sided posters, but the rest of the magazine featured interviews and stories about the film. I'll scan them up in chunks so you're not overloaded in one post. Today, the "Art Of" article, featuring an interview segment with the great William Stout (production designer for the film)-

-James

The Cosmic Key Prop

2009-11-12T13:59:00.000-08:00

Richard Edlund sold a couple of props from his personal collection awhile ago. Here's some beautiful shots of the cosmic key that some lucky fan picked up. I'm jealous...

The He-Man Costume

2009-11-12T13:26:00.000-08:00

A few years back, the Prop Store of London sold one of the He-Man costumes from the film. The costume was missing a few key elements, most noticeably the sword, gun, arm band, and boot dagger (which I actually own...hee hee). These were the pictures posted with the sale which give some really great views of the costume. Somethings that caught me by surprise were the color of the straps, the intricate dragon design on the chest crest, and the fact that his briefs are red and not black. This is why we need a Blu-Ray release of the film ;)

The Masters Of The Universe Movie Blog!

2009-11-12T13:00:00.000-08:00

When I started my Masters Of The Universe Classics blog focusing on the current insanely awesome toyline (which you can check out here), I figured I would use that place as an outlet for my love of the entire He-Man franchise. I have done that to some degree, what with the posting of my son's Halloween costume and the story on the previously unseen comic origin of He-Man. But I knew that there was one facet that I would be devoting more posts to than most of the other aspects: The 1987 Masters Of The Universe Movie!

I am a HUGE fan of the film. I loved it as a kid, and I still love it today. I think the film gets treated pretty unfairly by most folks. I'd venture to say that most folks- a.) have not seen the film since the original release and are basing their opinions on the "popular" view, b.) have never seen the film at all and simply like voting with the crowd, or c.) are stupid and don't realize a good film when they see it (like the folks who say Transformers 2 and G.I.Joe were good). The film is an incredibly fun romp, the visuals are amazing (even by today's standards), and the movie features one of the greatest villain portrayals of all time- Frank Langella's Skeletor.

So with this blog I'll be posting anything and everything I come across that relates to the movie: Pictures, stories, articles, thoughts, and (hopefully) interviews. If you don't like the film, this probably isn't a good place for you to spend your time... but if you do, please stop by and check it out!

-James