1896-1996 THE CENTENNIAL ANNIVERSARY OF THE ISLAND OF DR. MOREAU In the January 19, 1895, issue of the English magazine The Saturday Review, a prolific writer of popular science articles published a curious essay entitled "The Limits of Individual Plasticity." In it he sought to show that through surgery it is possible to transplant tissue from one part of an animal to another to change its most intimate structure. Once scientific investigators took over where "tyrants, criminals and the breeders of horses and dogs" had left off, the author felt, they would soon be capable of "taking living creatures and molding them into the most amazing forms....even reviving the monsters of mythology." "This artistic treatment of living beings," he concluded, "this molding of the commonplace individual into the beautiful or grotesque, certainly seems so far credible as to merit a place in our minds among the things that may some day be." In fact, the article laid out the scientific basis for a novel the author, H. G. Wells, was in the process of writing. Wells had already attempted to publish an essay on the fourth dimension, "The Universe Rigid," which offered a scientific justification for the invention that gave its name to his first novel, The Time Machine. That article was refused by the periodical to which he submitted it, but the enormous success of The Time Machine insured that the author's new speculations would be eagerly published and widely read. Wells' second "scientific romance," The Island of Dr. Moreau, appeared the following year in 1896. Unlike its predecessor, it was almost universally attacked by critics for the "horrors" it portrayed and for the author's "perverse quest after anything in any shape that is freshly sensational." A hundred years after its publication, the book has lost none of its power to shock. In an 1897 interview, Wells peevishly defended Moreau as "the best work I have done," adding that "it has been stupidly dealt with -- as a mere shocker -- by people who ought to have known better." Certainly Moreau is Wells' darkest and most disturbing book. At the same time, he was right in insisting that it was not "a mere shocker." Among other things, Moreau's experiments expose the horrors of vivisection, an experimental practice whose cruelty was compounded by the fact that the animals operated upon, before the invention of anesthetic, suffered hideous pain under the surgeon's knife. With good reason, the beast-men call Moreau's laboratory "The House of Pain." On another level, The Island of Dr. Moreau is a grim fable about the human condition written by a lifelong atheist and a confirmed believer in Charles Darwin's theory of evolution. Wells had studied with T. H. Huxley, the leading interpreter of Darwin's theories to a shocked late Victorian England, and The Island of Dr. Moreau carried Huxley's writings to a pessimistic conclusion. "The study of Nature makes man at least as remorseless as Nature," Moreau tells his visitor, who is appalled by the cruelty of his host's experiments, but even more by their "wantonness." Motivated only by curiosity, Moreau puts a new twist on the evolutionary process which produced the human race out of chance. Huxley had at least offered hope that what he called "the Ethical Process" would enable Man to continue evolving by overcoming the predatory instincts which had won him his place at the top of the evolutionary ladder. Wells, a Socialist, shared that hope, but his portrayal of the beast-men's religion makes a mockery of religion and ethics as by-products of the evolutionary process. "A series of propositions they called the Law battled in their minds with the deep-seated, ever rebellious cravings of their animal natures," observes the narrator. "This Law they were ever repeating, I found, and -- ever breaking." Only gradually does he come to recognize in these grotesque half-men "the whole balance of human life in miniature, the interplay of instinct, reason and fate, in its simplest form." After the beast-men rise up and kill their masters, the narrator lives in fear for months as they gradually revert to their animal forms. It is not surprising that, returning to England at the end of the book, he is horrified by his fellow humans. Wells no doubt meant his book, which he called in later years "my youthful blasphemy," to be an allegory of the human condition, and only secondarily a cautionary tale about the dangers of science divorced from conscience. If anything, however, the cautionary message of The Island of Dr. Moreau is more relevant than ever now that the new science of genetic engineering makes the horrors it describes all too possible. The Island of Dr. Moreau has not had the cultural impact that Wells' most famous book, The War of the Worlds, had thanks to another genius named Welles, but its progeny extends far beyond the two previous films inspired by it. Descendants of Wells' youthful prose range from George Orwell's Animal Farm and William Golding's Lord of the Flies to Devo's 1978 album "Are We Not Men?", whose title echoes the Law of the beast-men. It's unlikely that England's "devolution band" knew that Wells was sardonically parodying "The Law of the Jungle" in Rudyard Kipling's second Jungle Book, which had been published the previous year. Indeed, while he took swipes at the honored institutions of England, Wells the radical is not given enough credit for his most important prophecies, which were social and political. Wells accurately forecast many things, from the strategy of aerial warfare (The War in the Air) to the economics of cryogenic life- extension (When the Sleeper Awakes). But twenty-one years after The Island of Dr. Moreau was published, with the outbreak of World War I, the "degradation of the Islanders," as its narrator feared, would be played over on a much larger scale. Forty-five years later a real madman would set in motion his plan to alter humanity's fate by mass genocide, and the darkest prophecy of Wells' stirring novel, the concentration camp, would also become a reality. ABOUT THE PRODUCTION Based on one of the most controversial and influential science fiction novels of all time, The Island of Dr. Moreau can be viewed on two levels: as an action-filled, character-driven film, and as a timely parable that demonstrates how science has eclipsed Wells' premonitory vision. Producer Ed Pressman became interested in adapting Wells' work when he was approached by screenwriter Richard Stanley with the idea that to substitute gene-splicing for surgery as the tool by which Moreau creates his monsters. "The new implications created by these advances in modern-day technology add a whole new dimension to the story, and John has done an amazing job to show how these changes directly effect the actions taken by Brando and Kilmer's characters in the film," Pressman said. Added Brando, "I was attracted to this project because it offered the possibility of putting into dramatic form the issue of genetics, its research and application to the future development of mankind." Adds director John Frankenheimer, "The story has tremendous pertinence to what is happening today. Time Magazine recently published a cover story about gene splicing. They outlined the current research and described how skeletons were being formed in test tubes. Wells was incredibly prophetic and this production owes everything to him. We have worked tirelessly to stick as closely as possible to his original narrative." Most of the people involved in the film had read Wells' novel and were aware of its political and philosophical implications. "The book is really about the nature of humanity, and so is the film," explains Frankenheimer. "While everyone else in the world was arguing about whether the theory of evolution was correct, Wells was already exploring its implications, what it means in terms of our lives. It was very rare for a writer in the late Nineteenth Century to suggest that perhaps Man created divinity rather than divinities creating Man." While Wells later referred to his novel as a youthful act of blasphemy, his intent was to spark debate on the collision course between the rapid advancement of science and the true evolution of nature. With the approach of the new millennium, that heated debate rages on as gene splicing, DNA and cryogenic embryos remain the focus of experimentation and research. To capture the fundamental essence of this clash between science and nature, the filmmakers had to breath life into a village of menacing creatures with unmistakably human qualities. Academy Award-winner Stan Winston was the only choice for the job -- the only man who could develop more than 80 distinctly horrific yet still poignant characters for the film. "Stan jumped at the opportunity to work on Moreau," says Pressman, "because it really is a dream movie for a prosthetic make-up person. Nothing quite as ambitious as this has ever been tried before." "It was the biggest endeavor we had ever undertaken," says Winston. "We were re-creating a classic novel and thus wanted to add something very special and something worthy, because we're all great fans of Wells' writing. It was also a huge amount of work. We created somewhere close to eighty very different beast-men, the likes of which have never been seen before on the screen." The most important element in the design of the beast-men was the initial art work and drawings. The next step was to sculpt the designs and to take molds from the actors' own faces, before finally adding the hair pieces, teeth, contact lenses and necessary padding. New techniques enabled the actors themselves to control the expressions of their articulated masks, which covered only portions of their faces, leaving them free to emote naturally. To add further reality to the beast-men, animal behaviorist Peter Elliott was called in to work with both the main cast and the hundreds of extras, teaching them how to move and behave as the "beasts" they were to portray. Stan Winston's computerized digital effects company, Digital Domain, also worked on enhancing the beastly images. Comments visual effects supervisor Kevin Mack: "We used the computer at several points to make the beast-men's movements more realistically animal- like." Digital effects supervisor Dennis Blakey adds that by using an innovative technique called Motion Capture, his team was able to create a seamless blend of human and animal movements. With this startling effect, some of the more agile creatures in Moreau literally leap to life. "What we found was that it's even more interesting to mix a little bit of human motion to start the movement out. The Leopard Man, for instance, might actually take off like a human being, then blend into a leopard movement, and maybe blend back into human movement at the last second. The audience has to wonder: How did they do that? How can the actor run and jump like that?" While filmmakers want audiences to wonder how their tricks of the trade were accomplished, Frankenheimer would rather have moviegoers questioning one thing: is genetic science capable of creating a Moreau-like reality? ABOUT THE CAST MARLON BRANDO (Dr. Moreau), America's greatest screen actor, has brought his singular acting style to over 35 films during a career spanning more than forty years. Nominated seven times for an Academy Award as Best Actor, Brando won the Oscar twice, for On The Waterfront (1954), and as Vito Corleone in The Godfather (1972). He earned nominations for his roles in A Streetcar Named Desire (his first), Viva Zapata, Julius Caesar, Sayonara and Last Tango in Paris. He also received a nomination as best supporting actor for his role in A Dry White Season. His recent starring role in Don Juan De Marco saw Brando reunited with Francis Ford Coppola for the first time since the two worked together on Apocalypse Now. Born in Omaha, Nebraska, to an amateur actress and a salesman, Brando moved to New York as a teenager to study acting with Stella Adler. His career began in the theatre and his first appearance on Broadway came in "I Remember Mama." Soon after he created the role that made him a star, that of Stanley Kowalski in Tennessee Williams' "A Streetcar Named Desire," a performance he later re-created for Elia Kazan's classic film. Other film credits include The Wild One, Guys and Dolls, Teahouse of the August Moon, One-Eyed Jacks, Mutiny on the Bounty, Burn!, Superman, and The Freshman. For television, Brando received an Emmy Award for his supporting role in "Roots: The Next Generation." VAL KILMER (Montgomery) will next star in the upcoming films, Ghost and The Darkness, directed by Stephen Hopkins, and The Saint, directed by Philip Noyce. In addition, Kilmer is currently doing the voice of the title role of Moses in Dreamworks' first animated feature, Prince of Egypt. Kilmer starred in Batman Forever as billionaire Bruce Wayne and his nocturnal alter-ego, Batman. Kilmer's other noted portrayals include Jim Morrison in The Doors and Elvis Presley in True Romance, Doc Holliday in Tombstone, and Billy the Kid in TNT's "Gore Vidal's Billy the Kid." He recently starred with Robert De Niro and Al Pacino in Heat, and appears opposite Marlon Brando in the upcoming The Island of Dr. Moreau. Kilmer made his feature film debut in the comedy Top Secret, followed by Real Genius, Top Gun, and Willow. He starred as FBI agent Ray Levoy in Thunderheat and appeared in the 3-D epic Wings of Courage. Kilmer was the youngest student ever admitted into the drama department of the prestigious Juilliard School in New York City. After playing Orestes in "Electra and Orestes" and the title roles in "Richard III" and "Macbeth," Kilmer co-wrote "How It all Began," based on a true story of a West German radical. The play was directed by Des McAnuff and produced by the esteemed Joseph Papp for the Public Theatre in the early 1980s. On stage Kilmer has appeared in Joseph Papp's Delacorte Theatre production of "Henry IV Part 1" and starred in "As You Like It" with Patti LuPone at the Tyrone Guthric Theatre in Minneapolis. He made his Broadway debut in the 1983 production of "Slab Boys" with Sean Penn and Kevin Bacon. He has also appeared in "Kingdoms" and in the title role of "Hamlet" for the Colorado Shakespeare Festival, and most recently, in "Tis a Pity She's a Whore" at the Joseph Papp Public Theatre. Kilmer also starred in the highly regarded TV movie HBO's "The Man Who Broke 1,000 Chains," for which he received a Cable ACE Award nomination. DAVID THEWLIS (Edward Douglas) trained at the Guildhall School of Music and Drama and has a unique and impressive body of work in film, television and theatre. He recently won critical acclaim and international recognition for his starring role in Mike Leigh's stark drama Naked. His electrifying performance won him the Best Actor Award at the 1994 Cannes Film Festival, and the Best Actor Awards of the New York Film Critics Circle, the National Society of Film Critics and the London Film Critics Circle. This summer he was seen playing the villainous King Einon in Dragonheart, directed by Rob Cohen and co-starring Dennis Quaid, Dina Meyer, Pete Postlethwaite, Julie Christie and Sean Connery. He also recently starred opposite Leonardo DiCaprio in the Agnieszka Holland-directed Total Eclipse, and opposite Meg Ryan, Robert Downey Jr. and Hugh Grant in Restoration, directed by Michael Hoffman. Other film credits include Black Beauty, Little Dorrit, Beeban Kidron's Vroom, the starring role in the Falklands drama Resurrected, Mark People's thriller Afraid of the Dark, Louis Malle's Damage, the Harold Pinter-scripted film of Kafka's The Trial, and Mike Leigh's The Short And Curlies and Life Is Sweet. For television, Thewlis starred opposite Helen Mirren in PBS' Emmy Award-winning "Prime Suspect III," and in Mike Hodges' "Dandelion Dead." Additional credits include the BBC's "Journey To Knock", for which he won Best Actor at the Rheims Film Festival, "Road," "Skullduggery," "Filipino Dreamgirls," "Only Fools And Horses," and "The Singing Detective." Thewlis recently completed the BAFTA nominated short film "Hello, Hello, Hello" for the U.K.'s Channel Four, which he wrote and directed. He is currently in production on Paul Chart's American Perfect, and will begin work this fall on Jean-Jacques Annaud's Seven Years in Tibet, starring opposite Brad Pitt. FAIRUZA BALK (Aissa) won the 1993 Independent Spirit Award as Best Actress for her critically acclaimed starring role in the feature film Gas, Food and Lodging. She then went on to star opposite Tim Roth in the popular ABC mini-series "Starkweather - Murder in the Heartland." Most recently she starred in The Craft, and as Lucinda in Things To Do In Denver When You're Dead opposite Andy Garcia. Balk began her professional career as the narrator and leading child actor in George Schaeffer's ABC television production of "The Best Christmas Pageant Ever," before starring as Dorothy in the dark sequel Return to Oz directed by Walter Murch. In 1985, Balk began a two-and-a-half-year term at the Bush Davies Performing Arts School in the United Kingdom. During this time, she landed the lead role in the HBO/Central TV production of "The Worst Witch," co-starring Diana Riggs and Charlotte Rae, and then the role of a young Barbara Hutton in "Poor Little Rich Girl." She was later cast to star in "The Outside Chance of Maximillian Glick" and went on to portray Cecile de Volange in Milos Forman's "Valmont." In 1992 she was nominated for a CableAce Award for Best Supporting Actress for her performance in the television film "Shame." She has also appeared in "Imaginary Crimes" and the comedy, "Tollbooth." MARCO HOFSCHNEIDER (M'Ling) first captured the hearts of moviegoers and won critical acclaim for his portrayal of a Jewish boy disguised among Nazis in Europa Europa. The award-winning film marked the debut of the German-born actor at the age of nineteen and launched his career. Most recently he starred opposite Gary Oldman in Immortal Beloved, in which he portrayed Beethoven's young nephew and prot‚g‚ Karl. Hofschneider had made his U.S. feature debut starring in Foreign Student. Set against the backdrop of Fifties America, Hofschneider portrayed a French exchange student who wins a scholarship to a Virginia university and begins a romance with a beautiful black student. Other film credits include a starring role in Le Mirage, directed Jean-Claude Guiget. Hofschneider has also earned critical acclaim for his television and theatre work. He co-starred as a disabled son of a reformed prostitute in "Whore's Luck" ("Hurengluck"), a highly successful project for German ZDF-TV; as a newspaper gopher in ARD/SDR's "Benno's Faults"; as a working-class teenage father in ZDF's "Mother at 16," and as a reluctant bank robber in "Death Is For Sure," an episode of the ZDF series "Wollf's Turf." On stage Hofschneider has played Romeo in Welheimer Theatersommer's "Romeo and Juliet," and Konstantin in Chekhov's "The Seagull." Born in Rotarua, New Zealand, TEMUERA MORRISON (Azazello) has extensive film and television credits. It was only recently, however, that he received international recognition and critical acclaim for his outstanding performance as the brutal Jake in the feature Once Were Warriors. The role was a physical as well as a mental challenge for Morrison who had to increase his body weight and bulk with a three-month training program. In his native New Zealand, Morrison starred as the popular Dr. Hone Ropata in New Zealand's long-running, top-rated television series "Shortland Street." Additional film credits include John Laing's Other Halves, Geoff Murphy's Never Say Die, Merata Mita's Mauri, Robin Scholes' Broken English and most recently Barb Wire, and White Lies, directed by Pauline Chan, co-starring Mimi Rogers. Morrison also worked as an adviser on Jane Campion's The Piano. RON PERLMAN (Sayer of the Law) began his career with Quest For Fire and Name of the Rose, both for director Jean-Jacques Annaud. He starred as Pap Finn in Walt Disney's The Adventures of Huckleberry Finn, and in the award-winning vampire film Cronos. Most recently he was seen in Romeo is Bleeding opposite Gary Oldman, and in When The Bough Breaks, Double Exposure, Sleepwalkers and Carlo Carlei's Fluke. Perlman took a break from feature films to star in the acclaimed television series "Beauty and The Beast," a role which earned him a Golden Globe Award and two Emmy nominations and made him a household name around the world. This year Perlman starred in three new films: the famed French directors' Jean-Pierre Jeunot and Marc Caro's second film La Cite des Enfants Perdu (City of Lost Children); The Last Supper, directed by Academy Award nominee Stacey Title, and Roger Avery's Mr. Stitch. Perlman's television credits include the CBS series "Arly Hanks" and several movies of the week including "Captain Zoom," "Original Sins," "Picture Windows" for Showtime, TNT's "The Cisco Kid," "Stoning in Fulham County" and "Blind Man's Bluff." Perlman's theatre credits include Broadway productions of "A Few Good Men," "La Tragedie de Carmen," "Tribele and her Demon" and "American Heroes." He has also appeared in off-Broadway productions of "The Architect and the Emperor of Assyria," "Woyzeck," "Tartuffe," "Measure for Measure" and "The Resistible Rise of Arturo Ui." ABOUT THE FILMMAKERS A director has no business having a style, JOHN FRANKENHEIMER (Director) wrote in a newspaper article which appeared in 1964: "Each new project must be approached as a separate challenge, not as another stone in the mosaic of one's career in the arts." And yet even in his earliest days as a director of live television drama, Frankenheimer stood out for his striking camera angles and his use of depth-of-focus and camera movement to stage action in long takes. Drawing on his television experience, Frankenheimer shot his first eight feature films in black and white. In his political thriller The Manchurian Candidate, he created a style that still looked innovative when the film was re-released to fresh critical acclaim in 1988, and "Seconds" (1966), his first science-fiction film, used hallucinatory sets and distorting lenses to carry his stylistic experiments during this period to startling extremes. During the late Sixties and early Seventies Frankenheimer expanded the scope of his filmmaking and became a master of big-screen action in such classics as Grand Prix, French Connection II, The Train, The Horsemen and Black Sunday. For his most recent projects, Frankenheimer returned to television to tackle epic political subjects: the Attica prison rebellion ("Against The Wall"), the burning of the Brazilian rainforest ("The Burning Season"), and the horrors of a Civil War prison camp ("Andersonville"). At times he has blurred his penchant for chronicling real-life stories and adventure films. In 1962 Frankenheimer used black-and- white film to achieve a documentary look in Bird Man of Alcatraz. Indeed, realism is a signature hallmark of Frankenheimer's work. Large portions of French Connection II contained untranslated French to make the spectator feel Popeye Doyle's sense of isolation in a foreign country. Frankenheimer was the first television director to take his cameras onto the streets of New York in the middle of a snowstorm, and he subsequently became a master of location filmmaking in The Train, Grand Prix and French Connection II (all filmed in France), The Fixer (Hungary), The Horsemen (Afghanistan and Spain), and more recently Mexico for "The Burning Season" and Australia for The Island of Dr. Moreau. In Grand Prix he shot all the racing sequences on location during real races, attaching his 65mm cameras to cars to capture the sensation of racing, as he had done for the train action in The Train and would do again for parachute jumping in The Gypsy Moths. This subjective technique, as appropriate for hallucinations as it is for visceral realism, has been another constant in Frankenheimer's work ever since he filmed a fight using two live television cameras side-by-side to put the audience in the fighters' point of view -- a device which he carried to the limit with his innovative use of split screen techniques in Grand Prix. Frankenheimer was born in New York and grew up in the borough of Queens. He attended La Salle Military Academy during his high school years and there began two lifelong interests: tennis, which he once thought of playing professionally, and the movies. At Williams College, Frankenheimer tried acting, but soon moved on to directing stage productions. His first experience making movies came in the Air Force, when he directed documentaries while stationed in Burbank, California. Wanting to be a film director, on the advice of veteran John Ford he tried television first. In 1953 Frankenheimer walked into the CBS office in New York and talked the network into hiring him as an assistant director. Starting with the weather and news, he moved up quickly as his talents sharpened on such shows as "You Are There" and "Danger," a weekly suspense series which he turned into one of CBS's hit programs. Producer Martin Manulis spotted Frankenheimer's gift and helped the young director climb the ladder at CBS. Within a year and a half of his discharge from the Air Force, Frankenheimer was one of the two directors of the weekly "Climax!" dramatic series. He made his first feature film, The Young Stranger (1957), based on one of his television dramas, but disliked the experience so much that he returned to the freedom of television. He proceeded to make television history by directing 42 episodes of the anthology series "Playhouse 90." Between "Playhouse 90" and two other anthology showcases, Frankenheimer directed 152 live television dramas between 1954 and 1960, averaging one every two weeks. His work during this period includes "For Whom The Bell Tolls" (Jason Robards, Maureen Stapleton and Eli Wallach); "The Comedian" (Mickey Rooney, Kim Stanley and Mel Torme); the original "Days of Wine and Roses" (Cliff Robertson and Piper Laurie); "Old Man" (Geraldine Page and Sterling Hayden); "Face of a Hero" (Jack Lemmon) and Sir John Gielgud's first television appearance in "The Browning Version." During this time, Frankenheimer became known as television's "boy wonder." The Academy of Television Arts and Sciences nominated Frankenheimer for the Best Director Emmy six years in a row during this period, and Radio and Television Daily twice voted him Best Director. In 1961 Frankenheimer went back to feature filmmaking with The Young Savages, starring Burt Lancaster, a story about life in East Harlem for which the director recruited actual teen gang members. (He also gave Sydney Pollack his first Hollywood job coaching the young non- professional actors.) In 1962, when Lancaster ran into problems with the director of Bird Man of Alcatraz, he called Frankenheimer to take over the picture. For Bird Man, Lancaster and his co-stars Thelma Ritter and Telly Savalas were nominated for Academy Awards. Ritter was in competition with another candidate for Best Supporting Actress who had also been directed by Frankenheimer: Angela Lansbury in The Manchurian Candidate. Frankenheimer's next film, All Fall Down, starring Warren Beatty, was one of only three US entries at the Cannes Film Festival in 1962. That same year The Manchurian Candidate, starring Frank Sinatra and Janet Leigh, was released. The New York Times compared Frankenheimer to the Orson Welles of Citizen Kane, and movie viewers polled by Film Daily voted the film Best Motion Picture of 1962. This remarkable film, which anticipates the controversy about reflex conditioning of human subjects in A Clockwork Orange, was inducted into the Library of Congress' National Registry in 1994. Frankenheimer's next film, Seven Days In May, about an attempted military takeover of the US government, again starred Burt Lancaster, along with Kirk Douglas and one of Frankenheimer's favorite actors, Frederic March. It was scripted by Rod Sterling, a close associate from the "Playhouse 90" days. In 1963, responding to a trans-Atlantic phone call from Lancaster, Frankenheimer again flew to Paris to take over a picture from which the director had been fired. The result was his first large-scale action film, and a classic of the genre, The Train. Notable films over the next few years included Seconds, Grand Prix, Bernard Malamud's The Fixer, an adaptation of James Drought's cult novel The Gypsy Moths, which marked Frankenheimer's fifth collaboration with Burt Lancaster, and the widely praised American Film Theatre production of "The Iceman Cometh" with Lee Marvin, Frederic March, Robert Ryan, Jeff Bridges and Bradford Dillman. After two more large-scale actioners, French Connection II and the terrorist thriller Black Sunday, Frankenheimer directed a number of films, the most notable being The Holcroft Covenant, based on the Robert Ludlum novel, and 52 Pick-Up. Curious to try his hand at directing television on film, Frankenheimer directed an episode of HBO's "Tales from the Crypt" in 1992. The return to television after more than thirty years led to a creative and professional renaissance for Frankenheimer. In 1994 he won the Emmy for directing HBO's "Against the Wall," starring Kyle MacLachlan, Samuel L. Jackson and Frederic Forrest. That same year Frankenheimer's "The Burning Season" won three Golden Globes: Best Motion Picture for Television; Best Actor, Raul Julia; and Best Supporting Actor, Edward James Olmos. The film also received six Emmy nominations, winning Outstanding Individual Achievement in Directing in a Miniseries or Special for Frankenheimer, and Outstanding Lead Actor in a Miniseries or Special for Raul Julia. "Andersonville," the miniseries which debuted last March on Turner Network Television, has received seven Emmy nominations including Best Mini-Series and Best Direction. Its premiere was the finale to the first double retrospective to be mounted by the Museum of Modern Art and the Museum of Television and Radio in late January 1996, to honor John Frankenheimer's career in both film and television. The distinguished film critic Charles Champlin has written a history of Frankenheimer that was published in 1995. The book, entitled John Frankenheimer, A Conversation with Charles Champlin, was commissioned by The Directors Guild of America and is published by Riverwood Press. A life-long interest in politics lead Frankenheimer to put his talents to use making presidential campaign films for Robert Kennedy in the 1968 campaign. The assassination of Robert Kennedy, who had become a friend during the 100 days they worked together on that extraordinary primary campaign, was one of the decisive events in the filmmaker's life. Among Frankenheimer's projects for HBO is a miniseries about RFK which he will produce and direct. With more than forty diverse motion pictures to his credit, ED PRESSMAN (Producer) has forged a career of individualism and distinction. American Film Magazine named Pressman the best Producer of the 1980's in a poll reflecting the opinions of 54 American film critics. In 1991 he received the John Cassavetes Award from the Independent Feature Project/West for his outstanding body of work and his contributions to independent filmmaking. New York's Museum of Modern Art in 1988 honored the influence of Pressman's films with a two-week retrospective of his work, making him the only living producer so honored. He has also received tributes from the Pacific Film Archive in Berkeley, California, and the Walker Art Centre in Minneapolis, Minnesota. His international influence was heralded when the French Cinematheque presented a 1989 retrospective of his films and he was awarded the esteemed Chevalier Des Arts et Lettres medal in recognition of his contributions to cinema and his friendship with France. The National Film Theatre in London also recognized Pressman's achievements with a major ten-day event. Exemplifying Pressman's diversity and daring style are his two most recent projects: City Hall, a political thriller directed by Harold Becker, starring Al Pacino, John Cusack and Danny Aiello, and the sci-fi actioner Judge Dredd, starring Sylvester Stallone. Other recent releases include last year's hugely successful The Crow, starring the late Brandon Lee. Hot on the heels of The Crow, which grossed more than $100 million worldwide, came Street Fighter, the explosive action-drama starring Jean-Claude Van Damme and the late Raul Julia. Upcoming films include The Crow: City of Angels; and he is developing a feature version of the Marvel comic book Luke Cage, to be directed by acclaimed director John Singleton; Mutant Chronicles, to be directed by John Carpenter; Blackout, directed by Abel Ferrara; American Psycho, based on the controversial novel by Bret Easton Ellis, to be directed by Mary Harron; Elfquest, an animated feature film based on the popular comic books; and the Pressman/Lipper production of The Winter Guest, to be directed by Alan Rickman. Pressman has also recently founded La Junta Productions with Terence Malick, and they are currently underway on their first production, Endurance. Pressman's specialty as a producer is discovering new talent and bringing new experiences to motion picture audiences. He is particularly known for fostering the careers of many of our leading filmmakers. Pressman produced Oliver Stone's first studio feature, The Hand, and then produced his Academy Award-winning Wall Street and Talk Radio. Director Brian De Palma showed off his early mastery of suspense in the Pressman productions Sisters and Phantom of the Paradise, and Terence Malick's visual genius was first revealed in Pressman's Badlands. Pressman also gave artist/musician David Byrne his premier moment behind the camera with True Stories. Pressman produced the first English-language films of Rainer Werner Fassbinder (Despair) and of the Taviani brothers (Good Morning Babylon). He also helped initiate Wolfgang Peterson's Das Boot, one of the highest grossing foreign films in U.S. history. In the past few years Pressman has produced a number of films that have garnered critical acclaim and recognition. Reversal of Fortune was honored with the Best Actor Oscar for Jeremy Irons. Directed by Barbet Schroeder and also starring Glenn Close and Ron Silver, the film was selected by many critics as one of the ten best of the year and was nominated for three Academy Awards. Both Abel Ferrara's Bad Lieutenant, starring Harvey Keitel in an acclaimed performance, and David Mamet's Homicide, starring Joe Mantegna, appeared on many critics' lists of the year's ten best films. To Sleep With Anger, Charles Burnett's powerful and poetic drama of an African-American family, starring Danny Glover, received the National Society of Film Critics Award for Best Screenplay, among other honors. Additional producing credits include John Milius' Conan the Barbarian, Danny De Vito's Hoffa, Fred Schepisi's Plenty, Kathryn Bigelow's Blue Steel, Mark Frost's Storyville, Sam Raimi's Crimewave, Bob Swaim's Half Moon Street, Alex Cox's Walker, Chris Monger's Waiting For The Light, John Frankenheimer's Year of the Gun, John Byrum's Heartbeat, Joan Tewkesbury's Old Boyfriends, and three Paul Williams films: Out of It, The Revolutionary and Dealing. Born in Los Angeles, TIM ZINNEMANN (Executive Producer) learned about the film industry at an early age from his father, the acclaimed director Fred Zinnemann. He began his industry career as an assistant editor in Rome, where he worked for four years on various U.S. motion picture productions. Zinnemann returned to the United States and joined the Directors' Guild as an assistant director. He worked as first assistant director on the motion picture Bullitt and several other major films before turning his attention to producing. His first job in this capacity was on the 1978 drama Straight Time, starring Dustin Hoffman and Harvey Keitel. Since then he has worked as a producer on more than seventy films, including The Long Riders, Fandango, Tex, Pet Sematary and The Running Man. Last year he served as executive producer on Street Fighter, starring Jean Claude Van Damme. Zinnemann was the recipient of an Emmy Award as Producer of Michael Mann's critically acclaimed television feature The Jericho Mile. WILLIAM FRAKER, A.C.S., (Director of Photography) is one of America's most acclaimed cinematographers. His feature credits include Tombstone, starring Val Kilmer; Honeymoon In Vegas, starring Nicolas Cage; John Carpenter's Memoirs of an Invisible Man; The Freshman, starring Marlon Brando; An Innocent Man; Chances Are; Baby Boom; Space Camp; John Badham's War Games, for which Fraker won an Academy Award Nomination; The Best Little Whorehouse in Texas; Sharky's Machine, directed by Burt Reynolds; Steven Spielberg's 1941, for which Fraker was again nominated for an Academy Award; Heaven Can Wait, directed by and starring Warren Beatty, which also earned Fraker an Academy Award Nomination Richard Brooks' Looking For Mr. Goodbar, starring Diana Keaton, with a further Academy Award Nomination for Fraker; Exorcist II; Lipstick; Rancho De Luxe; Paint Your Wagon; Bullitt; Roman Polanski's Rosemary's Baby and most recently Street Fighter. Fraker's credits as director include Legend of The Lone Ranger, Reflections of Fear, Monte Walsh and for television The Dancer's Touch. Born in South Africa, RICHARD STANLEY (Writer) pursued his interest in filmmaking by enrolling in the Cape Town Film and Video School. After graduating, Stanley moved to England where he honed his craft, writing and directing a series of short films. His Rites of Passage was awarded the prestigious Institute of Contemporary Arts Student Trophy and in 1984 the I.A.C. Gold Seal Award. He received another I.A.C. Gold Award for his 45-minute short film Incidents In An Expanding Universe. Under the Wicked Films banner, Stanley went on to direct a series of music videos for bands such as Public Image Ltd., Renegade Sound Wave and Pop Will Eat Itself. Rather than filming traditional performance pieces, Stanley used his film school background to embellish his videos with movie references derived from favorite genres ranging from spaghetti westerns to horror films. Stanley made an award-winning documentary on the war in Afghanistan entitled Afghan Voices before making his feature film directorial debut with Hardware from his own screenplay. Set amid a self-destructing future and packed full of apocalyptic imagery and hallucinogenic dream sequences, the film won the 1991 Critics' prize at the Brussels Film Festival. His second feature, Dust Devil, shot on location in Mamibia, was awarded the Jury prize at the Lisbon Film Festival in 1992. The Island of Dr. Moreau marks the third collaboration between director John Frankenheimer and RON HUTCHINSON (Writer). Hutchinson previously worked as screenwriter on Frankenheimer's award-winning productions "Against The Wall" and "The Burning Season," both for HBO. Hutchinson's first credit as screenwriter was The Perfect Witness, also for HBO. Other credits include Red King, White Knight, The Josephine Baker Story, Prisoner of Honor, Blue Ice, and Fatherland. PAUL RUBELL, A.C.E., (Editor) worked with director John Frankenheimer on two of his most recent pictures: "Andersonville," and "The Burning Season," for which Rubell received an A.C.E. Eddy Nomination. Other credits include Hallmark Hall of Fame's "My Name Is Bill W," for which Rubell received both an A.C.E. Eddy and an Emmy Nomination, Gore Vidal's "Dress Gray," starring Alec Baldwin, The Stone Boy, starring Robert Duvall and Glenn Close, "The Jacksons: An American Dream," "Stay The Night," "Finding The Way Home," "Challenger," "Home Fires Burning," and Andy Davis' The Final Terror, starring Daryl Hannah and Rachel Ward. STAN WINSTON (Make-Up and Creature Effects) and his staff at the Stan Winston Studio have made a career out of achieving the impossible. Over the last twenty-five years, Winston has created some of cinema's most enduring images. They include the Alien; the Terminator killing machine; the blood-sucking Vampire Lestat (played by Tom Cruise); the Predator; Congo's mountain gorilla Amy; the life-sized Tyrannosaurus Rex and the cast of supporting dinosaurs in Jurassic Park and breakthrough make-up effects in films such as Batman Returns. Winston's work has won him four Academy Awards (Aliens, Terminator II, for which he won two Oscars for both make-up and effects and Jurassic Park) and four Academy Award Nominations (Edward Scissorhands, Predator, Heartbeeps and Batman Returns.) It has also earned him the respect of the industry's most creative and demanding professionals. Other credits include John Carpenter's The Thing and for television, he has won two Emmy Awards for make-up on "Gargoyles," and "Autobiography of Miss Jane Pittman" and three additional Emmy nominations for "Masquerade," "Pinocchio," and "Roots." Winston began his career as an apprentice to Robert Schiffer, the head of the make-up department at the Walt Disney Studio. Early in his career he carved a huge niche as an artist who specialized in realistic facial prosthetic make-up. Later he broadened his work to include make-up effects and was a pioneer in the areas of animatronics and robotic design used to create characters for film. In 1993 Winston teamed up with James Cameron, Scott Ross and IBM, to form Digital Domain, a company that now leads the field in computerized digital effects. DIGITAL DOMAIN (Special Effects) is the largest full-service digital production studio in Los Angeles. Founded in April, 1993 by writer/director/producer James Cameron, four-time Academy Award- winning character and creature creator Stan Winston, and Chief Executive Scott Ross, with funding from IBM, Digital Domain recently announced a new strategic partnership with Atlanta, Georgia-based Cox Enterprises, joining IBM as equal partners with the company founders. The company was recently honored with an Academy Award-nomination for its stellar visual effects work on Apollo 13. This follows an Academy Award-nomination for the company's first feature, the 1994 international smash-hit True Lies, directed by Cameron. Digital Domain was also responsible for the visual effects on director Neil Jordan's Interview With the Vampire. The feature / theme park division recently produced "Terminator 2- 3D" for Universal Studios, Florida. Co-directed by Cameron, Winston and Academy Award-winner John Bruno, "T2 - 3D" brings together the original "T2" cast, Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, and Robert Patrick, in a new story and remarkable stereoscopic multi-media presentation. Digital Domain's feature division is currently in production on Island of Dr. Moreau, directed by John Frankenheimer (The Manchurian Candidate), starring Marlon Brando, Val Kilmer and David Thewlis, and Chain Reaction, a thriller directed by Andrew Davis (The Fugitive), starring Keanu Reeves and Morgan Freeman, both films for 1996 release. Also in production is The Fifth Element director / writer Luc Benson's (Le Femme Nikita) futuristic adventure starring Bruce Willis and Gary Oldman, for the summer of `97. Director James Cameron's Titanic, starring Academy Award-nominated actress Kate Winslet, will also be released in `97. The company's commercial division is flourishing as well. Named in 1994 to ADWEEK Magazine's roster of "national creative all-stars," the company's first commercial , a Jeep spot which premiered during the 1994 Winter Olympics, received the 1994 Grad Prix Award at the International Advertising Festival in Cannes, France -- the most prestigious advertising award in the world. The company's Nike "Magazines Wars" tennis spot, directed by David Fincher (Seven), was awarded the festival Journalists' and Silver Lion Awards. More recently, ADWEEK Magazine honored Digital Domain's commercial division for "the best advertising campaign of 1995," for the company's Mercedes "Rhinos" and "Cherubs" spots. USA Today Acknowledged Digital Domain's Budweiser "Football-kicking Clydesdales" as among the best commercials in 1995. The Rolling Stones' "Love Is Strong" music video, brilliantly conceived and directed by David Fincher (Seven), with Digital Domain's visual-effects supervisor / digital artist Fred Raimondi, equally demonstrated the company's versatility. It won the Grammy Award for Best Music Video as well as two MTV Music Video Awards, for Best Visual Effects and Best Cinematography. Digital Domain's New Media division is now up and running at full speed, with three CD-ROM projects in production. "Barbie Fashion Designer," a co-venture with Mattel Media, was recently acknowledged by the New York Times as "the talk" of the 1996 New York International Toy Fair. Also in production are "Ted Shred," a "twitch" game, and "The Interactive Book Of Virtues," based on the forthcoming PBS, Porchlight Entertainment and Turner Home Entertainment series "Adventures from the Book of Virtues," from William Bennett's best- selling The Book of Virtues. Combined, these feature, commercial and new media projects distinctly personify the company's mandate to create an environment that empowers directors and producers -- matching their imaginative prowess with the right tools. GRAHAM WALKER (Production Designer) has worked on many of Australia's most successful feature films, directed by some of the country's most talented directors including Peter Weir's Picnic At Hanging Rock; George Miller's Mad Max: Beyond Thunderdome and The Road Warrior; Peter Faiman's Crocodile Dundee; Phillip Noyce's Dead Calm, and most recently Geoff Burton and Kevin Dowling's The Sum Of Us. Having worked as a production artist for over thirty years, Walker has amassed a string of credits that include the popular television series "Skippy"; Yahoo Serious' "Reckless Kelly"; design consultant on the animated feature "Fern Gully"; production designer on George Miller's "Around The Bend" and on "Sons of Steel"; "Les Patterson Saves The World"; Dusan Makavejev's The Coca Cola Kid; The Winds of Jarrah; Hoodwink; Chain Reaction, and Summerfield. PETER ELLIOTT's (Animal Behavioralist) film career as an animal behaviorist began when he auditioned for a role in Greystoke - The Legend of Tarzan. For his role, Elliott spent some time researching the behavior of chimpanzees and studying them at close quarters. So impressed were the filmmakers that they asked Elliott to begin the film's initial research, working in conjunction with one of America's leading primatologists from the university of Oklahoma. Elliott's first task was to study the colony of chimpanzees at the university. Instead of trying to teach the chimps to understand human behavior, Elliott decided to learn how to speak their language. He became the first person to successfully integrate himself with the chimpanzee colony and spent several days living as part of the family. With his comprehensive knowledge of ape behavior and morphology, Elliott became involved in the construction of animal "suits," to facilitate the best possible acting performance. He then cast and trained a whole troupe of actors to form Tarzan's adopted family in Greystoke, and choreographed the stunt and fight scenes involving the "apes". Following Greystoke, Elliott moved to Scotland for Quest For Fire, directed by Jean Jacques Annaud. He instructed the cast on behavioral mannerisms, movement codes and social interactions to create totally natural animal characters and groups. Since then Elliott has brought his unique style of choreography to many major films. Credits include Gorillas In The Mist; Harry the Bigfoot in Harry And The Hendersons; Clan Of The Cave Bear, Kong Lives; "First Born" for the BBC; The Gorillas Story for Imax; Congo and Death Fish Two directed by Robert Young. In The Island Of Dr. Moreau, Elliott worked with both the main cast and the hundreds of extras, teaching them how to move and behave as the "beasts" they were portraying. He also played the character Assassimon. NORMA MORICEAU (Costume Designer) is Australia's most successful costume designer, in demand in both the U.S. and Australia. Moriceau's credits include George Miller's Mad Max III; Peter Faiman's Crocodile Dundee I and II; John Duigan's Wide Sargasso Sea; Phillip Noyce's Dead Calm and Patriot Games; Something Wild, directed by Jonathan Demme; The Punisher, starring Dolph Lundgren, and most recently No Escape, starring Ray Liotta and produced by Gale Anne Hurd. Moriceau has received three Australian Film Institute Awards for Best Costume Design - the first for Phillip Noyce's Newsfront, the second for the feature Fatty Finn and the third for George Miller's Mad Max III. She was also nominated for her work on the features The Chain Reaction, and Street Hero.