robert fuest (8 risultati)

Poster. Condizione: Good. Measures 30 x 40 inches. Folded. Tears with partial loss to edges of poster. Bottom r/h corner dog eared. Biro writing on rear. Else good.

Poster. Condizione: Good. Measures 30 x 40 inches. Folded. Minor faults. Marker writing on rear. Some light smudging to fold marks on rear. Else good.

Script Format, reprint. Condizione: As New. /PRINTED ON THREE-HOLE PUNCHED PAPER AND BOUND WITH 2 BRASS FASTENERS/.

Revised Draft script for the 1982 film. With a single manuscript pencil annotation on the front wrapper. Loosely based on Pierre Louys' 1896 erotic novel. In the early 20th century, a weapons dealer attempts to recreate a three-day erotic ritual of Aphrodite by hosting a large orgy at a mansion on a small Mediterranean island. Directed by Robert Fuest, best known for "The Abonimable Dr. Phibes" (1971) and "Dr. Phibes Rises Again" (1972). The director's final film. Set in Greece, shot on location in Alpes-Maritimes, France. White titled wrappers. Title page present, noted as REVISED VERSION, with credits for screenwriters John Melson and Jean Ardy, and novelist Pierre Louys. 122 leaves, with last page of text numbered 121. Xerographic duplication, rectos only. Pages Very Good plus, wrapper Very Good plus, with a white comb binding.

Vintage reference photograph from Season 7 Episode 15 of the 1968 British television series, which originally aired on December 16, showing actress Linda Thorson (as Agent Tara King), held hostage at Wainwright Timber Industries, making no attempt to escape a leg shackle. With a printed mimeo snipe affixed to the verso, along with manuscript pencil and ink annotations regarding layout, and two stamps specific to the French airing of the episode. "The Avengers" aired from 1961 to 1969, and followed secret agent Dr. David Keel (Ian Hendry), and his bevy of assistants as they battle the British criminal element. Shot on location in Buckinghamshire and Hertfordshire, England. 8 x 10 inches. Near Fine.

102pp. screenplay, bound in red stiff paper wrappers secured with two split pins, window to front wrapper displaying title page beneath. Contents and wrappers worn and rubbed, pp. 38 and 102 loose in binding, splash marks to pp. 32-34, and with patches of red bleed from wrappers to title page (probably from the same incident). Underlinings and annotations throughout text, jottings to title page and verso of final page. GRAHAM CROWDEN'S WORKING COPY OF THE FINAL DRAFT SCREENPLAY FOR THE FINAL PROGRAMME, WITH HIS UNDERLININGS, AMENDMENTS AND ANNOTATIONS THROUGHOUT. Directed by Robert Fuest and adapted from Michael Moorcock's 1969 futuristic fantasy novel of the same name, The Final Programme stars Jon Finch, Sterling Hayden, Julie Ege as Miss Dazzle -- and Graham Crowden as Dr. Smiles, a mad professor hot on the heels of a microfilm. Narrative cohesion is not the film's strong point but Fuest, hot from his recent successes with the still frightening And Soon the Darkness (1970), and the two Vincent Price camp classics The Abominable Dr. Phibes (1971) and Dr. Phibes Rises Again (1972), throws everything at the film's design, and it's hard to dislike a film which features a phalanx of nuns playing fruit machines and a walk-on part for Hawkwind. It's now become (naturally enough) a minor cult classic. There was always going to be a role in a film like this for Graham Crowden [1922-2010]. Part of the Royal Court's repertory company under George Devine, Crowden was a leading member of the legendary Old Vic/National Theatre company of the 1960s, and always a scene-stealing presence on screen, with nearly two hundred credits to his name. In this script Crowden has underlined his part in red throughout and boxed in ink his character's name wherever it appears, and many of his scenes have been struck through in blue ink to denote that filming on them has been completed. More substantial annotations and amendments are found in Crowden/Smiles's later scenes, strongly suggesting the production knew during the shoot that the film was in danger of terminal narrative breakdown. (The danger was not averted.) A rare survivor from the shop floor of one of the most 1970s of all 1970s films; we can find no record of anything comparable ever having been offered for public sale.

Early Draft script for the 1975 film. Annotations in manuscript ink on front endpaper of "Delivery July," then a listing of primary actors, director, and "S. Effects / Planet Apes - Space Odyssey Effects." A 1970s cult classic B-Horror film featuring a spectacular cast, including Ernest Borgnine, Eddie Albert, William Shatner, Ida Lupino, Tom Skerrit, Keenan Wynn, and the film debut of John Travolta. Also featuring a cameo by Anton LaVey, founder of the Church of Satan (who is credited as technical advisor), as well as his partner and co-founder of the Church of Satan, Diane Hegarty. Director Robert Fuest is best known for the bizarre, color-tastic horror spectacle, "The Abominable Doctor Phibes" (1971) and its sequel, "Dr. Phibes Rises Again" (1972). For generations the Preston family has been cursed for betraying the Satanic priest Jonathan Corbis, and hiding the book that holds his followers souls. Now the half man, half goat priest has returned with his followers to get it back. Featuring an unforgettable extended climax of unholy face-melting. Shot on location in Durango, Mexico. Red titled wrapper. Title page present, with credits for screenwriters Gabe Essoe and James Ashton. 113 leaves, with last page of text numbered 110. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound internally with three gold brads. Thrower, Nightmare USA.

No Binding. Condizione: Good. 1st Edition. A very cool First Screening lobby-poster for the Horror-Comedy film The Abominable Dr Phibes, starring Vincent Price and directed by Robert Fuest. Text in Finnish and Swedish. The film premiered in Finland in March 1973 and had only. the one theatrical run. Standard A2 size, approximately 40cm x 60 cm or 16.5" x 23.4". Full bleed. Super imagery but no artist name and no printer information either. A folded poster, there are no pinholes but lots of condition issues: a very short tear to right edge about midway. Noticeable crease line across bottom right corner. The entire poster is very creased along each edge in particular which has resulted in loss of laminate - particularly at areas with a black background. I cannot imagine how it has been mounted - possibly with tape but I would have expected more surface abrasion with such a method. That's the bad news but the good news is that it is the graphics which draw the eye and while I would rate its condition only as "Good" this is an excellent and very scarce poster from the Hammer era.