Антонио Маргерити / Antonio Margheriti
Антонио Маргерити, представитель второго эшелона итальянского хоррора, в режиссуре стартовал в начале 60-х годов космическими эпопеями, впоследствии работал в различных жанрах: от вестерна и военного фильма до пеплума, от фэнтези до джиалло. Уже на заре кинематографической карьеры снял пару готических хорроров. В 70-е годы Маргерити удавалось привлекать в свои фильмы ужасов «звезд». Клаус Кински сыграл Эдгара Аллана По в «Паутине» (Web of the Spider, 1970), Джейн Биркин сражалась с монстром в старинном замке в «Смерть отражается в кошачьих глазах» (Seven Dead in a cat's Eye, 1972), а Джон Сэксон испытывал тягу к человечине в «Апокалипсисе каннибалов» (Cannibal Apocalypse, 1980). Антонио Маргерити родился в Риме 19 сентября 1930 года в состоятельной семье, несмотря на тяжелый экономический период итальянской истории, связанный установлением фашисткой диктатуры Муссолини. Отец Антонио был инженером железных дорог. В 30-х годах Антонио с семьей проживал в Вероне. Одним из первых серьезных увлечений Антонио был футбол. о чем свидетельствует игра в одном сезоне за футбольный клуб «Верона». Однако, из-за травмы ему пришлось закончить с карьерой футболиста. После окончания Второй мировой войны семья будущего режиссера вернулась в Рим, где Антонио поступил в университет на инженерный факультет. С самого начала своей кинокарьеры Антонио увлекался спецэффектами, который впоследствии делал, например, для картин Сержио Леоне «За пригоршню динамита» (1971) и Альдо Ладо «Гуманоид» (1979). Свой первый фильм «Космонавты» режиссер снял за 20 дней при бюджете 30 тысяч долларов. Маргерити дружил с такими итальянскими режиссерами, как Риккардо Палаоттини, Сержио Леоне, Марио Бава, Сержио Корбуччи, Отелло Каланьели. Второй страстью режиссера после спецэффектов были Филиппины, где он снял множество своих фильмов. Несмотря на то, что режиссер работал в самых разнообразных жанрах, его любимыми были фэнтази и фантастика. Один из своих лучших фильмов «Девственница Нюрнберга» (1963), который впоследствии сам переделал в картину «В объятиях паука» (1971), Маргерити снял за две недели, используя три-четыре камеры и перемещаясь со съемочной группой и актерами из одних декораций в другие без малейшей остановки и отдыха. В обычной жизни Маргерити был скромным и застенчивым человеком, но на съемочной площадке преображался и становился властным, строгим. Правда, когда съемочный день подходил к концу, он всегда извинялся за свое поведение. Работать с Маргерити было очень тяжело и связано со стрессами и усталостью. Зато многие актеры и члены съемочной группы отмечали, что за один фильм у него было можно научиться стольким вещам, что за два года в киноакадемии. Антонио Маргерити умер 4 ноября 2002 года в Монтероси от сердечного приступа. Antonio Margheriti was born in Rome on September 19th 1930, within an affluent family, notwithstanding the economically bad period of the Italian history. He was a lively and creative child, and since a young age he demonstrated great intelligence and a desire to be creative. His brisk and curious little eyes, already promising him a brilliant future. Luigi, his father, was a Railroad Engineer, a serious and strict person. Pierina, his mother, a very sweet Italian woman. They had four sons: Lydia, Adriana, Alberto and finally Antonio, the youngest. When he was a child they lived in Rome, in Monte Sacro, which at that time was practically in the country, whilst today it has been surrounded by the city and has become almost defined as “downtown”. At the beginning of the War, he transferred with all the family to live in Verona, where they remained for almost ten years. There, Antonio attended the high school and played sports. When the World Conflict ends, a young and sporting Antonio Margheriti attempts, with discrete success, the career of soccer player. He even plays for the Verona Soccer Team, which at that time was in the third division. He played but only one season. In fact he was forced to retire after an accident during a game. At the end of 1940 all the family traveled back to Rome, and Antonio enrolled at the university at the faculty of Engineering. Perhaps attempting to follow on in his father’s job. He only attended the university for one year, because he decided to make a dream come true and tries to find a job in the movie business. This choice was obviously met with opposition from his family, whom consider this work unsuitable and without a future. Effectively in the 50’s in Italy movie making wasn’t a respectable job, except for those few "Artists" selected by the critics. But Antonio had already made his decision and despite all of the difficulties which he encountered along his path, he never went back upon his decision. He started to write novels and screenplays, and tried to become known for directing some theatrical performances, advertising and documentaries. One of these was a documentary entitled "Old Rome", an homage to his city, reported and viewed through the eyes of an old man. An old man walking by the city, seeing streets and monuments like they were in the past. With this short film, he demonstrated an efficacious talent, but still found it not easy to enter into “show business”. In those years he met Miranda Bonardi, the woman which he would marry in 1953 and whom would given him two children, Antonella, borne in 1954, and finally I, in 1959. A short while after the marriage, Antonio begins to have luck, and he succeeds in working for a few small Movie Productions, starting to become known. He also begins his timid incursions into the world of special effects, where he gained the title of "expert of effects". He even collaborated with Mario Bava, who at that time was working as a cameraman, for some advertising company. He had to wait until 1953 to be called upon to handle the special effects for "The Five of Adamello" , by Pino Mercanti. A film produced by Otello Colangeli. (who was an Editor, owner of "Cinemontaggio" , a post production company which also produced a couple of films). Otello was the first one to notice the technical and artistic qualities of Antonio Margheriti, and in the future, he went on to work with him in dozens of films, as editor or producer. Neither Antonio’s technical capabilities or the determination he put into his job, were not enough to let him work on the big productions. Once, he told me an amusing story: in 1955, every morning for several months he would walk in front of the entrance of Titanus, (one of the biggest Italian production companies owned by Goffredo Lombardo), just on schedule with which Gilberto Carbone, line producer of that company, arrived at the office. And every morning Antonio greeted him, pretending to be there for work or just passing by: "Good morning Mister Carbone.." and so, every day for weeks until Carbone, who was really a very funny man from Naples, began to answer back to the greetings. First in a formal way, then in a more conducive manner. At the end, after several months, they became friends, going to the coffee shop together where Carbone would listen with amusement to the thousand ideas of a young and enthusiastic Antonio Margheriti. Meanwhile he continued to write, and finally one day Carbone offered him the opportunity to collaborate on the screenplay of "Presentimento" a film he produced for the Titanus company , under the direction of Armando Fizzarotti. After that film, always with thanks to Gilberto Carbone, some of his screenplays ended up on the desk of Goffredo Lombardo, and he decided to produce them. Antonio wrote "Classe di Ferro" (1957) a musical comedy, to be directed by Turi Vasile, (who was a director, producer and writer). With Turi Vasile begins a real friendship, one of the few Antonio has in his life, which lasted for over forty years. Antonio worked with Vasile as a screenwriter and assistant director in three other film: "Gambe d’oro" (1958) a comedy with Totò. Based upon a soccer team, a world which Margheriti knows very well; "Promesse di Marinaio" (1958) and "Roulotte e Roulette" (1959) two musical and sentimental comedies. Turi Vasile, was also a producer with the company Ultra Film. Knowing the extraordinary ability of Antonio to realize spectacular special effects he proposed to him a project he had had in mind since a long time. A film based upon the Messina’s earthquake , entitled "The night the earth trembles", a story about the catastrophe that truly happened in 1908 and the actions of heroism of a few people at the forefront of the disaster. Antonio, enthusiastic as usual, started work immediately and in just a few weeks built some miniatures which would be used to shoot for a show reel for Titanus. Mixing up with simple tricks scenes with actors would be shot amongst the miniature settings and they would be collapsed. The test results were very successful and the effects really impressive. But that kind of film, in an epoch were still far from the “disaster movies”, and a risky business. A risk that no producer felt prepared to face. The project was abandoned, but never by Antonio. Several years later he would try to make it, with a new script by Ernesto Gastaldi, for Carlo Ponti, with Sofia Loren as lead actress in one of the episodes. When Titanus abandoned the film, Turi Vasile, who became a kind of “mentor” for Antonio, convinced Goffredo Lombardo to produce another film directed by Margheriti. An innovative movie which Antonio wrote with Ennio De Concini. It was a Science Fiction film, a new genre for the Italian productions, in fact during this time Sci-fi was an exclusive territory of the American or British market. This time Lombardo liked the project and produced, together with Ultra Films, "Spacemen" (US title: Assignment Outer Space) (1960), the first film directed by Antonio Margheriti. The production was made in record time (less than 20 days), and with a very small budget (30.000 US$), but the result was amazing. Titanus sold it all over the world, and, for obvious commercial reasons, Margheriti was forced to use an American pseudonym, (like he was to use at that time and as it would turn out, right up to the mid '90’s.). Antonio chose an almost literal translation of his name: Anthony Daisies, but he had to change it for the American release to Anthony Dawson, (due to the distributors stating that “daisies” sounded a little like a gay name) and after few years he was forced to transform it into Anthony M. Dawson, the pseudonym which he later then used in all of his films. But this is a known story.. After "Spacemen" Antonio wanted to make a film about prehistoric creatures, and so realized another screen test of special effects with “home made” prehistoric monsters to submit to the Titanus. My father had a real passion for the old masterpieces of the genre like: "The Lost World" (1925) and "King Kong" (1933), and almost a veneration for the work of the pioneers of fantastic movies, Ray Harryhausen and George Pal. But even this project became cast to the waste bin. Thinking about the forty year career of Antonio, there was a kind of “curse”, whenever he proposed a project, investing his time and money, producing a show reel, photographic book, or building of the miniatures and shooting a promo sequence. He never made one!. There are dozens of films which he never made, only to then see them later realized by somebody else. Sometimes they’ve been realized by important directors like Steven Spielberg (which I believe was the only director in the world, my father has envied), but other times they were made by unknown and bad "directors", that really made him upset and suffer. Let’s go back to "Spacemen". The film was a mixture of various genres, a thing that Anthony has always loved to do, a sort of Sci-Fi / Western /Adventure /Action film, also with a love story arising aboard the spaceship (The contamination of genres in his films was really his trade-mark, like most of critics said). The film, even if it was realized during economic difficulties, came out a big theatrical success, and immediately afterward he got offered another Sci-Fi movie. Again written with Ennio De Concini and produced by Turi Vasile, this time for Lux Film: "Battle of the Worlds" (1961) with a better budget to spend on the cast. In fact they hired an American actor, Claude Rains (Notorious, Casablanca, The invisible man), an actor well known at that time. Another success, in Italy like in many foreign countries. The career of Antonio was on its way, and it would never stop for over forty years. In 1962 a his first big opportunity came along, "The Golden Arrow" a Fantasy film produced by Titanus for Metro Goldwin Mayer. This was to be Antonio’s first American production, and this time with a big budget at his disposal. The famous battle sequences of the flying carpets, used as bombardiers against the enemies, called upon Anthony a big effort, but the result left even the American producers amazed. More used to that kind of special effects they will thereafter remember Antonio’s ability in SFX, and several years later, they offered him the special effects supervision, together with Douglas Trumball, of "2001, a space Odyssey" by Stanley Kubrick. An offer which Antonio refused to follow up other projects he had the opportunity for as director. (In reality, he was very tempted, but was an “author film”, and Anthony wasn't feeling too confident with that “world”, he maybe feared that he was not going to be good enough for a movie which he had the intuition that it would have been the masterpiece of the world’s Science Fiction genre. Later he also refused the offer of Dino De Laurentiis to supervise the special effects on the remake of "King Kong" by John Guillermin, this time for character incompatibility with the director. For both films Antonio could have won an Oscar award, and it was easily apparent even before such realization. But Antonio was a shy person, loving only to work, and he never gave any importance to such acknowledgments. He used to say that he never repented for the choices that he made (and who knows, maybe this was most true). Besides, he didn't like to release special effects duties to other directors, for the simple reason that he wanted to be the only one who decided everything and the only judge upon the work as a whole. Apart from his beginnings, in fact he relied upon special effects sequences only for a few directors, which he considered good friends: like Sergio Leone’s "A Fistful of Dynamite", or Eduardo De Filippo for “Shoot loud, louder.. I don't understand", and for Aldo Lado (but more for the producer Georgio Venturini) with "The Humanoid". Antonio wanted to be fully independent in making a film his way, deciding everything, from the story to the cast, to the set decorations, to the costumes, to the inevitable special effects. Sometimes he refused some good films because the producers or the authors were too "proprietary" and wanted to decide with him like a sort of co-director. In the period from 1960 to 1996, Antonio Margheriti imposed himself on the international film market with his film, sometimes with very fragile stories, but made wealthy by his imagination and by the amazing special effects. Movies conceived to make the people laugh, dream, astound or frighten them, and many of them became a part of movie history. In 1963, after the experiences with Science Fiction, Peplum, and Fantasy, an opportunity was offered to Antonio of another avenue, the Horror-Gothic genre. His friend director Sergio Corbucci, for which he had made some effects in the past, calls upon Antonio for a film which was written for him, but which he could not direct because of other commitments. It was a story written by his brother Bruno Corbucci and Giovanni Grimaldi, for the actress Barbara Steele, a true icon of that film genre. She had just finished "The Mask of the Demon" by Mario Bava. The problem was that the film should have been made immediately, almost without preparation, because of the agreements with the distribution company, but “more important” to be able to use before they pull down, the construction made for: "The Monk of Monza". A film by Sergio Corbucci with Totò. Antonio read the script (probably one of the best scripts ever to fall into his hands) and he accepted immediately. Directing the film which probably to this day remains his masterpiece: "Castle of Blood" (1963). The film was shot in only two weeks, using three or four cameras, and running from one set to another, without any rest even for the actors, and despite of this it still turned out a masterpiece. In fact, one of the good teachings I’ve had from my father, is that: "work quickly does not mean work badly, in a movie nothing is impossible, you can achieve almost miracles, it’s important that you have clear ideas, knowing exactly what you want, and have the final cutting of the film in your mind. Do not shoot the unnecessary; it’s useless to repeat the whole scene ten times from ten different angles, if you decided to use one from a short part of a close up, just shoot that little piece." and Antonio really had clear ideas, combined with an incredible and absolute mastery in film techniques. Every morning he arrived at eight on set, and within ten minutes he had explained to everybody all the forty or fifty shots to be made that day "at the eight twenty we’ll be ready in order to do this shot... and at the eight forty this other shot." and I swear that you can set your clock when he said “action” was exactly at that time. However it was not easy working with him, on set he was very "tough", raising up his voice often and with everybody, but afterward said sorry immediately at the end of the working day. As much as he was serene and nice in his life, he was tough and resolute in his job. A kind of doctor Jeckill and Mr. Hyde, it was enough to just show him a camera in order to assist him in his metamorphosis. But this was his character, he didn't mean it. It was his sense of responsibility to those front of the camera, working for him came before any other thing, and when he shouted it was because something didn't function properly. Working with him was extremely tiring and stressful, but it was sufficient for a single film spent with him to learn more things than in a film course of two years in any academy. Notwithstanding Anthony made movies in almost all of the possible genres of film, giving his best on each one, Science Fiction and Fantasy were his favorites genres. By the end of 1960, he decided to attempt the ways of production, making a company: the Edo Cinematografica, (he used the abbreviation of my name) with which he co-produced one of his best film: “The Unnaturals” (1969). Immediately after, he tried to conquer the International film market even like a true producer, placing four aces on the table: a Fantasy Comedy in a perfect Disney style. The actor Dean Jones, icon of the Disney films of those years, a trained dog identical to that of the one used in a Disney film; and with his direction always filled with amazing special effects. He succeeded in getting agreements with an American distributor, a German and a French production, and finally he could start shooting: "Mr. Super Invisible" (1970). A family comedy film, the story of a scientist who, casually, drinks a potion which makes him invisible, and lead to a set of hilarious adventures. As producer-Director, Antonio made the best film possible, and the film came out at a very high cost compared with others. Because of delays in the deliveries, or maybe because the kind of humor was too Italian, the American distributor drew back, rescinding upon the agreement and forcing Antonio to sell all his percentages to others in order to complete the film. The film came out very nice, having a good success all over the world, but Antonio had sold out all of his Rights. It was not easy to start again, after a setback which cost him over 400.000 US$ personally, but he still did not lose his mind. Abandoning any idea of producing again, he dove immediately into his work, making within just a few months "Web of the Spider" (1971) a remake of his Gothic masterpiece: "Castle of Blood". In this way Antonio added another achievement to the Guinness book of records: the only director in the world to have remade a film he once made himself before. The opposite to what usually happens, this film became considered by the critics to be a lot better than the first one, something that Antonio disagreed. During the '70’s, Antonio directed many films, the most common being Comedies to Westerns, Thrillers, Erotic, Fantasy, Horror, Grotesque, Drama and Adventurous, infusing with in all his own personal style. In the middle of the '70’s I myself started to work with Antonio, creating the miniatures for his special effects, things for which he had raised me to do since a very young age. Always giving me presents like model kits and other toys to be constructed or painted. They are infinite the amount of trains which we have blown up, bridges, palaces, airplanes, helicopters, dams or electrical plants (reading these lines it seems that we were terrorists). Antonio was a magician in shooting sequences with models and miniatures, he had a sense and a technique of placing the camera just where it would make them seem real. In almost twenty years working together, we have realized so many special effects which were at the same level of many American movies , only produced with budgets ten times bigger then ours, or at least we did it up to the advent of the new generations of CGI. At that point we had to surrender, even if a good trick made "directly" it places a veil of imperfection upon the whole film which makes it more real for the eyes, than those aesthetic digital images. And also there is the emotion, we were always puzzled in front of an effect if we felt that was made for real, instead, in front of a screen where a huge battle between two hordes of digital cartoons occurs. We could not feel any emotions, there is no participation. "It’s a lot more exciting to have a mediocre model of a spaceship attached to a wire than an entire city is suspended in the sky if one can feel that it is only a sophisticated cartoon'', and it’s true also for my opinion. Our models have always functioned, (and you would be surprised to know in how many ordinary scenes we used: like a train crossing by during a sunset, or a helicopter flight over a village, or a car passage at night, so many times they were models and miniatures, because if you see some of those imperfections in several normal scenes, you assume that is real, (because it is not necessary to do a trick for something that costs nothing to shoot it for real), then, after another scene, you see again that same shot which you are used to, and now it’s exploding everything and making you jump in your chair. We could also do that because our models were in a very big scale, bigger then others used more commonly, and this for various reasons: It’s easier to take best care of the little details (because they aren’t so little); you can use carpenters instead of micro modellist, its easier and looks real. The light you use to light up the miniature set, but the first reason is more technical, correlated to the camera speed, the action supposed to be done, the size of flames, or the size of water drops, (all things which are not easy to control). How many times have you seen models of boats on the sea struck by sprays of water that in reality would be big like a truck, or by drops big as soccer’s balls ?. Our models were in scale 1: 6 to the maximum of 1:8, and they stood the comparison with the reality. I have never understood why so many other technicians of special effects used very small models. I remember when we went to the cinema with Antonio to see "Cassandra Crossing", a multi million dollar movie ruined at the end by a very bad trick of a fake train falling from a bridge that was even more fake. (The ones who made that effect should not get offended, surely he can find the way to criticize something between the effects unsatisfactory that we made). Antonio, beyond the Special Effects has another passion: the Philippines, positively the country where he has made more films and worked better than anywhere else in the rest of the world. We did make in Manila and in the environment of the town of Pagsanjan, twelve films during a ten year period. There was no better place where Antonio preferred to work. We’ve brought to the Philippines also films which were not supposed to be there as we pretended to shoot scenes of Vietnam, Cambodia, Brazil, Caribbean Island, Laos, South America, and even cheating as though we were in the United States. The first time was in 1980, for a film about the Vietnam war: "The last Hunter" made a few months after Francis Ford Coppola had finished his masterpiece: "Apocalypse Now". Anthony fell in love with those places and the people, simple and serious with their work and always ready to great you with a smile. After we had made a couple of films there a lot of other Italian directors and productions suddenly followed us (this we were used to, also in the States: One goes first, all the others follow) and for a decade, the Philippines was transformed into a sort of Cinecittà studios. There have been made films by Ruggero Deodato, Lucio Fulci, Bruno Mattei, Ignazio Dolce, Dan Edwards (this name sound familiar), and many other directors with their more desperate films. But, like Lucio Fulci said once, it was Antonio Margheriti who was the only "Emperor of the Philippines". In the last ten years we cannot make other films there, because the international market was full of films all made in the same locations, with the same actors and the same crew names. They seemed to be also the same movies. Antonio became very sorry about it. The films directed by Antonio Margheriti are many, around sixty, but almost the same number are the films he wanted to make without success. In 1977 he was in America for a film which had just finished: "Killer Fish" entirely shot in Brazil, and he went to a cinema to watch "Star Wars" by George Lucas. When he came back to Rome he decided to try a return to his origins of directing a Science Fiction film. He wrote together with the American screenwriter Kit Carson, (The husband of Karen Black which he met during Killer Fish), an extraordinary script inspired by, in a futuristic version, "Stage Coach" the masterful western by John Ford. A story that fitted perfectly to the pioneering world set in a distant future, where human colonists traveled on a sort of space wagon between the various planets of the new colonies. So the idea was born for "Space Coach", where the Indians were alien, outcast from their territories and persecuted by the new colonists that invaded almost all of Space. Antonio passed over the project after a year preparing this for Promer Film, doing also a long pre-production with drawings of the decors, constructions and costumes, and also a lot of sketches of the various spaceships. A lot of miniatures were constructed to realize a show reel of special effects, but it was useless. The project was abandoned. He tried many other times to make this story, but always with negative results, maybe because this was a film too beautiful and a story too innovative for the Italian productions, that is now only working on projects entirely financed from television networks. Other films unmade by my father, that made him suffer great hurt were: "Lions in Evening" a very handsome adventure film, located in Africa during the First World War , and "Cayenne" a film like “Papillon”; as well as the film transposition of "Corto Maltese" by Hugo Pratt, which didn't succeed to being made due to the many oppositions of the author. Antonio, was also a lover of comics books, once releasing the following interview: "Personally I was always a lover of comic books, I live my whole life with the comics books. I’ve grown up with Flash Gordon by Alex Raymond, with the Adventurous, Cino and Franco, and Mandrake.” he loved so much the comics that for his house in the country he decide to build a pool, with the shape of Snoopy, the "Snoopy pool" as he liked to call it. He tried to realize a film for "Mandrake" the famous magician, thinking of Marcello Mastroianni to be the lead player. Then it was a punch in his stomach when Dino De Laurentis produced the film of "Flash Gordon". One of the last comics that he want to make into a film was "The Mercenary", from a famous Spanish comic artist. A fantasy world where knights in armor ride upon enormous flying dragons. The films not made are dozens, beyond those mentioned already, there was: "The Ghost of Pirate Barbariccia" another film based upon the style of Disney. A film about the adventures of "Sinbad the sailor", his version of "The Baron of Munchausen," a remake of "The Lost World," before it was done by Spielberg. The third remake of “Castle of Blood” but this was later realized in the future, and on a spaceship, "Spacy" a kind of ET, where a terrestrial child is saved from aliens. The TV series from the novels of Wilbur Smith "The seventh scroll" that was made (I was even the Line Producer) but with Kevin Connors. His last project, and this was bad for him not to be able to make was "The Time Warriors" the first part of a fantasy trilogy which I had written, and narrated the adventures of a young boy, a master of videogames who becomes projected into a parallel world. He is propelled into the land of his preferred game, fighting against his virtual enemies in a surreal world, defending his own life and out to save a kingdom in danger. Antonio Margheriti spent his complete life in working and trying to work, always active and in search of new projects, of new effects, new techniques. Each new film he made or sought to make, to enjoy and to undertake so as to remain alive. I would like to think that my father now is finally back together with his old good friends: Sergio Leone, Mario Bava, Sergio Corbucci, Riccardo Pallottini, Otello Colangeli, and with their preferred actors. Sat together in a film maker’s heaven, all continuing to enjoy doing their film work, in their own very special and individual way. Edoardo Margheriti
Фильмография / Filmography: 1 - 1956 – “PRESENTIMENTO” ( co-Writer) Directed by Armando Fizzarotti Italy - Produced by: SPIC – Titanus 2 - 1957 – “CLASSE DI FERRO” (Screenwriter) Directed by Turi Vasile Italy - Produced by: SPIC – Titanus 3 - 1958 – «ЗОЛОТЫЕ НОГИ» / “GAMBE D’ORO” (Screenwriter - 1st A.D.) Directed by Turi Vasile Italy - Produced by: Titanus 4 - 1958 – “PROMESSE DI MARINAIO” (Screenwriter - 1st A.D.) Directed by Turi Vasile Italy - Produced by: Titanus 5 - 1959 – “ROULOTTE E ROULETTE” (Screenwriter - 1st A.D.) Directed by Turi Vasile Italy - Produced by: Tiberia - Lux Film 6 - 1959 – “THE MESSINA'S EARTHQUAKE” (Director & SFX) Promo trailer of Special Effects made for Titanus (Promo for a film never made) 7 - 1960 – “SOLITUDINE” (co-Screenwriter) Directed by: Renato Polselli Italy - Produced by: AF film 8 - 1960 – «КОСМОНАВТЫ» / “ASSIGNMENT OUTER SPACE” (Director) Aka - (“Spacemen”) Italy - Produced by: Ultra Film - Titanus 9 - 1960 – “PREISTORIA” (Special Effects Direction) Promo trailer of Special Effects made for Titanus – M.G.M. (Promo for a film never made) 10 - 1961 – «ПЛАНЕТА БЕЗЖИЗНЕННЫХ ЛЮДЕЙ» / “BATTLE OF THE WORLDS” (Director) Aka (“The Outsider” – “Il Pianeta degli Uomini Spenti”) Italian re-edition in 1978 with the title: “Guerre Planetari” Italy - Produced by: Ultra film – Sicilia Cin.ca – Lux film 11 - 1962 – «ЗОЛОТАЯ СТРЕЛА» / “THE GOLDEN ARROW” (Director) Aka (“La Freccia d’oro” – “L'Arciere delle Mille e Una Notte”) Italy - Produced by: Titanus – M.G.M. 12 - 1963 – “LE SETTE FOLGORI DI ASSUR” (Special Effects Supervisor) Directed by: Silvio Amadio Italy - Produced by: Globe International 13 - 1963 – «ТАНЕЦ УЖАСА» / “CASTLE OF BLOOD” (Director) Aka ("Danza Macabra" – “Danse Macabre” – “Castle of Terror”) Italy - France - Produced by: Vulsinia - Jolly Film - Ulysse 14 - 1963 – «ПАДЕНИЕ РИМА» / “THE FAULT OF ROME” (Director) Aka (“Il Crollo di Roma”) Italy - Produced by: Atlantica – Medallion 15 - 1963 – "ЗАМОК УЖАСА" / “HORROR CASTLE" (Director) Aka (“La Vergine di Norimberga” – “Horror Castle” – “Terror Castle”) Italy - Produced by: Atlantica Cin.ca 16 - 1964 – «ТОРГОВЦЫ РАБАМИ» / “THE SLAVE MERCHANTS” (Director) Aka (“Anthar L'Invincibile” - "Marchands d'Esclaves") Italy - France - Spain - Produced by: Antares /Rialto Fides / Perojo 17 - 1964 – «ЗЛОЙ МИР» / “WEIRD WICKED WORLD” (Co-Director) Aka (“Il Pelo nel Mondo” – “Go, go, go World!”) Italy - Produced by: Atlantica Cin.ca 18 - 1964 – «УРСУС-УЖАС КИРГИЗОВ» / “HERCULES, PRISONER OF EVIL” (Director) Aka (“Ursus il Terrore del Kirghisi”) Italy - Produced by: Adelphia - Ambrosiana - Titanus 19 - 1964 – «ГИГАНТЫ РИМА» / “THE GIANTS OF ROME” (Director) Aka (“I Giganti di Roma”) Italy - France - Produced by: Devon Film / Radius Prod. 20 - 1964 – «ДЛИННЫЕ ВОЛОСЫ СМЕРТИ» / “THE LONG HAIR OF DEATH” (Director) Aka (“I Lunghi capelli della Morte”) Italy - Produced by: Cinegay - Unidis 21 - 1965 – «ДИКАЯ-ДИКАЯ ПЛАНЕТА» / “WILD, WILD PLANET” (Director) Aka (“I Criminali della Galassia”) USA - Produced by: Mercury Film International 22 - 1965 – «ВОЙНА ПЛАНЕТ» / “WAR OF THE PLANETS” (Director) Aka ("I Diafanoidi vengono da Marte" - “The deadly Diaphanoids”) USA - Produced by: Mercury Film International 23 - 1965 – «ПУТЕШЕСТВИЕ НА ЧУЖУЮ ПЛАНЕТУ» / “PLANET ON THE PROWL” (Director) Aka (“Il Pianeta Errante”- "War between the Planets") USA - Produced by: Mercury Film International 24 - 1965 – «СМЕРТЬ ПРИШЛА С ПЛАНЕТЫ АЙТИН» / “SNOW DEVILS” (Director) Aka (“La Morte viene dal Pianeta Aytin" - "I Diavoli dello Spazio”) USA - Produced by: Mercury Film International 25 - 1966 – «АГЕНТ 077-ВЫЗОВ УБИЙЦАМ» / “KILLERS ARE CHALLENGED” (Director) Aka (“A077 Sfida ai Killer”) Italy - Produced by: Zenith Cin.ca - Flora Film - Regina Film 26 - 1966 – «СТРЕЛЯЙ ГРОМКО, ГРОМЧЕ…Я НЕ ПОНИМАЮ» / "SHOOT LOUD, LOUDER... I DON'T UNDERSTAND" (Special Effects) Aka (“Spara forte, più forte... non capisco”) Directed by: Eduardo De Filippo Italy - Produced by: Titanus - Levine 27 - 1966 – «ОПЕРАЦИЯ-ЗОЛОТОЙ ЧЕЛОВЕК» / “LIGHTNING BOLT" (Director) Aka (“Operazione Goldman" - "Operaciòn Goldman”) Italy - Spain - Produced by: Seven - Bga / Balcazar 28 - 1967 – «ДЖО-ДИНАМИТ» / “DYNAMITE JOE” (Director) Aka (“Joe l'Implacabile”) Italy - Spain - Produced by: Seven Film / Hispamer Film 29 - 1967 – (Director) Aka (“Nude.. si muore" - "The young, the Evil and the Savane”) Italy - Produced by: Super International Prod. - Bga 30 - 1968 – «Я ТЕБЯ ЛЮБЛЮ» / “I LOVE YOU” (Director) Aka (not available) Italy - Produced by: Genesio Cin.ca – Titanus 31 - 1968 – “VENGEANCE” (Director) Aka (“Joko, invoca Dio... e muori” - "Avec Django, la mort est là") Italy - Produced by: Super International Prod. 32 - 1969 – «КРИКИ В НОЧИ» / “THE UNNATURALS” (Director) Aka (“Contronatura" – "Schreie i der Nacht”) Italy - Germany - Produced by: Edo Cin.ca / Super International Prod. / CCC Filmkunst 33 - 1969 – «И БОГ СКАЗАЛ КАИНУ» / “AND GOD SAID TO CAIN…” (Director) Aka (“E Dio disse a Caino”) Italy - Germany - Produced by: DC7 - Peter Carsten Produktion 34 - 1970 – «ЧЕЛОВЕК-НЕВИДИМКА» / “MISTER SUPERINVISIBILE” (Director) Aka (“L'inafferrabile, invincibile Mr Invisibile" – "El invincible hombre invisible”) Italy - Spain - Germany - Produced by: Edo Cin.ca / Dia Prod. / Peter Carsten Produktion 35 - 1971 – «ЗА ПРИГОРШНЮ ДИНАМИТА» / "A FISTFUL OF DYNAMITE" (Special Effects) Aka (“Giù la Testa”) Directed by: Sergio Leone Italy - Spain - USA - Produced by: Rafran / Euro / United Artists 36 - 1971 – «В ОБЪЯТИЯХ ПАУКА» / “WEB OF THE SPIDER” (Director) Aka (“Nella stretta morsa del Ragno" – "Prisonnier de l’araignée”) Italy - France - Germany - Produced by: DC7 / Paris Cannes Production / Terra Filmkunst 38 - 1972 – “EROTIC NOVELS OF DECAMERON” (Director) Aka (not available) Italy - Produced by: Seven 37 - 1972 – «ТЫСЯЧА И ОДНА НОЧЬ УДОВОЛЬСТВИЙ» / “1001 NIGHTS OF PLEASURE” (Director) Aka (not available) Italy - Produced by: Pink - Medusa 39 - 1973 – (Director) Altri Titoli (“Corringa" – "La morte negli occhi del gatto”) Italy - France - Germany - Produced by: Starkiss Falcon / Roxy / Capitol 40) 1973 – «ГЕРКУЛЕС ПРОТИВ КАРАТЕ» / “HERCULES Vs KARATE” (Director) Aka (“Ming, Ragazzi”) Italy - Produced by: Champion - United Artists 41 - 1974 – “MANONE THE ROBBER” (Director) Aka (not available) Italy - Produced by: Champion - United Artists 42 - 1974 – «ВИСКИ И ПРИВИДЕНИЯ» / “WHISKY AND GHOSTS” (Director) Aka (“Whiskey e Fantasmi”) Italy - Spain - Produced by: Champion - United Artists 43 - 1974 – “THE STRANGER AND THE GUNFIGHTER” (Director) Aka (“Là dove non batte il sole" - "Blood Money") Italy - Spain - USA - HK - Produced by: Champion / Midega Film / Harbor Prod. /Shaw Brothers 44 - 1975 – (Co-Director) Aka (“Il mostro è in tavola.. Barone Frankenstein" – "Flesh for Frankenstein”) Italy - France - USA - Produced by: Champion – IRS – Bryanston – Warhol CCC 45 - 1975 – (Co-Director) Aka (“Dracula cerca sangue di vergine e... morì di sete!" - "Blood for Dracula”) Italy - France - USA - Produced by: Champion – IRS – Bryanston – Warhol CCC 46 - 1975 – «НЕЛЕГКАЯ ПОЕЗДКА» / “TAKE A HARD RIDE” (Director) Aka (“La Parola di un Fuorilegge... è legge!”) USA - Produced by: 20th Century Fox 47 - 1976 – «ГНЕВ В ЕГО ГЛАЗАХ» / “DEATH RAGE” (Director) Aka (“Con la rabbia agli occhi”) Italy - Produced by: Giovine Film - Euro International Film 48 - 1977 – «ВЫМОГАТЕЛЬСТВО» / “THE RIP OFF” (Director) Aka (“Controrapina" – "The Squeeze”) Italy - USA - Produced by: Dritte Centana / Maverick /United Artists 49 - 1977 – «РЫБА-УБИЙЦА» / “KILLER FISH" (Director) Aka (“Killer Fish, l'agguato sul fondo" - "L’invasion des Piranhas”) Italy - USA - Brasil - Produced by: Lou Grade / Victoria / Filmar do Brasil / Laser Film 50 - 1978 – «ГУМАНОИД» / "THE HUMANOID" (Special Effects) Aka (“L'Umanoide”) Directed by: Aldo Lado Italy - Produced by: 51 - 1980 – (Director) Aka (“Apocalisse Domani" – "Virus" – "Invasion of the flesh hunters”) Italy - Spain - Produced by: New Fida / José Frade 52 - 1980 – «ПОСЛЕДНИЙ ОХОТНИК» / “THE LAST HUNTER” (Director) Aka (“L'ultimo Cacciatore" – "Hunter of the Apocalypse”) Italy - Produced by: Flora Film – Gico cin.ca 53 - 1981 – «АВТОКАТАСТРОФА» / “CAR CRASH” (Director) Aka (“Car Crash”) Italy - Spain - Produced by: Cleminternazionale / Titanus / Hespera 54 - 1981 – «БЕГСТВО С ПРОКЛЯТОЙ ГОРЫ» / “TIGER JOE” (Director) Aka (“Fuga dall'arcipelago maledetto”) Italy - Produced by: Flora Film 55 - 1982 – «ОХОТНИКИ ЗА ЗОЛОТОЙ КОБРОЙ» / “RAIDERS OF THE GOLDEN COBRA” (Director) Aka (“I Cacciatori del Cobra d'oro”) Italy - Produced by: Gico Cin.ca – Flora Film 56 - 1983 – «ЙОР-ОХОТНИК ИЗ БУДУЩЕГО» / “YOR, THE HUNTER FROM THE FUTURE" (Director) Aka (“Il Mondo di Yor”) Italy - Turkey - Produced by: Diamant Film - RAI - Columbia 57 - 1983 – "ПОСЛЕДНЯЯ КРОВЬ" / «ТОРНАДО» / “THE LAST BLOOD” (Director) Aka (“Tornado”) Italy - Produced by: Gico Cin.ca 58 - 1984 – «КОД: ДИКИЕ ГУСИ» / “CODE NAME - WILD GEESE” (Director) Aka (“Wild Rainbow - Arcobaleno Selvaggio" – "Geheimcode Wildganse”) Germany - Italy - Produced by: Ascot Film – Gico Cin.ca 59 - 1984 – «КОВЧЕГ БОГА СОЛНЦА» / “THE ARK OF THE SUN GOD” (Director) Aka (“I sopravvissuti della città morta”) Italy - Produced by: Flora Film 60 - 1985 – “JUNGLE RAIDERS” (Director) Aka ("La leggenda del Rubino Malese" - “Captain Yankee”) Italy - Produced by: L’immagine – Cannon Italia 61 - 1985 – «КОММАНДО-ЛЕОПАРД» / “COMMANDO LEOPARD” (Director) Aka (“Commando Leopard”) Germany - Italy - Produced by: Ascot - Prestige 62 - 1986 – «ОСТРОВ СОКРОВИЩ» / “TREASURE ISLAND” (Director) Aka (“L'Isola del Tesoro" - "Space Pirates”) Italy - Produced by: RAI TV (tv Series) 63 - 1987 – «КОМАНДИР» / “THE COMMANDER” (Director) Aka (“Il Triangolo della Paura" – "Der Commander”) Germany - Italy - Produced by: Ascot - Prestige 64 - 1988 – “INDIO” (Director) Aka (“Indio”) Italy - Produced by: RPA - Reteitalia - Filmauro 65) 1989 – «ПРИШЕЛЕЦ ИЗ БЕЗДНЫ» / “ALIEN FROM THE DEEP” (Director) Aka ("Alien degli Abissi" - “Das Alien aus der Tiefe") Italy - Produced by: Gico Cin.ca – Dania – National – Vip International 66 - 1990 – “INDIO 2 - THE REVOLT” (Director) Aka (“Indio 2 – La Rivolta”) Italy - Produced by: RPA - Reteitalia 67 - 1992 – «ЧИНГХИС-ХАН» / “GENGHIS KHAN” (Co-Director) Akai (“Genghis Khan”) - TV series - Only released by 2004 Italy - Produced by: ICC intl. 68 - 1996 – “VIRTUAL WEAPON” (Director) Aka (“Potenza Virtuale”) USA - Italy - Produced by: Trans Cine – Palma Film - Derby |
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