“I just turned 9 years old, and from the moment the film “Flight to Mars” (1951) opened with the reddish background and two men looking through a telescope…I was hooked.”




flight to mars




Wade turned his love of science fiction movies, into a repository of fan favorites – “Invaders from Mars,” “Plan 9 from Outer Space” and so many others — as well as a successful business.


In a previous blog I referred to him as a vintage sci-fi movie impresario, exhibitor, director and producer, but he’s also an old friend, “since Christ was a child,” to steal a typical Wade one-liner.    


In 2015 I visited Wade in his hometown of Kansas City MO. He was a gracious host, making made sure I had plenty of authentic K.C. barbeque. His second-story office was filled with authentic movie props, primarily from gold-standard 1950s sci-fi movies. Below it, a 100 seat theatre adjacent to a vast personal film collection; it looked like the Library of Congress…row after row of 35mm prints of classic movies as far as you could see.   We talked about all-things-movies for nearly an entire memorable weekend. Learned facts I never knew, like he originally wanted to be an actor. Wade’s a very interesting guy with an incredible memory; I’ll never forget that weekend.


Wade’s passion for 50s science fiction movies would make a great book, if only he would write one. Nevertheless, thanks to producer and interviewer, Joshua Murphy, you can hear much of Wade’s story in a “19-reel” condensed version by simply sitting down in your easy chair and listen to Murphy’s interview with Wade on YouTube. It consists of two 90+ minute segments. Listen to half-now, or drain your iPad battery and eat the whole box of chocolates in one sitting – that’s what I did. 


Part 1:


Part 2:


We also got on the subject of the Oscars. Here’s what he had to say:


“I have watched the Academy Awards yearly since the 1950’s They were fun shows when all the stars were on their best behavior. The films were inspiring, entertaining, thought provoking, and the music was delightful.


That was April 3rd 1978 at the Dorothy Chandler Pavilion, I was lucky to have been there at the 50th Golden Anniversary of OSCAR.   A lot has changed in 40 years.


I was seated in the Orchestra Row Y Seat 28 next to my date, actress and friend, Osa Massen of “Rocketship XM” fame. Osa was a longtime member of the Academy and on the foreign film nominating committee.


The Red Carpet was there 40 years ago but not as wide. We were packed “bumper to bumper” so to speak. The crowd moved along slowly and scores of ushers were seating people at a record pace. The line pushed back for an instant and everyone stumbled back a foot or so, and I stepped on the instep of the woman in line behind me. I turned around to apologize and was looking into the face of Barbara Stanwyck. She said “don’t worry, no damage done “.


Fans along and outside the barricades were yelling at the stars. One woman kept yelling “Michael, Michael, Michael.” She was yelling at me. I shook my head, no. She said, “You are Michael Caine!” That was a new one.


So many stars were there that night:


Bob Hope was the MC and some of the presenters were Fred Astaire, Bette Davis, Olivia De Havilland, Kirk Douglas, Farrah Fawcett, Joan Fontaine, Greer Garson, Janet Gaynor, William Holden, Steve McQueen, Barbara Stanwyck, Natalie Wood, Raquel Welch, King Vidor, Olivia Newton-John and Mickey Mouse. Added to that were r2d2, Mark Hamill, c3po, and John Travolta.


Debbie Reynolds, Jane Powell, Aretha Franklin, Sammy Davis Jr and Debbie Boone entertained in the musical department.


Films like “Star Wars” and “Close Encounters of the Third Kind,” had many nominations along with “Annie Hall,” “Turning Point,” “Julia” and “Goodbye Girl,”


Best Actress Nominations – Anne Bancroft, Diane Keaton, Shirley MacLaine, Marsha Mason and Jane Fonda.


Best Actors – Woody Allen, Richard Burton, Richard Dreyfuss, Marcello Mastroianni, and John Travolta


Best Picture – “Annie Hall,” “Goodbye Girl,” “Julia,” “The Turning Point,” “Star Wars.”


Don’t ask me who won in all the categories I can’t remember. Google it!”



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“Manson was happy his voice and music would be on the sound track”


blog manson


An old friend, Wade Williams, well known vintage sci-fi movie impresario, and gatekeeper to such fan favorites, as “Rocketship X-M,” “Plan 9 from Outer Space” and the original “Invaders from Mars,” is a successful exhibitor, director and producer. Sometimes being a producer can put you face to face with…well, let Wade tell the story:




The passing of Charlie Manson, the mastermind of the murderous Manson Clan that terrorized and murdered Sharon Tate and others in Los Angeles on August 9, 1969, brought back vivid memories of meeting him – face to face!


Days went by after the murders until a break in the case led the police to this group of “drugged out” hippies who lived in a deserted old-time movie ranch.


Manson and the rest of the clan were arrested and went to trial on what must stand as the most notorious murder rampage of its time. The trial lasted weeks and the news media from all over the world covered it.


Living in Kansas City and wanting to get into the movie business was hard. I was midway between Hollywood and New York.  I had made an amateur science fiction film “Terror from the Stars” several years before, but it never got distribution because it was, frankly, not well made, and we did not know what we were doing or how to do it right.


Frank Howard was a director/cinematographer/film-friend worked for an industrial film company in Minnesota who I had met thru my film collecting hobby.   Frank was brilliant; he knew lighting, how to tell a story, and was a fan of the 30’s-40’s studio films and directors like Capra, Henry King and the Selznick films. He was in his late 30’s at the time and I am not sure he is still living.  We lost track of each other decades ago.


During dinner at Winstead’s in Kansas City, the people in the table behind us were talking about the Manson murder trial and how horrible it was.


Frank said – Why don’t we make a “quickie” film in black and white based on the Manson Murders since the trial will probably go on awhile. It could play the drive-in circuits.  We talked about the possibilities for several hours and the next day started on the pre-production planning.


I did not want to make this film. I was not into drugs or that lifestyle and I had little or no interest. I wanted to remake science fiction films like “The Man from Planet X,” “Rocketship XM,” etc. It was Frank Howard’s and my dream to make a cheap and highly profitable film, and use the money to make something worthwhile.


We scripted daily as more information was revealed at the trial. I named it “The Other Side of Madness” on its first release. They changed the name to “Helter Skelter Murders” after the book “Helter Skelter’ became a best seller.


The film was to be shot in Kansas City and Los Angeles. The substantiating footage in L.A. and the murder sequences at various locations in Kansas City, Missouri, Leawood, Kansas and a rock concert near Lawrence, Kansas, all subbing for LA.


There was an announcement in the trade papers, and I received a call from Charles Manson’s attorney who was representing him for free, and getting a lot of flak. He wanted to sell me the rights to two songs recorded and sung by Charlie Manson, “Mechanical Man” and “Garbage Dump.”


The deal was $2000 for the rights and a three-hour face-to-face meeting with Charlie Manson in the jail during the trial. Manson could have no visitors except witnesses necessary for his defense. I was listed by his attorney as one of those witnesses.


Manson was happy his voice and music would be on the sound track. I actually had not heard the music at that time.


It was arranged the following Friday. I flew to LA with cash. I was given the recording masters and taken to the jail house to meet with Manson.


The master he gave me was an LP he made to promote the songs. He knew Terry Melcher, a record producer and son of Doris Day. Manson was angry because apparently Melcher would not release his music, so sent the clan up to terrorize the occupants thinking Melcher would be there.


I was told by Manson’s attorney to not question him about the murders, especially not discuss the actuality of what happened at the murder scene because Manson was not at the Tate house, and anything he said might be used against him.


I expected to see a sinister Rasputin monster of a man depicted on the cover of Life Magazine instead, I was seated at a table across from Charlie in a regular room. A guard stood by the door.


In was a small man, maybe 140 pounds in blue jailhouse garb. I introduced myself. He said, “You’re the man that’s making my movie?” There was nothing sinister about him other than wild hair. I realized the news media and Life magazine had re-touched his picture to make him look like the Devil in order to sell magazines.


He talked about the people at the 500 acre Spahn Movie Ranch. (Eighty-year-old George Spahn allowed him and his family to stay there). One of his followers was the granddaughter of the Mitchell Camera fortune. She and other Manson family followers were in our film at the ranch. The ranch burned down not long after.


Manson talked about him giving shelter to the homeless and downtrodden, most of which were druggies and acid users. He also was into group sex and would get his “family” all drugged up beforehand and in the barn loft would have all-night sex with both males and females.


(We shot a sequence in the loft of the barn and on the property after his description and some of his “family” was in the film.)


He used the “N” word several time, despising blacks having been in prison with them. He and his family wanted a “race war” to exterminate them, and was gathering weapons out in the desert to eliminate them. His attorney changed the subject after a few comments.


We cast the film with unknown look-a-likes from Kansas City: family members, friends, several actors and my secretary with sequences on the Plaza subbing for Century City.


Getting it finished and released in theaters is a completely other story, however the film was distributed world-wide, got a front page story in Variety and in London. It had many good reviews, and made news in tabloids worldwide. We did a sneak Preview in Excelsior Springs MO to a sold out theater.


Frank Howard’s efforts and talent made this a unique “arthouse” film noir that has a moody black and white feel and a Technicolor sequence, with Debbie Duff and Kelly Cap, who played Sharon Tate and the Prince in a dream sequence.


It played the drive-in theater circuits and the home use VHS and DVD markets.


Looking back at the box office reports, the film out grossed many studio films at the drive-in theaters, and did extremely well on VHS and DVD for various distributors. They all made a lot of money. I was happy to get my investment back.


I plan to re-release it when the Quentin Tarantino film on the Manson murders comes out in 2019.


Charlie Manson was not unique, not sinister, just a small time thug on acid who ordered his hippie clan to go terrorize some people.



–Wade Williams


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costco tv


It started with a friendly email from a customer with a 60” 4K TV asking about “vertical interlacing” he noticed on the VCI release of “One Million B.C.”, which we are selling on Amazon.


I decided to be scientific and went to a Phoenix Costco to look at the entire line-up of big screen TVs, not just 4K.   There they were — monumentally sharp and bright, featuring sports, travelogues of the Great Wall of China, swimming with dolphins, a “Transformer” movie and “Minions.”


I’d seen these razor sharp monitors before, but only in passing on my way to the DVD/Blu-ray aisles.


For the first 30 years of my career, I QC’d thousands of 16mm and 35mm prints. If they weren’t good, back to the laboratory, they went. The labs accused me of rejecting more prints than other distributors. Probably true. Sure, I couldn’t hold a 1940 independently produced B movie to the same standards as a studio classic. If I did, a good many worthwhile films just wouldn’t be seen.


Holds true today, but now there are all kinds of digital tricks to eliminate or which we used to have to do solely “photochemically” (i.e. on film), not always with satisfactory results.


Digital video noise reduction (DVNR) is the catch-all name for fixing “video noise” such as black or white dirt specs and light scratches, but it can be like walking a tightrope: Too little DVNR and some imperfections remain – too much DVNR and the image looks more like a video game than a movie-movie. Years ago, I got my first taste of DVNR run amok. It was a DVD of the 1933 Boris Karloff thriller, “The Ghoul,” and after five minutes, I was reaching for the X-box controller.


Independent producers usually needed money in hurry, and often used the original negative to make prints – a bad idea — instead of creating elements made for the express purpose of protecting the original negative.   Further, indie productions often changed owners – each interested in making a quick buck — kicking the can down the road inasmuch as preserving film elements was concerned.


The Hal Roach library is a prime example, especially the Laurel and Hardy films — which fortunately are being given gold standard restorations. “One Million B.C.” is a Roach production that changed hands many times, and desperately needed a full restoration, which fortunately it received some years ago by the UCLA Film and Television Archive. This is the version VCI transferred to digital and subsequently made fix-ups to make the movie look even better than the photochemical restoration. This digital master was used to replicate DVDs and Blu-rays.


I QC Sprocket Vault releases at home using a 50” 1080 LED with a 10’ CTS “couch to screen” – according to the minimum setback distance should be at least 6’.


VCI QC’s theirs using a 43” Sony LCD from both 5’ and 11’ (no “couch”!) – minimum setback should be at least 5.5’.


Both my home and VCI’s screening rooms were designed to replicate small media or living rooms where imperfections would be more noticeable because pixels and digital anomalies are more visible the closer you sit to a TV. The average TV is 55” (7.5’ min. recommended setback), but most people watch them in larger rooms. As a result, both VCI and I have received very few complaints about digital issues through the years. BTW, Bob Blair, president of VCI, told me he is going to start QC-ing on a larger, sharper TV.


VCI has released hundreds of movies over the past 40 years, and doesn’t always bat a thousand, but close to it.


However, some forum members were out for VCI’s blood, savaging them to the point of suggesting they be drummed out of business.


VCI informed me they tried to recreate that vertical interlacing but were unable to figure out how it was originally introduced to the digitally restored master. They suspect their previous video noise reduction software, which had been subsequently upgraded, may have caused it.

My policy is to refund a customer’s money – sorry, no blood — if they aren’t satisfied with their purchase. Bob Blair, president of VCI, agrees, but he still financed an expensive re-do of “One Million B.C.” and will send copies to any dissatisfied customers.


“Were movies made to be this sharp?” If you’re talking about those produced on film, by and large NO; classics and older films, definitely NO. Certainly, the pre-digital filmmakers, and certainly the old masters, never intended the viewer to see every pore in Judy Garland’s face, or the Creature from the Black Lagoon’s zipper.   Today, of course, they airbrush on makeup.


The beauty of a good movie is you can project yourself into it, not the other way around. Some filmmakers (Martin Scorsese’s “Hugo” comes to mind) have been able to give you both experiences at the same time.


I may be living in the past, but to me super sharp TVs are more geared for sports, travelogues, reality shows, and science fiction/action films that are low on script and high on CGI.


Oh, ultimately, my Costco experience was extremely disappointing, and it had nothing to do with my tour of those state of the art TV’s. It was their DVD/Blu-ray aisles. Did I say “aisles”? Maybe one “aisle”? No…just one carton.


costco box


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It’s been widely reported that the vast majority of millennials have not watched a black and white movie all the way through, if at all.


I can tell you from my personal experience with Netflix that one of the main reasons older/classic films on Netflix are rapidly declining is because they hired people in their 20s to do the programming – techies and/or MBA’s with no film background.  To them “old” and “classics” were interchangeable, so it wasn’t surprising for them to literally or figuratively close their eyes, touch a list and – bingo – selection made.  That’s why you got “classics” like “Blood of Dracula’s Castle” instead of “Dracula,” “Psycho” (1998) instead of “Psycho” (1960) – hey, newer in color must be better.  (According to Newsweek there are just 43 movies on Netflix streaming made before 1970)


I can hear the scheduling conference in Silicon Valley now, “Any of you hear of this ‘Dumbo’ from Disney?   Sounds boring.  Hey, they also have “Operation Dumbo Drop,” perfect – lot of poop jokes so we can double it up with ‘Superbad’.”  (I did say 20-somethings.)


What happened next?  These “so-called” classics failed to generate viewers, and the wet behind the ears film buyers went to their superiors with the proclamation “no one wants classics.”


Amazon Prime Instant Video still offers at least a semblance of classics, but it’s a combination of the usual third generation public domain movies we’ve seen in every big box store’s dollar bin, and a lot of lackluster quasi-classics again selected by title.  No different from Netflix.  Don’t blame the studios — they license classics affordably — so it isn’t a matter of money.


Remember the saying when cable and satellite expanded and we said “300 Channels and nothing to see?”  Now it’s 1,000 channels, and one to see – TCM.


The owners of classics — major studios as well as minor leaguers like myself — all expected a world of hundreds of channels on cable, later satellite, and then download/ streaming to mean new outlets for older films, called “library titles” in the biz.  Didn’t happen.    Instead, we got reality shows and their never-ending spinoffs.  Setting aside movies for the moment — try and find a good selection of TV shows made before 1980.


There are 76 million baby boomers (born between 1946 and 1964) living today, and 79 million Generation Xrs (b. 1965-80).  Hollywood and Silicon Valley are ignoring the entirety of Boomers, and a chunk of Xr’s, is one reason DVD and Blu-ray sales of older films and television series continue to sell briskly.


As we proudly attest on The Sprocket Vault website, you’ll find a varied collection of DVDs and Blu-rays in almost every genre ranging from classics, the not-so-classics, and countless hours of entertainment in-between.


And I should add: “Movies You Won’t Find on Netflix!”


Here’s the Newsweek article:


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I still love running celluloid through my fingers, and was fortunate enough to find a way to turn my modest Laurel and Hardy collection into a thriving 45+ year career.





The oddest film collectors and dealers make for fascinating psychological profiles.  You’ll learn why, and a lot more, by reading Dennis Bartok and Jeff Joseph’s book, “A Thousand Cuts” (University Press of Mississippi/2016), with the subheading, “…the bizarre underground world of collectors and dealers who saved the movies.”


I lived through the film collecting heyday, and knew collectors and dealers, at least by correspondence, and most of the ones in Dennis and Jeff’s book by reputation.  Believe me, you couldn’t make them up!


This blog started out as a book review, but ended up as a memoir.  It brought back so many memories that I decided to share some with you.  A complete description of the book follows my trip down a bizarre memory lane.


I attended a few movie buff conventions in the 1970s, “Cinecon,” was the best for silent and early talkies, and The National Film Society,” usually specialized in the 1940s and 50s.


They were there – the collectors — sometimes lived with Mom, had some semblance of a theatre in the basement, and hoarded celluloid as if it were air itself.


In the early 1970s, the convention attendees ran the gamut of age.  It was fun to see people passionate about old movies and their film collections.  I “spoke film,” as did they, and loved to join in the conversations.


However, by the early 80s, when I took my wife to a couple of these events, the more eccentric of the bunch were starting to look a little odd.  Mismatched clothes, pale skin, paunchy, and only seemed to talk about their treasured prints.   “IB Tech,” “adapted scope,” “dupe,” “reduction print,” and “Kodak original,” seemed to be in every other sentence.


She couldn’t understand people endlessly discussing the merits of Cinecolor, and moreover, just who was Raymond Rohauer, and why does everyone want him dead?


By the 2010’s when Dennis Bartok and Jeff Joseph started writing their book, some of the collectors still lived in the same houses they grew up in.   Mom was long gone, curtains closed, and their cherished film stacked like an obstacle course throughout the house.  I know one collector who used every bit of floor space and resorted to using his kitchen counters and half of his double-sink.   Like I said, you couldn’t make this stuff up.


As the years progressed, sitting endlessly in the dark presumably eating movie theatre food, took a toll on their health to the point that picking up heavy reels and operating a projector became difficult, or impossible.


Let’s back up.  Long before DVDs and Blu-rays, before VHS, if you wanted to collect movies and show them in your home, it had to be on 16mm film.  A few collectors even had 35mm (even 70mm) setups in their homes, which gave them major bragging rights.  16mm was used everywhere video/digital is now; non-theatrically (schools, libraries, universities, airlines, summer camps, you name it) and television.  Prints weren’t cheap to manufacture, and the studios didn’t make copies for collectors…so a black market was created, the more desirable the film, the higher the price.


Entrepreneurs with a bit (or a lot) of larceny found ways to steal or make copies of varying degrees of quality to sell to eager buyers.   “The Big Reel,” was a tabloid full of ads enticing collectors to buy, sell or trade thousands of prints in each issue; I loved reading it.  According to the book, at one time there were 4800 subscribers, so we know there were at least that many collectors.   A lot of the film dealers (don’t get me going on Thunderbird Films) were shady at best, and worthy of a blog themselves.  No need for that, just read Dennis and Jeff’s book.


Apart from the very few who actually deprived studios or television and non-theatrical distributors* by using bootleg prints commercially, or out-and-out stole them from television stations or film exchanges, collecting film had a benign effect on studio profits.   (You could buy 16mm movies legitimately from companies like Blackhawk Films, but they were predominantly silent movies and talkie shorts.  As a kid, I saved my money to buy 8mm, later 16mm, Laurel and Hardy shorts from Blackhawk.  Jeff Joseph did the same thing, which makes us kindred spirits.)


But, politics and hysteria got involved.  The Motion Picture Association of America (MPAA) conjured up out of whole cloth an absurdly high amount of money the collectors were stealing from the studios.  The inevitable witch hunt commenced, the FBI called in, some film collectors (actor Roddy McDowall was the most high profile) were arrested, and their collections seized.   This whole legal travesty, a dark side of the Justice Department, was eventually overturned in court.  A friend and mentor, Al Drebin of Budget Films, had a lot of films taken, only to receive a call years later from the FBI, “What do you want us to do with all of this film of yours?”   He got his films back, but I guess they forgot to reimburse him for all the legal fees he racked up defending himself.


It was routine for studios to throw out footage they felt was worthless.  Of course, no celluloid is worthless to a film collector, and their midnight dumpster diving has turned up one of a kind riches we now enjoy on DVD.  Things like deleted scenes, stereo sound tracks, missing footage, or even whole movies.   Thank you, film collectors.


“A Thousand Cuts,” is so deftly written that those without a whit of film knowledge will enjoy the book for its character studies, alone.   Had it not been for Dennis and Jeff, this entire subject would probably have been lost to history.


Below is a description of the book as copied from the dust jacket:

A Thousand Cuts is a candid exploration of one of America’s strangest and most quickly vanishing subcultures. It is about the death of physical film in the digital era and about a paranoid, secretive, eccentric, and sometimes obsessive group of film-mad collectors who made movies and their projection a private religion in the time before DVDs and Blu-rays.

The book includes the stories of film historian/critic Leonard Maltin, TCM host Robert Osborne discussing Rock Hudson’s secret 1970s film vault, RoboCop producer Jon Davison dropping acid and screening King Kong with Jefferson Airplane at the Fillmore East, and Academy Award–winning film historian Kevin Brownlow recounting his decades-long quest to restore the 1927 Napoleon. Other lesser-known but equally fascinating subjects include one-legged former Broadway dancer Tony Turano, who lives in a Norma Desmond–like world of decaying movie memories, and notorious film pirate Al Beardsley, one of the men responsible for putting O. J. Simpson behind bars.

Authors Dennis Bartok and Jeff Joseph examine one of the least-known episodes in modern legal history: the FBI’s and Justice Department’s campaign to harass, intimidate, and arrest film dealers and collectors in the early 1970s. Many of those persecuted were gay men. Victims included Planet of the Apes star Roddy McDowall, who was arrested in 1974 for film collecting and forced to name names of fellow collectors, including Rock Hudson and Mel Tormé.

A Thousand Cuts explores the obsessions of the colorful individuals who created their own screening rooms, spent vast sums, negotiated underground networks, and even risked legal jeopardy to pursue their passion for real, physical film.


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*In the old Kit Parker Films non-theatrical days, a collector, under the guise of a bogus “museum,” rented just about everything we had concerning Nazis.  Things like “Triumph of the Will,” and the mini-series, “Holocaust.”  After a while we noticed none of them were returning.  Each time we’d call there was an excuse.  Even Marci Krause, a member of the KPF team known for getting prints back, couldn’t succeed.  I suggested Marci call this “museum curator” and tell him Mr. Parker found a big box of Nazi concentration camp home movies, and would they be of value to the “museum.”  Of course, the proviso was first he had to return all of our films.  They arrived the next day by FedEx, along with a call, “Did you send the concentration camp movies?”  Marci’s response was “Gotcha.”


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9076c46106bf6684fbbc9d3b478437f6--one-million-the-movie (003)

The first time I saw ONE MILLION B.C. (1940) was in the late 1950s on KSBW-TV in Salinas, California.  Thought it was pretty cool, even though the station always was kind of fuzzy.  (The VCI DVD and Blu-ray are exceptionally sharp)  There was never any doubt the “dinosaurs” were anything other than lizards, but that made no difference to me, nor to the Academy of Motion Picture Arts and Sciences who bestowed an Oscar for its special effects.  Clips of the “dinosaurs” were later used in over a dozen low-rent feature films, including two of mine, “Untamed Women” (1951) and “King Dinosaur” (1955).

The one shot that did stun me was watching the mother of a child being entombed by flowing lava.  60 years later it still kind of gives me the creeps.  I enjoyed the movie enough to buy both Castle Films one-reel silent abridgements, “1 Million B.C.” and “Battle of the Giants.”

Author, Richard Bann, who personally knew Hal Roach for many years, was nice enough to contribute some facts.  Thanks, Dick!

“Who wrote ONE MILLION B.C.? Hal E. Roach did. At one point he was going to (but elected not to) take credit for the original story as “Eugene Roche,” a pseudonym he sometimes (but rarely) used, Eugene being his middle name. Having known him so well, I can state that this direct, blunt, raw movie absolutely reflects his world view, his values, his way of thinking. Yet others received credit for the “original screenplay.” One, Mickell Novak, was his secretary, who I met once. She confirmed that Hal wrote the picture, and others who “helped” in some fashion were given screen credit to pad the production staff. When Hal first entered movies, he was a friend of and hired her mother, Jane Novak, who made Westerns with William S. Hart. And Mickell Novak’s aunt was another silent film actress of note, Eva Novak. And much has been written about the contributions of D.W. Griffith to ONE MILLION B.C. in various capacities. With respect to the story, Griffith wrote several treatments and offered a 76-page screenplay. All were rejected. By 1940, movies made in the teens seemed as antiquated as the setting for ONE MILLION B.C., and unfortunately Griffith had not changed with the times.”

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Blu-ray –


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Option 1:  Use Scotch tape, scratch remover and melt with a blow torch.

Option 2:  Contact us and we’ll send a speedy replacement.

A customer tried Option 1 and sent us the following unedited message:


burning dvd

“hi, could you please refund me on the dvd disc. I played this dvd disc on my dvd player, and it did NOT work. I took it out and found huge scratches and huge cracks in the disc. I repaired the huge scratches with scratch remover, and I repaired the huge cr acks with scotch tape. I then put it back in the dvd player to see if it would play better, but it would NOT play better AT ALL. the lasers inside the dvd player would NOT even recognize the dvd disc AT ALL. it was too IMPOSSIBLE to even be recognizable AT ALL. my other dvd discs work perfectly normal and great on my dvd player, and my dvd player still works perfectly normal and great as well. it’s just that the dvd disc would NOT even play well AT ALL. my other ones did. I just about tried everything I could even do to repair this dvd disc, but NONE of the ideas worked AT ALL. it was just too IMPOSSIBLE to even be recognizable, and there was absolutely NOTHING else I could even do about it AT ALL. I tried to send the dvd disc back to you, but when I was down in my basement welding something together, I had it with me, and when it fell out of my pocket, i accidentally melted the whole entire item with a blow torch. the whole entire item completely melted down into tiny little specs, and there is absolutely NOTHING left of this item WHATSOEVER. i have absolutely NO replacement for this item WHATSOEVER. so please refund me. i need my money back. thank you.”

Of course, we promptly returned his money along with an apology for his inconvenience.

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