來源：MJJCN.com / Movieline）
編譯：小麥-Joserin
日期：2010-09-10
－ 此篇采訪時間為2009年7月 －
By:
Michael Adams || July 14, 2009
Exhausted by endless replays of Thriller? Fed up with CNN treating Michael Jacksons's "ghost"
as actual news ? This week, a special edition of The Cold Case talks to Mick
Garris about 1997's Ghosts, the all-but-forgotten 38-minute film he
created with Michael Jackson, the late Stan Winston and horror legend Stephen
King.
In the 24/7 media meltdown that surrounded Michael Jackson's untimely death, it appeared that every clip of the superstar was unearthed, dusted off and replayed over and over. Even so, somehow, every story or tribute package led to 1983's Thriller, that game-changing 14-minute horror short that remains the highest-selling music video of all time. We should probably be grateful that the networks didn't have a working VCR and a copy of 1997's Ghosts, lest we be subject to an immediate overload of TV talking heads' endless analysis of what it meant and, God forbid, what it predicted.
To be fair, this 38-minute short film, not so much a sequel to Thriller than an operatic bookend, lends itself to such discussion. In it, Michael Jackson depicts himself as a misunderstood monster who's persecuted by those who love and hate him -- led by himself. The singer messes with his face, turns white, dies, is resurrected and moonwalks as a skeleton. Most poignantly, Jackson asks his fans and followers whether they've been scared and whether they've had fun. The answers are yes and yes.
Early in his career, Mick Garris, creator of the Masters Of Horror TV series and director of Stephen King adaptations such as The Shining and The Stand, and his wife Cynthia donned zombie make-up for Thriller. A decade later, Garris became part of the team that put Ghosts together. He spoke with Movieline recently about developing the project, working with his formidable creative partners and how Jackson battled monsterdom both onscreen and in real life.
First things first: How did you come to be a zombie in Thriller?
John Landis had already been a friend for several years. We actually met when I was a receptionist for the original Star Wars at an off-lot office at Universal. John's office was next door to mine when he was prepping Animal House. And Rick and his wife at the time, Elaine, had been very close friends and neighbors to me and Cynthia. So when they invited us, we came running. I was a hopeful writer then, doing publicity for studios and the like, just starting to get screenwriting jobs.
Was there the sense that you were seeing pop-culture history being made?
We knew we were doing something special, but had no idea just how special. We knew it was a much bigger scale than music videos at the time had been, and so much different than the usual 1980s performance things. But watching Michael come alive on that first night I was there was electrifying. I became a fan right there.
Did you become friends with Michael Jackson then?
We did not become friends at that point. Later on, when I was shooting The Stand, Stephen King and Michael put together a script for another scary music video -- one with huge scale, even compared to Thriller. King recommended me for it, and that's where I really met Michael on a one-to-one basis. We became friends through that experience.
What did you think Michael wanted to achieve with Ghosts?
Michael wanted to make the biggest, scariest music film ever. Well, I don't know that that's what happened; you can't really be scary in this context, but it's huge, the music and dancing are great, and it's quite the spectacle. And it definitely got its point across. That theme of the outcast stranger that he and King created was important, and stayed the focus through various incarnations.
How did you get involved, and how did the collaboration between you, Michael, Stan Winston and Stephen King work?
I was actually the original director. It was begun in 1993, and I worked with him throughout pre-production and two weeks of production. It shut down for three years before resuming under Stan Winston, who was doing the effects work when I was directing. I recommended him to finish shooting when it resumed, as I was about to shoot The Shining. So yeah, I was on set a lot. But I was not there when the production continued in 1996. I'd get midnight calls from Michael, who was so passionate about finishing it, making it special. He and Stan had become friends way back when they did The Wiz together.
In the beginning, he and Steve did the script together, and I wasn't really privy to what went on then. It was when it was greenlit that Michael and I and Stan would get together for hours on end, planning the complicated effects as well as the music and storytelling. But it started as something completely different. Nobody knows this, but it was originally going to be a video to promote Addams Family Values. In fact, Christina Ricci and the boy who played Pugsley were both in it. We shot for two weeks and never got to the musical numbers. It was very expensive and ambitious. And when the first so-called scandal happened, it was when we were shooting. Suddenly, Michael was out of the country, and the studio no longer wanted him to help promote that film.
What does it mean to you now that Stan and Michael are both gone?
It's incredibly sad, of course, and really tragic. Stan was a very talented and funny and friendly man. But I was closer to Michael, spent more time with him. It really breaks my heart to see what happened to him. He was always very fragile, had lots of trouble sleeping. He reminded me a lot of Don McLean's song about Vincent Van Gogh. The world can be mean, and Michael didn't have a mean bone in him. Very vulnerable and sweet. And what most people don't realize is how smart he was and especially how funny he could be. A very witty, explosively talented guy.
Did Michael hope Ghosts would break out as big as Thriller?
Michael always seemed to hope to make something that would be huge. He thought big, because his whole life seemed to be surrounded by magnitude. I don't know what his hopes were in terms of comparing it with Thriller, but I know he thought it would be very special.
Ghosts and Thriller see him as a charismatic, playful "monster". Do you think he kept having fun with that reputation, even when the media turned on him?
He was very playful with that image, though as the press got meaner, he was definitely hurt by it, and pulled back and became more reclusive. But though we were friends, it wasn't like I saw him all the time. A couple years could go by without seeing or speaking with one another, but when we did, we always had a good time.
Where were you when you heard he'd died? What did you immediately think and feel?
I was driving in my car when I heard on the radio that he'd been found unconscious and had been rushed to the hospital. I was stunned, of course, like everyone. Then, about an hour or so later, when I heard it rumored that he had died, I just couldn't believe it. It took a couple of days for it to sink in. Maybe it was inevitable, I don't know. I just know that he was fragile, sensitive, and an incredibly sweet and generous guy. It broke my heart, just like it broke the world's. And I really felt for his kids, who are terrific and unspoiled in a way you wouldn't imagine. At least, they were when I last saw them a couple of years ago.
As someone who knew him, what's your reaction to the 24/7 speculation and media coverage?
I don't know, I hate to speculate. I know he had his demons, fears, fragility. I really wasn't exposed to the drug usage or any of that stuff. It was not that intimate a relationship. All I know is that he was someone I liked a lot, and was privileged to know and work with, and I miss him. Even though I hadn't seen him in a couple of years, it always seemed like we'd be getting together again soon to talk about movies, and laugh and joke and have fun. It makes me so sad that it won't ever happen again.
Did you see the loneliness and sadness claimed to have been his constant companion?
One of my earliest meetings with him was in New York, where he had a penthouse apartment in the Trump Towers. He was so very lonely. He'd take me to the window and point down at Fifth Avenue below and tell me he'd give anything to be able to just walk down there and go into the shops, but he couldn't. I went out to visit him in Orlando, and was surprised to find that I was the only one, other than staff, that was around with him. There was nobody but us for a couple of days. I don't think he had a lot of close friends, people who didn't want something from him.
Your enduring memory of him will be...?
Making him laugh. When Michael laughed, when you got to him for more than just that giggle behind the hand, it was a sight to see. He just loved to laugh, and it was fun to tease him gently. Maybe one of my favorite memories was on the set of Ghosts; we'd finish a take, and if I wanted another, I'd put on Bullwinkle's voice and say, "This time for sure!" The first time, he just laughed and laughed and laughed. Then he'd keep asking, even after the good takes: "Mick, do Bullwinkle!" That's how I like to remember him.
Will Ghosts get a DVD release now?
I hope so. It was hugely expensive, and never released in the United States. He paid for it out of his own pocket, too. So I don't know who owns it. But I think people would love it. It changed a lot from the time that I worked on it to the time it was finished, but it's quite an accomplishment. I'd love to see it available. The only copy of it I have was one I came across in a music store in Hong Kong, on the old VCD format. It deserves better. ♦
日期：
－ 此篇采訪時間為2009年7月 －
已經對反復播放的《顫栗》（Thriller）厭倦了麼？對CNN把邁克爾·傑克遜（Michael Jackson）的《幽靈》（或譯作：《鬼怪》《影舞傳說》，Ghosts）當作普通新聞播放感到煩感麼？這周新一期特別版懸案節目（Cold Case）將采訪1997年《幽靈》的編劇米克·加里斯（Mick Garris），這部由邁克爾·傑克遜，斯坦·溫斯頓（Stan Winston），以及具有傳奇色彩的史蒂芬·金（Stephen King）共同創作的，幾乎被人們遺忘的長達38分鐘的音樂錄影帶。
“24/7媒體” 一直播放著與邁克爾·傑克遜意外死亡有關的新聞報道，一夜間，幾乎所有關於這個超級巨星的唱片和音樂錄影帶都被翻出來，擦去表面的浮土，一遍一遍地播放著。然而，即便如此，每個節目或致敬欄目都會提及1983年的《顫栗》，這個改變音樂行業標準的長達14分鐘的驚悚音樂錄影帶，也是有史以來銷售量最高的奇跡。我們應該慶幸的是電視上並沒有播出過1997年《幽靈》的錄像和拷貝，不然的話，我們所要面對的就會是電視裏沒完沒了對劇情的分析，以及，這一切將要預示的事情。
從公平的角度來看，這部長達38分鐘的小電影，並不是《顫栗》的延續，更多的是因它的歌劇色彩，將其帶入這樣的一種討論中。影片中，邁克爾·傑克遜將自己裝扮成一個被誤解的怪物，被那些喜歡他和厭惡他的人們質疑，傑克遜問喜歡他的人們，他們是感覺害怕又是否感到很有趣。得到的回答均為“是”。
在米克·加里斯的職業生涯中，他是《驚悚大師》（Master Of Horror）電視連續劇的創始人，是史蒂芬·金的小說，《閃靈》（The Shining），《末日逼近》（The Stand）的導演，而他的妻子賽西亞（Cynthia）則是《顫栗》中僵屍裝的化妝師。十年後，克裏斯又成為《幽靈》團隊中的一員。近日他接受“影視院線”（Movieline）的采訪，談及當年製作這個項目的情景，與出色搭檔的合作，以及邁克爾·傑克遜是如何與“怪物流言”在舞臺上和現實生活中進行對抗的。
你是如何參與到《顫栗》的創作團隊中的？
那時約翰·蘭迪斯（John Landis）與我已經是多年的朋友了。第一次見面時，我是《星球大戰》（Star Wars）劇組在“環球公司”（Universal)一間辦公室裏的接待員。約翰當時正在準備電影《動物屋》(Animal House)，他的辦公室就在我們旁邊。瑞克和他的妻子伊蓮與我和妻子賽西亞是鄰居，並且是非常要好的朋友。所以當他們邀請我們的時候，就直接去了。我那是還是個充滿夢想的作家，為一家工作室做一些宣傳之類工作，剛剛開始寫劇本。
你是否有見證流行音樂文化歷史性變革的感覺？
我們知道自己正在做著一件特殊的事情，但是沒有意識到到底有多麼特別。我們知道這在當時比普通音樂錄影帶的定義要更寬廣，而且與1980年代的表演形式與眾不同。但是與邁克爾·傑克遜本人見面的第一個晚上我就被震撼了，立即變成了他歌迷中的一員。
那時你有沒有跟邁克爾成為朋友？
那時我們還沒有成為朋友。之後，在我拍攝《末日逼近》的時候，史蒂芬·金和邁克爾正為另一隻驚悚音樂錄影帶準備劇本－－一個大規模，甚至可以和《顫栗》相比擬的新作。金推薦我加入，也就是那時，我才終於跟邁克爾有了單獨見面的機會。通過那段經歷我們成為了朋友。
你認為邁克爾想通過《幽靈》成就什麼？
邁克爾想要拍攝有史以來最讓人驚悚的音樂錄影。其實，我並不知道到底是怎麼回事；你通過臺詞完全不覺得可怕，但是這是個巨大的項目，音樂以及舞蹈都非常有氣勢，而且十分震撼。其結果也確實很有說服力，片中流行音樂之王飾演的那個受到排斥的陌生人角色非常重要，並且即便外型多次發生變化，他依然是全局的焦點。
你是如何得到邀請的？你跟邁克爾，斯坦·溫斯頓以及史蒂芬·金是如何合作的？
我其實是最初的導演。這個計劃早在1993年便開始了，我跟邁克爾一起準備了前期製作和兩個星期左右的製作資料。然後擱淺了三年，直到斯坦·溫斯頓的加入才重新啟動，他那時正在從事後期效果的工作。由於我要去拍《閃靈》（The Shining)，便推薦他去繼續拍攝。於是，我便經常呆在拍攝現場，但是到了1996年，我就不在那裏了。我半夜接到邁克爾打來的電話，他充滿激情地表達自己想要完成作品的願望，要讓它與眾不同。他跟斯坦兩人早在拍攝《新綠野仙蹤》（The Wiz）的時候就成為了朋友。起初，他跟史蒂夫一起研究劇本，而我對於他們的進度並不知情。快到後期製作的時候邁克爾與斯坦同我一起工作了好幾個小時，一直到最後結束，設計復雜的特效，音樂以及故事線。但是，最初的情況是完全不同的。沒有人知道，這原意是為了宣傳《亞當斯一家的價值觀》（Addams Family Values）而拍攝的。實際上，克莉絲蒂娜·瑞琪（Christina Ricci）和演奏Pugsley的男孩子們都參與其中。我們大約拍攝了兩個禮拜，沒有涉及到配樂部分。整個項目非常昂貴，耗費巨大。而當第一次所謂的醜聞爆發時，正是拍攝進行期間。邁克爾突然間出國了，工作室也就沒有再找他繼續推進那個項目。
邁克爾和斯坦都已去世，這對你來說意味著什麼？
非常悲傷，當然，感到很悲慘。斯坦是個極具天才，風趣，很友善的男人。但是我與邁克爾走得更近些，與他共處的時間更多。看到發生在他身上的事情讓我心碎。他總是很脆弱，睡眠方面有障礙。他跟我聊了許多唐.馬克林（Don Mclean）為文森特·威廉·梵古（Vincent Van Gogh）所作的歌（見下面的視頻）。全世界都可以心胸狹窄，但是邁克爾骨子裏卻沒有。他非常敏感溫柔。而且大多數人們並沒有注意到他的聰慧和幽默。他是一個情趣橫生，具有爆發力的天才男人。
"Vincent"
by Don McLean (w/ lyrics & paintings of V. Van Gogh)
邁克爾·傑克遜有沒有希望《幽靈》能夠像《顫栗》一樣造成轟動？
邁克爾好像一直都希望做些轟動性的事情。他思考的東西很多，因為他的一生似乎都被不可思議圍繞著。如果說與《顫栗》相比較的話，我不知道他所希望的是什麼，但是我知道他把《幽靈》看得不同尋常。
從《幽靈》和《顫栗》中可以看出他所要塑造的有超凡能力的，喜歡戲虐的“怪物”，你覺得他一直都以這種形象為樂麼？甚至在媒體針對他的時候？
他對於這個形象很不以為然，但是，當媒體變得越來越刻薄的時候，他確實感到非常受傷，開始退出人們的視線，過著越來越隱居的生活。我雖然不能與他經常見面，但我們依舊是朋友。有時幾年都不相互聯系，一旦見了面，我們還是會相談甚歡。
當你得知他的死訊時人在哪里？當時的感受是怎樣的，想到了什麼？
當時我正在開車，聽到廣播裏說他被人發現失去知覺並被送到醫院搶救。我整個人呆住了，當然，跟每個聽到這個噩耗的人一樣。然後，大約一個多小時之後，當我聽到流言說他已經去世了，簡直不能相信。花了好幾天才逐漸接受這個事實，也許這件事是無法避免的，我不知道。我瞭解的他是個脆弱，敏感並且非常溫柔美麗的人。這讓我心碎，就像全世界為他心醉一樣。而他的孩子們，你想像不出有多棒，從沒有被嬌生慣養過。至少，在我幾年前最後一次見到他們時是這樣的。
作為一個瞭解他的人，你對於“24/7媒體”做出的推測和媒體報道？
不知道，我討厭臆測。我知道他有壞習慣，有所懼，有脆弱的一面。我沒有見過他使用藥物或者其他一些東西。我們的關系還沒有那麼密切。我所瞭解的就是，他是一個我非常喜歡的人，一個我原意與之相識與之共事的人，我非常想念他。即便我已經好幾年沒有見過他了，但是給我的感覺就好像我們會很快就會相聚，談論電影，一起開懷大笑，開玩笑，共同渡愉快的時光。然而這些都不會再有了，這讓我感到非常悲傷。
你有發覺到他一直在抱怨的孤獨和憂傷麼？
我早年有一次與邁克爾在紐約見面，他在川普大廈（Trump Towers）有一個頂層公寓，他當時非常孤獨。他指引我來到窗前，向下指著第五大道說，他寧願放棄所有只要能自由自在地在街上走走，到商店裏轉轉，但是他卻辦不到。我去奧蘭多看望他，非常吃驚地發現，他身邊除了工作人員之外竟然只有我一個人。一連幾天中，只有我們幾個人，我不認為他有很多親密的朋友，那種不想從他身上得到什麼的人。
他給你印象最深的事情是什麼？
把他逗笑。當邁克爾笑的時候，當你讓他不僅僅是用手捂著嘴咯咯笑的時候，那真是值得一看。他真的非常喜歡笑，而且不溫不火地開他玩笑最有意思。我想我印象最深的一段回憶就是在《幽靈》拍攝現場；我們剛結束中間休息時間，當我想繼續休息會的時候，便學著bullwinkle的聲音說“這次沒問題！”起初他只是笑啊笑啊，然後我們便不斷故戲重演，甚至是在休息了好久之後，還說：“麥克，像bullwinkle一樣！”這就是我最喜歡的關於他的回憶。
《幽靈》的DVD將要發行了麼？
我希望如此。會非常貴，而且以前從未在美國發行過，是他自掏腰包的。所以，我不知道現在誰擁有它。但是我想大家都會喜歡的。從我開始著手這個項目到最後的完成，做了很多的改變，卻取得了很大的成功。我希望看到它發行。我唯一的一個收藏就是在香港時，路過一家音像店買的一張VCD。《幽靈》應該被制做的更加精良。
The Cold Case: Director Mick Garris on
Michael Jackson's Forgotten Ghosts
http://movieline.com/2009/07/14/the-cold-case-director-mick-garris-on-michael-jacksons-forgotten-ghosts/
In the 24/7 media meltdown that surrounded Michael Jackson's untimely death, it appeared that every clip of the superstar was unearthed, dusted off and replayed over and over. Even so, somehow, every story or tribute package led to 1983's Thriller, that game-changing 14-minute horror short that remains the highest-selling music video of all time. We should probably be grateful that the networks didn't have a working VCR and a copy of 1997's Ghosts, lest we be subject to an immediate overload of TV talking heads' endless analysis of what it meant and, God forbid, what it predicted.
To be fair, this 38-minute short film, not so much a sequel to Thriller than an operatic bookend, lends itself to such discussion. In it, Michael Jackson depicts himself as a misunderstood monster who's persecuted by those who love and hate him -- led by himself. The singer messes with his face, turns white, dies, is resurrected and moonwalks as a skeleton. Most poignantly, Jackson asks his fans and followers whether they've been scared and whether they've had fun. The answers are yes and yes.
Early in his career, Mick Garris, creator of the Masters Of Horror TV series and director of Stephen King adaptations such as The Shining and The Stand, and his wife Cynthia donned zombie make-up for Thriller. A decade later, Garris became part of the team that put Ghosts together. He spoke with Movieline recently about developing the project, working with his formidable creative partners and how Jackson battled monsterdom both onscreen and in real life.
First things first: How did you come to be a zombie in Thriller?
John Landis had already been a friend for several years. We actually met when I was a receptionist for the original Star Wars at an off-lot office at Universal. John's office was next door to mine when he was prepping Animal House. And Rick and his wife at the time, Elaine, had been very close friends and neighbors to me and Cynthia. So when they invited us, we came running. I was a hopeful writer then, doing publicity for studios and the like, just starting to get screenwriting jobs.
Was there the sense that you were seeing pop-culture history being made?
We knew we were doing something special, but had no idea just how special. We knew it was a much bigger scale than music videos at the time had been, and so much different than the usual 1980s performance things. But watching Michael come alive on that first night I was there was electrifying. I became a fan right there.
Did you become friends with Michael Jackson then?
We did not become friends at that point. Later on, when I was shooting The Stand, Stephen King and Michael put together a script for another scary music video -- one with huge scale, even compared to Thriller. King recommended me for it, and that's where I really met Michael on a one-to-one basis. We became friends through that experience.
What did you think Michael wanted to achieve with Ghosts?
Michael wanted to make the biggest, scariest music film ever. Well, I don't know that that's what happened; you can't really be scary in this context, but it's huge, the music and dancing are great, and it's quite the spectacle. And it definitely got its point across. That theme of the outcast stranger that he and King created was important, and stayed the focus through various incarnations.
How did you get involved, and how did the collaboration between you, Michael, Stan Winston and Stephen King work?
I was actually the original director. It was begun in 1993, and I worked with him throughout pre-production and two weeks of production. It shut down for three years before resuming under Stan Winston, who was doing the effects work when I was directing. I recommended him to finish shooting when it resumed, as I was about to shoot The Shining. So yeah, I was on set a lot. But I was not there when the production continued in 1996. I'd get midnight calls from Michael, who was so passionate about finishing it, making it special. He and Stan had become friends way back when they did The Wiz together.
In the beginning, he and Steve did the script together, and I wasn't really privy to what went on then. It was when it was greenlit that Michael and I and Stan would get together for hours on end, planning the complicated effects as well as the music and storytelling. But it started as something completely different. Nobody knows this, but it was originally going to be a video to promote Addams Family Values. In fact, Christina Ricci and the boy who played Pugsley were both in it. We shot for two weeks and never got to the musical numbers. It was very expensive and ambitious. And when the first so-called scandal happened, it was when we were shooting. Suddenly, Michael was out of the country, and the studio no longer wanted him to help promote that film.
What does it mean to you now that Stan and Michael are both gone?
It's incredibly sad, of course, and really tragic. Stan was a very talented and funny and friendly man. But I was closer to Michael, spent more time with him. It really breaks my heart to see what happened to him. He was always very fragile, had lots of trouble sleeping. He reminded me a lot of Don McLean's song about Vincent Van Gogh. The world can be mean, and Michael didn't have a mean bone in him. Very vulnerable and sweet. And what most people don't realize is how smart he was and especially how funny he could be. A very witty, explosively talented guy.
Did Michael hope Ghosts would break out as big as Thriller?
Michael always seemed to hope to make something that would be huge. He thought big, because his whole life seemed to be surrounded by magnitude. I don't know what his hopes were in terms of comparing it with Thriller, but I know he thought it would be very special.
Ghosts and Thriller see him as a charismatic, playful "monster". Do you think he kept having fun with that reputation, even when the media turned on him?
He was very playful with that image, though as the press got meaner, he was definitely hurt by it, and pulled back and became more reclusive. But though we were friends, it wasn't like I saw him all the time. A couple years could go by without seeing or speaking with one another, but when we did, we always had a good time.
Where were you when you heard he'd died? What did you immediately think and feel?
I was driving in my car when I heard on the radio that he'd been found unconscious and had been rushed to the hospital. I was stunned, of course, like everyone. Then, about an hour or so later, when I heard it rumored that he had died, I just couldn't believe it. It took a couple of days for it to sink in. Maybe it was inevitable, I don't know. I just know that he was fragile, sensitive, and an incredibly sweet and generous guy. It broke my heart, just like it broke the world's. And I really felt for his kids, who are terrific and unspoiled in a way you wouldn't imagine. At least, they were when I last saw them a couple of years ago.
As someone who knew him, what's your reaction to the 24/7 speculation and media coverage?
I don't know, I hate to speculate. I know he had his demons, fears, fragility. I really wasn't exposed to the drug usage or any of that stuff. It was not that intimate a relationship. All I know is that he was someone I liked a lot, and was privileged to know and work with, and I miss him. Even though I hadn't seen him in a couple of years, it always seemed like we'd be getting together again soon to talk about movies, and laugh and joke and have fun. It makes me so sad that it won't ever happen again.
Did you see the loneliness and sadness claimed to have been his constant companion?
One of my earliest meetings with him was in New York, where he had a penthouse apartment in the Trump Towers. He was so very lonely. He'd take me to the window and point down at Fifth Avenue below and tell me he'd give anything to be able to just walk down there and go into the shops, but he couldn't. I went out to visit him in Orlando, and was surprised to find that I was the only one, other than staff, that was around with him. There was nobody but us for a couple of days. I don't think he had a lot of close friends, people who didn't want something from him.
Your enduring memory of him will be...?
Making him laugh. When Michael laughed, when you got to him for more than just that giggle behind the hand, it was a sight to see. He just loved to laugh, and it was fun to tease him gently. Maybe one of my favorite memories was on the set of Ghosts; we'd finish a take, and if I wanted another, I'd put on Bullwinkle's voice and say, "This time for sure!" The first time, he just laughed and laughed and laughed. Then he'd keep asking, even after the good takes: "Mick, do Bullwinkle!" That's how I like to remember him.
Will Ghosts get a DVD release now?
I hope so. It was hugely expensive, and never released in the United States. He paid for it out of his own pocket, too. So I don't know who owns it. But I think people would love it. It changed a lot from the time that I worked on it to the time it was finished, but it's quite an accomplishment. I'd love to see it available. The only copy of it I have was one I came across in a music store in Hong Kong, on the old VCD format. It deserves better. ♦
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