Word: herm
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Dates: during 1960-1969
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...Herm was in town recently to publicize Konga, not to speak at Harvard--although he has addressed groups at many colleges. "When I spoke at SMU, a girl asked me, 'How can you come hear and talk to us? Why doesn't Hollywood make more pictures for intellectual audiences?'" I asked the class who had seen my Horrors of the Black Museum, which had played at the Varsity Theatre, and no one raised his hand. So I went over to the professor and turned his back to the class, and asked again. This time a lot of people raised their...
...Herm learned that 72 per cent of the movie market is between the ages of 12 and 26. He decided that he should gear his films for the "weekly market"--not for the people "who decided to go to a movie once every three months, study the listings very carefully, and then go to something like Ben-Hur." Then he "took three steps backward, and analyzed. Some of the biggest pictures were horror classics; I added the teenage element for today's audience. Now it's tough for me to shake the kick...
...Herm thinks his films serve a psychic purpose: "None of us ever rids himself of terror. My pictures can help a normal mind rid itself of fears--if someone has a mental twist, then he shouldn't be allowed outside...
With Konga, Herm has really gone big time. Teenage Werewolf, with a budget of $150,000, grossed $2 million; Konga cost $1 million just to produce. The film was made in England, where Cohen worked seven months to perfect SpectaMation--a technique of superimposition which apparently should revolutionize trick photography. (An example appears on this page...
According to Herm, "Konga opened very big in London," and should be a "blockbuster," At previews in London and Hollywood, he said, "Girls actually cried when Konga was killed and shrank back to size. It's very...