Fortunately, the actor I cast - Dennis Weaver -had his game face on the entire time we filmed and he sprinted, along with the rest of us, from one setup to the next. The network only gave me 11 days to shoot a 74-minute movie. I still think, even in the wake of his later classics, its still one of the greatest displays of Spielberg’s talent and a masterclass for young film makers.įor that screening, Spielberg sent along an email for me to read out about how he had approached shooting the film (in just eleven days). It is a pure engine for suspense, a brilliant exercise in near-silent cinema. I saw Duel on TV as a kid and marvelled, even then, at it. It was my mythic car action double bill - two films that were always on my mind when it came to making Baby Driver. FYI:Matheson has won Edgar, Hugo and Stoker awards.Seven years ago, I hosted a screening of Walter Hill’s The Driver and Steven Spielberg’s made-for-TV debut, Duel at the New Beverly cinema in Los Angeles. Readers will know many of these stories from their TV adaptations, but like the greatest hits album everyone sings along to, this book is a must-have for fantastic fiction fans. The selections showcase Matheson's minimalist style, which is perfect for elaborating the thoughts and ideas of solitary characters who find themselves facing challenges totally beyond their control. The parental nightmare of a lost child is a springboard for speculations on extradimensional travel in "Little Girl Lost," while "Steel" is a meditative treatment of technophobia presented in the unlikely form of a futuristic sports story. In "Lover When You're Near Me," extraterrestrial contact approximates a rape ordeal when a human emissary to another planet finds that the alien females are as telepathically irresistible as they are physically repulsive. "Trespass" transforms the mystery of motherhood into a ghoulish variation on the theme of alien invasion, when a pregnant woman's unusual cravings suggest that the child she bears is not even remotely human. Although decked out with the paraphernalia that defined 20th-century SF robots, interplanetary travel, close encounters of the third kind they are most memorable for reflecting the same fundamental fears and vulnerabilities that Matheson all but trademarked in his tales of supernatural horror.
Science fiction's forward-looking sense of wonder curdles into an apprehensive glance over the shoulder in the 18 tales that comprise this latest repackaging of Matheson's (Nightmare at 20,000 Feet) seminal fantastic fiction.
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