HERMETICA ORDER OF ARCANA: What are you working on in Bend, Oregon? How come you're working up north from your home base in Los Angeles? There are rumors about a book you're working on about Max Brand, as well as another book about Dashiell Hammett...

WILLIAM F. NOLAN: I came to Oregon to escape the big city pressures of L.A. It has been much easier to write here in Bend and over the last 14 months I have completed three books, a chapter outline for a fourth, five new short stories (three of which are set in Oregon), a poem, two teleplays, and three non-fiction pieces. The books include a volume on writing fiction, Let's Get Creative! (based on the adult classes I've been teaching at the local college), a 500-page bio on Max Brand, King of the Pulps, and a "definitive" 900-page bio/biblio on Hammett, A Man Called Dash--and right now I'm in the process of setting up a possible book deal with director Bryan Singer, Running With Logan (a production journal for the upcoming Warner Bros. film which is to begin shooting this fall in Canada. I hope to be on hand for the full shoot.) Although Los Angeles remains my home base (my wife is there) I plan a move to Tucson, Arizona, at the end of this year. I seek desert heat to replace Oregon cold!

HOA: You were born In Kansas City in 1928. Give us your personal impressions of growing up in Missouri back in the 1930s; was there any particular aspect of your Midwestern upbringing that may have influenced your dream to be a writer? Has your background had any profound influence on your personal evolution as a writer?

WFN: I spent the first 19 years of my life in Kansas City, growing up during the Great Depression. We had little money, and my parents fought hard to survive, having, at one point, to rent the front rooms of our small house in order to afford coal for the winter. The fact that I would someday receive a check for $80,000 in payment for a single TV script was totally beyond my wildest dreams! I grew up with Tarzan, pulp mags, London's White Fang, comic book heroes (Batman and Captain America), Big-Little books (Tiny Tim and the Mechanical Men), old radio (Terry and the Pirates, Jack Armstrong), Saturday afternoon serials (Tom Mix and Buck Jones). etc., I'm a proud product of pop culture. Out of all this came a compulsion to create lurid stories of my own--and I filled school notebooks with tales of the Lone Ranger and Mandrake the Magician, WW I flying aces, G-men and superheroes. Written at the age of ten, and on through the years that followed. But never with the thought of ever becoming a pro writer. In fact, writing (until I was 25) was always secondary to art in my life. I was a prize-winning cartoonist for my high school paper in K.C. and worked as an artist for Hallmark Cards, studied at the K.C. Art Institute and later had my own art studio in San Diego. Painted outdoor murals, had a one-man show, sold watercolors, etc. I was firmly aimed at a career in commercial art, having won several awards, when--one Sunday-- I wrote a story in an hour that sold to Playboy for $500! I was stunned. It was then that I accepted the fact that my true talent lay in writing not art. so I switched careers, and never looked back.


HOA: As a teenager, whose literary work was the most attractive to you? Nowadays, who gives you the same pleasure you enjoyed back then?

WFN: My main influences as a writer have been Max Brand, Ray Bradbury, H.G. Wells, Hemingway, Fitzgerald, and Faulkner. I still enjoy reading all of them. For my Brand bio I reread a total of 80 of his novels, back to back. Enjoyed every one! Currently, my favorite short story writer is Joyce Carol Oates. I've collected over 400 of her tales. Marvelous. And no one in the world writes better dialogue.

HOA: Writing seems to have been a primary interest of yours from the time you were a teenager--what was the point in your life that you decided you could do this on a professional level?

WFN: My career as a writer really took off in late 1955, and I've been selling steadily, month by month, for 51 years. At 28, I quit my office job to write fulltime--and have been able to make a good living out of words ever since. I never gave up art, and have illustrated and designed covers for more than a dozen of my books, plus doing the interior illos for Logan: A Trilogy. My latest book, Ill Met by Moolight, has some 80 pages of my artwork in it.

HOA: You left Kansas City in the late'40s. What made you decide to head out for San Diego? Were you pursuing commercial art at that time?

WFN: I left Kansas City in 1947 because an aunt on my father's side offered my dad a job running her lemon grove in Chula Vista, just outside San Diego. So we sold the house in K.C. and moved west. when the grove failed we moved to san Diego and finally, in 1953, to Los Angeles. I wanted to get into screen writing, and you have to live in L.A. to do that.

HOA: It would seem that a great deal of your early professional career as a writer centered around your love of automobile racing, as you have contributed significantly to many of the major automotive racing magazines. What was it like growing up in a household with your father, auto racing pioneer, Michael Cahill Nolan?

WFN: My father was a racing driver in the early part of the century. He drove the first motor car over the Sante Fe Trail, into New Mexico, in 1910. Naturally, he influenced my interest in auto racing. Sports car racing and Grand Prix racing entered my life in 1955 (no drags or stock car stuff) as a result of my friendship with Charles Beaumont. He owned a little MG-TC and I followed his lead by purchasing an Austin-Healey. We began attending all the local road races and ended up competing. (I won a trophy with my race-modified, Healey at the Hour-Glass Circuit near San Diego.)
I went on to write eight books and over 150 magazine pieces on road racing. Books on the first American GP champion, Phil Hill, on the legendary Barney Oldfield (who raced my father in 1910), and on John Fitch, the only American to drive for Mercedes-Benz. (Right now, I drive a classic Mercedes-Benz 280.) In the'50s and'60s, I was considered one of the nation's top automotive writers, but it all ended when Chuck Beaumont became ill and died at 38. I no longer follow the racing game. In fact, at the moment, I don't even know who's the current Grand Prix champion. This in contrast to the days when I covered races around the world (Nassau, Sebring, Monte Carlo) for Road & Track and Car and Driver. All in the past.

HOA: From your point of view, how did the Inner Circle of Southern California writers of fantasy and horror that you are associated with (Charles Beaumont, Richard Matheson, Ray Bradbury, George Clayton Johnson, and others) come together, and what effect (if any) did their work have on your own writing process? Many of the Inner Circle writers contributed quite a bit to both Rod Serling's TWILIGHT ZONE and Gene Roddenbery's STAR TREK. There's really no question that your work was as important or as commercially viable as any of theirs, so was there a conscious choice or strategy on your part to not go down that particular path?

WFN: In my edited anthology, California Sorcery, you'll find a complete history of "The Group" (me, Bradbury, Beaumont, Matheson, Bloch, George Clayton Johnson, etc.). As to Serling's show, I did write and sell a teleplay to Rod (recently printed in the anthology, Forgoten Gems from the Twilight Zone) and I recently adapted Beaumont's story, "Free Dirt", for a new version of Rod's old series which may or may not be telecast on the Sci-fi Channel. I knew Rod as a friend, and he liked my work a lot. Wanted more from me, but I was simply too busy to oblige him. Looking back on that period, I wish that I'd made time for him.
Regarding the "effect" of the Group, we all became better writers because of our all-night sessions, cross-criticism, etc. We each learned from the others. Wonderful years!

HOA: Did you at any point feel any sort of competition with the other members of the Southern California Inner Circle? Was there ever a sense of rivalry between you and guys like Matheson, Bradbury, etc.?

WFN: There was never any jealousy or rivalry between us. We were all very close and were delighted when one of us sold to Playboy or to TV, etc. Oh sure, there was a degree of very friendly competition but never any bitterness at another's success, only shared joy.

HOA: Were you aware of the mass popularity Logan's Run would have at the time you and Johnson create_d it? Were you attempting to make a sociological commentary for the times?

WFN: When we wrote Logan's Run in the fall of 1965 we knew that a death-at-21 novel would touch a deep emotional core in a mass audience. Nobody wants to die a forced death at 21! Of course, we didn't know it would become a classic in SF, but it surely has, which pleases us a great deal. But I knew from the outset that we had a real winner.

HOA: What is your reaction to Saul David's production of LOGAN'S RUN? In many ways, it's an altogether different story. How do you feel today about the production?

WFN: I have very mixed feelings about the MGM film. In many ways it is an example of how Hollywood "dumbs down" strong material. Logan should have had a much harder edge. The whole subtext of the novel was missing in the film--that an all-youth culture cannot survive without the maturity of older generations. As a result, the city is breaking down, including parts of the Great Thinker itself, but MGM chose to ignore all this, creating a domed Disneyland. (By the way, there are no domed cities in the novel; why use domes when the air is breathable?)
I like most of the film's first half (York and Agutter are terrific as Logan and Jess) but when they meet the Old Man with all of his cats the film begins to die, grinding to a halt while the old boy rants and raves. (There's no such character in the novel.) Also, Box was watered down to become a rolling vanity table--a far cry from the strong half-man, half-machine in the book. (And what is an ice cave doing on the top of a domed city?) Carousel, although visually dramatic and spectacular, makes no logical sense in the way MGM handled it. Since the film makes it clear that no one ever renewed, why would the citizens of the city keep attending? MGM should have shown that renewal is possible. But everyone explodes--which makes no sense.
Also, the ending is pretty silly when you consider the whole city collapsed because Logan shot out a couple of wall clocks. And where was Sanctuary??? Reaching it was the main point of the book. (And death at 30 is not nearly so shocking as death at 21.) I would hope that the new Warner Bros. film sticks closer to the book. We'll just have to wait and see.

HOA: You continued the success Logan's Run has enjoyed with two more Logan novels (presented as an actual trilogy), as well as a Logan "e-book"; there is also talk of Logan prequels in the making--what is it about this particular character that keeps you interested in the continuation of his journey?

WFN: I have completed extensive plot outlines for three Logan "prequel" novels (leading up to Logan's Run) and these are now in the hands of my New York agent. When the new film gets underway, generating a lot of publicity, the outlines will be submitted to publishers. Why do I continue to write about Logan? Simple. He represents my greatest success--so why not carry on with him? I'd be crazy not to.

HOA: At what point did you part ways with George Clayton Johnson regarding the evolution of the Logan story? Formally or otherwise, it would seem he has essentially turned over the character and his creative progression to your discretion? What is your relationship with him like today?

WFN: George and I remain good friends. However, we have gone in totally different directions in our lives. We actually tried to write a Logan sequel together, but it didn't work, so I took over the character (with his blessing).

HOA: Are there any hints as to where the pre-production status of the remake of Logan's Run lies? How much closer to the original novel will this remake progress?

WFN: I have not seen the screenplay for the new film, but I'm told that it is much closer to the book and that director Bryan Singer is a big fan of the novel. Time will tell. I have all my fingers and toes crossed. Singer says he plans to use parts of the MGM version, but I don't know which parts.

HOA: What sort of major changes in the writing industry have you weathered in the realm of popular fiction? Would it have been more difficult for you to be the established writer you are now if you were just starting out today?

WFN: I'm glad that I started out as a pro in the mid-1950s. There were far more markets for fiction in those days. Today it's much tougher for a new writer to break in. I got started just as the pulps died. By'55 they were gone. While they flourished, they served as a fabulous training ground for new talent, and there's nothing like them today. The reason that I have worked in so many genres (sf, fantasy, hard-boiled, horror, auto racing, aviation, mystery, tech writing, showbiz, westerns, etc.) has to do with what was popular with editors at any given period. I had to shift as popular tastes shifted in order to keep current. (Of course, I was excited about each genre or I could not have written in it.) For the most part, I've worked mainly in three fields: mystery, horror, and SF. And I'm proud to say that I have won major awards in all three genres. I'm twice winner of the Edgar Allan Poe Special Award from the Mystery Writers of America, was voted a "Living Legends" in horror and dark fantasy by the International Horror Guild, and (this coming May) I'll be honored in Arizona as Author Emeritus by the SF Writers of America. All very gratifying.

HOA: You are noted for your compact, bare-bones style. How did it develop?

WFN: Like Faulkner, Hemingway and Fitzgerald, I started with poetry. By writing verse early in my career (have had more than 55 poems printed) I learned how to make each word count, that each word has weight and must contribute to the whole. Otherwise, the balance is thrown off. I never tell the reader more than he or she needs to know, never over-describe or over-inflate a story. I like to keep things moving at a fast pace. Keep the reader engaged. Every sentence in Logan's Run propels the narrative forward. I write all of my stuff this way. Swift, lean, tightly controlled. The idea is to communicate directly, writer to reader. Anything that gets in the way I eliminate.

HOA: Who do you consider to be the most important contributor to the genre we've come to know as horror/ science-fiction/ fantasy literature? Amongst the latest generation of science-fiction writers today, who do you consider to be the principal standard bearers?

WFN: There's no question that my good pal (and mentor) Ray Bradbury has had the greatest impact of any writer on horror/sf/fantasy. He's embraced the full range--from fanzines to pulps to comics to slicks to literary mags to films to television to school texts, etc., achieving national fame (honored by the President in Washington) and a massive readership around the world. No one else can boast of such extensive progress. Confession: I don't read today's SF. For me, it has evolved into "high fantasy" and I'm just not into spells and wizards and dragons. I much prefer the SF of Bester, Heinlein, Clarke, Simak, and (my great favorite) Philip K. Dick.

HOA: Throughout your long and prolific career as a writer (no small feat, consequently), what do you consider to be amongst your luckiest breaks? What might you include to be amongst the more intelligent moves you've made as a career writer?

WFN: As to "smart career moves", I have been able to switch genres as the markets dictated (though I never aim directly at any market: I write what pleases and excites me) and this has sustained me in a long career. Lucky breaks? There's no luck in pro writing, just blood, sweat, and tears.

HOA: Do you ever have any regrets about the path you chose as a young man to become a career writer?

WFN: I have no regrets about my 50 years as a pro. It's been a grand ride, with many highlights along the way. I've weathered a lot of storms in order to write and sell more than 80 books, 45 scripts, 165 stories, hundreds of mag pieces--plus appearing in nearly 400 anthologies and textbooks. I've written successfully for film, TV, radio, comic books, and for the stage. What's to regret?

HOA: How has horror fiction changed in the last fifty years since you first began writing it?

WFN: Of course, horror fiction (along with every other genre) has changed considerably over the past half-century. For one thing, I think that the "splatterpunk" era is (thank God) pretty well behind us. Psychological horror (which is what I have always written) now predominates.

HOA: What seems to draw you to the serial killer/sociopathic character stories (which many consider to be amongst your best work)?

WFN: It is true that I have written a lot about what Chuck Beaumont called "the fiend in each of us". Which is to say that I have focused much of my dark fiction on the breakdown of the human mind. Characters who slip over the edge are much more fascinating to me than vampires, ghouls, ghosts, and werewolves (though I have written about all of them). Sociopaths are always fun to write about.

HOA: You are considered to be one of the world's greatest authorities on Dashiell Hammett. What is it about Hammett's work that fascinates you?

WFN: Dash Hammett was a many-layered character, essentially a very private man with many aspects of his life remaining a mystery. My first two books about him did not solve the mystery. Nor did any other of his biographers. Now, finally, after 40 years, I have written a book which does solve the mystery of his life, A Man Called Dash. My wife was mainly responsible for solving the mystery of his many addictions and I give her full credit in my book. Which is well deserved.

HOA: It's also well-known that you've always been an enthusiast of motion pictures. What are some of your favorite pictures?

WFN: Movies have always been a big part of my life. I grew up seeing tons of movies in K.C. and that pattern has not changed. Last year in Bend I saw 103 films at the local multi-plex (plus rentals). I see a new film every three or four days. My favorites? Jeez, I have dozens of favorites: THE WIZARD OF OZ, CITIZEN KANE, HIGH NOON, CASABLANCA, THE MALTESE FALCON, KING KONG (all three versions), TITANIC, and (most recently) EIGHT BELOW. Impossible to name just one favorite. Films have shaped my life and most certainly my writing. Creative food for the soul.

HOA: You've been a popular lecturer on the university level at several colleges. Do you believe that writing is a craft that can be taught and cultivated in an educational environment? Have you had a hand in cultivating any specific writers who are currently enjoying some level of success in the realm of horror fiction?

WFN: No one can ever teach another person to write. It is something each individual must accomplish on his or her own. What I try to do is "inspire" and excite would-be writers; the work is up to them. I tell them to do as I have done--write every day and read, read, read. Reading fills the well. I stand on the shoulders of Hammett and Bradbury and Chandler and Fitzgerald and faulkner and Hemingway and Perelman and Thurber and Shaw and Tolstoy and Oates and Heinlein and Wells and London and Mailer and Cheever and Brand and many, many others. Far too many to name here. As Bradbury has said so often: quantity leads to quality. You must write out all the bad words to reach the good ones. Much writing, much reading--the only way to become a pro. Hard work. But when it pays off there's no other job to match it in the whole wide world. You ask if I have had a hand in helping other writers gain success. I surely hope so. I've been told by several pros that my work has changed their lives--writers such as Joe Lansdale, Gary Braunbeck, Roger Anker (who's doing a bio of Beaumont), John Maclay and others. I love working with young writers, giving them a hand up. If just one of 24 students in a writing class of mine makes it then I've done well. I got help when i was young and it's good to be able to give back what I've learned.

HOA: Richard Chizmar, of Cemetary Dance, has played a significant role in keeping your recent work at the forefront of today's dark fiction. Do you feel that this is an important connection?

WFN: Absolutely. He's not only featured my work in 11 issues of Cemetary Dance (and in several of his anthologies) but he also issued the first hardcover of Helltracks, plus publishing three other books of mine, Night Shapes, The Winchester Horror, and California Sorcery. He's a fine fellow. We respect each other.

HOA: Of all of the characters you've written over the past 50 years, which one is most like you?

WFN: All of'em! Every character I write about, man woman, or child, contains some part of me. The character I'd most like to be is Logan. Am I Logan? Yes and no.

HOA: As a writer, what does the future hold for you?

WFN: I really don't know what's ahead for me as a writer at this stage of my life. I hope to do the three Logan "prequels" and the film production book, RUNNING WITH LOGAN--and I want to get my 900-page Hammett bio into print. Plus sell Logan sequels to Warner Bros. Plus new short stories. Beyond all this, who knows what the future holds?

Basic Credits:
Works by William F. Nolan

*THE LOGAN SERIES:
LOGAN'S RUN(NOVEL,1967)
LOGAN'S WORLD (NOVEL, 1977)
LOGAN'S SEARCH (NOVEL, 1980)
LOGAN: A TRILOGY (COLLECTION, 1986)
LOGAN'S RETURN (NOVELLA, 2001)
Note: Copies of LOGAN'S RETURN may be obtained at (I think)
$20 each, signed and illustrated with a drawing of Logan
by Nolan.
Write: Paul Kennedy
20652 Lassen St. (#52)
Chatsworth, CA 91311
THE LOGAN CHRONICLES (COLLECTION, 2003)
RUNNING WITH LOGAN (NON-FICTION)

*THE BLACK MASK SERIES:
THE BLACK MASK MURDERS (NOVEL, 1994)
THE MARBLE ORCHARD (NOVEL, 1996)
SHARKS NEVER SLEEP (NOVEL, 1998)

*THE SAM SPACE SERIES:
SPACE FOR HIRE (NOVEL, 1971)
LOOK OUT FOR SPACE (NOVEL, 1985)
3 FOR SPACE (COLLECTION, 1992)
FAR OUT (COLLECTION, 2004)

*THE CHALLIS SERIES:
DEATH IS FOR LOSERS (NOVEL, 1968)
THE WHITE CAD CROSS-UP (NOVEL, 1969)
HELL ON WHEELS (NOVELLA, 1992)
THE BROTHERS CHALLIS (COLLECTION, 1996)

*THE KINCAID SERIES:
PIRATE'S MOON (NOVELLA, 1987)
THE WINCHESTER HORROR (NOVELLA, 1998)
DEMON! (NOVELLA, 2006)

*ON MAX BRAND:
MAX BRAND'S BEST WESTERN STORIES (BRAND COLLECTION, 1981)
MAX BRAND'S BEST WESTERN STORIES II (BRAND COLLECTION, 1985)
MAX BRAND: WESTERN GIANT (ANTHOLOGY/BIBLIOGRAPHY, 1986)
MAX BRAND'S BEST WESTERN STORIES III (BRAND COLLECTION, 1987)
TALES OF THE WILD WEST (BRAND COLLECTION, 1997)
MORE TALES OF THE WILD WEST (BRAND COLLECTION, 1999)
MASQUERADE (BRAND COLLECTION, 2006)
KING OF THE PULPS (BIOGRAPHY, IN PROGRESS)

*ON DASHIELL HAMMETT:
DASHIELL HAMMETT: A CASEBOOK (CRITICAL STUDY, 1969)
HAMMETT: A LIFE AT THE EDGE (BIOGRAPHY, 1983)
DASH (STAGE PLAY, 2004)
A MAN CALLED DASH (BIOGRAPHY/BIBLIOGRAPHY, DUE)

*ON RAY BRADBURY:
RAY BRADBURY REVIEW (ANTHOLOGY, 1952)
THE RAY BRADBURY INDEX (PAMPHLET, 1953)
THE RAY BRADBURY COMPANION (BIOGRAPHY/BIBLIOGRAPHY, 1975)
THE DANDELION CHRONICLES (PAMPHLET, 1984)
THE BRADBURY CHRONICLES (ANTHOLOGY, 1991)

*SCIENCE-FICTION ANTHOLOGIES:
THE PSEUDO-PEOPLE (1965)
MAN AGAINST TOMORROW (1965)
IL MEGLIO DELLA FANTASCIENZA (1967)
3 TO THE HIGHEST POWER (1968)
A WILDERNESS OF STARS (1969)
A SEA OF SPACE (1970)
THE FUTURE IS NOW (1970)
THE HUMAN EQUATION (1971)
SCIENCE FICTION ORIGINS (1980)

*SCIENCE FICTION COLLECTIONS
: ALIEN HORIZONS (1974)
WONDERWORLDS (1977)
WILD GALAXY (2005)

*BIBLIOGRAPHIES: THE WORK OF CHARLES BEAUMONT (1986)
THE WORK OF WILLIAM F. NOLAN (1988)

*VERSE: THE MOUNTIES (BROADSIDE, 1979)
DARK ENCOUNTERS (COLLECTION, 1986)
HAVE YOU SEEN THE WIND? (COLLECTION, WITH PROSE, 2003)
ILL MET BY MOONLIGHT (COLLECTION, WITH PROSE AND ARTWORK, 2006)
Note: ILL MET BY MOONLIGHT can be obtained by contacting the
publisher directly; to get the price, including shipping,
Call: (772) 360-6495
Walt Hicks: Hellbound Books
4289 SW Winslow St.
Port St. Lucie, FL 34953

*AUTO RACING WORKS:
OMNIBUS OF SPEED (ANTHOLOGY, 1958)
ADVENTURE ON WHEELS (JOHN FITCH AUTOBIOGRAPHY, 1959)
BARNEY OLDFIELD (BIOGRAPHY, 1961)
PHIL HILL: YANKEE CHAMPION (BIOGRAPHY, 1962)
MEN OF THUNDER (COLLECTION, 1964)
WHEN ENGINES ROAR (ANTHOLOGY, 1964)
STEVE MCQUEEN: STAR ON WHEELS (BIOGRAPHY, 1972)
CARNIVAL OF SPEED (COLLECTION, 1973)

*HORROR WORKS:
THE FIEND IN YOU (ANTHOLOGY, 1962)
THINGS BEYOND MIDNIGHT (COLLECTION, 1984)
URBAN HORRORS (ANTHOLOGY, 1990)
HOW TO WRITE HORROR FICTION (REFERENCE, 1990)
BLOOD SKY (CHAPBOOK, 1991)
HELLTRACKS (NOVEL, 1991)
NIGHT SHAPES (COLLECTION, 1995)
WILLIAM F. NOLAN'S DARK UNIVERSE (CAREER COLLECTION, 2001)
NIGHTWORLDS (COLLECTION, 2004)

*MISCELLANEOUS WORKS:
A CROSS SECTION OF ART IN SCIENCE-FANTASY (CHAPBOOK, 1952)
IMAGE POWER (PAMPHLET, 1988)
RIO RENEGADES (WESTERN NOVEL, 1989)
CALIFORNIA SORCERY (MIXED ANTHOLOGY, 1999)
SIMPLY AN ENDING (PAMPHLET, 2002)
WITH MARLOWE IN L.A. (PAMPHLET, 2003)
LET'S GET CREATIVE! (REFERENCE, 2006)

*OTHER COLLECTIONS:
IMPACT 20 (MIXED SHORT STORIES, 1963)
THE EDGE OF FOREVER (COLLECTION OF CHAD OLIVER STORIES, 1971)
DOWN THE LONG NIGHT (CRIME COLLECTION, 2000)
OFFBEAT (COLLECTION OF RICHARD MATHESON STORIES, 2002)

*OTHER BIOGRAPHIES:
JOHN HUSTON: KING REBEL (1965)
SINNERS AND SUPERMEN (COLLECTION, 1965)
HEMINGWAY: LAST DAYS OF THE LION (CHAPBOOK, 1974)
MCQUEEN (1984)
THE BLACK MASK BOYS (COLLECTION/ANTHOLOGY, 1985)

*MOTION PICTURES:
THE LEGEND OF MACHINE-GUN KELLY (1975)
LOGAN'S RUN (1976)
BURNT OFFERINGS (1976)
Logan's Run (NEW VERSION, DUE SUMMER 2008)

*TELEVISION WORKS:
BRAIN WAVE (ONE STEP BEYOND, 1959)
VANISHING ACT (WANTED: DEAD OR ALIVE, 1959)
BLACK BELT (WANTED: DEAD OR ALIVE, 1960)
THE JOY OF LIVING (NORMAN CORWIN PRESENTS, 1971)
THE NORLISS TAPES (NBC MOVIE OF THE WEEK, 1973)
THE TURN OF THE SCREW (ABC MINISERIES, 1974)
TRILOGY OF TERROR (MILLICENT AND THERESE; JULIE) (ABC MOVIE OF THE WEEK, 1975)
SKY HEIST (NBC MOVIE OF THE WEEK, 1975)
THE KANSAS CITY MASSACRE (ABC MOVIE OF THE WEEK, 1975)
LOGAN'S RUN (PILOT FOR CBS SERIES, 1977)
FIRST LOSS (240-ROBERT, 1981)
THE PARTNERSHIP (DARKROOM, 1981)
TERROR AT LONDON BRIDGE (NBC MOVIE OF THE WEEK, 1985)
TRILOGY OF TERROR II (THE GRAVEYARD RATS; HE WHO KILLS) (USA MOVIE OF THE
WEEK, 1996)
DREAMFLIGHT (PRODUCTION DUE AS PILOT FOR NEW TWILIGHT ZONE SERIES)