movie magic screenwriter spaces after period

Naschy’s ‘straightforward’ horror career was punctuated by many notable films outside of the cobweb-strewn fang-baring type. Over the course of the twelve films Naschy made featuring Waldemar Daninsky there is little narrative connection, the wolfman existing essentially only as a recognisable and well-loved monster, the tenuous links between films either ham-fistedly managed or non-existent. The Vampire Woman ( La Noche de Walpurgis). The success of the film was enough to allow Naschy the comfort of continuing to develop his own projects – regrettably, a swift return outing for Daninsky in Las Noches del Homo Lobo, is now considered a lost film, though it was only two years later when his most famous creation was to reappear, in both 1970’s Dracula Versus Frankenstein ( Los Monstruos dos Terror) and 1971’s The Werewolf vs. A Spanish name would simply have been too uncommercial for worldwide distribution – at the time, Spain was churning out endless dismal ‘comedies’ and little else, apart from providing many of the settings for Italian-made Westerns. Thus Paul Naschy was born, ‘Paul’ after the then Pope, Paul VI, ‘Naschy’ after the Hungarian weightlifter, Imre Nagy. Though not his intention, Molina gratefully accepted but was required by the financiers of the film to adopt a more Teutonic-sounding name.

The screenplay was picked up by German producers who, when finding their first choice for the role of Daninsky, Lon Chaney Jr, was far too ill with throat cancer to take the part at the age of 62, offered it to Molina.

Tired of waiting for success to find him, in 1968 Molina penned the screenplay to what would eventually become the film The Mark of the Wolfman ( La Marca del Hombre Lobo) a film following the Polish Count, Waldemar Daninsky, who, afflicted with lycanthropy, battles both other werewolves and vampires in a fest of the splattery and the Gothic. The sight of his hero displaying emotion in this way, despite his history of terrorising and killing on the Big Screen was also to have a profound effect on Molina’s future acting career. Karloff, in poor health, having difficulty walking and suffering with cold, broke down in tears one day, the frustration and pain just too much. While appearing as an extra in an episode of the American TV show I Spy that was being filmed in Spain in 1966, Naschy met horror icon Boris Karloff on the set, a thrill he never forgot. Molina had an uncredited bit part in the classic 1961 Biblical epic King of Kings and a few other films of that period, and the experience drew him further into film-making. By his twenties, Molina concentrated on both weightlifting and acting, the first presenting him with almost immediate success, decorating him with an array of titles and accolades, the latter proving significantly more difficult to break into.

Movie magic screenwriter spaces after period