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Interview - Penka Kouneva - Part I

2vs8: When did you know you had a love for music in any form, and how this led to composing or orchestrated music?

Penka Kouneva: I was very young when I remember being moved to tears while listening to Grieg Piano Concerto. Classical music always moved me. Then I became a huge fan of rock. My parents were busy university professors who were also politically repressed in my native country, Bulgaria. We were also poor. Listening to music became my outlet and the piano became my friend. Symphony concerts were cheap to attend, and my mom, being a music teacher, dragged me with her to concerts all the time, a few times a week all throughout my childhood. I began composing music for children's theater at the age of 12 - just little pieces for piano, flute and glockenspiel. Much later, already in graduate school at Duke University I first composed for the orchestra. In 1990, I was accepted at Duke to pursue a Master's in composition and my teachers, Stephen Jaffe and Scott Lindroth, greatly inspired me to study orchestral music closely. This experience prepared me to cultivate a career as an orchestrator in Hollywood.

2vs8: How has the experience to work alongside of some of the top names in the industry feel and how have they help achieve your goals?

Penka Kouneva: I've been in Hollywood for 11 years now, and have been lucky to connect early on with some top names who then became my mentors. One of my first gigs was with Conrad Pope - proofreading his orchestrations (Conrad is the orchestrator for John Williams and every other A-list composer). My very first gig for him was proofreading SLEEPY HOLLOW scored by Danny Elfman (orchestrated by Conrad). That relationship lead to working on the MATRIX films. Knowing deeply difficult music software (Logic and Finale), on another hand, lead to working with orchestrator/composer Bruce Fowler who is the principal orchestrator for Hans Zimmer. So that lead to working for Steve Jablonsky on the TRANSFORMERS films and many of Zimmer's films (SHERLOCK HOLMES, ANGELS AND DEMONS, PIRATES 3, etc). I was exposed to top professionals who inspire me greatly both as creative minds and also with their approach to technology, collaboration and to our craft. I've always been driven by an insatiable desire to learn and grow.

2vs8: Is the score to "Midnight Movie" your first full release and prior to this, what is your most memorable project?

Penka Kouneva: Yes, it is my first soundtrack CD release. I am exceptionally excited and grateful. "MIDNIGHT MOVIE" was a terrific collaboration with the director Jack Messitt, and a scoring assignment that pushed me to stretch and grow as a composer. This is the most gratifying aspect of being a film composer - always trying new ideas, always stepping outside of one's comfort zone and discovering new grounds.

2vs8: Do you prefer synthesized or a orchestra... and what did you use for "Midnight Movie"?

Penka Kouneva: "MIDNIGHT MOVIE" had a very small budget for music but had a good budget for sound design and film mixing. Being an independent genre film I think they made the perfect strategic decision to elevate the film to a studio level by investing into a top-notch sound mix and sound design. But naturally there was no budget for live orchestra. That's very expensive. The score is entirely with samplers and synthesizer-emulated orchestral instruments. For a live component, I used my "secret weapons" - live eerie vocals and also my own custom libraries of live orchestral effects that I've recorded with various orchestras in Europe. You still hear shivery string effects and eerie textures which are with live orchestra.

2vs8: Could you tell us how you came to score for the film "Midnight Movie" and were you allowed to your own creative ideas?

Penka Kouneva: I was recommended to Jack by my business partners Danny and Ariana Getz who knew the producer of the film. I submitted my compilation of past genre scores, and Jack invited me to watch his film. I really loved it. First, the premise of a "movie character" coming alive and tormenting people is similar to one of my most favorite books from childhood. Then I really liked the whole supernatural aspect: alternate reality where the characters soon find themselves. The film looked great, was fast-paced and I just loved it from the first viewing.
Since it was a film-within-a-film, I had to "score" the "old" film with a cheesy early 70's score that also had to sound detuned and warble (like an old crinkled celluloid) and also had to score the "actual" film with a modern score. That was a pre-requisite. Otherwise, I came up with all themes and material on my own, in close collaboration with Jack.

2vs8: What process do you use in scoring for a horror film, how do you find your inspiration?

Penka Kouneva: The most important task each time is to find the unique tone, sound, "voice" of the film. That special musical imprint that will identify the film and become its unique sonic identity. Just think for a moment of the original HALLOWEEN and Carpenter's theme - how distinctive that is. In horror films I think both in terms of musical themes but also in terms of style, orchestration and sound. I knew I would use orchestral instruments, but also opened up my palette to using modern orchestral effects, lots of electronic textures, noises, sounds. My inspiration comes from watching the film and asking myself the question "what is the sonic world I need to create that would be a perfect match for this film, and what is the musical style that the film will inhabit most organically"

2vs8: How was working with the directors and producers of "Midnight Movie" in order to complete the score?

Penka Kouneva: It was fantastic. Jack Messitt came to weekly playback meetings and gave me good feedback. He revealed thematic ideas and subtext in the film that inspired me and stirred my imagination. He opened up with his ideas which allowed me to understand more deeply his characters, situations, and hero's motivations. He was a straight shooter - really easy to work with, really committed to the collaboration and always open to exploring my ideas too. The producers were also very supportive and enthusiastic. They all gave me great feedback and ideas. It was a happy collaboration and I enjoyed every moment of it.

Marmaduke [2010] - I Can't Resist It...

Marmaduke, the world's most lovable Great Dane, leaps from comic strip fame (appearing in 600 newspapers in over 20 countries) to big screen stardom. In this family comedy, the super-sized dog who never fit in, finally finds a place where it's okay to stand out. Now living large in Orange County, California, Marmaduke is helping his family make the big transition from the Midwest to The O.C. But he's also discovering that fitting in with his new four-legged friends isn't always easy for a 200-pound teenage dog.

PontyPool [2008] - DVD

Shock jock Grant Mazzy has, once again, been kicked-off the Big City airwaves and now the only job he can get is the early morning show at CLSY Radio in Pontypool Ontario, which broadcasts from the basement of the small town’s only church.

What begins as another boring day of school bus cancellations, due to yet another massive snow storm, quickly turns deadly when reports start piling in of people developing strange speech patterns and evoking horrendous acts of violence start piling in. Bu there’s nothing coming in on the news wires. Is this really happening?

Before long, Grant and the small staff at CLSY find themselves trapped in the radio station as they discover that this insane behaviour taking over the town is actually a deadly virus being spread through the English language itself.

Do they stay on the air in the hopes of being rescued or, are they in fact providing the virus with its ultimate leap over the airwaves and into the world?


When he arrives on the rural Louisiana farm of Louis Sweetzer, the Reverend Cotton Marcus expects to perform just another routine “exorcism” on a disturbed religious fanatic. An earnest fundamentalist, Sweetzer has contacted the charismatic preacher as a last resort, certain his teenage daughter Nell is possessed by a demon who must be exorcised before their terrifying ordeal ends in unimaginable tragedy.
Buckling under the weight of his conscience after years of parting desperate believers with their money, Cotton and his crew plan to film a concessionary documentary of this, his last exorcism. But upon arriving at the already blood drenched family farm, it is soon clear that nothing could have prepared him for the true evil he encounters there. Now, too late to turn back, Reverend Marcus’ own beliefs are shaken to the core when he and his crew must find a way to save Nell – and themselves – before it is too late.
THE LAST EXORCISM is written by Huck Botko & Andrew Gurland and directed by Daniel Stamm. Strike Entertainment and STUDIOCANAL present an Arcade Pictures production.

NBC's - The Cape - i am interested

thanks to brother Calvin over in the Cool Cave, i am able to bring you this trailer... this because "heroes" is now canceled... and did i mention "summer glau"...

Interview2 - Wall Crumpler "HWR" - Part 01

2v8: What advice has been given to you from friends, family, strangers since you began "Howlin' Wolf Records"?

Wall Crumpler: The soundest advice given me is to establish a solid business plan – being a long-time collector and film score enthusiast, first and foremost my interest is in having the opportunity to present great film scores and package them in a way that I as a collector would appreciate and enjoy. The determination to present the best possible audio and provide packaging befitting great film scores remain the most important driving forces, but I likewise understand the importance of wise management of resources to ensure the success of Howlin’ Wolf Records.

2v8: What is different since your first production/projects, and what have you learned from any possible mistakes?

Wall Crumpler: I love visuals and graphic design and spent tireless hours, days, and weeks working to produce the art inserts for MALEVOLENCE, the label’s first release. I feel I utilized the full breadth of my talents to create the inserts for MALEVOLENCE and feel very proud of the end result. That said, I also realize that there are professionals who have trained in graphic design who will generate more interesting and inspired designs. I feel so strongly about this that I am planning on having a redesign of the MALEVOLENCE inserts. I will not reprint the inserts but I will provide press quality pdf files that individuals will be able to download for free and have printed on quality paper using a color laser printer to have nice alternative inserts to go with their release of MALEVOLENCE.

2v8: Do you find yourself getting more noticed the more projects you do, any autographs yet?
Wall Crumpler: Howlin’ Wolf Records is certainly more recognized with two titles in release than prior to the second project. Our third project is an exciting release from a very talented orchestrator and composer. The label also has a new creative partner, Zach Tow whom I have known for several years as a fellow film score enthusiast, but we have just recently united forces on this label. Zach possesses an incredible knowledge of film scores and composers and provides a lot of direction and energy for the label.

2v8: What is the best part of your job, from the start of the day to the end of it?

Wall Crumpler: The best part of this job is unquestionably listening to and enjoying film scores. I have film scores that I listen to complementing every mood I experience and most every activity I participate in. Having the opportunity to interact with other film score enthusiasts, composers, and interesting individuals such as yourself is definitely the icing on the cake. It may sound very cliché but I am definitely pursuing a lifelong dream through HWR.

2v8: What is your latest project, and how did that come about?

Wall Crumpler: MIDNIGHT MOVIE, a film score composed by Penka Kouneva for a film directed by Jack Messitt is the wolf’s latest project. This opportunity is one we pursued due to a great appreciation for both the film Jack directed and the score Penka composed. MIDNIGHT MOVIE is an interesting film and score since the story-line involves a vintage horror film being screened at a midnight showing. Whereas the film is set as a movie within a movie, likewise the score is constructed as a blending of scores for both. Very cool! One really interesting story about the composer Penka Kouneva – After watching MIDNIGHT MOVIE and really digging her score, I contacted her on the west coast where she currently resides having no idea that she had once been a close neighbor of mine here on the east coast in North Carolina. Penka lived here for several years back in the 90’s while she was completing her PhD in music composition at Duke University, just a mere 20 minute drive from where I live. I was already very actively engaged in working to acquire licensing for her score for MIDNIGHT MOVIE before I was aware of this.

Jack Messitt - Director "Midnight Movie" Part: III

2vs8: What was your involvement with the upcoming score release from Howlin' Wolf Records and what was the first meeting like with Wall Crumpler?

Jack Messitt: Having a Midnight Movie soundtrack CD release is awesome. The best part was that Wall found us. That told me that the movie has definitely taken on a life of its own – well beyond the underground marketing we have done.
When Wall asked to release the score, we jumped at the chance! Penka’s work really helped make the movie what it was and it deserves to put out there. And to see Wall’s enthusiasm for our film and the release was a lot of fun. He was the perfect person to lead this release because he truly believes in the project!
I wrote a lot for the CD liner - lot of details about the film and how certain parts of it came to life. I believe that Penka is also adding her thought so the liner. It should make a great collectible, as well as give some real insight into the movie.

2vs8: How did you come to work with Penka Kouneva and the process on finding a composer for "Midnight Movie" or any of your projects?

Jack Messitt: Penka was recommended to me by another composer and I’m so glad he did. From the minute I met her, we were on the same page creatively. Being a first time director, scoring sessions were new to me, but they remain one of the highlights of my Midnight Movie experience. They were a lot of fun and I look forward to working with Penka again soon.

Penka went well above the call of duty and created a score that truly transcends our film. For a movie of our size/budget, the score is unbelievably rich in depth and texture. Low budget movies rarely sound this good. Our score truly exceeds our budget and rises to the studio level! I think that you will be hearing a lot of Penka’s work in the future. She is that good!

2vs8: With the score release from Howlin' Wolf Records composed by Penka Kouneva will there ever be a regular artist soundtrack?

Jack Messitt: While I think we have a great compilation of wonderful unknown artists in our soundtrack, I doubt that we could make that happen. To hold down costs, we licensed most of the songs for the movie only. So the complications behind that would kill any potential deal.

2vs8: According to "" The Killer in "Midnight Movie"... is known only as "the Killer" does the character have a name?

I have always called the killer “Radford” because he is technically a young Ted Radford playing the killer in The Dark Beneath, the movie in the movie. More than that, the old Radford imparted his soul into the film – transforming it into the killing machine that it now is.
The confusion comes in when you realize that the character in The Dark Beneath would not have been named Radford.

We had way too many conversations surrounding this issue! Too many people thought that if we listed the killer as “Young Radford” it would cause confusion. Looking back, I think that people were way over thinking things... Too much time in a small dark editing room is my guess - What can you do?

I have a great idea and back story to the killer and his name, but that is waiting for the sequel...

2vs8: With the three parties involved in the score release, what do hope happens once it is released and with it's success will there might be a sequel?

Jack Messitt: I think that it is exciting that the score will live a life of its own beyond the movie itself. It is that strong! It deserves its own time in the sun.
There is talk of a Midnight Movie sequel and I have several ideas brewing. Believe me, once we get the green light, it will be ready to go. But I think we have to sell a few more DVDs before that happens... So if you want a sequel, help spread the word about the movie!

2vs8: What Are Some Of The Illusions, Delusions About Being In The Film Industry?

Jack Messitt: If you like eating sausage, you should never visit a sausage factory. The entertainment industry is a similar experience.

- Movie sets are boring most of the time.
- Actors and actresses are very rarely like the roles they play.
- It is show business – underline business. That is what propels it for good and for bad.

But for all it’s faults, I would not change careers with anyone! I love going to work every day!

2vs8: Who Is Your Favorite Film Horror Character, And Scare Moment?

Jack Messitt: I have a long list here… But I think that The Shining has to be my all time favorite horror movie. I still get chills when I watch it. Nicholson at his best and those twin girls… Totally creepy!!

2vs8: Advice To Live By?

Jack Messitt: Make sure that what you do for a living will support you and your family. But it better be something you enjoy because you spend way too much of your life at it!

2vs8: What Is Next?

Jack Messitt: I am in the midst of setting up my next project: Remote Control, a thriller.

-- Caught by the mob, an insurance underwriter tries to explain how answering his phone lead him to lie in court, hold the Chief of Police at gunpoint, rob a bank with the help of a prostitute, survive a drug deal gone wrong and ultimately take these mobsters for four million dollars in a gun running scam - all in the last four days...

It should be a lot of fun…

Jack Messitt - Director "Midnight Movie" Part: II

2vs8: On The Set [Midnight Movie] Strange Things Happen Especially On A Horror Film, Anything Unusual Occur?

Jack Messitt: I can’t think of anything in particular, but I did have some crazy dreams while we were shooting. During production, I usually “shoot” and entirely different movie in my dreams. And many of those scenes helped inspire what you see in the final film.

2vs8: How Did You Get Started In Film... To Directing, Is This Where You Want To Be?

Jack Messitt: When I got in the business as a PA, I wanted to be a cameraman. When I went to film school, I wanted to be a cameraman. I have made a good living being a cameraman and I love going to work every day. So when I threw my hat into the directing ring, I figured: “What is the worst that happens? I make a horrible movie and then go back to a career that I love.”

Since Midnight Movie finished, I like to think of myself as a guy with a lot of irons in the fire. I’ll run with the ones that get hot. My cameraman irons have been fairly hot for a while now. And when I first put my director and screenwriter irons in the fire, they actually got hot fairly quickly. If they stay hot, I’d love to explore where they’ll take me.

2vs8: Who Would You Like To Work With, Your Dream Job?

Jack Messitt: I have worked with a lot of wonderful people in this industry. And the one thing that I have realized is that the people I initially dreamed of working with are not the ones I remember the most. And many of the people I want to work with are people that no one has ever heard of - The unsung players out there, both in front of and behind the camera.

For example, when I was growing up I saw The making of Raiders of the Lost Ark. For me, it made a hero out of stuntman Terry Leonard. So when I got into the business, I really wanted to meet him. Lucky for me, I my dream came true when I worked on The Fugitive in Chicago. But I’d love to work with him again!

2vs8: Influences?

Jack Messitt: I have had so many influences as a filmmaker. Mainly all the movies I watched throughout my life… While I have a BA in Film Studies and an MFA in Cinematography, sitting down and watching movies has always been the best way to “study” film. And every film I have ever seen, both the good ones and the bad ones, have influenced my work. In the horror genre, I think that if you watch Midnight Movie, you will see an homage to many of my favorites.

Jack Messitt - Director "Midnight Movie" Part: I

Jack Messitt with one of the Coolest Props from Midnight Movie

2vs8: How Did The Events Of Midnight Movie Come To Light?

Jack Messitt: The Midnight Movie script was greenlit by Bigfoot Entertainment before I came aboard. The project had lost it’s director and the producers were interviewing. So, I met with them and threw my hat in the ring. Being a longtime cameraman and never having directed, I didn’t honestly think I would get the job. But I thought that the worst that could happen would be that I get in for an early shot at shooting the movie.

At that meeting, I was pretty honest about the script. I told them what I liked – but more than that, I told them where I thought it was missing the mark and how I would go about fixing it. This tact must have worked because they called me back a few days later and offered me the job. And that’s when the work really started - I had to put my money where my mouth was…

So I sat down with Mark Garbett and we started revamping the script. The first major changes I wanted to make were to the movie within the movie. In the original script, this movie wasn't very defined. It was written to be a mish mash of images, like the video tape in The Ring. I just didn’t think that anyone would watch it long enough to get the action going before they stormed into the lobby demanding their money back.
So Mark and I started running through a different ideas, different eras of horror films. The first major rewrite made the movie in the movie into a 1930s style horror film. But this didn’t last very long. The problem was that, to today's audiences, the 1930s horror film doesn't really hold up as scary. In their own time, they may have been terrifying. But today's audiences are not going to have the same reaction to that style and - not to give too much away - but the movie in the movie needed to be a place that today’s audiences did not want to get stuck.

So I revamped it again into a late 60s early 70s era of horror films. I picked this era because films like The Texas Chainsaw Massacre and Night of the Living Dead still hold up today. I think they are legitimately creepy – even to today’s audience. They portray a world that I would not want to be stuck inside. That was what Midnight Movie needed, so The Dark Beneath was born.
This change caused a ripple effect that really revamped the movie as a whole. And once this version of the script was finished, we slid right into the pre-production phase.

2vs8: Were You Involved In The Casting For Midnight Movie, If So How Is The Process Of Finding Actors... Is It Open Cast Or Many Friends?

Jack Messitt: In Pre-Production, the pressure starts to mount. Things are not just being talked about, but money is being spent and the reality of the situation you are entering is much more evident. But this is also when you see some of your ideas really taking form. It is really an exciting time.

Casting was a lot of fun. We had casting agents and saw a ton of different actors and actresses. The best part was listening to dialogue that just the day before lived only on the page. Now it was coming to life right before our eyes. It is the first real taste of what is to come. We were non-SAG by condition of funding, so this limited our pool of actors. But we were able to find some great talent that I think you will be seeing time and time again in the future.

2vs8: What Was A Good Day, Or A Bad Day On The Set Of Midnight Movie?

Jack Messitt: Actual production brings totally new set of problems… You never have enough time. You never have enough money. I’m sure that this is the case on $100 million blockbusters too, but at our budget, it is much more evident.

Our first two days of shooting were on a ranch north of Los Angeles. In those first two days, we shot about 90% of the movie in the movie - all the hippies and the creepy house - as well as the entire the final chase of the movie The end is not the ideal place to start – but we made the most of it. We had a ton of work to get done and I think that we were at least 4 hours into overtime by the time we left. Not an ideal start.

From there, we headed to the theater. The first day was pretty light as I remember it and I made up some of the time we went over at the ranch. But the best thing about the theater was that we could do just about anything we wanted to it. It was soon to be renovated into a sports bar, so the owners didn’t really care if we ripped out seats or whatever else we did. And, because it would be our home base for the bulk of the shoot, be could really hunker down and call it home.
The fun days were days we had big kills. They were fun and frustrating. Big kills take time and we had little of that. I tried my best to give each kill it’s own "personality." The one thing I didn’t want to do was put our best kill up front. I didn’t want to peak too early. I didn’t want everything afterward to seem like a letdown.

So to help with this, I tried to put the kills together into a kind of format that would mirror the history of horror movies. Not only would it allow is to best use our time and money to create some real marquee moments, it would also help give the film an increasing progression of kills, a nice arc. But as well as we did each day, we started to fall behind schedule again.

So I cracked the whip and we shot about 25 pages of the theater dialogue in two days. Again, not the ideal for the actors, but they totally rose to the occasion and we got back on schedule.

Then, at the 2 week mark, the unions came… That was the worst day for sure!

Having no money, we hired a non-union crew. Unfortunately, they wanted to be union. So halfway through production, they went on strike. We shut down for two weeks while a deal could be worked out. Really, I thought that the film was not going to start back up. But our financier gave us the extra money we needed for the union contract and we got back to shooting for two more weeks.The best day? That came in the second half of production. We were shooting the scenes in Radford’s basement. To me, these scenes would make or break the movie. So I had a long talk with Rebekah about the scene where Radford finally has here where he wants her… If Rebekah pulled it off, we were in the clear. If she didn’t deliver, the movie would be sunk. By this time, I knew Rebekah pretty well, so listening to her screams was not easy. But when I said cut, I knew that we had exactly what we needed! Rebekah sold it better than I had imagined.

2vs8: Inner Fears, And What Is Your Dark Side?

Jack Messitt: My inner fears… They had to be that the film didn’t work. In editing, you see the scenes so many times, in so many different forms, that you start to lose perspective. In the end, I had no idea what worked and what didn’t. The first LA test screening allowed me to breathe a little. I thought that we were going to get slaughtered by the audience, but the feedback was really positive. It also allowed me to talk to horror fans for the first time. And those conversations really helped me shape the one day of additional shooting I had. Those initial fans helped me focus on the areas that needed the help.

And while it is probably not universally loved, Midnight Movie has been really well received:

“Top 10 Best Direct to DVD Horror Movies Ever Made” - The Huffington Post
“5 out of 5 stars! - To say that this film is absolutely kick ass would be the understatement of the year.” - GoreZone Magazine
“Perfect Fear Fare” - DVD of the Month (March 2009) - Fangoria Magazine
“The #1 Horror Film of the Year” -
“One of the Top 70 Horror Movies of the Decade” - Skrin (Apresiasi Horror)

Not bad for a film that almost didn’t get finished…

My dark side… At the Chicago Horror Film Festival, my sister Jenny came to watch the movie for the first time. When Radford dumps a lump of Sully’s flesh to the floor, she turned back to me and said “You wrote this?” I just laughed, but it confirmed that, yes, I must have a dark side.

Midnight Movie... Great Modern Horror Classic!

Midnight Movie will have audiences squirming in their seats, as the killer from the movie emerges from the screen to hunt down each viewer one-by-one before dragging their dead bodies back into the film to be tortured for eternity.

At a run down theater in a sleepy suburban town, a group of friends get together for a midnight screening of an early 1970s horror film. What they do not know is that the Director/Star of the film has something more in store for them than just a movie.

While he is thought to have died five years earlier in a psych ward massacre, the detective and doctor who witnessed the aftermath of the bloodbath suspect that the director was not a victim, but the perpetrator of the killings and is still on the loose.

What none of them understand is that he has enshrined his soul into the film itself.

As the film starts, the kids heckle the old black-and-white scenes, but are jolted when the movie's gruesome killer butchers one of their friends on screen! They realize that it is not the prank that they had hoped it was as they soon become the stars of the very movie they are watching on the screen.

Caught between the world of reality and the screen's flickering shadows, these unsuspecting viewers fight to stay alive in the locked theater.

Tales Of The Gold Monkey - Jack

For More Info:

Tales Of The Gold Monkey DVD - June 8th 2010

Tales of the Gold Monkey: Complete Series (1982)

*Jake Cutter............Stephen Collins
*Corky..................Jeff MacKay
*Sarah Stickney White...Caitlin O'Heaney
*Bon Chance Louis.......Roddy McDowall
*Rev. Willie Tenboom....John Calvin
*Princess Koji..........Marta DuBois
*Todo...................John Fujioka
01- Tales of the Gold Monkey (1) 9/22/1982
02- Tales of the Gold Monkey (2) 9/22/1982
03- Shanghaied 9/29/1982
04- Black Pearl 10/13/1982
05- Legends Are Forever 10/20/1982
06- Escape From Death Island 10/27/1982
07- Trunk From the Past 11/3/1982
08- Once a Tiger... 11/17/1982
09- Honor Thy Brother 11/24/1982
10- The Lady and the Tiger 12/8/1982
11- The Late Sarah White 12/22/1982
12- The Sultan of Swat 1/5/1983
13- Ape Boy 1/12/1983
14- God Save the Queen 1/19/1983
15- High Stakes Lady 1/26/1983
16- Force of Habit 2/2/1983
17- Cooked Goose 3/4/1983
18- Last Chance Louie 3/11/1983
19- Naka Jima Kill 3/18/1983
20- Boragora or Bust 3/25/1983
21- A Distant Shout of Thunder 4/8/1983
22- Mourning Becomes Matuka 6/1/1983