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An Interview with Michael Huck on A Bouquet for a Kill, Lydie Denier, and Stalking

by Mike Haberfelner

September 2009

For films produced by Michael Huck on (re)Search my Trash

For films starring Lydie Denier on (re)Search my Trash

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Lydie Denier

Stalking is wrong - dead wrong.

If you've got an object of your affection, and that object of your affection doesn't want to have anything to do with you, leave her (or indeed him) in peace. Everything else would be wrong, even psychopathological, period.

 

Michael Huck

So when I first read that little-known actress Lydie Denier was stalked by a misguided fan who posed as a film producer, so much so that she pleaded for a restraining order against him, I felt sorry for her, naturally. But reading on, and figuring out the accused stalker was actually independent film producer Michael Huck, I figured several facts presented in that article didn't quite fit: Fact is, Denier did star in and direct a featurette, A Bouquet for a Kill, produced by the accused stalker, Michael Huck - the film exists, I have seen it. This fact though is weirdly missing from the article I read and her charge against Huck.

Why am I sure Michael Huck produced the film?

Because it's a remake of one of his earlier movies, Unhappy End! - Du sollst nicht Ehebrechen, and because it features both Jean Bork, co-writer and star of Unhappy End! - Du sollst nicht Ehebrechen, and German cult actress Katja Bienert [Katja Bienert interview - click here] in supporting roles - and Katja Bienert just happens to be Michael Huck's business partner in his production company Gator Group, and happens to have starred in Unhappy End! - Die Hexe, an earlier remake of Unhappy End! - Du sollst nicht Ehebrechen.

A Bouquet for a Kill never got officially released so far, but to my understanding, that's part of the reason (or even the reason) for the rift between Lydie Denier and Michael Huck ...

 

Now considering that Ms Denier claimed Mr Huck was nothing but a desperate fan pretending to be a film producer, something doesn't quite click, does it? Actually, a lot doesn't quite click, enough for me to ask Michael Huck, whom I have interviewed before [November 2008, February 2009, May 2009], for another, tell-all (I hope) interview.

(re)Search my Trash of course cannot verify all of Mr Huck's statements below, but after all the allegations against Michael Huck on other websites and based on the above-mentioned facts I am certain of, the least I can do is to give him a chance to react to everything that has been said against him.

After all that said, I cant but repeat: Stalking is WRONG - but so is falsely accusing someone of stalking!

But now, let's move to my interview ...

 

My first and most important question: Did you ever stalk Lydie Denier in the manner she has claimed you did (short answer please)?

 

I did never STALK Ms Denier.

I did NEVER threaten to kill her.

 

 

Have you any idea why she pleaded for a restraining order against you?

 

Absolutely.

Lydie Denier and I shot a thriller entitled A Bouquet for a Kill in 2007 in Berlin. We shot in February, April and May 2007. Lydie starred and directed, I produced. I also wrote the script based on a German-language script pf mine. Lydie made very good suggestions and I allowed her to change the script and it worked very well.

As you see in [the German language original] Unhappy End! - Du sollst nicht Ehebrechen the wife (Ingrid) and the lover (Jeannie) are talking half of the episode and only in the second part Ingrid takes Jean prisoner. Lydie did change that and just as we did it earlier in the Die Rivalin episode, Mrs Tanner takes Sarah prisoner right at the beginning of the story. So right from the start Sarah is bound and gagged and at the mercy of Mrs Tanner. This gave the story more pace and more suspense. It was Lydie's idea to do it this way, but if you compare the old Gemran version and the new English one, it's still the same story, same characters, it's still MY Unhappy End! story. Lydie also changed the unhappy ending, showing her coming to the door with the flowers in the end. While shooting Lydie Denier contacted US producer Avi Lerner from LA based Millenium / NuImage behind my back to ask him to buy me out so she can take over the project. Lydie has made several movies with Avi Lerner and met with him at Berlin Filmfestival where she told him about A Bouquet for a Kill. My partner Vonny, who did drive her around, was witness. Later she contacted Avi Lerner, asking him to buy me out. She teamed up with German actress Roswitha Schreiner, who was also in the project, and both tried to push me out of my own project so they could take it to Avi Lerner. Lydie emailed me a contract asking me to give her all rights on the project. She wrote me an email and sms saying she will ask the cutter to burn the whole movie if I will not sign. The cutter did not listen to Lydie and I refused to sign her contract. I informed Avi Lerner what was going on and his office wrote me they stopped talking to Denier about A Bouquet for a Kill. Lydie and Roswitha now started claiming that Lydie Denier did write the script on her own DESPITE THE FACT THAT IT IS CLEARLY A REMAKE OF Du sollst nicht Ehebrechen and despite the fact I did register the script (previous title Unhappy End! The Other Woman) at the Register of Copyrights in Washington. The German version Du sollst nicht Ehebrechen was released in Germany in 1999 starring Jean Bork and Ingrid Littmann. It was released YEARS before I met Lydie Denier in Hollywood. Roswitha Schreiner and Lydie Denier claimed A Bouquet for a Kill was a Lydie Denier production and Roswitha took a lawyer who wrote that I have absolutely nothing to do with this Lydie Denier production. Roswitha claimed I had threatend her using phrases of an email I did not write to her but to Lydie Denier!!!!!

 

In February and April 2007 we shot a short version very similar to the German version, that's the 30 minute version which had been reviewed by searchmytrash some months ago [click here]. Lydie, Roswitha and I were pleased with the result and we agreed to then shoot additional scenes to do a 90 minute version. Shooting should start in may. Lydie talked Michael Worth, her former co-star from Acapulco HEAT, into coming to Germany to play the male lead. Lydie then started to replace actresses I had brought in, Jean Bork and Katja Bienert with other actresses she and Roswitha hired behind my back. Lydie also rewrote my 100 page script and made it 48 page script what made no sense. I refused to greenlight this nonsense, the rewritten script made no sense at all. She became very angry and did not want me at the set anymore. Thinking she is kind of Orson Welles, she tried to forbid me to come to my own set. When she could not make me sign her contract to sign over A Bouquet for a Kill to her, she vanished from theGerman set taking with her some of the original tapes.

 

So this was then the situation: I have all the tapes from February and April shooting, plus several scenes on HDD shot with Roswitha in Bali, shot by Roswitha's husband. Lydie has all the tapes from the May shooting and noone of us can start editing the 90 minute version. I contacted Avi Lerner, Michael Worth and Max Keller - producer of Acapulco HEAT and Tarzan, who had worked with Lydie a lot. I asked them to talk to Lydie and I offered I will give her 1:1 HDD copies of my tapes, if she returns the tapes she took with her and I offered she can edit a Director's cut while I will edit a Producer's cut and we release both versions. Lydie never answered. I went to the German police and charged Lydie of having taken the tapes and asked the German police to get me back the stolen tapes. I monitored the www and when I had news where Lydie is, I contacted the German Police to let them know. I did not go on my own to meet or see Lydie, I only kept the police informed. I also wrote Lydie dozens of emails telling her a director cannot run away with the footage and asked her again and again to return the tapes so I can start editing.

 

Did you ever pull a gun on Ms Denier (real or prop gun, it makes no difference as long as you just threaten someone and don't fire it), or did you  (physically or verbally) threaten her life in any way?

 

I NEVER did threaten to kill Lydie Denier .

I never did pull a gun on Lydie Denier.

 

This shows very well how Lydie re-arrganes truth. In the movie we had guns and knives. Lydie and I went to a prop store together and rented a knife. I own prop guns (no real guns) we use for our movies. These guns are for blankets and you also can shoot gas. We had a scene in which Michael Worth shoots a P.I., and I told Lydie she can use one of my prop guns. We indeed met at cafe at Paul-Lincke Ufer, I pulled out the gun to show it to Lydie and she wanted to have the gun right away. I told her I keep the gun and take it to the set myself as in Germany you even need a license for prop guns. I also asked her to handle the guns carefully as even blankets can be dangerous if fired direct into someone's face. Lydie went mad and wrote me an angry email which I still have. Lydie wrote that she made action movies in Hollywood and I do not have to tell her how to handle guns! That's the gun story.

 

Cold you describe your professional relationship with Ms Denier?

 

At first it was Heaven. I met with Lydie in Hollywood and Paris several times, first time in 2002. We got along very well and she had very good ideas. It was similar as working with Katja Bienert in Germany. It was like Oliver Hardy meeting Stan Laurel or Jerry Lewis meeting Dean Martin. It was fun working with Lydie. When I met her she hadn't had any big parts for some time and I was not too successful selling my productions, but together it looked as we could achieve much more than each of us alone. She had survived in Hollywood many years and I was very impressed. For me she was my Stan Laurel.

 

Was there ever any contract between you and Lydie Denier?

 

Yes, we signed a letter of intent in 2003 to work together on Unahppy End! The Other Women. The script was later re-titled in A Bouquet for a Kill. Lydie did come up with this title and I think it is a far better title. In 2007 we signed a contract that says we shoot together A Bouquet for a Kill I produce, Lydie will direct and star. Lydie herself wrote the contract we both signed that contract.

 

What can you tell us about A Bouquet for a Kill, the movie you made with Ms Denier?

 

A Bouquet for a Kill is based on the Unhappy End! episode Du sollst nicht Ehebrechen starring Jean Bork and Ingrid Littmann. Jean Bork co-worte the script. Later I re-shot it as Unhappy End! episode 19: Die Hexe starring Katja Bienert and Mona Glass. We had a new digital camera and I wanted to see how the episode looked digital. We shot Die Hexe in the same apartment as A Bouquet for a Kill.

 

So it's still the same story. A wife finds out her husband has a lover. The wife takes the other woman prisoner in her own apartment, ties her up and threatens to kill her.

 

Where was A Bouquet for a Kill filmed?

 

Mainly in Berlin, some not yt used scenes in Bali though.

 

As a producer, were you at all on the set of A Bouquet for a Kill?

 

I was present on the set every day all day in February. In April almost every day all day. We have lots of outtakes material showing me on the set with cast and crew. At the May shooting I was present on the set of the Restaurant in Damaschke Strasse and PI office shot in Tempelhof Haedler Studios

 

I think there were only three shooting days when I had not been on the set, one was at a doctor's place, one day was a shooting at the home of Rolf Eden, who also played Dr. Stone, and one outdoor shooting. When they shot at Rolf Eden's place without me the DP called me in the evening to tell me Lydie and Roswitha had invited reporters to the set telling them they are shooting an US movie for a US based women's channel. You can read the interview they gave at www.perfect4all.de. They did not mention my name once.

 

Lydie Denier, Roswitha Schreiner in A Bouquet for a Kill

Why was the film never released, and do you have an explanation why the whole business about A Bouquet for a Kill was mysteriously absent from her charge against you?

 

The film so far has not been released because there is still a fight over this movie between me, Lydie and Roswitha. I do not have the remaining tapes to edit the whole movie and we are fighting against each other with several lawyers attached.

 

Of course Lydie does not mention in her restraining order/ crazy fan  fairy tale that the whole business is about A Bouquet for a Kill.  She uses the US authortities, LASD and Santa Monica Court against me NOT telling them that I am a producer who is only after his stolen tapes, but she makes them believe I am a dangerous stalker chasing poor Lydie with a loaded gun, claiming I would be madly in love with her. She even told Santa Monica Court that the German Police did investigate and search my apartment finding my place littered with her photos.

 

  She did lie at US authorities! The German Police NEVER did investigate against me and the German Police NEVER did search my apartment! If US Deputies were able to just take a phone and CALL German Police they could have found out in a couple of minutes that Lydie did not tell the truth. I also wonder that US Deputies don't start to wonder why an actress tells them a stalker wants to sign her a CONTRACT!!!! Do stalkers in the US make their victims sign contracts? You pay me 1000 a month and I stalk you twice a week??? Deputy Denham in Santa Monica: Pick up a phone and CALL GERMAN POLICE in Berlin!!!

 

Lydie also did manipulate my now famous Cannae email and gave only a very short version of this mail to Santa Monica court, making it look totally different from my original email. Lydie manipulated the mails to make them look as if a crazy fan who is madly in love with her had written the mail. However if you read all the mails and not those shortened by Lydie you'll realize immediately these mails are about a movie!! She fooled Santa Monica Court and she fooled LASP. I wonder how long they will need to figure out what has actually happened. But maybe they will finally find a deputy who is able to dial the number of German Police. The German Police in fact went after Lydie Denier at my request after she took my tapes.

 

The only thing that is true: I really have lots of photos of Lydie, but filed away and not littering my apartment. These photos were taken by DP Jörg Peter and me during shooting as PR for A Bouquet for a Kill and Jörg and I OWN the copyright of those stills and photos.

 

How does Hollywood producer Avi Lerner fit into all of this?

 

Avi Lerner is always at the Berlin Filmfestival. Lydie knew and went to him without taking me along and talked to him about A Bouquet for a Kill. I am absolutely sure that Avi Lerner had no idea what was going on. As far as I can figure out Lydie tried to convince Avi to give her money so she can buy me out, no idea what she told him, but he invited her to Cannes so she could show him the edited material. When I refused to let Lydie take over the project and when I faxed Avi Lerner evidence about what happened, his office informed me they stopped talking to Lydie.

 

I contacted Avi Lerner several times to tell him it is not my intention to do any damage to his and Denier's professioinal realtionship as they did work together several times and I even offered him to sell him A Bouquet for a Kill at my conditions so Lydie can finish the movie but I keep the copyright and reserve the right to re-shoot an own verrsion. Avi Lerner's office however informed me that he is not willing to have anything to do with the project anymore. I think Lydie wanted to use Avi Lerner to buy me out, so she can take over and become the producer herself.

 

A few words about Roswitha Schreiner, Lydie Denier's co-star, and her role in the affair?

 

I worked with Roswitha Schreiner some years before on Unhappy End!, the episode was: Der Tag vor der Hochzeit. Roswitha was familar with the Unhappy End! series since she had worked with me before.

It was me who brought her into this project. When Lydie asked her to support her in pushing me out of my project, she gladly did so hoping to make it to Hollywood this way. She even took a lawyer and claimed that I had offended and threatened her. Her laywer produced as evidence some phrases of my Cannae email I had written to ... Lydie! NOT to Roswitha!

 

Lydie Denier, Jean Bork, Michael Huck on the set of A Bouquet for a Kill

Lydie Denier, Katja Bienert on the set of A Bouquet for a Kill

Jean Bork, who co-wrote and starred in Unhappy End! - Du sollst nicht Ehebrechen, on which A Bouquet for a Kill was based, and Katja Bienert, your long-time business partner, were in A Bouquet for a Kill. Would you like to talk about their involvement in the project for a bit?

 

Jean Bork and I have been in touch since we worked together the first time, and of course when we did an English remake of the story Jean and I had written together many years ago, I wanted Jean to also be in the project. 

With Katja Bienert I have worked for many years and until recently she has been in most of our projects. Howewer the last two years Katja was in England, US, Austria too often, this week she is flying to Spain to shoot a movie ...

 

Jean Bork in Unhappy End! - Du sollst nicht Ehebrechen 

What can you tell us about the original, Unhappy End! - Du sollst nicht Ehebrechen?

 

Du sollst nicht Ehebrechen was one of the first Unhappy End! episodes we shot. It was shot on SVHS and I had not much money but more or less it already had many of the elements which finally made Unhappy End!. Ingrid Littmann was perfect as the crazy wife and Jean Bork certainly one of the most beautiful women in Germany (and she became Miss Berlin soon after the film).

 

Katja Bienert, Mona Glass in Unhappy End! - Die Hexe

You actually remade that film yourself as Unhappy End! - Die Hexe, incidently starring Katja Bienert. A few words about that one?

 

I always felt I did not do the story as perfect as it should have been technically (same problem with Die Schulfeindin), so I wanted to do a remake. We rented a very beautiful apartment and re-shot the story. However I had problems with the sound and I could not use half of the footage we shot because of the problem with the sound.

 

Where can these earlier versions of A Bouquet for a Kill be obtained?

 

Just write me an email at MichaelMHuck@aol.com and I tell you.

 

Do you still remember the exact instance when you and Lydie Denier first fell out?

 

Well, shooting with Lydie is like a ride on a rollercoaster, but actually the real trouble started after April shooting and before May shooting started. I did not greenlight Lydie's rewrite of my script and she got very angry, especially when I talked to Michael Worth about the script. Lydie got furious and told me I am not allowed to talk to Michael Worth about the script. I, the producer should not talk to an actor about my own project because master-super-director Denier thinks so? If I produce a movie, I - the producer - decide who I talk to about what. And not the director. A Bouquet for a Kill is a Michael Huck Production, so Michael Huck decides to whom he talks about what. Argueing about the script Lydie sent me an sms "I'm going to fucking kill you, Michael" which shows pretty well what kind of lady Lydie Denier is. I have saved this sms and showed it to German police. It's all in Lydie's file. After that Lydie replaced or tried to replace Jean and Katja, I insistet Katja had to stay in the movie, Jean left because she did not want to work with Lydie anymore and Lydie replaced her with Esther Seibt, very much against my will.

 

The German police got somehow involved in the whole affair between you and Lydie Denier about the film. Can you tell us in which way?

 

When Lydie left Germany and did fly back to Paris, the tapes of the May shooing were not handed to me. Camera operator Andreas Gotzler, husband of Roswitha Schreiner, did not give me the tapes to me, so I went to the police and asked the police to investigate and get me my tapes. In the meantime there is a huge file on this case and three lawyers are involved in the case in Germany alone. Lydie also left some of her paintings at my place and so on and on...

 

A few words about Lydie Denier as actress and director, your personal feelings notwithstanding?

 

I think I first noticed Lydie many years ago in Acapulco HEAT and later Tarzan and many B-movies. As an actress she was hilarious, outstanding, perfect to the fingerprints. She had a certain magic and technique very few actresses and actors have. Jimmy Stewart, Peter Cushing, Maurice Chevalier, Erich von Stroheim, some of my favorite actors all have that magic. Actresses like Lee Grant, Agnes Moorehead or Barbara Eden have this kind of magic. Besides that I consider Lydie Denier as one of the very best actresses in Hollywood. She never made it to the top, but she is as good and perfect as Sharon Stone or Demi Moore. Sharon Stone probaly also never would have made it to the top without Basic Instinct. In Lydie's career no Basic Instict came along but if she had played the part she would have become as big as Stone. There is ABSOLUTELY no doubt that she is a great actress and she certainly was one of the most beautiful women in Hollywood. Beauty and Youth ARE the key to success in Hollywood for an actress, but if you have a certain aura like Elke Sommer or that kind of magic Barbara Eden has the audience will still love you when you are not young and beautiful anymore. Look at Agnes Moorehead. She was wonderful when she was young in the Orson Welles movies and she STILL was wonderful when she was old playing Endora in Bewitched. Lydie had this kind of magic.

 

My personal feelings about her as an actress cannot change. As a producer I see she is a terrific actress. Jimmy Sangster hated Bette Davis. But their first movie, The Nanny, was so good, he immediately hired her for the next one. I considered Lydie a great actress before I shot with her and I still consider her a great actress now. Watch her movie Perfect Alibi and you understand. As a human being I do not have to like Bette Davis or Lydie Denier, but watching them in The Nanny or Perfect Alibi as a producer or audience, I have to admit they are great.

 

Lydie as a director: Lydie can direct. She directs far better than I ever could. But she is NOT a director. A director is responsible for delivering the movie. She is responsible for cast and crew as much as the producer. A director can not run away from the set, taking original footage with her leaving behind cast and crew who did believe in her. A director should not try to push the producer out of his own project to take the picture to a bigger producer who can pay her much more money. And she acted like a coward running to US court and sheriff lying to them and telling them I am a stalker to get rid of me. She did not tell them she worked with me. She did not tell them about A Bouquet for a Kill and what happened. Again she acted not like a director but like a coward. And instead of talking to me from director to producer to find a solution how we can finish the movie she tried to get rid of me accusing me to be a stalker and claiming she herself did produce the movie.

 

It is my job as a producer to fnish the movie. Lydie and I have a contract to shoot this movie and it is her job as a director to deliver this movie. There is a crew and cast involved who worked for and with us believing in this project, believing in me AND BELIEVING IN LYDIE DENIER AS DIRECTOR. I hereby ask Lydie again to RETURN the tapes to me, so I can start editing my movie and I promise in return that I will give her a HD HDD with all the footage I have, so she can do a director's cut while I will do a producer's cut. As soon as I have my tapes, she can have 1:1 digital copies of everything we shot and we make a contract releasing both versions together. That's by the way what I have offered her for two years and WHAT SHE CLAIMS IS STALKING ...

 

How did you first get in touch with Ms Denier?

 

I wrote a letter to her agent in 2002 and Lydie herself wrote a letter to me. A couple of days later we met in Hollywood.

 

Why, of all the actresses in Hollywood, Lydie Denier?

 

I shot several times in LA with US actresses and I know a couple of actresses in LA, some very well-known. Lydie was the one I got along with very well at first. But as you can see we shot at least with a dozen US actresses so far

 

Are you, or were you ever, in love with Lydie Denier (in the romantic sense of the word)?

 

I NEVER was in love with Lydie in the romantic sense of the word. I did love her the same way Stan Laurel did love Oliver Hardy or Jerry Lewis did love Dean Martin. I did love her the same way I love Katja with whom I have a long business relationship or Vonny. Lydie Denier was my Stan Laurel, I hoped we could have a partnership in LA the same way Katja and I have a partnership in Germany. I always thought of a Stan Laurel - Oliver Hardy Partnership and I mentioned this many times to Lydie on the set. Later I emailed her a Christmas card with Stan Laurel and Oliver Hardy to remind her what we could have achieved WORKING TOGETHER instead of fighting each other. SHE TOOK THAT CHRISTMAS CARD AND TOOK IT TO LA POLICE AND COURT CLAIMING SHE FELT THREATHENED ! By a Laurel & Hardy X-MAS Card ! Can you believe this? And can you believe US AUTHORITIES did buy this nonsense? They did! Well this also shows what a great charismatic actress she is.

 

Have you the desire to ever see Lydie Denier again?

 

Certainly Not. She is a great actress. As a person she is creepy, uncanny and I do not want to be in the same room with her, actually not even in the same country! I wrote her months ago we have to finish A Bouquet for a Kill and we have to deal with each other as long as the movie is not finished and as long as she has not return the tapes, but I made it clear I do not want to see her anymore and I do not even want to talk to her if not necessary but prefer to only have email contact so we can discuss everything concerning the tapes or her paintings she left here - by email, so I do not have to see or talk to her.

 

Anything you want to add I haven't touched upon in my questions about the whole affair?

 

Thanks for asking. I still think there should be more Kaiser Wilhelm memorials in Germany.

 

Thanks for the interview!

 

© by Mike Haberfelner


Legal note: (re)Search my Trash cannot
and shall not be held responsible for
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Thanks for watching !!!



 

 

On the same day
a Burglar wants to kill you
and your Ex wants
to make up ...
... and for the life of it,
you can't decide
WHICH IS WORSE!!!

 

A Killer Conversation

produced by and starring
Melanie Denholme
directed by
David V.G. Davies
written by
Michael Haberfelner
starring
Ryan Hunter and
Rudy Barrow

out now on DVD

 

 

Stell Dir vor, Deine Lieblingsseifenoper birgt eine tiefere Wahrheit ...
... und stell Dir vor, der Penner von der U-Bahnstation hat doch recht ...
... und dann triffst Du auch noch die Frau Deiner (feuchten) Träume ...

 

Und an diesem Tag geht natürlich wieder einmal die Welt unter!!!

 

Bauliche Angelegenheiten
ein Roman von
Michael Haberfelner

 

Jetzt kaufen bei
Lulu.com