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.
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?
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.
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
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
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
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
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?
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
and I allowed her to change the script and it worked very well.
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
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!
Lydie also changed the unhappy ending, showing her coming to the door with
the flowers in the end.
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
Avi Lerner, asking him to buy me out. She teamed up with German actress
Schreiner, who was also in the project, and both tried to push me out of
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
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
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
in Hollywood. Roswitha Schreiner and Lydie Denier claimed A Bouquet
for a Kill was a
Denier production and Roswitha took a lawyer who wrote that I have absolutely
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
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
scenes to do a 90 minute version. Shooting should start in may. Lydie
Worth, her former co-star from Acapulco HEAT, into coming to Germany to
play the male
Lydie then started to replace actresses I had brought in, Jean Bork and
Bienert with other actresses she and Roswitha hired behind my back.
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
me to come to my own set. When she could not make me sign her contract
over A Bouquet
for a Kill to her, she vanished from theGerman set taking with her some
So this was then the situation: I have all the tapes from February and
plus several scenes on HDD shot with Roswitha in Bali, shot by Roswitha's
Lydie has all the tapes from the May shooting and noone of us can start
90 minute version. I contacted Avi Lerner, Michael Worth and Max Keller
of Acapulco HEAT and Tarzan, who had worked with Lydie a lot. I asked
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
a Producer's cut and we release both versions. Lydie never answered. I
to the German police and charged Lydie of having taken the tapes and asked
to get me back the stolen tapes. I monitored the www and when I had news
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
her a director cannot run away with the footage and asked her again and
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
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
We had a scene in which Michael Worth shoots a P.I., and I told
Lydie she can use
of my prop guns. We indeed met at cafe at Paul-Lincke Ufer, I pulled out
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
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
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
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
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
She had survived in Hollywood many years and I was very impressed. For
was my Stan Laurel.
Was there ever any contract between you and Lydie
Yes, we signed a letter of intent in 2003 to work together on
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
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!
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.
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.
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
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
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
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
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
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
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!
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 ...
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
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.
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.
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...
few words about Lydie Denier as actress and director, your personal
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
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
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
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
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.
you want to add I haven't touched upon in my questions about the whole
Thanks for asking. I still think
there should be more Kaiser Wilhelm memorials in Germany.
Thanks for the interview!