Recycled Movie Costume Mysteries: Where Did Cyborg's Costumes Come From?

The late Albert Pyun was a director adept at working within the confines of a low budget; this made him a mainstay for Menahem Golan's Cannon Group, the company behind 1989's Jean Claud Van-Damme vehicle Cyborg, made during the company's twilight years. Golan's attempts to break into the 'respectable' Hollywood market only resulted in hastening the company's decline, thanks to a series of expensive (by Cannon standards) flops such as Superman IV: The Quest for Peace and Masters of the Universe.

The genesis of Cyborg was Pyun being hired to direct two movies that ultimately that never were made; the prospected Spider-Man movie, and a sequel to Masters of the Universe; judging from Pyun's interviews and leaked scripts, it seems that the former would have been the more expensive movie. Filming took place at Screen Gems Studios in Wilmington, North Carolina, as it would be cheaper to film outside of Los Angeles; this required the construction of elaborate 'New York' street sets for Peter Parker's life in Spider Man. These sets were to be also used for Masters of the Universe II which like the first it would have been mostly set on Earth; Pyun's plan was to shoot the two movies back-to-back, using one set for both pictures and saving Cannon money.

Disaster struck when both Marvel and Mattel revoked their deals with Cannon; several million dollars had been spent constructing the New York sets in Wilmington, and now it was all for nothing; Pyun ultimately made the best of it by deciding to repurpose the sets for an original post-apocalyptic action script he had; some work still had to be done transforming the New York set into a dilapidated war-zone, with of course extra location shooting at various abandoned industrial locations to help sell that this all took place after an apocalypse.

What has always baffled me though, is that Pyun has regularly said that costumes were also constructed for the Spider-Man and MOTU II that never were, and this has gone on to become an oft-repeated fact about Cyborg; yet the leaked scripts for Spider-Man and MOTU II don't really make it seem like costumes would have been made for either production. The former would have only required costumes for Spidey himself; the latter production would have been almost entirely set on Earth with Skeletor possessing a human industrialist, and what few scenes on Eternia surely would have just reused the first film's costumes?

Adding more doubt is that none of Cyborg's costumes feel like they came from or belong in any superhero or fantasy movies; the bulk of the cast are all clad in the usual post-apocalyptic trampy gear. Dirtied up shirts, leather jackets, sweatpants, sports armor, combat fatigues, and so on; nothing akin to the DIY brilliance of Norma Moriceau's work on the Mad Max films.

What few costumes in Cyborg weren't just dirtied up contemporary gear? First would be the outfit worn by Vincent Klyn as the film's antagonist, wasteland bandit Fender Tremolo; his shirt with its puffy, doublet-like sleeves, wide collar lapels and a streaked fabric has an anachronistic feeling. It could have been bespoke made by Cyborg's costume designer Heidi Kaczenski, but it could also have been a thrifted bit of obnoxious 80s fashion that was altered to appear ragged. And perhaps, it could have been reused from another production, but if so from what?

One thing is for sure; the chainmail vest and wristguards were not made for Vincent Klyn; they were reused from the costume designed by Julie Weiss to be worn by Anthony De Longis as Blade in the first Masters of the Universe, with the Skeletor crest removed. Additionally, some armor pieces made for one of Skeletor's soldiers in that film also turned up in Cyborg, worn by one of Fender's goons over dirtied up contemporary clothing. This lends credence that MOTU II would not have had costumes made for it, as the original film's costumes were still ready to go!

Some minor parts also break the film's general costume design sense; Ralf Moller wears a leather harness fitted with chains, Dayle Haddon wears a tattered tan robe, and two of Fender's bandits wear stitched leather tops; however, these don't resemble anything from either the Masters of the Universe film or the original toyline. The real origin for can be inferred from the vest worn by the unnamed bartender Van Damme talks to in one brief scene; it was originally made by Ann & John Bloomfield for 1984's Conan the Destroyer, worn by Tracey Walter.

Conan the Destroyer, and Conan the Barbarian before it, had dozens of costumes made for background performers; the drab fabrics and leather of the reused outfits below feel like they would have originated in either film; given one costume definitely was reused from Conan, why not the few other anachronistic costumes? Italian post-apocalyptic films in particular were notorious for reusing costumes from the peplum wardrobe; Cyborg was a rare example of an American production doing this trick.

However, Cyborg had a few costumes leaning more to the 'futuristic' angle; sticking out among the hordes of tramps is the silvery plastic vest worn by Jean Claude Van-Damme himself, the same material coating the football armor worn by one of Fender's bandits. This again doesn't feel like a reuse of any potential MOTU II costumes; more likely costume designer Heidi Kaczenski thought to add some futuristic detail to Van Damme's costume, and thought to use some of the leftover material on a bit-part player.

In addition, several soldiers wear what are clearly off-the-shelf jumpsuits minimally altered with strips of shiny black dotted rubber - NOT the same material used for the silvery plastic vests above - with their officer wearing over his jumpsuit a black sheet cut to be a gown. His jumpsuit has seemingly been altered to have a panel of the rubber material over the chest - this is very, very cheap costume design, and doesn't indicate that they had costumes to reuse from a more expensive production.

The only strong contenders for a Cyborg costume possibly originating from MOTU II are the helmets that are only seen very briefly in Cyborg; looking remniscient of knight armor, I could imagine them being worn by Eternian characters; but this could also just be a coincidence. Again, several suits of armor and uniforms were made for the first Masters of the Universe, so there would have been no need to make more for a sequel mostly taking place on Earth.

The helmets very brief usage in the final film is also bizarre as usually when it comes to low budget films you show off everything you've got. But perhaps they were shown more in a scene that ended up on the cutting room floor? Or maybe most of the cast could not wear the helmets due to size limits; it's hard to say. Nothing confirms that these were definitely reused or not.

But maybe the real answer is that nothing actually was reused from either Spider Man or MOTU II as no costumes worth reusing were made for either film , due to being contemporary, lower budget productions. Perhaps the reality of reusing the expensive Spider Man sets, and Heidi Kaczenski's reuse of costumes from fantasy films like Masters of the Universe and Conan the Destroyer, blurred in Pyun's memory.

Cyborg's near-future, apocalyptic setting would have limited what sort of costumes could have been reused for the production, hence why only very few costumes in the final film are reused from other productions. This would still have been hard work for the costume department, as all the utilitarian, contemporary clothing they bought would have needed to be severely weathered to transform into wasteland garb.

The shooting of Cyborg was a harrowing experience for Pyun; the miniscule budget, urgent redressing of existing sets and extra location shooting, Van Damme's bad behaviour on-set (resulting in a cast member losing an eye!), and the usual pressures of working under Golan & Globus (the latter throwing a stapler at Pyun as a way to show disapproval for his ideas); of course the finer details would be lost.

Unless any costume polaroids showing the costume tests for Pyun's Spider-Man and MOTU II ever materialize, or Fender's jacket is auctioned showing how many performers wore the costume, we'll never truly know. But it can be safe to assume that, for the most part, no costumes in Cyborg were reused from other films, and what few were did not originate from either of these cancelled projects.

Recycled Movie Costume Mysteries: Roger Corman & Battlestar Galactica

Roger Corman was not a director known for spending; he considered Battle Beyond the Stars, a film made for roughly two million dollars, to be one of his most expensive, and regularly reused its visual effects sequences in later films to keep their budgets down. It wasn't just visual effects he recycled; costumes from Battle were reused in 1982's Forbidden World aka Mutant, and 1983's Space Raiders.

To be fair, reusing costumes is not something only Corman was guilty of - just take a gander at Recycled Movie Costumes, which is a fantastic resource - but Corman had a history of utilizing visual effects sequences from other movies, provided he could get it for cheap. Of course no American studio would be willing to part with such footage, so instead he turned to the Soviet Union who didn't see much economic value in science-fiction films, despite the high level of craft put in them. Thus, dignified Soviet science-fiction films such as 1959's The Sky Beckons (Nebo Zovyot), 1962's Planet of Storms (Planeta Bur), and 1963's A Dream Come True (Mechte Navstrechu) were transformed into dull, kitschy crapfests such as Battle Beyond the Sun, Planet of the Prehistoric Women and Queen of Blood.

This tendency of Corman to not just lift from his earlier films but even from other productions brings us to the main focus of this little article; the costumes of Corman's 1981 scifi shocker Galaxy of Terror, and the rumour that they were reused from Battlestar Galactica, a 'fact' that many sites have ran with, despite it being blatantly false should anyone even compare the costumes - or is it?

Galaxy of Terror is actually one of the more polished films Corman produced in the 1980s, thanks in part to the talents of one James Cameron, who acted as production designer for the film. Cameron's faults as a human being and, in recent decades, as a director, are considerable, but he is regardless a talented and skilled artist with a good eye for atmosphere and this shows perfectly in Galaxy. Cameron designed almost everything for the picture, from the alien labyrinth the unlucky space troopers get murdered in, to their battleship and its interiors, to even the giant worm that rapes some unlucky GI Jane in Galaxy's most infamous sequence.

Cameron's designing duties extended to the costumes, but only partly; in his concept art he envisaged the galactic squaddies as wearing a rather greebly undergarment fitted with electronics and cooling systems - a futuristic spin on the likes of the RAF's 'fairy' ventilation suit - but in the final film this only extended to some fabric being stuck on off-the-rack vests. Notice that the stuck on fabric does not match the colour of the trousers or jackets, or even the vests in the promotional image.

The film's uniforms are beige cotton trousers and jackets; the trousers have black stripes along the sides, and the jackets have raised collars, ribbed panelling and angular button snaps. They do not look like anything Cameron would have designed; complicating matters further is that the film's credited costume designer, Timaree McCormick, never worked as a costume designer before or since. One costume was reused a year later in the aforementioned Mutant.

For their turn in Galaxy, the uniforms have a 'CSF' patch, referencing an organization never referenced or named in the final film. The patch was removed on the one jacket reused for Mutant, showing a black velcro panel. The single officers variant was made of the same material, as well as the pockets being similarly designed to the grunts' jackets.

In the final film, it's apparent that a lot of the costumes do not actually fit their respective cast members, coming across as two baggy or loose, with only one jacket ever being closed - the one reused in Mutant. All of this indicates that the costumes were not made for the production, but were borrowed from another studio; a suspicion bolstered by how at least one of the film's monster suits was borrowed; namely one that FX artist Steve Neill had originally built for the Leslie Nielsen vehicle The Creature Wasn't Nice.

So, if the Galaxy uniforms were reused, then from what? Some people online, not least whoever updated the 'trivia' page on IMDB, think they were reused Colonial Warrior uniforms from the original Battlestar Galactica designed by Jean-Pierre Dorleac. Let's be real here; even a cursory glance shows this is absolutely false; the cut, fabrics, colours, etc just do not match at all. Yet there is a similarity in their design; the general shape of the jackets, the snap buckles, and the beige colour.

It is already known that the Battlestar jackets were lifts of Philippe Druillet's design for Lone Sloane published in Heavy Metal (unless you believe Dorleac's story that it was a design of his that he 'sold to a comic book'; if so you have likely been sold a lot of bridges in your time). I doubt this was the case for Galaxy simply because its unlikely that Corman would even want to spend the money making costumes. The original Alien, a big-budget studio picture, just had its cast wearing minimally altered flight jackets and work shirts; would Corman of all people go the extra length and have several costumes bespoke-made? And designed so similarly to a recent, and popular, scifi show?

However, there is a possible explanation provided by, ironically, Dorleac himself; multiple times on social media he has railed against the work of Al Lehman, the costume designer who replaced him on Buck Rogers in the 25th Century; Lehman's designs are made of cheaper materials and rely more on camp cliches, but to be fair suit the general tone of the kitschy Buck Rogers series. However, Lehman was also slated to be costume designer for Battlestar Galactica's much-loathed sequel series, Galactica 1980.

According to Dorleac - so take it with a grain of salt - Lehman was fired from Galactica 1980 for designing a new set of uniforms for the Colonial Warriors, this new uniform 'looked like porridge' from being made of 'grey wool gabardine' and were so disliked by Glen A. Larson that they were rejected, put in stock and thus never used in the series, causing Lehman to lose the gig and Larson aksing Dorleac to return as costume designer (and have the dubious honour of having Galactica 1980 on his resume). This story is fishy if only because it implies Glen A. Larson, the man behind such quality television as Automan, Knight Rider, Manimal and B.J. and the Bear, actually had a semblance of taste. More likely is Lehman left the series for other reasons, and Dorleac upon returning to it opted to reject Lehman's new Colonial Warrior uniforms.

However, the description of Lehman's unused uniforms does match the Galaxy uniforms doesn't it? The drab colour, the coarser material, the obvious replicating of the original design. The maximum number of Galaxy's 'standard' uniforms totals a number of six; matching the amount of characters in the original Battlestar Galactica series who regularly wore the uniforms; four outfits for the men, originally for Captain Apollo, Lieutenant Starbuck, Lieutenant Boomer and Flight Sergeant Jolly, and two for the women, originally for Lieutenant Athena and Lieutenant Sheba.

Yes, it's a shot from behind, but you get the gist.

Presumably, the officers variant would have been for Lorne Green to wear as Commander Adama, replacing his earlier blue uniform.The general construction of the Galaxy uniforms matches many costumes Lehman designed for Buck Rogers. I'll just show this outfit he designed for Gil Gerard in one episode, and let you decide.

Galactica 1980 was aired in, well guess, and Galaxy of Terror was filmed 1981. The 'CSF' on the uniform patches could easily stand for 'Colonial Star Fleet', or whatever they were going for. It's not too unrealistic that Timaree McCormick could have found these forlorn looking uniforms in whatever costume warehouse they were rummaging in, with the bonus that they had never been used on-screen anyway. After all, many screen-used costumes from Battlestar Galactica, Galactica 1980 and Buck Rogers in the 25th Century, ones designed by Dorleac and Lehman both, turned up in Metalstorm, Trancers and The Dungeonmaster, all produced by Corman's 1980s b-movie rival Charles Band.

A funny note to end this article on; when searching online to see if any of Galaxy's costumes had been auctioned off, I came across these very obviously phoney 'concept sketches' by an artist who, looking at their IMDB, had a career only in animation storyboarding. But what really gives away that its a forgery is the sketch that is very obviously a copy of the same Lone Sloane panel that was lifted for the Colonial Warrior uniforms in the first place!

Ferat Vampire (1982)

Costume Design by Theodor Pistek

A gloomy, paranoid thriller focusing on the machinatons of an evil automobile corporation; said corporation's minions play with the film's vampirism themes by wearing blood red and black clothing. The corporation's owner, Madame Ferat (Zdenka Procházková), is introduced wearing a ruffled black top with large cuffs, and a black and blood red scarf. I feel Ferat's other costumes in the film were all bought, so have neglected to cover them.

Ferat's flanked at all times by a squad of leather-clad women; the lesser minions wear simple vinyl jumpsuits with deep necklines held together by a badge of the company logo, but their head henchwoman sports a very space age and kinky jumpsuit with large shoulders and a deep v-neck.

The last of the film's bespoke costumes (everything else appears to be off the rack contemporary clothing, or workwear modified to have the Ferat logo stuck on) are the racing jumpsuits worn by the vampire car's drivers; notice the red pinstripe pattern. It's also worth noting that costume designer Theodor Pistek also designed the paintjob of the modified Skoda Super Sport used in the film, as well as the accompanying lorry and Land Rover the company also have; in a way, Pistek was the vehicles' own costume designer too!