The Laurel and Hardy Horror Christmas Card

The Christmas Card Horror

Lydie showed Santa Monica Court a Merry Christmas card I mailed to her. She told them she felt this was threatening and disturbing that is, Ms Denier is afraid of a "We wish you a Merry Christmas" card with Stan Laurel and Oliver Hardy!!!
(I did make Stan and Ollie not recognizeable because of copyright laws on this upload). As you remember I offered Lydie a Laurel and Hardy BUSINESS parntership. I was NOT talking about LOVE (as she claimed at Santa Monica Court).

I attached some lines of two Charles Trenet songs, La Route Enchantee and Menilmontant.

It says:

Come with us and you will see
happy mornings and big roads
we will walk to adventure
winter and summer
on a happy road

I am not a poet
but I am blessed to have in my mind
the souvenirs that will never be lost
a winter night
some music
your kind eyes, Lydie
a beautiful story, crazy and poetic
and pathetic
Stan & Ollie

Merry Christmas, Lydie,

Michael

First, please note I wrote to Lydie: Come with US (and not come with me),
US referring to the people who did set up Bouquet and who are still waiting we can
finish it.
I also changed some lines, not using the word roman d´amour (as written by Trenet in his original song)but instead crazy, poetic and pathetic because that is what Lydie is to me, a little bit crazy, very poetic and pathetic like the old Hollywood divas like Hedy Lamarr and Greta Garbo.

All I wanted was to write Lydie some kind words at Christmas, letting her know how unhappy I feel about the whole situation with Bouquet and wishing her nevertheless a Merry Christmas.

At Santa Monica Court she only showed them again half of the mail making it look again very different in sense.

What really scares me is that Deputy Denham and Judge Rosenberg did not get suspicous when someone told them she is afraid of a Laurel & Hardy Christmas card!!!

Sincerely Yours,
Michael Huck

The E-mails of Evil

The e-mails I wrote to Lydie

Lydie Denier claimed I had wrote her terrifying e-mails and told so to Santa Monica Court. She told Deputy Denham nd Judge Rosenberg I wrote her e-mails writing I am in love with her and wanting to be together with her. It´s not true. The e-mails I wrote to her are clearly about the movie we shot together. So I have no other choice to upload more - if not all of those e-mails - to show to everyone what really happened and what I really wrote and how Lydie manipulated truth when she went to Santa Monica Court.

Here are two e-mails I wrote to Lydie after our fight over Bouquet had started:
the first one I wrote her in April around her Birthday on April 15. (I wrote the mail on April, 14).

Decide yourself if this is a terrifying e-mail as Lydie claims.
The same thing with the e-mail I mailed to her in July 2008 asking her again to finish the project we started and return my tapes.

Sincerely Yours,
Michael Huck

The Stalking Files

How does it feel to be accused to be a "S T A L K E R" ?

In late August Lydie Denier told the world I had stalked her and had pulled a gun on her and had threatened to kill her.
It´s not true but how does this affect my life so far?

In Germany: noone really cares. All the people who know me know of course also that Lydie did not tell the truth and all know that Lydie and I shot "A Bouquet for a Kill" together, most people I know already have seen a copy of "A Bouquet for a Kill". Noone who personally knows me actually believed one word of what she told, but of course most people who know me also have met Lydie and me together in the time between February 2007 and May 2007 when Lydie came to Berlin to work with me.

What really makes me happy is that also in the US all the producers and movie people I know and I am in touch with (and some of them have worked with Lydie) did not believe the stalker story (of course also most of them have a copy of "A Bouquet for a Kill or photos of shooting) and even people who never heard of me before wrote comments on websites making fun of Lydie and did not believe her stupid story. She made it to TMZ and "stupid celebreties news" and she was even so P R O U D of this nonsense that she made a link on her website !

So far she found some people at Santa Monica court who gave her this restraining order based on her falsified "evidence" and her lies.
But this will not last forever.
I will make sure till the next AFM EVERY Producer in Hollywood, Immigration and all US authorities, every movie website and every Producers, actors or trade papers will know the truth.

Lydie had her one-week triumph of having me in the news as a crazy stalker. But now for the rest of her life as a human being and as an actress EVERYONE, EVERYWHERE will know that she did accuse me wrongly to be a stalker and that she tried to take over my picture. I wonder if this all was worth it.

If Lydie had not broken her contract with me, I would have let her take the picture to Millenium. Why not? I consider Avi Lerner a great producer. I do not know him but I know people who know him. A producer who is on the board of IFTA assured me Avi Lerner is a good guy. My friend Vonny met him once together with Lydie at Berlin Filmmarket and Vonny was impressed. I know he has made great movies and I would have been glad if he would have produced a bigger US version of Bouquet.
But the way Lydie wanted to do it, just to push me out and take it to Millenium without me? Never.
So what did she achieve?
She went behind my back to Avi Lerner and asked him to buy me out.
I refused.
Lydie had no DVD to go to Cannes.
Lydie had brought over Michael Worth to Germany, asking him to play an important
part in the movie she never finished.
Does that look "professional"? Lydie was in as star A N D director.
It is not professional to leave a movie if you are the director.
And it is not professional to betray your producer and go behind his back to another producer to ask him to buy him out.
What did she achieve?
What does Avi Lerner think of Lydie now?
What does Michael Worth think of Lydie now?
And it is not professional if your take-over attempt fails, to run to Santa Monica Court and accuse your producer to be a crazy fan and a stalker. This is also not clever, it is mean and it is s t u p i d .

I have been one of Lydie´s biggest fan´s b e f o r e I have worked with her. I still consider her a good actress, but I do not want to see her anymore or talk to her for the rest of my life.
I have heard of women accusing someone w r o n g l y as a stalker. I do not know what is going on in their mind or in the mind of Lydie. Lydie is a good actress and she did achieve a lot in Hollywood. Knowing her now I wonder h o w she did achieve surving 20 years in Hollywood.
Most men would now be in trouble as it´s her word against their word.
I am a little bit more lucky: I have 15 hours of outtakes showing me and Lydie on the set of A Bouquet for a Kill. We have hundreds of stills of the shooting taken by the DP Jörg Peter and myself. I have a cast and crew who can confirm I am Not a stalker but the producer of A Bouquet for a Kill.

There is a dark and hopeless Hitchcock movie wih Henry Fonda: The Wrong Man. Fonda is accused of having commited a crime, but he is inoccent. His life is ruined this way.
Lydie tried to ruin and to damage my reputation. I am glad she is not really knowing what she is doing as she is very, very bad in telling lies. If she had been a little bit more clever and if she had said, o.k., I´ve worked with that guy, he was my producer and I did direct and we did not get along and things like that, it would have been very difficult for me to prove what really happened.
But in the moment, she went into Santa Monica court and showed them the F A L S I F I E D Cannae email and did tell them I am NOT a producer but a cazy fan who threatened to kill her, she had lost. It´s so easy to prove it´s a lie.
She got the restraining order and in giving this "news" to TMZ and WENN she tried to damage my reputation, not realizing she actually ruined her own reputation:

From now on everyone will remember Ms Denier not as Tarzan´s Jane but as a starlett who wrongly accused me to be a stalker because I did not let her take over my picture.
I don´t know why she did this. Wouldn´t it be more intelligent to just return my tapes, let me edit our movie and release it? And let the world know that she now also is a director? This could have given her carreer a whole new and different direction. Probably other producers would have let her direct movies.

I also wonder that noone of her so-called friends did talk to her and gave her some good advise like as a director you have to finish a movie ?

I will fight Lydie as long as she will not return my tapes. It is my job as a producer to finish my picture and to release it. Lydie has a contract with me. I will not break this contract and I expect Lydie Denier to deliver the movie she promised to deliver to me.

Sincerely Yours,
Michael Huck

The Take-Over Battle in May 2007

The Battle over A Bouquet for a Kill in May 2007

During May shooting I realized more and more Lydie had planned to push me out of my own project. After completing short version in April Lydie, Roswitha and I have met in a restaurant and we agreed that we are going to shoot a 90 minute version. I wanted to wait with shooting till Cannes Filmfestival was over as we were trying to get more money to do it bigger, but Lydie insisted we had to start as soon as possible with the 90 minute version and she already had talked to Michael Worth her former co-star of Acapulco H.E.A.T. to come over to Germany in early may.
Later Lydie and Roswitha claimed this meeting had never took place and they never agreed to shoot with me a long version, but there are witnesses who can confirm. We met at Lydie´s birthday at a German Freemason´s Lodge to celebrate Lydie´s birthday and Lydie and Roswitha there told everyone we had agreed to shoot the 90 minute version, that Michael Worth will come from Los Angeles and Lydie even told Hans-Jürgen we need to shoot new scenes at his apartment what they finally did in may.

Lydie went back to Paris and I prepared the may shooting in Berlin.
I was shocked when Lydie mailed me a new 48 page version of my original around 100 page script. This was far too short for a 90 minute movie and her re-writes made no sense at all. I discussed this with Michael Worth and he agreed on most of what I said. (I still have all the emails). Michael Worth who is also an experienced producer and I emailed about the questions what camera and technical equipment we are going to use and Lydie went furious when she learend Michael Worth and I discussed script and technics. Lydie had abolutley no knowledge of HD cameras, PAl, NTSC standards, 24p or 25p and Michael Worth knew all about and so I considered it a good idea to discuss this with Michael but Lydie insisted she as a director has to decide who is allowed to talk to whom about what. I am the producer and I do not take orders from directors unless they are Alfred Hitchcock or Lubitsch.

When I did not Greenlight Lydie´s new scriptversion she run amok and started shooting without my permit and Roswitha supported her. Lydie obviously had already made plans to push me out of the project and had talked to Avi Lerner behind my back. First she had told me she wanted Avi Lerner to come in as a co-producer to get additional money to do it better and bigger but I realized she wanted Avi Lerner to come in to buy me out.

She mailed me an email asking me to give her all my receipts and claimed Avi Lerner had asked her to do so. I did not believe her.
She finally admitted she wanted Avi to buy me out and then emailed me a new contract she had wrtiten and wanted me to sign the project over to her. (She had realized she cannot take the project to Mr Lerner as long as I own the copyright).

Lydie wanted me to leave the project and give her all the rights. She wanted only to give me a coproducer´s credit and she even wanted all the writer´s credits for herself, leaving me just a credit "based on an idea by Michael Huck". If you are a little bit familiar with copyright laws you probably know according to US copyright law "ideas" cannot be protected. Nice try, Denier.

The second trap she wrote into that contract was that she has to fully reimbourse me in the event if the long version is sold to American Television. Looks good at first but isn´t if you know that most low budget productions are never sold to television and only distributed on dvd or video. So in this case she could have made lots of money with dvd sales and I would not get one cent IF NOT SOLD TO AMERICAN TELEVISION. I alsow would get nothing according to this conctract if sold to German, French or other television.(However she made a mistake again and did write American television NOT US, so what if sold to Brazil ???) Then there are some clauses like the sum will not exceed $ 5000 . I have spent much more than this sum on the project. And what about Jörg and Vonny who also invested in the movie and cast and crew?
Actually in the worst case neither I nor anyone else besides Lydie would get money. Not a good contract.
Jörg and I set up another contract which made sure everyone involved in the short and long version would get a share of profits in case the long version is made and sold. Lydie had not to pay one cent in advance, only if sold but then everyone would get a share. Lydie refused to sign this contract and I refused to sign hers.

So all the work cast and crew did on this project so far did not get us anywhere.
It is my job as a producer to somehow release this project.

photo: Copyright 2007 by Jörg Peter

The Fight over A Bouquet for a Kill Part 3

A Bouquet for Kill
The Fight over A Bouquet for a Kill, Part 3

In February 2007 we started shooting the English version of "Du sollst nicht Ehebrechen!" entitled The Other Women, later re-titled A Bouquet for a Kill .
I had changed the ending. Lydie who did star and direct had changed the ending
again and I liked Lydie´s new ending.
Lydie had also changed the beginning. In the first versions Mrs Tanner and
Sybille / Sarah first talk for a long time, then Mrs. Tanner takes Sarah prisoner.
In the new English version, Mrs. Tanner overpowers Sarah right at the beginning and
ties her up. I also liked this change as it made the story more suspenseful.

The rest of the story was by and large the same, but I realized while shooting Lydie did start telling around she had totally re-written my script and the new script has nothing to do with my original Unhappy End! story and she tried to convince herself it´s true. When she finally realized this is not working as I can prove I did the same story two times before in Germany (and a copy is at Register of Copyrights) she tried to make me sign over the copyright to her and when I refused she finally started telling the stalker story.

Even if you have not watched yet all 3 versions of the story, only have a look at the photos and you will realize the story is very much the same. I have no idea what Lydie is trying to achieve. It´s if someone takes Romeo and Juliette and changes the ending and makes them marry and re-arrange the poison scene and starts with that scene and then claims now it´s not anymore William Shakespeare´s.

photos above: stills from shooting A Bouquet for a Kill and some photos of Lydie Denier taken for PR to promote A Bouquet for a Kill.

All photos are Copyright 2007 by Jörg Peter

The Fight over A Bouquet for a Kill Part 2

Unhappy End! Episode 19: Die Hexe
The Fight over A Bouquet for a Kill Part 2

In 2002 I had met with Lydie Denier in Hollywood and showed her an expose of our old German Unhappy End! episode 2, Du sollst nicht Ehebrechen. Lydie liked it and I promised her to come back with an English script. I entitled the script The Other Woman and Lydie also liked the script and we signed a Letter of Intent that we are going to shoot a movie together based on my and Jean Bork´s script. Lydie would star and direct and I produce. We met several times in Los Angeles and Paris to discuss script and cast. In the English version the wife was still named Stephanie Tanner (only the h was missing because in English Th(anner) would have been pronounced Sanner) but I changed the young woman´s name from Sybille to Sarah Lamarr. Sarah because I loved the Buffy-the Vampire Slayer tv show starring Sarah-Michelle Gellar and Lamarr because Lydie loves Hedy Lamarr so much.

In the meantime when I was back in Germany I re-shot a German version of the story this time entitled "Die Hexe" (The Witch) . We used almost the same script. I did this for seeing how to set up lights and camera best and I also used two cameras, my SVHS Panasonic MS 4 and a new digital camcorder from JVC as I intented to start shooting digital. We also shot "Die Hexe" in the same apartment we also rented later to shoot the English version with Lydie. As I knew by then already that Lydie will star in the English version, I placed a copy of a magazine with Lydie on the cover on a table in the apartment. If you watch "Die Hxe" you´ll might notice.
Katja Bienert and Mona Glass did star in "Die Hexe".

Above you´ll see some of the photos of "Die Hexe".
All photos copyright by Michael Huck

The Fight over the A Bouquet for a Kill 1

Unhappy End! Episode 2 Du sollst nicht Ehebrechen
The Fight over A Bouquet for a Kill Part 1

As you already know, Lydie Denier and I shot "A Bouquet for a Kill" from February 2007 till May 2007. Lydie went behind my back, contacted Avi Lerner and asked him to buy me out. When I refused to sign her take-over contract, she and Roswitha claimed I have nothing to do with the movie. Roswitha´s lawyer wrote a letter to my lawyer claiming it is NOT my story and not my production but Lydie Denier´s. They even laimed I have not be present while shooting! And finally Lydie accused me to be a crazy stalker and not a producer.

"A Bouquet for a Kill" is my baby. It´s my project. It is based on a German script we did many years ago and that´s why I can prove it is my project. We shot the German script already in the 1990s, years before I met Lydie Denier. Jean Bork and I wrote the script together. It is about a jealous wife, Mrs Tanner (played by Ingrid Littmann) who learns her husband has an affair with a much younger woman. The wife goes over to the young woman´s place and begs her to stop the affair with her husband. When the young woman refuses, the wife beats her up, ties her up and gags her and finally kills her. Then the mailman brings a letter of her husband. The wife reads the letter and realizes her husband just had decided to end the affair. Jean Bork played the part of the young lover and the Episode of the Unhappy End! series is entitled "Du sollst nicht Ehebrechen!" The Episode has been releasen in German speaking countries in 1999 on VHS, later on DVD.

Above you see some of the photos of the German version starring Jean and Ingrid.
All photos Copyright by Michael Huck