Biography

Mentor Huebner's wife, Louise, managed his business affairs, both in Fine Arts and Film Making, and wrote and negotiated most of his contracts. She is a writer and has authored 14 books. Louise is known world-wide as the Official Witch of Los Angeles County. In 1968, almost one year to the day, when Buzz Aldrin went to the Moon, she was invited by the Los Angeles Parks and Recreation to cast a spell at the Hollywood Bowl. The Spell she cast was to increase sexual vitality for the entire County of 78 cities. For her 'services' she was given a scroll which included the County Seal. It was awarded to her by the Chairman of the County Board of Supervisors, then Ernest Debs. It designated her as 'Official Witch'. Later when the County wished to rescind the title, Louise threatened to desex all the elected officials pointing out the legality of the document. She won. Photographs of Mentor and Louise and their children along with a copy of her scroll can be viewed in one of her books: Never Strike A Happy Medium. [louisehuebner@aol.com 20021003]
- IMDb mini biography by: Anonymous

Motto: "I never remember a favor, I never forget a slight, the other person is always wrong and I am always right!"

I like production illustration because it presents me with challenging situations which require my particular ability to both draw and work out the mechanics of getting a good shot or pacing a difficult scene. Often, just the quality of my work is satisfying, particularly if I am able to create a cohesive overall atmosphere for a film. Sometimes, I'll see the movie in a theater just to find out if it works with the audience.

[few of his drawings are ever returned to Huebner, not even those done for films which were never made.] They're stolen, people take them for souvenirs. I try to get as many as I can myself, because they're valuable to me as a guide to what I've already done. The rest wind up on producers' walls, studio files and film archives.

As an artist, I appreciate audience reaction to my work, even if nobody knows that the scenes they're watching developed partially through my efforts. But the projects that are most frustrating will always be the ones that never quite got off the ground, like the handful I designed with George Pal, including Iceberg, which he was working on when he died.

In an illustrative sense, I am directing movies on paper. I've even toyed with the idea of becoming a Director, but I'm just not sure I could handle the actors well. I'm too used to nailing them down on my drawing hoard - I don't know if I'd like to start watching them move all by themselves.