After the success of his film’s El Topo and The Holy Mountain, Alejandro Jodorowsky was given the green light to make whatever he wanted. Without hesitation he elected to adapt Frank Herbert’s Dune. He had never read the book, and instead had only heard from a friend that it was good. His decision turned out to be one that he’d never regret, it would go on to haunt and influence the rest of his life and play a pivotal role in the future of science-fiction film. An artist first and filmmaker second, Jodorowsky aimed to assemble a team of warriors who fought for artistic merit over money. Luckily, producer Michel Seydoux was not only one such warrior but also one who could scare up big money to bring the collective to fruition. The talent pool for the project was impressive, especially by today’s standards. It included such notable names as Dan O’Bannon, Jean (Moebius) Giraud, Salvador Dali, Orson Welles, David Carradine, H.R. Giger and Pink Floyd (that’s the short list). Jodorowky wanted to create a film that would open minds and expand audiences’ consciousness, to subject them to an eye opening experience unlike anything they had ever seen. Combining Herbet’s space opera with his own blend of amped-up psychedelic spirituality, everything was in place for Dune to be the mind-bending epic of his dreams. Then it slipped away.