In 1986 Matthias Hues came to Hollywood without a shirt . . . or, little more than the shirt on his back. And it is without a shirt that he has built a career that continues to not only grow, but evolve. Like his predecessors, peers and the now emerging class of action stars, the mantra has really become adapt, or fade away. But really…it has always been that way.
Shirtless in Hollywood charts its course through the movie world that is at once bright and shining, as well as being dark and loathsome. Matthias has seen the incredible heights and the deep, lonely valleys which await everyone looking to get their hands on a slice of the pie of stardom. Through it all he has remained grounded. Warmed by those whom he trusts, sharpened by those with whom he has shared the screen, and tested by fame and fate at each and every turn.
Matthias’s book is compelling because it is not merely a tale of the glamorous life of a movie star. Instead it is a very human story for which his memoir’s title carries a double meaning. He came with little but the shirt on his back and then set about forging a career out of his physical gifts, to the point where esteemed action director Craig R. Baxley said, “If anyone is going to take their shirt off, it’s going to be Matthias.”
He has thrived alongside resident action men like Dolph Lundgren, Ralf Moeller, and Alex Nevsky. He has been mistaken for Fabio and a star of a film he wasn’t even in (Die Hard). He is a real salt-of-the-earth kinda guy, that hasn’t let it all go to his head and hasn’t let it all come crashing down as the cinematic landscape changes.
Matthias is still an imposing figure, and it was a thrill to chat once again with a Hollywood idol who I think is going to have a great resurgence – if indeed the project that he discussed with me gets off the ground. Still, as much as he has overcome, Hues is man of quiet satisfaction who has found that real paradise does not exist between ‘action’ and ‘cut’. This huge Liam Neeson fan has gifted us all with his incredible tale and take on a business that can chew you up and spit you out . . . but only if you let it.
Shirt on, or shirt off, I think Matthias Hues is a legend . . . so kick back and join us as we take it all off and dive into the memoir of a grand gentleman of the old school who’ll still tell you, “I come in peace.”
It is impossible to convey to those who weren’t there when STAR WARS was new – what it used to be like. For the third time since my existence began, I find myself faced with the end of yet another trilogy – the end of the Skywalker saga . . . ?
So it was with incredible nerves thundering tremulous throughout my body, that I sat down to talk with the man, and I want you to really think about this, who cut the scene in which Luke and Ben Kenobi discover the message hidden in R2. He cut Luke’s run, part of the final assault on the Death Star. He is even the man who suggested to George Lucas that Vader’s lightsaber be red and Obi-Wan’s be blue. As a STAR WARS fan . . . think about that. Think about the contributions of Paul Hirsch on the images that permeated our dreams and in some cases . . . shaped our destinies.
My beloved Empire Strikes Back. Yes Paul came back for the sequel, but this is not merely an ode to the realm of Jedi’s and Rebels – it is a look inside the mind of a skilled craftsman of his art, and the journey which saw him mingle among the mighty company of the heavyweights of that last glorious era of Hollywood . . . the 70’s.
In a time when the men we would come to define as masters began their adventures in the screen trade: George Lucas, Steven Spielberg, Brian De Palma (with whom Paul cut frequently), Francis Coppola – oh, what a time. And it is not only the holy trilogy that has passed beneath the keen eyes of Hirsch – the work of other magnificent filmmakers like John Hughes, Joel Schumacher, George Romero,Herbert Ross, and Charles Shyer have all benefited from Paul’s expert touch.
It took George’s clout to get him into Kubrick’s editing room. James Cameron boasted to him (referring to Titanic) that he made more money than the ‘WARS’ and didn’t have to make a sequel. He cringed at the idea of editing the helicopter sequence in Apocalypse Now for six months when Francis suggested it . . . yes folks . . . the cinema that has moved us to tears and had us on our feet cheering, has been before the eyes of my guest. And may the force be with him . . . always.
Ladies and Gentleman, please seek out the book, but until you do join me and Academy Award Winner . . . Paul Hirsch.
It is always a delight indeed to sit down with the director of one of my favorite movies. Steve Carver (Big Bad Mama, Lone Wolf McQuade), acclaimed filmmaker and photographic artist extraordinaire has given us all, not only great cinema, but now his first book, Western Portraits: The Unsung Heroes & Villains of the Silver Screen (Edition Olms, 2019). Rendered in evocative tones reminiscent of Edward Sheriff Curtis’s immortal images, the stylized photographs in Western Portraits capture the allure and mystique of the Old West, complete with authentic costuming, weaponry and settings. Among the subjects who posed for the book are the popular actors Karl Malden, David Carradine, R. G. Armstrong, Stefanie Powers, L. Q. Jones, Denver Pyle and 77 others.
From the epic feature film to the TV series and serial, this coffee table book puts the story of character actors and the significance of their memorable roles into an entertaining perspective. Appealing at once to lovers of classic cinema, Western history aficionados, writers, scholars and collectors of nostalgia and fine art photography, Western Portraits of Great Character Actors: The Unsung Heroes & Villains of the Silver Screen will awaken movie memories in people’s hearts while introducing others to the amazing work of these acting artists, serving as a record of the best of the Hollywood Western.
With collaborators C. Courtney Joyner – a writer whose first major output was a string of more than 25 movie screenplays beginning with The Offspring starring Vincent Price, and Prison directed by Renny Harlin. His novels include the new fantasy-adventure Nemo Rising and the Shotgun Western series, which have both been optioned for television – and Roger Corman – Legendary film director-producer – who contributed the foreword for Western Portraits alongside Joyner’s crafted series of insightful essays to accompany the photographs.
He learnt the art of story-boarding from the great Alfred Hitchcock, he learnt to make pasta with Sergio Leone, and has directed the man we remember as the American Ninja. Steve is so full of stories I hope his next book is definitely an autobiography, but in the meantime we have this glorious work to sit and marvel at. Some of the greatest character actors of all time (that have also been my guests, in the persons of Tim Thomerson and Fred Williamson) take center stage in a book the is the ultimate amalgamation of fine art and Hollywood yesteryear.
Brooklyn native Steve Carver studied photography at the University of Buffalo and Washington University in St. Louis. He pursued a formal education in film-making at the American Film Institute’s Center for Advanced Film Studies, also participating in the Directors Guild of America’s apprenticeship program. Prolific motion picture producer Roger Corman hired Carver to direct four movies, including Big Bad Mama. Carver also directed American action star Chuck Norris in An Eye for an Eye and Lone Wolf McQuade.
It is that time of the year when we look to feel magical. The Christmas spirit lifts us up out of the murk that we have been grinding through all year long and . . . in the midst of a silent night; we find a moment of peace. Refreshing it is then, to have stumbled across a film so innocent. Whose message is born out of childlike innocence and hope – that the world which we inhabit has not killed all of the wonder, the mystery and the joy?
Into this scene comes a peculiar yet dynamic messenger. A herald from the heart of the child in us all that delivers a message so hauntingly simple, we would be fools not to take heed. This visitor is a Clown – whether he is real, or merely a delightful apparition I leave to your perception – with a notion we often abandon in times of peril. The Clown speaks to us, in the tongues of men and angels. And he tells us to just, “Believe.”
The core of this film is the creative duo of father Nick Lyon (director) and son Adrien Lyon (The Boy). Nick’s cousin, Gabe Dell Jr., who trained as a performer with Cirque du Soleil, plays the role of The Clown. And the family canine, Foxy Lyon, plays the demanding role of The Dog. The film has its origins as a project for Adrien’s fifth-grade student film festival. Originally entitled The Sad Clown, they all realized the short film had some sort of mystical allure, and Nick decided to expand the story by writing a feature-length screenplay to incorporate the footage already “in the can.” Nick soon recognized that the latter part of the script was going to be complicated to shoot and expensive (it took place at a clown competition in Las Vegas). He also realized that by filming only on weekends, Adrien was destined to outgrow his role if they didn’t pick up the pace. Nick knew that a retool was in order and sent the script to veteran screenwriter and friend, Ron Peer, who saw this as the opportunity to create something different, something special, an indie family film featuring … a clown!
“I had never quite read anything like it,” says Peer. “There was just something charming about it. Watching the footage already shot, I was immediately entranced by Gabe Dell’s emotional performance as The Clown. I couldn’t take my eyes off him.” Nick and Ron’s new goal was to rewrite the screenplay so that it could be shot in two weeks during the upcoming summer. Ron and his wife Mitzi Lynton also acted as producers and crew of the film. The final two-thirds of the movie was shot in Big Bear, California, with a micro crew, including Nick’s eldest son, Parker Lyon, and close-friend and cameraman Rick Mayelian.
In a world where evil clowns dominate the theatrical landscape, Nick and Ron were deliberately cutting across the grain by creating a family film that focused on the “good clown,” harkening back to Shakespeare’s classic “Fool” and the performers of commedia del’arte. “Dell’s clown character stems more from the European tradition rather than the red-haired Bozo character seen at American circuses and children’s parties,” says Peer. “It’s a shame that the evil clown stereotype has become so prevalent that a word for fear of clowns has emerged in our lexicon: coulrophobia.”
“I hope that audiences really respond to our little movie,” Nick adds. “I would love to direct a sequel. But at the speedy rate that Adrien seems to be growing, I may be shooting with his son.”THE BOY, THE DOG, AND THE CLOWN is reminiscent of the charming European films of the 1960’s, and has been compared to the French classic The Red Balloon.
The film premiered at Dances with Films festival in June of 2019 and won the Audience Award. THE BOY, THE DOG, AND THE CLOWN has also received family certification from the Dove Foundation. Gabe Dell Jr. gives a performance I couldn’t believe. The man is a magician with a screen presence that was so engaging. The film that revolves around him brings to mind some of the luminously enchanting films I came across during my childhood like Vojtech Jasny’sThe Great Land of Small.
This movie is pure joy . . . a perfect holiday gift . . . find it now . . .
Daniel Roebuck’s directorial offering Getting Grace made me cry like a baby. The end result however, is that I was able to chat with one of the nicest dudes in Hollywood.
Now he’s back . . . and he’s in Star Wars. Well, a Star Wars video game, which isn’t bad either considering how much the line between video games and movies are blurring – the gaming experience having been elevated to its current status which is, quite simply, a little like an interactive story. But unlike the experience you have sitting down and watching a film – here you, are a part of the story.
From the soulless killer, Samson Toulette, in Tim Hunter’s acclaimed dissection of 1980’s teen anguish, RIVER’S EDGE, to his latest role as the irascible four armed pilot Greez Dritus in the highly anticipated video game release, STAR WARS: JEDI FALLEN ORDER(available on PS4, Xbox One, and Microsoft Windows).
EA and Respawn Entertainment’s STAR WARS JEDI: FALLEN ORDER has already garnered a great deal of interest and the excitement is building for its November 15th, 2019 release. In an interview with Entertainment Weekly, game director Stig Asmussen offered his thoughts on Roebuck’s character Greez, “He’s a member of a new species we’ve created. I don’t want to give away too much of his backstory, but like anybody you’re going to find during these dark times, he’s got demons. But he’s kind of like this loudmouthed little guy, he talks real big, he tells tall tales and most of the time they’re not true.”
Roebuck spent a few months working alongside of Cameron Monaghan, playing Cal, the young padawan and Debra Wilson who plays Cere in the game. “We had a wonderful camaraderie, the three of us,” said Roebuck. “Plus, we were performance directed by Tom Keegan who is truly a master director and always brings great insight into the process.” Keegan and Roebuck had worked together before on DEAD RISING 3.
During the performance capture process, the actors donned form fitting body suits covered with reflective balls and performed the game’s cinematic scenes in front of dozens of cameras. They also wore head gear fitted with cameras so that the animators could utilize the footage to animate the character’s facial features by directly correlating them to the actor’s reference video.
STAR WARS JEDI FALLEN ORDER is on track to become one of the most successful video game releases of 2019. The game is one of a triumvirate of entertainment options being released by Lucasfilm LTD this fall. Its release coinciding with the original program from Disney +, THE MANDOLORIAN and STAR WARS: THE RISE OF SKYWALKER, out this Christmas.
Eva Rojano is not your average RoboCop fan. I remember Mark Hamill’s narration of the TV special SPFX: The Empire Strikes Back, in which he states, and I’m paraphrasing here: “that Star Wars has excited a generation to such an extent that the children who have seen the film are motivated to become doers . . . as well as watchers.
Eva seems to be the modern day personification of this ideology. What began at the tender age of eight, has blossomed into more the obsession. It is now, unbridled creation. Of course with all artists, we find and fixate on books, movies, comics, fine art, music. These, while they may not have planted the seed, are certainly the fertilizer in which the formation and manifestation of dreams thrive.
Eva’s journey through the wilds of the universe which began with the brutal murder of officer Alex J. Murphy and his subsequent, phoenix-like resurrection as RoboCop, has seen her not only receive friendship and guidance for two of the franchises integral staples; in the form of Nancy Allen(eternally the dynamic and resourceful Officer Anne Lewis) and Edward Neumeier(one half of the creative genius writing team that gave rise to a franchise).
Under luminous glow and encouragement, Eva has ascended from her enthusiastic efforts in the production of electrifying art and fan-fiction, directly associated with the Robo-Universe, to a place where she now has the courage, just as all artists who have come before her, to step out from under the wing of the movie that has nurtured her dreams, and into the light that is birth of her own original concept and voice.
This current incarnation of Rojano’s prolific creative output manifests itself as a novel entitled: The Black Butterfly. And I was intrigued as ever to learn the story, the motivation . . . the journey behind what drove this fan among fans to dig below the surface of her own creative crust – unearthing something fresh, unique and touchingly profound.
What was once purely driven by that glorious cinema classic that is part man, part machine, all cop, now transforms into a bold new vision from a creator that has been fostered by the cinematic equivalent of lightning in a bottle – exploding on to the printed page near you…
DRY BLOOD . . . WOW! What a movie – minimal in construction, but ocean-deep in subtext . . . with a type of gleeful depravity.
The dynamic filmmaker duo of Clint Carney(writer/producer/actor/artist/musician) and Kelton Jones(the man who induced GOD to Mel Gibson/director/actor) have conjured with the combination of immense talents – and with the aid of a rich assortment of family and friends – a film that stays with you as the credits roll.
The film is a tense, slow-boil of a horror picture that, when it explodes, you’re never quite ready. It is a journey into the tormented mind of character gripped by fear and self-loathing which overflows into a gruesome cesspool of vicious insanity, coupled with exciting, delicious, mischievous and frightening portrayals for Messrs Carney and Jones.
DRY BLOOD has recently completed a very successful festival run, having received an astounding thirty award wins (including many for “Best Picture,” “Best Actor,” “Best Director,” and “Best Writer”), with another twenty-three nominations as well. Highlights from this festival run include “Best Feature Film” and “Best Actor” wins from the Bram Stoker International Film Festival in the UK, as well as the top spot at the Indie Film Playoffs, where DRY BLOOD swept the board (Best Picture, Best Actor, Best Actress, and Best Writer) in a competition against numerous films from multiple festivals.
Clint Carney, who wrote, starred, and composed the score, says, “It’s been a long and exciting journey to go from writing the script almost four years ago, to now releasing DRY BLOOD to the world. We are beyond excited to work with Dread Presents. They already have number of great films in their catalog and we couldn’t be happier to be a part of their roster, and to be welcomed into the Dread family.”
DRY BLOOD is directed by Kelton Jones, written by Clint Carney and starring Clint Carney, Jaymie Valentine, Kelton Jones, Robert V. Galluzzo, Graham Sheldon, Rin Ehlers, and Macy Johnson.
“Clint and I set out to make our favorite horror movie,” remarks Kelton Jones, the film’s director. “We wanted to make a film that was true to the genre and lived up to the potential of what a great horror film could be. We knew this would be an ambitious task. We hold such a great love for the genre and the masters of cinema who had shaped our childhoods. We felt the best way to honor them was to pour our hearts and souls into making DRY BLOOD. We knew our toughest audience would be ourselves and we endeavored to make a film that we were truly proud of. I feel very grateful to have been able to be a part of such an amazing project, made with love, by people I love. I am beyond thrilled to be releasing this film with Dread Presents.We set out to make our favorite film; my hope is that it becomes your favorite film as well.”
It’s a great little gem of a horror movie that shows us a glimpse of the evil that lurks within us all, but as a production, it showcases what a group of like-minded, talented, and hungry filmmakers can do when they pool their resources. And it is my pleasure to present them to you now…
Director Kelton Jones’s love of cinema began as a child in the seventies. His mother owned a quaint flower shop that shared a wall with the singular movie theater on the rural main street of Buffalo, Texas. Kelton would spend his afternoons watching and rewatching the afternoon showings as he waited for his mother to finish the day’s work. When the rare feature film would be shot on location in a nearby town, Kelton would find a way to the set so that he could watch from the sidelines, as the filmmakers would spin their magic. Finally, at age 16, Kelton’s first feature in front of the camera gave him the chance to ask the crew if he could join them after he finished his work as an actor. From that very first film, Kelton has permeated the boundaries between actor and filmmaker craftsman. DRY BLOOD is the culmination of a lifetime spent studying film, working on sets, writing scripts, and acting. While on set, it was not unusual to see him in full character wardrobe setting a light, operating a camera or pushing a dolly as he directed the scene. Though this marks his first feature film as director, he has worked every other crew position on set of previous films, ranging from small independent pictures, to huge Hollywood productions. Ultimately, his choice of projects has always been driven by a deep love of the medium, a passion for a great story, and the opportunity to learn and push his own boundaries.
Clint Carney is a well-known Los Angeles-based musician, artist, writer, and filmmaker. His musical work first came into the spotlight in 2004 when he released his first official album under the name SYSTEM SYN. To date, SYSTEM SYN has released seven albums and multiple singles, and performed all over the world. Throughout the years, Clint has also served as a keyboard player and back-up vocalist for the bands Imperative Reaction and God Module. As a fine artist, he is best known for his graphic and disturbing oil paintings. His artwork has been shown in galleries and private collections worldwide and has been featured on magazine covers, clothing lines, and musical albums. His work can also be seen in many major motion pictures, television shows, commercials, and music videos. Clint has created iconic imagery through artwork and props for films by such directors as J.J. Abrams (Star Trek Into Darkness), David Fincher (Gone Girl), Oliver Stone (Savages), Wes Craven (Scream 4), Cameron Crowe (We Bought a Zoo), and more. In recent years, Clint has turned his focus toward film making, working on many different projects as a director, producer, screenwriter, editor, and actor.DRY BLOOD marks his first feature as a producer, writer, and actor. Clint is currently in development on his feature length directorial debut.