Category Archives: Interviews

Conceptually Speaking: An Interview with Sylvain Despretz by Kent Hill

 

Sylvain Despretz really is the personification of honnête homme. And he has been a man of the world since an early age. Travel was a part of his life; the other constant being his love of the cinema.

He is an artist of great style and skill and after his schooling he worked as an art director for a top Madison Avenue agency then moved on to illustrating Graphic Novels in California under the mentoring of the internationally famed artist Moebius. From there he would set out upon what would become and astonishing career as a story board artist and conceptual designer.

 

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His work you’ll have seen, gracing the screen in a myriad of films in a variety of genres. Movies like Gladiator, Alien Resurrection, Panic Room, The Fountain, (Tim Burton’s) Planet of the Apes and The Fifth Element. These including work on Don’t tell Mom the Babysitter’s Dead and the coming Luc Besson sci-fi extravaganza: Valerian. He has worked with  and on films directed by the true masters of the screen including Ridley Scott, Stanley Kubrick, David Fincher and Jean-Pierre Jeunet.

But, as you will hear, Sylvain has become disenchanted by the current repetitive nature of Hollywood’s cookie-cutter output. He is now driven by the notion that the only way to usher in change, is to be part of a creative revolution that places an emphasis on original voices instead of corporate responsibility.

 

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To this end he is now embarking on a journey that will see him stepping away from the drawing board and moving behind the camera; bringing his own visions to life using that mysterious blending of industrial light and storytelling magic.

He is a learned Hollywood veteran who has seen the Dream Factory from the inside, and his stories and wealth of knowledge and experience was and is fascinating to experience.

The designer behind the scenes and the future man in the director’s chair, proud am I ladies and gentlemen to present this interview with the one and only, Sylvain Despretz.

VISIT SYLVAIN’S OFFICIAL SITE:

http://www.metaprogram.net/

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Out of the Shallows: An Interview with Sandy Collora by Kent Hill

“Why weren’t you in the pros making stacks of cash and getting your toes licked by beautiful women?”

This line of dialogue from Shyamalan’s Signs always springs to mind when I think of the man and the career of Sandy Collora – and I told him as much. I have watched as filmmakers of lesser skill, passion and moxie rise and rise again with relative ease through the ranks of the Hollywood system.

But, while it boggles the mind as to why a man of Sandy’s talent has thus far been denied a shot to bring his truly awesome visions to fruition – his career has not been without triumphs. He has worked on some truly cool pictures like The Abyss, The Crow and Men in Black; along the way enjoying the benefits and encouraging tutelage of such luminaries like Stan Winston and Henri Alvarez.

Then came that little fan film you may have heard of, Batman: Dead End. Not only was it a game-changer, but it was also a life-changer, propelling Sandy into a league of his own and catapulting him toward the attention of the Hollywood players.

I referred to this period as Sandy being romanced by the industry. He refers to it differently. But he concedes that mistakes where made, and what might have been is anyone’s guess had he played the game by their rules.

Still the testament of all great artists that we applaud still, no matter the length of time it has been since they delivered unto the world their masterworks, is a resolve born of (in some ways) uncompromising vision and unshakable self-confidence. And, while Sandy freely admits the art of compromise will be necessary, if he hopes to realize his works on a larger scale, he (I hope) shall not lower his standards below that which work of his quality richly deserves.

Hunter Prey gave us a taste of feature-length Collora, and now he is at it again with his dynamic and compelling short, Shallow Water.

A new beast emerges, and with it comes the prospect of the reawakening of a genre made famous by its creatures like Alien and the Predator. It also marks the opening of another door for Sandy to, at last, the big time – a place in which he has fought hard to attain and worked tirelessly to offer some exuberance and, no doubt, something extraordinary.

There are so many great stories of great stories that have been a part of the life and cinema of Sandy Collora. I encourage you to check out the link below; find yourself a copy of, not only his incredible art books, movies and merchandise, but also the inspiring documentary: Behind the Mask.

Grand adventures, heartbreaking turmoil; this is the agony and the ecstasy, but also the the wisdom and the wonderment of the Collora cinematic universe. Dear listeners, it is my pleasure to present . . . Sandy Collora.

VISIT SANDY’S OFFICIAL SITE:

http://montaukstudios.com/

AND DON’T FORGET:

https://www.youtube.com/watch?v=TBSm6ZDY7n0

“I’m gonna do something far worse than kill you”: Remembering Ricochet with Russell Mulcahy by Kent Hill

Among the flurry of big action movies that graced our screens from the late 80’s and into the 90’s, it was easy to see how some lost their way to an audience. But thanks to video, these movies that did not enjoy a successful theatrical release were quickly rediscovered on VHS, and some might say because of it, they have endured long after they could have so easily vanished.

They say all a movie cheerfully needs is a man with a vision, and the talented former music video genius turned Hollywood go-to guy for stunning visuals and artful storytelling was looking for exactly that – another story to tell. Russell Mulcahy had made a name for himself long before he directed a little movie called Highlander, but he had just come off of an unpleasant experience directing that film’s sequel when the script for an action/thriller, Ricochet, came across his desk.

The film was being produced by the legendary, machine gun-mouthed Joel Silver and was fixed by the man, Steven E. de Souza, who would eventually pen Die Hard. It would be headlined by the talented John Lithgow and future Academy Award winner Denzel Washington.

Washington plays Nick Styles, a cop on the L.A.P.D. At a carnival, criminal Earl Talbot (Lithgow) takes a hostage after a botched drug deal. Styles and Blake confront each other, during which Blake is wounded by Styles and is  imprisoned. Seven years later, Blake escapes and begins to carry out his revenge against Styles, which centers predominantly around destroying his life and career.

It’s a fast-paced, fun ride as Lithgow turns Washington’s world upside down. It is also a film of excellent performances from the whole cast. Lithgow is such a delicious villain and the ever solid Washington exudes the charisma which would see his career skyrocket over the following years.

Russell’s direction, as ever, is stunning, fluid, and he captures action like few other directors. It was really cool to sit down and have a chat with him while taking a break from working on his new film here, in the great down under; and, I’m happy to report, like most of the cool filmmakers I’ve had the pleasure of speaking to, you always get more than you hoped for. Russell told me about an upcoming re-release of his debut feature Razorback and it’s hard not to touch on the subject of his cult classic Highlander. You’ve probably heard all the stories by now – but it is a far different experience when they are recalled for you by the man himself.

I really love Ricochet and I always enjoy talking to Russell, so this one was a real pleasure to bring to you. If you’ve not seen Ricochet then go to it, you won’t be disappointed. It is out there on DVD, but if you can, check out the Blu-Ray for the film in all its true visual splendor.

Mulcahy on Ricochet. Press Play…

If they look ninjas, and they’re dressed like ninjas, and they fight like ninjas…they’re ninjas: An Interview with Doug Taylor by Kent Hill

Doug Taylor began wanting to be and architect and dreamed of being like the dad in The Brady Bunch, ’cause he worked from home. But he soon became disillusioned with this notion and eventually found his way into film.

Like most of us, after learning the fundamentals, it then becomes a question of what next? Fortunately for Doug, a friend and fellow film student had made contact with a couple of producers who were in Canada making low-budget horror films. Thus the screenwriting career of Doug Taylor began.

What would begin with a small horror film would spawn a career that would see the talented Mr. Taylor rub shoulders with both the famous and the infamous of the industry. He worked with visionaries like Vincenzo Natali and the so-labeled Ed Wood of the age Uwe Boll. He has written for both film and television and those early seeds in the horror genre have seen him work on modern classics within it such as Natali’s brilliant and terrifying  depiction of the dysfunctional family in Splice.

So sue me. I am a fan of the films of Uwe Boll; thus I was most eager to hear Doug’s account of the making of In the Name of the King, and I was not disappointed. Like the storyteller he is, Doug gave me all the behind the scenes goodies that a film nerd craves. So much so I now re-watch the film with new eyes.

Anyhow. You’re just going to have to kick back and have a listen. Doug Taylor is great screenwriter who has lived a rich and varied life and enjoyed all success one can at the Hollywood heights. Yet he still lives in the city he grew up in and ultimately he accomplished his dream of being just like Mr. Brady, and working from home.

I really great gentleman, full of fascinating tales both on screen and off. Ladies and Gentlemen I give you . . . Doug Taylor.

Dark Cities, Dark Futures, Dark Caves: An Interview with Bruce Hunt by Kent Hill

Young Bruce Hunt loved movies and blowing things up. This love, and learning the basics of the craft from film magazines of the period, would firmly cement in his mind the path on which he would travel. As it was said in a film that Bruce would later work on, “Fate it seems, is not without a sense of irony,” a teenage Bruce would encounter Academy Award winning special-effects artist Dennis Muren in a cafe in London.

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It was Muren that would advise the dreamer to seek out an effects house in his native Australia for possible future employment and, after art school, that is what the talented Mr. Hunt would do. Working with small production houses on commercials his work would soon catch the eye of the founder of one of these companies, a man named Andrew Mason. It would be Mason, producing a film directed by Alex Proyas called Dark City, that would call on Hunt to bring his passion, and by then, professional eye for effects photography to his first big screen gig.

Work on another big flick would follow, as Mason would again tap Bruce and bring him to work on the Wachowski’s cinematic masterpiece The Matrix. There would be work on the film’s sequels before, at last, Bruce would sit in the director’s chair for The Cave, an adventure in deep terror. He would emerge from the darkness to work on Baz Luhrmann’s Australia only to descend again soon after for Guillermo del Toro’s Don’t be afraid of the Dark.

Through it all his love of the movies continues to drive him and, as you will hear, he has plans to get his visions back on that big screen, just as soon as he can. It was great to sit down with Bruce. Not only is he a filmmaker I admire, but it was great to just talk about movies with him.

If you don’t know his work then now is the time to check it out. But, if you already have and you’re a fan like me – then kick back and enjoy.

Ladies and gentlemen, I give you my good mate . . . Bruce Hunt

Problem Children with Big Eyes who make Biopics that’ll give you Goosebumps: An Interview with Larry Karaszewski by Kent Hill

As the child from a working class family in South Bend, Indiana, Larry was introduced to the movies by his father. He was not restricted as to what he could watch, so he watched it all. After high school he debated between pursuing either a career in comedy or a life in pictures.

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Larry opted for the movies, and soon found himself at USC. It was there that he would meet Scott Alexander, and together they would form not only a friendship, but also the foundation of a prolific career as a successful screenwriting duo.

After (and though it launched a trilogy of films and even an animated series) Problem Child, the screenwriters struggled to find work. It seemed as though they had been typecast buy their work and so looked to independently produce a biopic they were working on about the notoriously bad filmmaker Ed Wood.

As fate would have it, word of the project reached director Tim Burton. After expressing interest, the boys would have to hammer out a screenplay in double-quick fashion. They succeeded, and this, the first in a string of biographical efforts, would re-establish them in Hollywood and from it they would carve out their place in the genre and become, in many ways, its ‘go-to guys.’

Biopics of Larry Flynt and Andy Kaufman would follow, seeing the boys team up with Academy Award winner Milos Forman. They would go on to re-team with Tim Burton as well as dabble in a variety on different genres including everything from a kid-friendly version of James Bond to horrific hotel rooms were you’ll spend a night or perhaps even an eternity.

Larry and Scott have garnered the highest accolades the industry has to offer and continue to deliver. While trying to get a hold of Larry for this interview I caught him riding high on his recent wave of success, so I would just have to wait for the tide to turn. I am however, glad that I did. It was, as it is ever, a privilege to chat with a man whose work I heartily admire. I love the films he has written and I look forward to the projects that he and Scott have in the pipeline.

Without further ado I present, the award-winning screenwriter and all-round nice guy . . . the one, the only, Larry Karaszewski.

Lunch with the Equalizer: A Conversation with Richard Norton by Kent Hill

Richard was a young lad from Melbourne, Australia plagued by asthma who loved martial arts.

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As he grew in skill, he would eventually catch the eye of the legendary Chuck Norris, who extended an invitation to the young Norton to come and train with him. It was while working as a celebrity bodyguard that he finally found his way round to the home of Norris, and from there he was offered a part in The Octagon as the masked ninja, Kyo.

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This would be the first of more than sixty screen appearances for the action film star, stuntman, stunt/fight coordinator/choreographer and martial arts trainer. He has worked on fights for “Stone Cold” Steve Austin, joined Suicide Squads, trained Scarlett Johansson  for the Manga turned motion picture Ghost in the Shell. He even braved the heat, dust and high-octane insanity on George Miller’s Fury Road.

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As a respected member of the martial arts community, Norton has remained close friends and has shared the screen with fellow industry luminaries such as Jackie Chan, Don “The Dragon”  Wilson and Cynthia Rothrock.

When I spoke with him, Richard was on his way to train the X-Men for another big screen outing, so there is no sign that the humble 67 year old from Melbourne is slowing down.

Richard Norton is a man who remembers well his origins and what it took to climb the mountain of success, upon which he stands, victorious. It was really cool to chat with him. I hope you’ll enjoy it.

So, here he is folks, the ‘real’ action man . . .  Richard Norton.

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