Paolo Barzman’s Emotional Arithmetic is a stunning independent drama that, despite a ridiculously prolific cast, ultimately slipped through the cracks into obscurity. It’s well worth hunting down to see four seasoned professionals as the top of their game in telling the story of various characters dealing with the lingering horrors of the Holocaust, both directly and indirectly. Susan Sarandon plays a Canadian woman sometime in the 80’s who survived a concentration camp at a very young age, and has invited two fellow survivors (Max Von Sydow & Gabriel Byrne) to a reunion at her house in the Quebec countryside where they will reconnect after decades of separation following a tragically abrupt parting from each other and will have the chance to meet her much older husband (Christopher Plummer) and their son (Roy Dupuis). It’s a pleasant, cathartic enough reunion but the collective scars they share from enduring such a horrific phase of their lives are apparent in each of them, in different ways. Byrne’s quiet, introspective character has buried his trauma under a cloak of calm, Von Sydow deliberately tried to forget using electroshock therapy, while Sarandon herself has obsessively documented, scrapbooked and reflected on their past very openly over the years to employ her own process. Plummer’s character is the outsider, having never gone through what they did and starts the film off in a sort of cavalier, borderline insensitive way until the grave reality of what his wife and her friends have suffered through hits home and he becomes more compassionate. All of the performances are absolutely magnificent and I really wish more people were able to see this moving film because each of these actors provide showcase work and should be very proud. If you are lucky enough to find a DVD, please ignore the misleading, stupid Hallmark style artwork and silly alternate title (Autumn Hearts, are you kidding me? Lol) because it’s as if the distribution company didn’t even watch the film and just did whatever the hell they wanted. This is not a sappy, syrupy film at all, it’s a deep, thoughtful, challenging interpersonal drama that stirs the soul in a realistic fashion without cheap manipulation. Highly recommended, wonderful hidden gem of a film.
It has been my pleasure, nay, my privilege, to have chatted with so many fine D.I.Y auteurs throughout the years here, on Podcasting Them Softly. It is a battle to get any film made, yet this has not deterred the vast majority of creative individuals from carving out their niche in the every-changing realms of modern independent cinema.
This few, this happy few, this band of renegade artists, who work directly for the market, and who are called upon by producers hungry for content to make films directly for the distributors. Some times they are forced to make genre offerings for peanuts – but this work, while largely panned for its budgetary shortcomings, is one the last strongholds were those who have longed to get their toes wet can. A place to pursue their cinematic dreams in these exciting pockets of explosive B movie-making that is, for now, the poaching grounds for the streaming juggernauts.
Still it can be a grind. And my guest, prolific Canadian filmmaker Brett Kelly, is making one more ode to the cinema he adores so much, before moving on to the kind of creative catharsis, most effectively achieved when one is not making art to serve commerce. The kind of art that is made to fulfill one, on a deeper level.
To this end, Brett has set his sights on a science fiction epic that stirs romantic memories of STARCRASH, THE HUMANOID, SPACEHUNTER: Adventures in the Forbidden Zone, BATTLE BEYOND THE STARS and METALSTORM: The Destruction of Jared Syn. GALAXY WARRIORS is it’s name, and Kelly (Jurassic Shark, My Fair Zombie) has teamed up with comic scribe/screenwriter Janet Hetherington (Elvira comic, Murder in High Heels) to create a plot inspired by an unmade JimWynorski (Deathstalker 2, The Return of Swamp Thing) project.
The story concerns a pair of bounty huntresses. Allowing themselves to be taken prisoner in order to rescue a wrongfully incarcerated inmate from a galactic penitentiary; the huntresses soon uncover a dastardly plot which is forcing those imprisoned to participate in gladiatorial combat.
For this last dance, Kelly is pulling out all the stops. Real effects, no CGI. A true homage to the epic science-fiction-fantasy film-making of a bygone era. Jurassic Shark star Christine Emes, leads the enthusiastic band of fictional adventurers that combine with Kelly’s resourceful collaborators to make this, his curtain call, one for the books. As of the Fall of 2020 the picture in 50% complete and the filmmakers now turn to you, dear reader, to become part of this glorious enterprise. Please visit : https://www.indiegogo.com/projects/galaxy-warriors-film#/ and support this awesome gem of a movie in the making….
And…don’t forget, you can keep tabs on the adventures of the Galaxy Warriors by visiting:
There have been many a cinematic sensation born out of heart, passion and YouTube.
I think back on films like Sandy Collora’s Batman: Dead End and David Sandberg’s Kung Fury. The doors that opened to these filmmakers responsible for bold and daring exercises in bringing everything they’ve ever wanted to see on the big screen to it…no holds barred!
Now another movie-making warrior has appeared on the horizon. His name, Stefan Chapovskiy with his 80s action opus, WAR GENE. The prospect of such a film receiving a grand treatment, particularly in this era of remakes and reboots, would be a welcome breath of fresh air on top of a blistering, high-octane, action roller-coaster that makes a strong claim to be a smorgasbord of everything that was right, good and true about the action cinema that flourished until Hollywood decided the way ahead would be to stick all of its action heroes in tights.
So, ever curious to shed light on the movers and the shakers in the indie cinema world, I reached out to Stefan, hoping to learn more about the man who kinda looks like Sly, while uncovering a man driven by his passionate need to create and being in possession of the same skill-set that made the man who shares his visage, astronomically successful and a Hollywood staple.
KH: Tell us a little bit about yourself?
SC: Well, I was born in USSR in 1977 (oh God, I feel like a dinosaur now, I mean that was a completely different era). My family lived modestly but mother always tried to give me all she had, first and foremost, a thirst for knowledge, for self-development. I learned to read rather early and liked to draw some characters and scenes from my favorite books. This gave a lot of good material for my imagination and sometimes I wrote my own stories. Later sport also came into my life : swimming, athletics, martial arts(mainly taekwondo) and finally, bodybuilding(I’d like to clarify, I’m 100% natural athlete and don’t use any pharmacologic drugs (anabolic steroids, HGH or something like this). Thus, even today, when I am who I am (former winner of California natural bodybuilding and fitness championships, personal trainer, founder/president of Natural Bodybuilding Federation in Russia, actor, writer, producer, director, world traveler, husband and father) – I work out and read books almost every day. But, as you have probably guessed, there was a third element of my becoming as a creator. I’m talking about movies.
KH: When did you fall in love with movies?
SC: It’s hard to say…I guess everyone, especially at a young age, loves movies. The question is, what kind of emotions do you prefer? For example, I remember my age when I liked a horror movies. But definitely, if we’re talking about «fall in love», my favorite genre is action. No matter, what mix( action + drama , action + adventure/sci-fi/historical/etc.). That’s what motivated me most of all. But if in my childhood, after seeing Spartacus(1960) or 7 Samurai(1954), I was making a swords and fought with the neighbor kids, after seeng Bruce Lee movies I started in martial arts. Finally, one day I saw the movie Rambo 2 and it is not an exaggeration to say that this day completely changed my life : from my start in bodybuilding and military service (for 2 years, so now I am a former sergeant), to film schools in Russia, St. Petersburg and later, USA, Los Angeles.
KH: Were like so many of the cinematic giants of our time and took to making films early?
SC: Actually, no, I made my first project pretty late, when I was 34. But for sure I always felt that desire to create, by any means : painting ( I’m pretty good at it), or writing, photography or music, posing and scene choreography…you know, my coming to film-making was just a matter of time. I’d say I accumulated those preconditions for years.
KH: After film school, tell us about your quest to get yourself and your vision to the big screen?
SC:In my case, film schools were not a determining factor, because I’ve been involved with the acting since my childhood. My mother and uncle had a theater education, so I’ve acted on stage during my school years. Later, since 2001, I started to play in movies but after several years of playing stereotype characters(gangsters or bodyguards, because of my emphasized bodybuilding image in those years), I realized that I want to progress further. As I said before, I started thinking about my own projects. And idea of the War Gene movie it’s something where I can embody all my best skills : as a writer, actor, director, concept-artist, etc. But most importantly, this project is the greatest opportunity to express my love, my passion to the 80’s action movies that created me.
KH: WAR GENE is an impressive exercise in genre mash-up…was that what it was always intended to be?
SC: Yes, that was a part of my strategy. The thing is, I wrote the War Gene synopsis a while ago, in 2017 and later, a full screenplay (actually I still re-writing some details but story line is completed). But after new experience during my visit to American Film Market, I realized that promo-trailer it’s a good way to show much more about your project and get some feed back faster. Moreover that is a perfect challenge for every aspiring director. Another temptation that finally convinced me to start the War Gene independent production was an understanding that I can, literally, go back to my favorite 80’s, but this time as a film character, not as a viewer. At the same time I expected that it will not be easy (even for experienced director) to reveal the all lines of War Gene story ( just imagine the elements : a war drama, psychological thriller, an action, sci-fi and adventure, several time lines : 1984 and the 60’s, Vietnam War – and all of this under the old school style cover, some sort of tribute to the 80’s epic movies. Add to that the necessity to meet several minutes length and very small budget, so …finally I decided to increase the duration. That’s why, as you can see now, War Gene has two different, in its structure, parts (except for an intro) – the first one looks more like a movie and the second is a classic trailer. According to my director’s vision, this way allows to immerse into the film atmosphere firstly, and then to see the all its genre diversity.
KH: Tell us about the film’s journey from your mind to the film the world can now see?
SC:Hmmm, it’s a long story… Well, I have to start with the main point – my initial motivation. As you can see from my previous answers, since my teenage years I was inspired by Hollywood action movie characters(as well as probably every guy of my generation). I have to say I grew up without a father but fortunately I found someone who has taken his place and became a role model for me for a long years.I’m talking about Sylvester Stallone and his characters, especially John Rambo. By a strange coincidence, when I got older, I started to look him, partly because of my gym workouts. When I came to USA I was surprised that many people told me about it. And for sure, I used it in my performances – as a bodybuilder, then as an actor on stage. Since 2010 I’ve been focused on idea to make a First Blood prequel, about the early years of John Rambo. I was lucky to meet Sly Stallone himself a few times, contacted to Millennium Films producers and even made(as director, producer and actor) a fan-art trailer Rambo 5 : The Beginning that reached over 7.5 million views on YouTube. Finally I was invited on the set of Rambo 5 that I consider some kind of the top of this story. But at that moment I realized that I can’t pursue that dream all my life…I became older and wiser. On the other hand I was (and still am) a “pure product” of the 80’s movies, its legacy. So I started to create my own project, using all my specific experience and skills. I wrote a new, original story and obtained copyright. Here is a log-line :
“1984, a team of rangers on a punitive expedition in Colombia jungle gets abducted by aliens. During the experiment, conducted on the space station, humans are forced to pass deadly tests, competing with warriors from other worlds. “
It was an idea to combine some typical elements of the 80’s action and sci-fi movies but in the new mix. So, in 2018 I started pre-production of the War Gene short movie. I did everything step by step and was learning on the fly. First of all, I calculated a film budget(going forward, I have to say I exceeded it on the stage of post-production because of visual effects). And I was lucky to get support from my old friend Paul from Florida with whom we have worked on the set of my fan-art project (Rambo 5 :The Beginning) in 2011. So, I made a storyboard, bought (and made) props and costumes, included some rare things like a real flak vest M69 used in Vietnam War. I assembled cast and crew, chose the locations and studio. And in March of 2019 we filmed it in Florida. It was really exciting for all of us, especially a night jungle scenes. I have to say, Gavin, our cinematographer, did a great job. But most of all I was pleased with that total old school atmosphere of military brotherhood…I’ll never forget it. During 2020 I did post-production in St. Peterburg, using a Russian VFX artists and young talented composer. We worked together long hours and Ruslan were listening all my ideas and music sketches(according to my vision, we tried to reconstruct some music styles of iconic film composers from the 80’s, especially Jerry Goldsmith and Basil Poledouris). As you can see, almost every scene, even very short, has its own music theme and the same time it’s in harmony with the next one. Such a brilliant job for that short independent film.
And a couple of words about an intro. Actually I have in mind just a one intro, inspired by typical for the 80’s dark opening scenes of sci-fi movies like The Thing(1982), Terminator(1984), Running Man (1987), Cyborg (1989), etc. I’d say the making of War Gene intro were the most difficult job, because we used the real (!) scorpion and mantis. By the way, for sure none of them were harmed( despite of the our movie where they both died – scorpion was “killed in action” by mantis and later mantis was crushed by my character, Sergeant Rabek, who suffering from insectophobia, due to the post traumatic stress disorder after his captivity in Vietnam camp in 1969. But finally, I added one more opening scene, from the beginning – I mean a real chronicle compilation from the different military conflicts of the second half of the 20th century (till 1984) : Vietnam, Cambodia, Nicaragua, Salvador, Lebanon, Rhodesia…I did it for more realistic atmosphere of the Cold War era when the our film takes place. And yes, I fully realized that the first intro(about 30 seconds of documentary)will scary off most of YouTube viewers…but, you know, at this level(short movie) it’s not about some profit…it’s about my director’s vision and creative expression.
KH: Like most indie filmmakers I have encountered, you haven’t let your limitations hamper the final product… Do you think ultimately, that is the key to success in the film industry, being bold?
SC:Success in the film industry…I’d say, success in your own soul much more important. It makes you HAPPY in your life, what could be better? Of course, to be a world-famous filmmaker it’s just great. But, by my opinion, you shouldn’t try to do it because of popularity or financial profit only. For 99% this direction will makes you dissapointed. But if you do it according to your soul, your passion, your creative ambitions – I salute you, this is a way to the happy life. Not for everyone, but for “creators” – it’s undoubtedly.
KH: The scale of your canvas and your ingenuity have seen WAR GENE explode as an inspired beginning to a larger work…is that the trajectory, or do you plan further, smaller films to further develop your craft?
SC:War Gene project is something I have to develop nearest years. My main goal now is to find a suitable production film company and make a feature film. Even 3 years ago, at the American Film Market 2017, during my first presentation of War Gene (at that time as a short synopsis and several concept arts), I attracted interest of several independent film companies. But I took a pause because I’d like to get the larger scale and worthy budget for this movie. Now I have a screenplay and short promo movie/trailer, so we’ll see…I say more, I already have a synopsis of War Gene 2, in case of success with the first part. Thereby, my nearest years is going to be very interesting and productive, I believe. The same time I admit some probability to make a couple of new short movies in War Gene cinematic universe – like I said I have a lot of material as a creator and really happy to work with it.
KH: I’m excited to see where you go next after such an audacious debut… I for one will be looking forward to the next movie you bring to fruition?
SC: Thank you, Kent! By the way, feel free to reach me if James Cameron will call you soon and ask for my contact info 😉 Ok, seriously, I appreciate the opportunity to tell more about my story. I’m always open for a new ideas and proposals. Everyone can contact me on my FB page https://www.facebook.com/stefan.chapovskiy and Instagram Stefan Chapovskiy (@stefanchapovskiy) . to see what’s new in my life. My big Hello and best wishes to your readers , take care and keep in touch!
Some independent films are just so amazing, heartfelt and original it pains me they’ve never found a larger audience or made a bigger splash. Dennis Brooks’ Goodnight Joseph Parker has the kind of script, acting and execution that would probably have attracted Oscar attention had it been done on a bigger budget or had more marketing, but this thing is a barebones indie despite having a fairly well known cast and remains to this day a long buried treasure. Somewhere in New Jersey is a run down, behind the times bar run by Charlie (Paul Sorvino), staffed by waitress Rita (Debi Mazar) and frequented by drunkard Frankie (Richard Edson). This is a humdrum, low income barfly existence in a part of town that never changes save to continue to its own beat, until estranged regular Joey Parker (Nick Chinlund) returns to town in a “900 dolla’ suit” with tales of making it big and going on Jay Leno soon. His return sparks many feelings and long repressed things from the past, in paternal Charlie, in Rita who has always loved him and local junkie Muriel (Kim Dickens) who he loves and foolishly plans to propose to with all his new flash and swagger to back him up. But flash and swagger is what barely masks the pain, sadness and regret in all these characters, that and the booze they constantly swill. This isn’t so much a story as it is a quick snapshot of collective lifestyles in the Jersey area, but even though it’s a ‘small’ story, the emotions and character dynamics couldn’t feel more immediate or affecting. Chinlund is one of the most underrated actors of his generation, mostly saddled with supporting villain roles in his career, but when he’s given a lead like this he really and truly shines. Joey is a man who lives in his ego and when he’s forced to shed it, to confront himself and where he stands in his old community, well Nick’s performance is something to see. Sorvino has always been one of the greats and he’s heartbreaking here as a man who constantly tried to do the right thing and is haunted by the consequences, it’s a manic, playful, compassionate and comedic bit of acting genius. Mazar is another one who constantly gets stuck the ‘snarky bitch’ character and for sure she’s great at that, but give her some breathing room, let her play a more sensitive type girl and just watch what she can do, her work is spellbinding here. As if all that talent isn’t enough we also get a recurring cameo from Aerosmith’s Steven Tyler as a sleazy, hyperactive ladies man who runs in and out of the plot like a tornado. In the credits it says this film is ‘inspired by the music of Tom Waits’ and indeed he can be heard rasping away on the soundtrack faintly from time to time. The film really captures the day in, day out nature of this part of town, and the human beings whose drink, laugh, fight and live within it. It takes place over the course of one night and the following day only, but in that window of time I felt all the joys, sorrows, triumphs, downfalls, regrets, passions and hopes in this group of scrappy individuals and cared for each one deeply. Brilliant piece of filmmaking.
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 . . .
Oh hey another top ten of the year film for me. I love a good passion project, especially when the two artistic forces behind it are a couple beloved character actors who have spent much of their career in Hollywood playing villains, criminals, weirdos, bikers, aliens and all kinds of heavy stuff. William Fichtner’s Cold Brook sees the consistently brilliant actor team up with equally fantastic buddy Kim Coates for a charming, wonderfully simplistic tale of two small town dudes who make an incredible discovery.
Fichtner and Coates are Ted and Hilde, two lifelong pals who work as maintenance men for the college museum in their sleepy upstate NY town of Cold Brook. They each have a loving wife (played by Robin ‘Calamity Jane’ Weigart and Mary Lynn ‘Chloe O Brien’ Rajskub), kids and pretty much as cozy a life as anyone can hope for, complete with the kind of bromance that makes it obvious these two actors are tight in real life. Then one day a mysterious and deeply confused stranger (Harold Perrineau) shows up in the museum exhibit after hours and seems to follow them around after that like he has some purpose that even he doesn’t understand, and only our two boys can see him. It’s up to them to find out why this restless spirit has chosen them, what he wants and how to put him to rest while juggling the curious eyes of their wives, bosses and one campus security guard (Brad Henke) who takes his job just a bit too seriously.
This is low key, whimsical indie fare through and through and I downright fell in love. I’ve been following William and Kim’s career since I was a kid, they are two endlessly talented scene stealers and I can’t tell you how lovely and cathartic it was to see them just play a couple bros living and loving the small town life. They both shine brightly in their work here and Fichtner shows a steady hand in writing and direction here too, telling a story that clearly means a lot to him in broad, loving strokes. Perrineau is really effective as Gil the wandering spirit, seeming somehow perpetually lost but also pointedly soulful in each appearance. If you’re at all a fan of these two artists then I’d very strongly recommend this as you get to see them do the kind of work that Big Hollywood just doesn’t usually ever hire them for, something very personal to each and something that allows them the kind of freedom in expression that we as artists always dream of. Even if you’re not a huge fan it’s a beautiful little indie to watch on a cold rainy morning to warm the heart. Brilliant film.
It has been the dream of many an artist to be able to do what they love for a living. Find the thing you love to do, and you’ll never work a day in your life…so the saying goes. Thus my cinematic adventuring has brought me to the cinema of Rene Perez…and the man they call…..Bronzi.
It began as a trickle on social media. Fleeting glimpses rumors permeating of the man who would be Bronson. Who was he…was he a relative…the product of an onset love affair…? I went, as I often do, to the director of what would turn out to be bold cinematic statements which would not only shine a spotlight on the incredible one-man-band movie-maker who is Rene Perez…but also…it would cement the coming of a new age DTV or VOD genre icon – his name Robert Kovacs . . . aka Robert Bronzi.
It has been documented by the New York Post, Variety as well as our brothers and sisters in the cinema-obsessed website and podcast community . . . and now, it comes at last….to Podcasting Them Softly. Here I present the furiously, fascinating life of a work-a-day filmmaker. Rene is a man I admire greatly. Surviving via a high output of commercially released B movie productions, he sleeps little and creates much – the price he pays for being in essence, a solo auteur. Generating genre staples in the arenas of Horror, Action and Westerns – Perez has the distinction of having directed Bronzi in such films asDeath Kiss, Cry Havoc, From Hell to the Wild West and the most recently released, Once Upon a Time in Deadwood.
So listen now to my chat with the inexhaustible Rene Perez and then continue to scroll down for my interview with the man himself….Bronzi.
In another time, in another place….in the age of VHS…this story of two artists colliding at the right time, at the right place would not be uncommon. There are many stories of thrilling partnerships in genre cinema history. They came together and transformed the B movie into an event. And, in this age where the video stores are dead and the streaming services rule the world…a glorious sight it is to see this…a type of mini-cataclysm…rise out of the rivers of mass media…pooling in an ocean of awesomeness. I give you…A Boy and his Bronzi….
Rene Perez is a movie Director known for “Playing with Dolls: Havoc” and “Death Kiss”. In addition to being the Director, Perez is also the Cinematographer, Editor and Writer of his films. Born and raised in Oakland California, Perez started writing and drawing comic books as a child and in his teen years he became a musician known as ‘The Darkest Machines’. Perez still composes music under the stage name “The Darkest Machines”. Perez now lives in a small town in northern California with his wife and children. He works full time as a movie director / producer for hire for several producers and distributors
When Rene related the story of how he uncovered a living, breathing…for all intents and purposes the reincarnation of Charles Bronson – and let me go on the record once more when I say to you…he walks like Bronson, he pulls a gun like Bronson, he walks boldly into the face of certain doom like Bronson…in fact…for my money Robert Kovacs, the guy that Rene saw a picture of and figured it to be a digitally remastered photo of an old picture of Charles Bronson, is more than just a guy that reminds us of a dead icon. The truth is…Charles Bronson, like John Wayne before him, left us a-ways back. But they live forever in their movies – we can visit them anytime we like. So, Bronzi, like Bronson will enjoy his moment in the sun. Some would argue that the novelty will be short-lived…? That maybe the case, but for right now, we have ourselves a brand new B movie icon . . . I think that should be celebrated…?
Here’s my chat with Robert Bronzi . . .
KH: Could you tell us a little of your life before you started making movies?
RB: I’m an actor musician and stuntman ,I did a lot of different things in my life. I worked as a horse breeder and horse trainer. I performed at western shows in Hungary and Spain. I’m an accordionist; I played music in bars, in weddings and private parties.
KH: The million dollar question . . . at what point in your journey did people start saying, “Hey, you know you look a hell of a lot like Charles Bronson?
RB: Many years ago in Hungary I worked as a horse breeder where there were a lot of visitors every day. People told me that l looked a lot like Charles Bronson. I worked with my good friend Peter, he would always say that I looked like him and he began calling me Bronzi. So he gave me this nickname.
KH: Was it purely this attribute that attracted attention and motivated filmmakers to want to work with you?
RB: I would say yes. A short story: Director Rene Perez saw my photo on a saloon wall in Spain in the western village where I worked as a stunt performer. He thought it was a photo of Charles Bronson years ago. He asked the owner about the photo. When he found out it wasn’t Bronson it was me, he told him, “I want to meet this guy immediately!”
KH: I recently saw a sneak preview of Cry Havoc, directed by Rene – I especially love the scene where you prepare to lay it all on the line for your daughter in the film – your pull the shirt off and walk towards him, staring death in the face. I cheered loudly watching it and woke my wife who was in bed. What was that scene like to shoot?
RB: I really enjoyed it; this is a very important part of the movie as I fight to save my daughter, for life or death. In addition, we were shooting in a burnt forest where thick ash covered the ground. Ashes flew everywhere during the fight.
KH: You have worked with Rene now on a number of films. Do you enjoy the creative freedom on offer shooting with him? He also told me when I interviewed him, that you also help holding microphones and other duties beside your work as an actor?
RB: Working with Rene is easy, he is a very talented director, he knows what he wants, but if I have some ideas, we discuss them and he is usually open to making changes based on my suggestions. Of course, I help with filming that’s in my own best interest isn’t it? We are often up in the mountains or shooting in difficult conditions. I help him with a few things, and not just me, everyone out there, I think we’re a team and we need to help each other out.
KH: Are you at ease with, in a way, being engulfed by the shadow that is being a performer that is recognized for the whole “he looks like Bronson” deal?
RB: I have used my appearance to my advantage throughout my career as a stuntman and actor and I am grateful for the resemblance that I have to the great Charles Bronson as it has created many opportunities for me.
KH: Would you work on a big budget film should you be presented the opportunity?:
RB: Yes of course I would love to have that opportunity and I’m sure it will happen in the near future.
KH: What are the types of movies ‘you’ want to be in, or are you happy to be offered the type of parts you are making a name for yourself with at present?
RB: So far my roles have been quite varied and I would like to continue making western and action movies in the future.
KH: I can’t get over – not just the amazing and uncanny resemblance – plus the fact that even the way you carry yourself on screen is so similar to the legendary Bronson – would you be happy if this is your mark on cinema history?
RB: I am very grateful for my resemblance to Bronson, and I am proud to be compared to him. I also appreciate the opportunities that I have had because of this but ultimately, I really want to be remembered as an actor in my own right, as Robert Bronzi. I put a lot of work and effort into each role that I take on and I want my personal skills and talents to be my legacy.
KH: If Charles Bronson were alive today…if you met him…what would you say to him, and what do you think he’d reply?
RB: I would say to him, “Mr. Bronson nice to meet you in person and I am very proud to be your double. I try to do everything well, with my best knowledge and talent as an actor, and I hope you will be proud of me.” And hopefully he would reply, “Nice to meet you too Robert I really like your personality and I think you represent me well. Best wishes for your future career. I give you my blessing.”
You heard it here folks. Out of the shadow of a legend he came. His place in genre cinema…I’d say is a lock!
There are relics from the days of VHS that have endured. They ultimately found they’re following on video and developed significant interest to warrant subsequent Director’s Cuts and Special Edition releases on DVD and Blu-ray. Some – but not all. Such is the curious case of The Wizard of Speed and Time.
Like my friend and talented filmmaker, Wade Copson, put it (and I quote): “Once upon a time, in a Video Store open down the road from our house, I was searching the titles for a movie about people making movies. I stumbled across a VHS with a shiny cover called The Wizard of Speed and Time.”
Just like Wade, I discovered TWOSAT in a similar fashion. There had been a few covers with that reflective material employed to catch the eye – another, off the top of my head, was The Wraith.
But did you know TWOSAT wasn’t supposed to be a feature? Long before Robert Rodriguezwas the one man movie-making machine, Mike Jittlov was doing it all. The Wizard was being compiled to be Mike’s show reel, in essence a calling card to display his incredible array of talents and his mastery of each and every facet of film-making.
But like all stories, there’s a villain. In Hollywood those against you for the own financial gain always seem to have a habit of landing on their feet while leaving your dream in tatters. Mike has been fighting against speed and time ever since and is now, at last, in a place where he finds himself still with the will to see The Wizard be restored to the state in which the artist (Jittlov) always intended it to be seen.
It was after Wade asked me one night, some time ago, if I was familiar with TWOSAT. The spark went off in my head; “Could I get in touch with Mike Jittlov?” Firstly because I too am a fan of The Wizard, but also because I thought he would make an incredible guest.
Ironically the first thing I found online was an interview from a British film website where the journalist, when asked how he had managed to track down Jittlov, simply said, “His phone number is on his website. I waited until the time it suggested was best to call and I phoned him – we ended up talking for an hour.”
“Could be that easy?” So I followed suit. Went to the website (which had not be updated in quite some time by the looks of things), got the number, waited till the time suggested – and made the call. Sure enough, there on the end of the line was Mike Jittlov. He had no interest in being interviewed because of prior misrepresentation, but he agreed to talk to me (and we talked for over an hour). I didn’t pause the recorder – if for any reason it was because this was perhaps the closest I’d ever get to The Wizard – the recording would be a memento.
But Mike did consent to allow me to share this with you fine folks. I have cut parts of the discussion that I feel are too personal to be revealed in this arena, and have kept the film-making side of our chat for your listening pleasure. As a fan first I was extremely nervous and thus mumbled my way through it but, what can I tell you, if you have not seen TWOSAT, get out there. YouTube is your best bet for easy access, though it is a different cut when compared to the VHS edition.
I’ll say it here publicly Wade, you a one lucky boy and I hope in a future episode to record Wade’s tales from meeting with The Wizard himself. Till then I have my experience to share, I still have my copy of the film, and last but not least I have a little prayer – let Mike Jittlov finish his work O Lord, so that the world might at last see The Wizard in all his glory….
SUPPORT THE RESTORATION OF THE WIZARD’S SOUNDTRACK HERE:
Well I’ve been working on this one for a while now. A collection, a tribute to the wondrous array of talents out there doing exactly what they want to do. Godard famously once said: “All you need for a movie is a gun and a girl.” That may have been the case for him, but I like my movies with a few more ingredients. Werewolves, giant snakes, sharks – it’s all part of my complete breakfast so, I endeavored to get in contact with those few, those happy few, this band of indie auteurs who don’t need permission or studio backing to do what they love to do – which is make movies.
Perhaps it is fortuitous regarding the timing of the release of this piece that all of the films here mentioned are now out there and available for your enjoyment. Mr. Bonk’s ‘Jaws Indoors’ sharksploitation offering, House Shark, Mr. Braxtan’s urban anaconda comedic actioner, Snake Outta Compton, Mr. Sheets Werewolf O’ glorious Werewolf killing by night picture, Bonehill Road and finally, Mr. Dean brings us his second installment of justice wreaking havoc by the full moon with his part man, part wolf, all cop, Another WolfCop.
We need these independents now more than ever ladies and gentlemen. Hollywood at large has become a cookie-cutter industry were everything is either a remake, a sequel or an adaptation. Something old, something new, something borrowed and something boring. It is and has degenerated into a vicious cycle that sees the movie business in the safest place it has been in decades. And why? Because dear reader, there is no gambling on a property that doesn’t already carry a built-in audience. No risk versus reward. It’s the same old shit – just in a different box.
So thank God for the Independents. Robert Rodriguez once said, “Don’t give me any money, don’t give me any people, but give me freedom, and I’ll give you a movie that looks gigantic.” Hollywood has long forgotten that the size of the budget does not equal the size of a film’s success. It is the films that defy convention, that resist formula, that are at play in the fields of freedom and creativity and not those designed and dictated via a committee in some corporate office that are still exciting audiences.
The studios may have the guns, but we got the numbers. We have the power now to embrace these magnificent artists. Together we can bring them in from the fringes and with all the social media tools at our command, we can use our influence to elevate these men and their glorious pictures to ever greater heights, instead of perpetuating the norm which sees us elevating fools into rich heroes.
Yes dear reader, today is the day. The day on which we can declare in one voice, “We will not go quietly into the night – we will not vanish without a fight. We’re going to live on, we’re going to survive. Today, we celebrate, The Independent’s Day.
(DUE TO A BAD CONNECTION, SOME OF MY INTERVIEW WITH RON WAS LOST - BUT PLENTY REMAINS - I TRUST YOU'LL STILL ENJOY)
Ron Bonk is a producer and writer, known for Clay (2007), Night of Something Strange (2016) Strawberry Estates (2001) and She Kills 2016. He was born in Cicero N.Y. and attended Cicero, North Syracuse H.S. Then he graduated from M.V.C.C. , and Utica College. He is the president of S.R.S. Cinema L.L.C. in Central New York.
Hank was born and raised in Grand Junction, Colorado; this would be his greatest accomplishment until dropping out of film school at age 26. Even from a very early age, Hank showed a genuine interest in being entertained. In 1998, he put his lack of ambition on hold and joined the US Army as an Intelligence Analyst. After his discharge for honorable behavior in 2004, Hank attended film school for a short while, and made a bunch of nonsense about Ghostbusters fighting Freddy Krueger and other copyrighted materials. In the days before YouTube, that was kind of a big deal.
Hank has since gone on to work in the same town as many famous filmmakers. He currently has several projects in several stages of development, etc.
Daniel Roebuck made me cry. That’s tough to do. There are certain films that have achieved this but they are few and far between. With Getting Grace, Roebuck has constructed a tale that is about that good thing, maybe the best of things. He has made a film about hope.
The story is that of a girl dying. Some might argue that such a plot easily accommodates the tear-jerking factor, but I don’t think that’s true. Field of Dreams is a movie that gets me every time, but I wouldn’t say that it sets itself up as a tear-jerker. In that movie’s case, the plot is more about listening to the voices inside us all and not allowing the inherent cynical nature of humanity to sidetrack us. It is also a story of redemption in the respect that a ghost, a former baseball player, helps the protagonist make peace with his father via love a of the game they both once shared.
In the case of Getting Grace, much like Disney’s Polyanna prior, it falls to a quirky yet luminous spirit of a young girl, staring at the end of her mortality and the optimism she evokes to cope with her fate to inspire, and in many ways redeem the broken characters that encircle her throughout the story. Both films deal with death, but reinforce that death is far from the end.
It’s a heart-warming tale that leaves you thinking about the preciousness and the fragility of our existence for a man of great faith. After all, to have endured in show business for the length of time Daniel Roebuck has – you need faith and hope in bundles.
It was an illuminating and thought-provoking discussion that I had with Daniel. He is a stalwart of the industry having worked in everything from big movies to indies, action films to animated efforts, and even mentoring other young actors as they struggle to make their ascent. Through it all he has retained a charming, positive presence that reflects in the enthusiasm with which he attacks his roles and now as he steps behind the camera to tell stories that enrich and enlighten.
It was as much a pleasure to talk with him as it is for me to present one of the nicest dudes . . . Daniel Roebuck.