Tag Archives: John Singleton

Making mashed potatoes with Walken: An Interview with Andrew Bryniarski by Kent Hill

You might not know his name, but you’ve certainly seen his movies.

Andrew Bryniarski is a high-octane actor. His explosive and memorable performances stay with you. He is full-tilt, funny and furious. He has worked with an impressive array of Hollywood’s ‘big hitters’ like Tim Burton, Oliver Stone, John McTiernan, Michael Bay and John Singleton. He has starred alongside Bruce Willis, Christopher Walken, Al Pacino, Raul Julia, Richard Lynch and Scooby Doo. He is beaten the shit out of Superman and made out with his girlfriend. Now if that is not an impressive resume, I don’t know what is.

All I can say is, I have done a number of interviews, but this one was a BLAST! Andy I feel has more great stories in him, only a few of which he was able to share over the couple of conversations we had. I would love this guy to sit down and write a ‘tell-all.’ The things that he has done, the places he has been, his experiences as a guy who was plucked out of obscurity and propelled from there to a Hollywood career that has spanned three decades, and has seen him do everything from sacking quarterbacks to wielding chainsaws, in that old Texas-massacre kinda way. It’s a tome that would be utterly enthralling.

The same enthusiasm that Andy applies to his work is apparent in his personality and his perspective. I get the impression there is no half-way with this man, and though it might seem that he has drifted from one grand adventure to another, there is a relentless dedication beneath the surface bravado that has been the catalyst behind his success.

It is always my intention to transcribe my interviews as, at times, the quality of the recording is not that great. But this is one of those times where you have to hear it from the man himself. No one does Andrew Bryniarski better than Andrew Bryniarski, unless of course it’s Andrew Bryniarski doing Christopher Walken (which I promise you’ll love.)

On that point, Andy sent me a message the day after our initial chat, saying that he had forgotten a line in his anecdote regarding Walken. It reads as follows:

Walken’s father was a baker and during the depression, there was a flour shortage so they used sawdust so they got ‘the rickets.’ By the time Chris Walken came along they had flour, so he was taller than his father. But Andy – he had orange juice.

It doesn’t make sense I know. But take note of the missing line (above here underlined) and listen to the incomparable Andrew Bryniarski tell it in his ‘awesome’ Christopher Walken voice…

Advertisements

John Singleton’s Rosewood: A Review by Nate HillĀ 

John Singleton’s Rosewood is a partly fictionalized, greatly dramatized retelling of one of the largest lynchings and subsequent conflicts in American history. The time is 1923, the place is Rosewood, a small southern town populated largely by African communities. When borderline insane local housewife Fanny (Catherine Kellner) is caught in the midst of a violent sexual fling, a young black man accidentally stumbles upon the scene. Being the crazy bitch she is, she melodramatically pins it on him, inciting the wrath of the town. The real culprit was of course a white dude, played briefly by Robert Patrick before fleeing the county for good. Because of this selfish misdirection, every white man and his mother now wants the boy hung, and it escalates with the speed of a prairie fire until a full scale race war rages through Rosewood. A lone mercenary called Mann (Ving Rhames) happens to be around and lends his quickdraw talents to the townsfolk who are being hunted. The sheriff (Michael Rooker) is somewhat of a pushover, and unable to quell the mob anyway, especially when it’s led by a rabid Bruce McGill, who is scary and then some. The only white boy who has anything but ropes or torches to offer these poor folks is a kindly store owner played by Jon Voight, who shelters a group of them on his property, much to the mob’s anger. Voight’s character is odd; when we meet him he is in heated coitus with one of his shopkeeps, a young African girl. It’s later revealed that she’s afraid of him. Despite this dark piece of his arc, Singleton treats him as a hero, begging the question, were there scenes cut that elaborated on his relationship with her? Such imbalances in tone can be found in the story as well: much of the film is treated with a combination of severe melodrama and true crime drama, speckled here and there with jarring little bits of pulp that feel like they’re from a Django type flick. Wouldn’t have been the narrative mix I would have used, but perhaps Singleton’s hand slipped and too much of an aspect fell in which he only ever meant as a subtle garnish. Nevertheless, it’s very solidly made, wherever it sits on the genre map, with all the actors, particularly the African townsfolk, shining nicely. It’s disturbing as well, with the black body count reaching sickening heights and the racist fever at a vicious spike in temperature. It’s a scary scenario when the hunters greatly outnumber the hunted, and mass deaths are imminent, especially when such anger is involved. Sympathy is earned in spades from the viewer, as well as the urge to look away at least a few different times. I haven’t done my research on the real story so I couldn’t tell you where it falls on the authenticity charts, but I suspect a great deal of it has been exaggerated for effect and impact. In that, it succeeds, if faltering in tone a few times to puzzle the viewer, before getting back on track.