Tag Archives: kyle maclachlan

Into the DEEP end with JONATHAN LAWRENCE by Kent Hill

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You should, dear listener, go away and read this article (SUNK) . . . before listening to this interview – simply for ‘those who came in late’ kinda reasons….

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Films like Lost in La Mancha, Jodorowsky’s Dune, Lost Soul, and The Death of Superman Lives have ostensibly created a new documentary genre that I simply have been devouring … the ‘unmaking of’ movies … great movies that were stillborn, or that died slow miserable deaths on the path to cinematic folklore. And we’ve all heard the film fiasco war stories . . . but not like this. This is the most intriguing because it is still, for the most part…shrouded in a heavy belt of foggy mystery….

The, or one of the embattled figures at the center of this mesmerizing cyclone is a man I’ve longed to chat with since reading the aforementioned article, Mr. Jonathan Lawrence. Now, to get the winter of our discontent outta the way up front, I was certain – beyond a shadow of a doubt – that talking about the ‘FISH’ movie, (as Jonathan enlightened me, or as fate would have it as the movie’s surrogate title) was the last thing he would want to do . . . . AGAIN!

So, while I was certainly keen to devote only a small portion of the conversation to my simmering curiosity (namely EMPIRES OF THE DEEP) – I was more interested to hear the story of the man who was a part of its ill-fated inception….

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In singularly one my most engrossing conversations I’ve ever had with a filmmaker – I have really wanted talk to ever since I read about a Chinese billionaire who woke up one day and decided he wanted to make a movie – with the whole story so feverishly well documented in the article back there at the beginning. . . and, Jonathan tells me he has been interviewed extensively for a possible documentary on the subject ……. fingers crossed!!! But, this conversation is not about that ‘FISH’ movie – instead it’s about the man behind it, also a candidate for one of the best lines I’ve heard …. “I know how to be dangerous, and get by.”

Enjoy…

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David Lynch’s Dune

David Lynch’s Dune is a great film despite what critics, moviegoers, the general consensus and Lynch himself would have you believe. It’s obvious that heavy editing turned it into something of a pacing quagmire, scenes are truncated, oddly conceived voiceovers are added, and yadda yadda. Doesn’t matter. This is still an exquisitely crafted, beautifully atmospheric space opera that takes full advantage of production design, casting, special effects and music, I loved every damn minute of it. I’ve recently been reading Lynch’s semi autobiography and it seems clear that that money shark producer Dino De Laurentiis had final cut and just couldn’t reconcile letting the runtime go past two and a quarter hours. Shame, as there was no doubt way more that we could have seen, but what’s left is still magnificent. I haven’t read the books so I can’t speak for any lapses as far as that goes, but what we have here is a sweeping science fiction fantasy saga about warring royal families, shifting alliances and metaphysical forces all revolving around the desert planet Arrakis, where an invaluable spice is mined and fought over by all. Duke Leto Atreides (Jurgen Prochnow), his wife Lady Jessica (Francesca Annis) and their son Paul (Kyle Maclachlan) travel far across the universe from their home world of Caladan to oversee Spice harvesting and production. Buoyant, herpes afflicted fatso Baron Harkonnen (the inimitable Kenneth McMillan takes scenery chewing to a whole new level) seeks to usurp and steal the operation for his house. So begins a series of wars, betrayals and no end of staggeringly staged set pieces and baroque, abstractly conceived production design that Lynch & Co. slaved over for years to bring us. The sand worms are a visual marvel, as are the gold and silver spaceships, the interiors of which feel both lushly industrial and gleamingly regal. Maclachlan and Lynch had their first team up here, the first of many, and the young actor is a magnetic lead, handling the arc well from a naive prince to a desert outlaw who wins over the leader (Everett McGill) of the indigenous tribe of Arrakis and falls in love with their princess (Sean Young, somehow *even* sexier here than she was in Blade Runner). Lynch has amassed an unbelievable cast here, an epic laundry list of names including Patrick Stewart, Max Von Sydow, Jose Ferrer, Linda Hunt, Virginia Madsen, Alicia Witt, Dean Stockwell, Brad Dourif, Freddie Jones, Jack Nance and more, all excellent. Sting is in it too and I have to say that his is the only performance that’s campy in a bad way instead of good, you should see him leering at the camera like he’s in a second grade play. One of the film’s greatest strengths is the original score by Toto, who dial back their trademark rock vibe and produce something atmospheric and elemental in the vein of Vangelis or Tangerine Dream. Their main theme is distinct and oddly melancholic and the rest is synthesis style, beautiful work. I don’t know what to tell you about the whole editing debacle, I mean I guess if De Laurentiis hadn’t have had to swing his dick around Lynch may have had his three plus hour cut, but would that really have been better, or would there have then been a complete lack of pacing and progression ? Who knows, but the way it is now, admittedly there’s a lack of complete coherency and one can tell certain scenes are missing while others languish and take up too much running time, but the issues are nowhere close to as disastrous as the swirling reputation around this film suggest. I’m just so stoked on it now because I avoided it for years thinking it was some giant cinematic mistake a lá Battlefield Earth. Not a chance, and I think many people are just being a bit dramatic, because this is a showstopper of a fantasy epic and I loved it to bits. Just bought the Blu Ray off Amazon a minute ago, excited for many revisits.

-Nate Hill

ALL COP: A Fan’s Journey by Kent Hill

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How important are fans to the longevity of a movie? The truth is – extremely important. Fans are the reason films have survived long past their initial release life. Coming from the age of VHS, we were the generation of watchers that gave cult status to films that would have faded if not for the popularity of this new medium. Films that died even before their brief, bottled-rocket moment in theaters fell to the ground cold and lifeless under the weight of audience disinterest.

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A devoted fan is worth their weight in gold. They will stick with a film, a franchise, even through the worst of times. RoboCop is an undeniable classic. But, and it is just this man’s opinion, the continuing saga has suffered from the same strength that made the first film the glorious specimen it remains. Two wasn’t bad. Three, was stretching. I dug the animated series, even the live-action TV show. Then there was the recent reboot. I think the less said is the easiest mended and stand with many on this thinking – that the idea of remaking classic films is a colossal mistake. There was really nothing in this tepid attempt to re-invoke the wonders of past glory that are worthy of even the title.

Like Eva Rojano I saw RoboCop on video back in the day and was equally as awed by it. The fascinating thing though about Eva’s fandom is the empowering nature, the passion and exuberance she draws from the picture, and how it has helped shape her life and permeate her dreams and ambitions.

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Eva with Nancy Allen

Eva was so taken with the power of the character, and the story arc of Anne Lewis, portrayed by the wonderful Nancy Allen, that she eventually started corresponding with her idol, and finally, was able to meet her in person and further solidify the friendship.

The joyful nature of being utterly and completely taken by the subject and the morals amplified by popular and classic movies, is that it allows the fan to live vicariously through the characters they identify with and thus, giving one’s imagination fertile soil in which to plant the seeds for a harvest of success in whichever field of expertise one chooses  to explore in life.

Eva has taken the inspiration she receives from the likes of the empowered character of Anne Lewis and has turned all of her creativity and dedication to spreading and bringing together the talents and appreciation of RoboCop fandom world-wide. And, in the wake of the recent news of yet another cinematic entry into the RoboCop franchise, as well as, the fact that the talented Miss Allen has not, unlike the other member of her integral duo aka Peter Weller, been approached to be a part of this re-invigoration of such a beloved series; Eva has taken to the fandom at large and has created a petition to motivate the powers that be with the hopes of bringing back her treasured Officer Lewis.

Eva’s is a fascinating and passion-filled tale that I trust will inspire and delight. Please do, all you Robo-Fans, jump on the bandwagon and sign the petition (https://www.change.org/p/mgm-studios-inc-we-want-nancy-allen-to-play-a-role-in-robocop-returns) to get Nancy, along with Peter, back into the Robo-verse where together they belong. And also to, please follow the links below and experience the wonderful work Eva is doing – all to honor the movie she loves most dearly.

https://enhanced-reality.wixsite.com/robocoplewis

https://www.facebook.com/RoboCopLewis/

MORE ROBO-COLLABORATORS

Ed Neumeier

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She’s a little bit DANGEROUS! : The DANGER DIVA Interviews with Kent Hill

It was the night before I was given the opportunity to experience Danger Diva that I just happened to be watching Rock & Rule. Little did I know, nor did I expect, certain similarities to interlink in my consciousness as directly following  Clive A. Smith’s cult animated classic, I would be treated to a viewing of Shredder Orpheus’ all but vanished auteurs’ latest picture.

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I still have a copy of Robert McGinley’s 90’s skateboarding, rock ‘n’ roll, ancient mythological homage on VHS. Along with films like Slava Tsukeman’s Liquid Sky and James Fargo’s Voyage of the Rock Aliens, it remains an alternative delight. And, now, Robert  makes an alley-like but most welcome return to the director’s chair.

He brings with him what star Tim Gouran perfectly summed up as a bad-ass, rock ‘n’ roll, sci-fi movie in the form of DANGER DIVA. Set against the backdrop of a very William Gibson stylized future where the elite seek to further manipulate and control the masses. All the powers that be need is a symbol – a voice.

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Diva is a film rich and enthralling in spite of its low budget constraints. McGinley once more brings his unique storytelling, his passion for mythology, his love of classic science fiction, his rock ‘n’ roll sensibilities all to play in this dynamic and thought-provoking movie which, as I think good films should, lingers with you long after the credits roll.

As to my comparisons to Rock & Rule – well fellow fans of that film, I think, will automatically understand where I’m coming from. Of course if you’ve not seen it, then you should – but not before you’ve had a listen to the lads, as it was a privilege to chat with both director and star as it is to bring to your attention this incredible picture which I urge you to seek out and experience for yourself.

VISIT: https://dangerdiva.com/

ROCK ON!

ROBERT McGINLEY

{Courtesy of: https://www.robertmcginleyfilms.com/films-about/}

Robert R McGinley is the writer-director of the feature films JIMMY ZIP and SHREDDER ORPHEUS. JIMMY ZIP, starring Brendan Fletcher, Chris Mulkey, Adrienne Frantz and Robert Gossett won the Best Dramatic Feature award at the Hollywood Film Festival and SHREDDER ORPHEUS is a Seattle cult classic featuring the late great poet, Jesse Bernstein. Both films underscore Robert McGinley’s ongoing interest in rites of passage stories that highlight “the hero’s journey.” Projects in development include the action drama BLOOD RUNS THICKER and the music driven cyber-punk thriller, DANGER DIVA.

Prior to his immersion in film-making, McGinley was the founding artistic director for the internationally acclaimed Seattle theater, On the Boards; a producer and presenter of contemporary dance, theater and music from around the world. In addition to his work as a filmmaker and theater producer, McGinley writes and performs poetry embellished by music and various incendiary arts.

TIM GOURAN

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Tim Gouran is known for his outstanding performances in numerous plays, including Of Mice and Men and ACT’s immense Ramayana production – not to mention his great works in filmography: Love my Guts, Gory Gory Hallelujah, Worst Laid Plans, Better than Love, Two Pictures and of course, Danger Diva

 

David Koepp’s The Trigger Effect

What if the power in an entire state/province all went out at once, for an indefinite amount of time? David Koepp’s The Trigger Effect shows you just what would happen in this scenario, albeit in the 90’s before everyone had a smartphone to keep them on the grid. After a mass blackout across California, one suburban couple (Kyle MaClachlan and Elizabeth Shue) attempt to weather the storm of confusion, vandalism and eventual madness that sweeps across the region. It starts with subtle domestic friction between the two, but as they venture out for provisions they bear witness to the lawless, frenzied chaos that such an event can do to the populous. It doesn’t help when Maclachlan’s roughneck buddy Dermot Mulroney shows up to turn an already strained marriage into an outright deceptive love triangle, adding to the tension. Some of the finer plot points and scenarios can be a bit silly but the aura of unease that covers everything is quite well done, and the acting is solid. Supporting turns include William Lucking as a gruff pharmacist, Richard T. Jones as a desperate father, Richard Schiff, Jack Noseworthy, Bill Smitrovich and more as various individuals affected by the widespread panic. The best performance of the film, however, comes from an explosive, scary Michael Rooker as a mysterious hitchhiker who may or may not be friendly. His extended cameo blasts the energy level of the film from mellow to frenetic in a matter of seconds, leaving us shellshocked in his wake. This isn’t a knock your socks off thriller by any means, and has it’s own strange way of pacing itself that may leave some cold, but I really enjoyed the atmosphere it offered, the eclectic cast and how immersive the experience was from that first blackout until the resolution. Good stuff.

-Nate Hill

Comedic Wizard, Hollywood Warrior: An Interview with Walter Olkewicz by Kent Hill

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Growing up I was a huge sword & sorcery fan . . . still am. The older one gets, you find yourself using the phrase, “they don’t make ’em like they used to,” more and more. In the case of sword & sorcery it is all too clear why it is sad, in some ways, to reminisce. But I can’t fully transmit to you in words, just how much the show Wizards & Warriors was then, and would later become, an integral influence. It took something with reasonably defined staples and subverted them in the best possible way.

This was part of the reason the more recent effort, Your Highness, was such a dismal failure. I admit I was hopeful all the way up to until I finally set eyes on the picture. Yes, it dealt irreverently with the source influences. But, ultimately forgot what made them so glorious in the first place. While Wizards & Warriors, on the other hand,  was so ahead of its time it’s ridiculous. Subverted genre work is more prevalent today, but back then, it was a bold choice. I soaked it up, and it quickly became the stuff of which permeated my dreams, dominated my day-long make-believe adventures and of course was a the well from which I have many times gone back to with my own works like Deathmaster, Sword Dude, and the like.

So you can, possibly, only imagine the joyous moment when I finally was able to chat with Prince Greystone’s faithful vassal Marko, played by the supremely talented Walter Olkewicz .

In Walter’s tales from his illustrious career I uncovered the story of an effortless performer, a loyal friend, a devoted family man, and a true inspiration to all those who have the dream of being a player of many parts.

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His credits speak for themselves, and I found it most intriguing, that a man who has known such heights could remain, I believe, as he has ever been – the salt of the earth. Walter has though, of late, been suffering with medical issues. It is comforting to hear however, that there is light at the end of the tunnel. Please do take a moment, if you can, to support his recovery, so that Walter can get back to doing what he does best. (Please follow this link: https://www.indiegogo.com/projects/help-walter-save-his-leg#/ )

Ladies and Gentlemen, I’m proud to present, Walter Olkewicz.

 

After the Apocalypse: A Conversation with Barry Hunt by Kent Hill

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There are too few films in this day and age that leave you with something to ponder in the wake of experiencing them. But, The Further Adventures of Anse and Bhule in No-Man’s Land is, I’m pleased to report – does not fall into that category.

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As I remarked to its gentleman director – Barry Hunt – I found myself thinking to the influences which drove his artistic choices and compositions. I found traces of Herzog, Annaud, Jodorowsky – even Samuel Beckett.

For you see, this ain’t your typical day in the wake of the devastation of the world as we know it. Mr. Hunt has crafted here a sublime and visual feast that is as deep as it is vast. I found myself recalling films like Quest for Fire, Aguirre and Holy Mountain – even the lost children scenes from Mad Max: Beyond Thunderdome.

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One of the founders of the Sowelu Theatre in Portland , Oregon, Hunt has taken this intriguing, theatrical source material and constructed a film which is at once engaging and thought-provoking. And you can’t tell me there are too many films about which offer these sensations anymore. From the opening scene, to the world after the fall, Anse and Bhule also brought back to me the emotions evoked by McCarthy’s The Road. Both are absorbing journeys in which the characters we follow must shed, if you will, their emotional and even physical ties to all they have known. Then and only then can they truly become creatures of the new age, thrust upon them.

I urge you to seek this film out, and prepare yourself for a profound cinematic experience. The burgeoning cinema of Barry Hunt I eagerly anticipate. He has a new film in the spawning, and I have a feeling it will, just as Anse and Bhule did, exceed my expectations while completely stripping them away.

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https://vimeo.com/107316810

I present a fresh and brave new voice in the service of pure cinema. I give you, Barry Hunt.