Tag Archives: Mark Hamill

Paul Hirsch is here, the Force is with him by Kent Hill

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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.

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On the eve of the Rise of Skywalker, it was a trip indeed to speak to and the read of the cinematic legacy of Mr. Hirsch. With his book A LONG TIME AGO IN A CUTTING ROOM FAR, FAR AWAY, Paul takes you back in time to a place when editors held the iconic images that flash before us on the silver screen…between their fingers.

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.

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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.

Meet-and-Greez by Kent Hill

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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.

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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).

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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.

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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.

It’s hard to know who to trust, isn’t it, Jack? : Remembering Cocoon with Tom Benedek by Kent Hill

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What’s strange is, for the longest time, I had only ever seen the final scenes of Cocoon. A sea covered in mist, a young boy in the water, a boat loaded with elderly people being chased. Then the sky above lights up. The clouds part majestically as James Horner takes over and the ship ascends into a gigantic spacecraft. Wow, I thought. Cool. Have to see that rest of that! It would be a few days later, but, at last, the whole story was mine to experience.

To talk about films like Cocoon, you need to go back to a different age in cinema. Before most of the popular films were adaptations of characters from the funny papers and franchises and cinematic universes were lined up, as far as the eye can see. It was a time of great risk and invention. When a person with a great idea was king, and the power of Hollywood could make such visions sing.

The era of high concept brought us many of the enduring classics which now appear, in many ways, to be timeless. A young Ron Howard would helm the picture, taking control after another icon of the times, Robert Zemeckis, decided to go off and romance a stone, before heading back in time. Howard had already delivered a fascinating modern day fairy-tale with his magical, romantic, comedy-adventure, Splash. In hindsight this was a fortuitous match, one which would propel Howard’s career to new heights, eventually seeing him become the ideal fit for another 80’s fantasy masterpiece, Willow.cocoon-54a0436aebccd

The men who had produced JAWS, Richard Zanuck and David Brown, brought together a group of impeccable professionals to join Howard behind the camera – at the same time they assembled an extraordinary group of acclaimed Hollywood veterans, cast to fill out the leading roles of the members of a retirement community on the verge of a close encounter of the third kind. Wilford Brimely, Hume Cronyn, Don Ameche, Jack Gilford, Jessica Tandy, Maureen Stapleton, together with brilliant performances by Brian Dennehy, Steve Guttenberg, Barret Oliver and Tahnee Welch are our guides through a story about youth, and how we find things in life that allow us to hold on to that vital part of our spirit – so that we may live richly, even as the years decline.

This phrase has become a cliché with me, but long have I waited to chat with someone connected with this movie – one of the fantastical cinematic staples of my youth. My guest Tom Benedek was the man tasked with taking an unpublished novel and turning it into a story for us all. A story of how sometimes it takes a stranger to show us what those we share our lives with fail to point out, a story about the wondrous mysteries and possibilities that dance in the sky so full of stars above our heads, and a story about our grandparents and the lessons, indeed the wisdom they try to send us . . . and how when their time comes, how hard it is to let them go.

So, as it has happened so many times for me while writing for PTS, my dreams have come true. I now have a glimpse, and not a mere EPK look behind the scenes. I have my story of the creation of a science fiction and fantasy film-making high water mark, from the man who brought it to life on the humble script page.

Emerging from the river of wind: Remembering Slipstream with Tony Kayden by Kent Hill

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Slipstream was alluring from the moment I saw the poster in the front window of my local theater. From the producer of STAR WARS and the director of TRON was the proclamation, and I was sold. The film, even then, delivered, as far as I am concerned. It offered a different world, an intriguing premise, great performances and . . . yes, I’ll admit a disjointed viewing experience. Still, I love the movie and have always been curious as to the production and what elements combined to bring this fascinating story to the screen.

At length, I finally made contact with Tony Kayden, a veteran screenwriter and the credited scribe of the film (as well as a man with his own amazing set of adventures in the screen trade). And it didn’t take long to learn that the narrative irregularities of Slipstream were the result of no one really knowing what kind of film they wanted to make.

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With the money in escrow, the movie was being made, that was definite. The script that Tony was brought on to rework was, at its heart, a stock-standard Star Wars rehash. Enter producer Gary Kurtz. After enjoying success serving alongside George Lucas and Jim Henson on the Dark Crystal, Kurtz came to the project seeing another unique film on a grand scale and an adventure born in the wind. The director tapped to steer the ship was Tron director Steve Lisberger. His work on Tron was extraordinary, original, and one could only imagine what he might do with a larger canvas combined with thrilling aerial action, accompanying a compelling human story. But then then problems began. The Producers wanted action and more sexual interaction where possible. Kurtz wanted something cleaner, no graphic violence and something more Star Wars. Lastly there was Lisberger, having just become a father, and wanting to make something for kids.

Then you have the poor writer. Only hired for four weeks, Tony ended up residing in England for three months, trying in vain to mix this maelstrom of indecisiveness into a cohesive plot. Kayden saw the movie as a kind of post-apocalyptic version of the The Last Detail. You can see the surviving elements of this in the interactions between Bill Paxton and Bob Peck’s characters of Matt and Byron. One a fugitive being taken in for the reward, the other an opportunist looking to make a quick buck. But, ultimately they become friends and seek to merely flow with the slipstream they are, for better or worse, traveling along.

These two are chased by Tasker, Mark Hamill, in a platinum performance as the mustache-twisting law man whose faith has been replaced by devotion to duty and routine whilst maintaining order here in this desolate society. He harbors a Javert/Valijean type relationship with Peck’s curiously, emotionally-distant accused killer – who just so happens to be an android.

The journey down the stream brings Matt and Bryon into contact with fellow adventurers/survivors Sir Ben Kingsley (who after a chat about the script in the commissary with Tony, sought out a part in the movie), and eventually, another Oscar winner in the person of F. Murray Abraham, the caretaker of one of the last sanctuaries – a literal museum to the past, complete with all its folly and decadence.

But the movie ends in tragedy and triumph. While the evil pursuer is vanquished, Bryon’s hopes for happiness are dashed. He is forced to leave his new found friend and seek out his own kind, wherever they may be.

That all might come across as a little confusing? Like I said before, the film is disjointed. This doesn’t prevent it, however, from being fun. The the actors give solid performances, the photography is brilliant, the locations amazing, Elmer Bernstein’s score magnificent – it is just a shame that the powers behind this movie couldn’t seem to agree.

As Tony told me, “the writer often takes the blame.” Though that is not the case here. If anything he should be commended for fighting the good fight in a losing battle.

Still, my fondness for Slipstream endures. In part for what it is, but also for the possibility of what it might have been. Like I said to Tony, in the age of the reboot, there might be a second life yet for Slipstream. Now all we need to do is get Dwayne Johnson on board…

Riding the New Wave: An Interview with Travis Bain by Kent Hill

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It doesn’t seem like all that long ago that the Australian film industry was launched onto the world stage by a band of rebellious genre filmmakers, that would take international cinema screens by storm. Regrettably that age, to the naked eye, may have come and gone like the VHS tape. But not all hope is lost…

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Enter Travis Bain. The boy from New South Wales who, after encountering George’s galaxy far, far away, decided to run off and join the circus so to speak. In short – become a filmmaker. But unlike Spielberg and Abrams, he was not to the 8mm camera born. Young Travis would craft his fantastic adventures on audio tapes, creating a cinema of sound.

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From there he thought he might be able to launch something in a literary manner, writing work that would later become the bread and butter of Aussie action author Matthew Reilly. But, he learned all to quickly that the road to the Everest of publishing was just, if not more arduous, than path toward the Mount Olympus of movie-making.

Down but not discouraged, he took to learning the fundamentals of the cinematic arts and in time would make a debut feature. He would come north to the Sunshine State (Queensland) and find, and you’ll pardon me, his place in the sun.

His latest film is Landfall, starring the iconic Australian acting legend, Vernon Wells (my chat with him here: https://podcastingthemsoftly.com/2016/09/30/zero-defects-remembering-innerspace-with-vernon-wells-by-kent-hill/ ). Travis has ambitious plans for the future. As I listened to him speak passionately about his journey, his current projects, his hopes for the strengthening of the local industry – let’s just say I’m a believer. We need artists of his ilk now more than ever; to bring the spark back to our slumbering screens. And, you can quote me if you like, Travis Bain might just be the man to lead Aussie genre filmmaking in a bold, new direction.

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The Day of Reckoning: An Interview with Andrew David Barker by Kent Hill

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Andrew David Barker was born in Derby, England in 1975. He grew up with a love of films and writing. I suppose this is a common thread among those of us who seek to express ourselves through these mediums. Hoping against hope that it will be either one or the other that strikes first – one or the other that shall propel us out of obscurity and into the stratosphere in which we are allowed to create for a living.

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It was horror films (the Video Nasties), but also the bombastic, high concept and blockbuster works of the 80’s that further fueled the young Barker to carry on his quest. Spielberg, Lucas and Scorsese, but also Romero and Raimi fed him with images and blasted on the big screen the seemingly endless possibilities which lay in wait, destined to be unearthed by the daring dreamer.

Like all those that had come before, young Barker cut his teeth making short films and writing books and short stories – at times with friends. Then the time came – the time which calls to the fledgling auteurs and beckons them into the fray – time to put all accumulated knowledge to the test, and make that first film.

Thus A Reckoning was born. But through no fault of his own, young Barker was forced to sit by and see his film languish in obscurity. So, he took up the pen, and began to tell his stories on the printed page. Soon, he produced two fine works (see pictured above) and interest from the film industry power brokers soon came knocking.

Andrew is an eclectic storyteller whose visions are at once personal and profound. To talk to him about his journey, his influences and aspirations was a thrill. He is definitely a talent to watch, and, I for one, will be watching with great anticipation as to where his journey will take him next.