Tag Archives: Peter Weller

“I’m not scared at all. I just feel kind of … feel kind of invincible.” : An Interview with W.D. Richter by Kent Hill

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To talk about W.D. (Rick) Richter, is to talk about one of my all-time favorite films, Big Trouble in Little China. It is, to put it simply, one of those films that comes along (not so much anymore) once in a generation. As we know in this age of remakes, reboots and re-imaginations, there is a very good chance that this film, because of its staying power and built-in fan base, will more than likely resurface with Dwayne Johnson playing Jack Burton. Just like Hansel in Zoolander he is, as far as the Studios are concerned, so hot right now!

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And you can be your bottom dollar that it will try like hell to recapture the magic of what was – and more than likely – crash ‘n’ burn in its attempt to do so. I might be wrong. Because, BTILC, was and is what is often referred to as a “happy accident”. What began as a seemingly awkward combination of a western with a plot that involved Chinese black magic became, thanks to my guest, a glorious blending of genres that there is really no recipe for.

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I rarely get nervous doing interviews, but I was glad to be sitting down for this one. When the person on the other end of the line had a hand in creating a couple of the seminal film of one’s existence . . . it is tough to play it cool, plus for the first time in a long time, I found the need to have my questions written, rather than merely see what the conversation would provoke. Primarily because I knew I was only going to have a limited time, and secondly because during our email exchanges prior to the chat, I found Rick to be extremely matter-of-fact and, wishing not to have the interview published in audio form, he merely wanted to be concise and not ramble on as, he says, has happened in the past.

So I sat and pondered questions. Having read other interviews with him in the past, before he’d stepped away from the business, the focus was on the films he had released at the time and didn’t really get below the surface. Off the record, we spoke about a few of the things that were beneath the polished exterior of the press kits, but that was not all that interested me. There have been many books and articles on his films, as well as many having excellent special features and commentary tracks which mine their depths – so I wasn’t going to waste time there.

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In the end I waited till the last minute and scribbled down the first questions that popped into my head. Some of course are elementary, but one or two I’ve had on my mind for a while.

Well, it took a long time, but sometimes, good things do. It was well worth the wait and the frustrating silences in between messages from Rick’s friend who very graciously made the introductions, and I, as a fan first, was humbled, honored and thrilled at the prospect of speaking to yet another film-making idol of mine.

While Rick, early in our email exchanges said, “I prefer to let he films, for better or worse, speak for themselves.” I am and will be forever grateful he took the time to talk a little about his work. In the end I wasn’t nervous or scared at all . . . I felt kind of invincible.

 

KH: Did you always want to work in movies and if so what were the films which influenced you?

WDR: First I wanted a paper route.  Then I wanted to run a circus.  Then I thought about pursuing a career as an English teacher.  Then I thought, “Why not aspire to become an actual tenured English professor?”  But, by the time I got to college, graduate film programs were springing up here and there.  Having loved movies since childhood, but never imagining there was a route available into the business, I suddenly saw a way to pursue a career in film in a structured, sensible way.

I went to a lot of movies of all kinds as a kid, but mostly B horror films from the mid-fifties through the mid-sixties.  In 1964, I saw DR. STRANGELOVE and in 1965 THE LOVED ONE.  They suggested a new direction and deeply influenced me.

KH: How did you break in to the business?

WDR: I wrote screenplays at USC, and one of them secured me an agent.  I then worked as a reader for Warners and wrote on the side and continued to do so when Warners and Irvin Kershner let me work as his assistant while he was prepping DIRTY HARRY for Sinatra.  That project fell apart, but a spec script I’d written, SLITHER, got to the director Howard Zeiff, and he set it up, odd as it was, and we shot it.  Presto!  I was a produced screenwriter.

KH: Your early career was full of greats like Dracula, Body Snatchers and your Oscar nod for Brubaker. How much does momentum play a factor in one’s career (films coming out and performing well) as well as recognition for one’s talent?

WDR: Actually, none of those films did perform well, but they were respected, and, as a result, I was respected as a young writer with perceived potential.  You must remember that during the seventies and eighties eccentric characters in unusual, small stories were nothing Hollywood ran screaming from.  That came later.

KH: You are a part of two of my favourite films of all time with Banzai and BTILC. How do you feel as an artist to be remembered for singular works rather than your entire body of creativity?

WDR: I’ve never given much thought to being “remembered”.  After all, sooner or later, this whole planet is going to be forgotten.

KH: If people want the skinny on Banzai, you have already provided an excellent commentary. What I would ask is, did you ever see Kevin Smith’s Q & A whose guests were Weller and Lithgow, and how did you feel about possible versions of the continuing story of Banzai?

WDR: I thought Kevin did a spectacular job that evening, and it was nice to learn how much the movie shaped him.  As long as Mac Rauch is involved, I feel quite confident that a “new” BUCKAROO could be as startling as the original.

KH: BTILC was ahead of its time, in my opinion. What I’ve always wanted to know is, what the “western version” was like prior to your work on the script, and how much of the finished film remains your work?

WDR: The “western version” just didn’t work for anybody, sad to say.  It all seemed too distant…the Old West and the Asian occult, etc.  So I proposed moving it to a modern, familiar setting and swapping the hero’s horse for a big rig.  The pitch went over well, and, with a writers’ strike looming, I dug into the challenge of creating a contemporary script in about seven weeks, choosing to do that with a somewhat dim but hopefully lovable hero at the center.  The finished film stayed absolutely true to my screenplay, apart from the inevitable ad libs here and there.  Jack Burton’s John-Wayne cadences, though, are definitely nothing I wrote or endorsed.  John and Kurt settled on that themselves.

You asked me prior to this conversation: “Did you write the line or was it improvised: I feel pretty good. I’m not, uh, I’m not scared at all. I just feel kind of… feel kind of invincible?”

Turns out I did write it.  I wrote the whole script furiously in longhand in several spiral notebooks, and a typist transcribed them into script format.

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KH: There was a significant gap between Home for the Holidays and Stealth. I have interviewed many writers who talk of these periods. They say, it’s not that I wasn’t writing, it’s just my scripts weren’t getting made. Was that true of your career at the time?

WDR: Definitely.  I had movies actually green-lighted then cancelled when directors went over budget in pre-production.

KH: I understand Stealth was a troubled production.

WDR: STEALTH was just a bizarre and massively unpleasant experience.  Directors and location scouts shouldn’t rewrite writers, if you want my opinion.  Kind of like Presidents shouldn’t tweet.

KH: Did your involvement end after the writing?

WDR: The “writing” never really stopped.  I was removed from the picture several times when my revisions failed to please the director.  But I was repeatedly brought back by the studio to pull the script back from the brink after the director (who shall remain nameless) had worked it over again in his spare time.  It’s the only film I’ve had made that, with great care, I kept my distance from during production and through release.

KH: I also love Needful Things. What was it like to adapt King?

WDR: Crazy.  The book is 690-pages of single-spaced prose.  My script was 124 pages, and you know how much “air” there is on a script page.  I figured that if one were to retype the novel in a crude screenplay format, it might easily hit 1000 pages.  So I lost roughly 876 pages while trying to keep King’s story and mood intact.  I have no sense of how that worked out because I’ve never reread the book, but I always imagined a looser, grittier, less-arch movie.

KH: Any advice you would give to a struggling screenwriter – not unlike myself?

WDR: Write.  Write.  Write.  But always try to imagine the movie itself playing to paying strangers.  Why would they — or you! — want to watch it?

KH: Sir it has been a profound honor to converse with you. I cherish the moment and humbly thank you.

WDR: Thank you, Kent. Take care.

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Cult Rewind: Leviathan 1989

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Frank and Kyle join teams to talk about one of their favorite, and underappreciated films from the 80s, George P. Cosmatos’ LEVIATHAN starring Peter Weller, Richard Crenna, Ernie Hudson, Daniel Stern, and Meg Foster. While this film does borrow heavily from THE THING and ALIEN, it’s much more than just a rip-off hybrid that stands on its own with strong performances, excellent production design, and value, and remarkable creature effects and a brooding score.

Pick up the Shout Factory blu ray here.

Who would your wife rather go to bed with, Stallone or Goldman…? An Interview with Paul Power by Kent Hill

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“Power Pack” as he was dubbed by director Peter Berg (The Rundown, Hancock, Battleship) is a more than appropriate substitute of a name for an electric personality that has done it all when it comes to the trade of an illustrator.

The Australian born lad who started out drawing comics for newspapers soon found himself becoming a fully fledged commercial artist, working within the music industry, designing album covers. From there he would come to the City of Angels and at Hanna-Barbera he would work, animating some of Saturday morning’s finest cartoons.

The film industry would become his next conquest. He has credits as a storyboard artist and conceptual illustrator are numerous, to put it simply. He was there when Richard Donner blew up at Spielberg, he and Arnold Schwarzenegger retooled the ending of Predator, he was working on a sequel to The Last Starfighter that never took flight, he was stuck in transit and drawing cartoons for sushi when he was set to act in Anthony Hopkins’ directorial debut, Slipstream.

Paul has pissed off a few people off in his time, but he continues to speak his mind and states that if people don’t like him, or if his work is not good enough then he’ll walk, moving on to the next adventure. That could very easily be one the screenplays he is at work on now as I type these words. One is a film adaptation of his awesome comic East meets West.

He was as inspiring as I had hoped to chat with. His devotion to his work is a lesson to all who have dreams of glory whether they be cinematic or artistically inclined. I find myself forgoing things that used to take me away, easy distractions if you will, from my work till my work is complete in the wake of our conversation. It’s not enough to will things into existence – you must strive for excellence, pay your dues, give it all you got and that might get you half way. The rest of the journey is built on hard work, of which Paul Power is the personification. When he’s not doing impersonations of Schwarzenegger or talking wrestling with David Mamet he is ever busy.

If you have a few minutes now, hang out, have a laugh, be inspired. Have pencil will travel.

PTS listeners, I present the irrepressible Paul Power.

http://www.paulpower.com/

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George P. Cosmatos’s Of Unknown Origin 


Peter ‘Robocop’ Weller vs. home invading rodents. That’s pretty much the premise behind George P. Cosmatos’s Of Unknown Origin, a warped little TV movie that takes on battling rats as a central plot-line, with a straight face no less. Usually this type of thing would be a campy SyFy original with screensaver special effects and the tonal towel already half thrown in. This one goes for full realism though, or at least tries, and it’s an odd mixture. Weller plays a mild mannered businessman who just gets so irked by those pesky vermin, enough so that he saddles up in all kinds of elaborate gear that would make Christopher Walken in MouseHunt jealous, and trawls the hallways and ducts of his townhome like a looney head, trying to kill the little bastards. There’s a vague satire angle in terms of his job, office politics and whatnot, which is one more thing you wouldn’t really find in this type of flick, if it were garden variety, but this one avidly shirks the standards. The rats are treated not as spooky monsters or a shadowy hidden legion, but the outright heinous plague they are on society. I got a try-hard metaphor vibe out of this one, something like these things representing the decaying monotony of the proverbial ‘rat race’, and one lone suit and tie renegade who aims to blast the gnawing pet peeve out of the water, like Michael Douglas in Falling Down. Or maybe it’s just a flick about one lone crazy dude who just really doesn’t like rats. Either way, it’s a bizarrely constructed little thing that ducks the limbo bar of genre and darts off in it’s own slightly dysfunctional direction. 

-Nate Hill

HE IS NED: An Interview with Max Myint by Kent Hill

2015 was the year. I was in Brisbane, Queensland, Australia at our version of San Diego’s Comic Con: SuperNova. I was there peddling my books but, in the booth next to mine, something amazing was afoot.

A giant banner held the image of the famous, or perhaps infamous Australian bush-ranger Ned Kelly; transformed and repackaged as vigilante, looking battle-damaged and bad-ass holding the severed head of a zombie in one hand and a loaded pistol in the other.

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That image invoked more than history and cultural iconography. It spoke to me as a concept so simple, yet compellingly cinematic. He is one of our country’s most treasured pieces from the past in a fresh guise and pitted against a dark, futuristic dystopia where the undead have evolved and formed a society in which humanity is not only a minority, but is being systematically wiped out.

Max Myint leads the creative team, spearheading, if you will, the rise of this epic saga of the man called Ned. A talented writer, sculptor and world-builder, the gutsy, gritty dark realm that he has helped usher in is about to explode on November 10. In the midst of the stench of rotting flesh and the searing of metal is something that commands attention. I for one can’t wait to see Ned’s rise and rise continue, and Max and his talented team blast this thing out into the masses . . . and watch it catch fire.

The living have surrendered…

Except for one man…

They call him Ned!

https://www.facebook.com/Iamnedcomic/

https://podcastingthemsoftly.com/2016/08/04/not-yet-a-major-motion-picture-but-hopefully-one-day-an-interview-wit-the-creators-of-the-man-they-call-ned-by-kent-hill/

Robot Cops, Giant Bugs and Big Snakes in the Jungle: An Interview with Ed Neumeier by Kent Hill

 

 

I remember vividly the first time a saw RoboCop. Watching it with the cousins in my bedroom and my mother walking past, hearing a flurry of coarse language, then sticking her head through the door to see what we were viewing. My cousin Rick, was good at putting spin on such incidents, so that we might avoid reprisal and be allowed to keep the movie going. Needless to say, that first time, I was pretty much doing what Rick told my mother I was doing – I was waiting for RoboCop to show up and not listening to the foul language at all. Well, maybe just a little.

Then we have Starship Troopers for which I blew off a lecture at university to go see. The prospect of this large-scale, B-movie flavored extravaganza was too good to pass up. I walked out of the picture exhilarated and so glad I skipped an hour long spiel on The Trojan Women to partake in this, the third time a director named Paul Verhoeven had blown my joyous, cinema-obsessive brains out.

 

But there’s another character responsible for this pair of uber-cool films and that is their scribe, Ed Neumeier, who as a young man wanted nothing more than to make movies. He, at that time his his life, had had his own mind blown when he learned that in his home town of Marin County a man named George Lucas was making movies. “It is possible,” he said to himself and thus took off for California. Once there, after finishing college, spending time as reader for the studios and a short time as an executive, he had an idea for a story that would eventually become a cinema classic. He joined forces with another filmmaker by the name of Michael Miner and together they got down to writing RoboCop.

 

The film would go on to become a phenomenon, spawning two sequels, a remake, and TV series and even an animated series (and a it-looks-really-cool documentary, RoboDoc). The film gave Ed the start he was looking for and introduced him to the director (Verhoeven) with whom he would mount his next assault at cinematic glory. It would take place beyond the stars on planets menaced by giant insects in their hundreds and thousands. Based on the Robert Heinlein novel of the same name, Ed would bring his love of science fiction and personal blend of humor and action to Troopers, and, for the second time, he and Paul were on a winner which would have sequels, Troopers 3 which he himself would direct, as well as animated films, Traitor of Mars is set to be released, comics and games.

 

Yes folks, Ed Neumeier is indeed a world builder and he’s working in the movie business and living the dream. He is cooking up a new film, and we that have grown up watching and loving the movies he has thus far penned, (yes, I kinda like Anacondas: The Hunt for the Blood Orchid) look forward to see where this talented screenwriter is going to take us next. Whether it be alien bugs, cyborg cops or those oversized killer serpents you don’t want to have lunch with, I think it’s a pretty safe bet to say, we’re in good hands.

Here he is folks, the man, the one and only . . . Ed Neumeier.

 

Fantastic Beasts and the Man who made them: An Interview with Chris Walas by Kent Hill

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When I think of the work of Chris Walas, a few things pop into my head.

The first is how much I loved Dragonslayer when I saw it at the cinema as a kid. It like The Black Hole was a dark, different Disney movie. This was the era when Disney was trying to be more like a studio and not purely focused on the animation that had garnered it so much love.  I remember waiting for the moment when the dragon would finally be revealed and I was not disappointed. I was becoming aware of how movies were made at that time, so the prospect of any giant creature on screen, knowing that it was actually there, that it had to be built was incredible.

The second is Enemy Mine. A movie for the longest time I had only seen the last twenty minutes of. During the heyday of video piracy, it was not uncommon to borrow a tape from friends or family and find the tail ends of stuff that had been taped over. Ironically I can’t remember the film that was taped over it, but those final scenes from Enemy had me intrigued. I think it was one of my cousins who I borrowed the tape from, so I asked him about the clip at the end. “Oh I taped over that ‘cause it was kinda boring. Some dude and an alien have a baby together.” Yes folks, I have some really classy relatives, and that was how he pitched Enemy Mine to me. Still, undaunted, I sought it out and it is a whole lot more than that; indeed another great film from Wolfgang Petersen who had blown my mind prior with The Neverending Story.

Finally I reflect on The Fly 2. One of two films I have literally lost my lunch watching. And, let me be clear, up to that point, I had seen gruesome stuff before so it wasn’t so much the imagery as it was the visceral qualities of the imagery. As the years go by, and because I haven’t seen it in a long time, so it’s sketchy at best, but one thing that I recall was Daphne Zuniga wiping away Eric Stoltz’s slimy coating from this one scene and giving him a kiss. I remember that or something like that, like I said, it’s been a long time between drinks, but that scene and a few others helped my lunch get its own sequel that day.

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But enough about me, let’s talk about Chris.

Chris Walas has worked on a handful of truly iconic films. You can see is work in Raiders of the Lost Ark, Return of the Jedi, Gremlins. He is an Academy Award winner – that Oscar being for The Fly and part of a terrific association with David Cronenberg who he would go on to work with on other films like Scanners and Naked Lunch.

He has sat in the director’s chair on (of course) The Fly 2, The Vagrant and “Til Death”, an episode of Tales from the Crypt. He was part of the Roger Corman stable; he worked on Airplane!, Galaxina, Caveman and Virtuosity – he is a very talented man who has had a hand in the truly grand cinematic experiences of my youth and it was an utter delight to interview him, and subsequently, to present said interview to you. Ladies and Gentlemen . . . I give you . . . Chris Walas

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KH: Sir, it is truly an honour to make your acquaintance. You have the distinction of being the first Oscar winner I have interviewed for podcastingthemsoftly.com

CW: That’s hard to believe with all the Oscar winners out there these days, but I’m happy to be here.

KH: Before we get into the meat of things, I was wondering if working in the picture business has be a lifelong pursuit, and if so, what were the films that lit the fire, so to speak?

CW: You know, it’s interesting because so many interviewers ask “What was the film that made you want to do what you do?”  I don’t think it’s a simple as that. It’s like asking painter what painting made them want to be a painter. It’s not about a single event; it’s about an artform that creates the magic in the imagination. I was a movie fan as far back as I can remember. I loved all films. I loved what the medium could do. I didn’t understand any of it, but I loved “Citizen Kane” as a little kid. It was riveting to me. I grew up on the old Universal Horror Classics and still love them. The Sci Fi films of the 50’s hold a special place in my heart for sure. But I can definitively say that the single film that made me DECIDE that movies were where I wanted to be was Ray Harryhausen’s , “Jason and the Argonauts”. It was the first film I ever saw in a theatre and I was transfixed by the experience. I knew at that moment (even though I understood nothing about it) that that was what I needed to be a part of in my life.

KH: You have worked on some truly iconic movies, many of which are my personal favourites. But, how did you get into the business after your schooling ended?

CW: I wanted to get into films somehow. At that time I was on the East Coast and the film business was pretty dead just then. So I left for Hollywood with a couple hundred bucks in my wallet and a sublime ignorance of the realities of LA.  I was lucky enough to get a job shipping film for Disney, which was magical for a naive kid from New Jersey. Discount tickets to Disneyland, and I could spend all my lunch hours on the back lot talking to the original animators of Snow White or the wire rigger for the Squid tentacles from 20,000 Leagues Under the Sea. They all brought their lunches and sat out in the backlot relaxing or practicing their watercolours. And they loved to talk. It was my introduction to the world of movies. Wonderful. I then took filmmaking classes for a year until my money ran out and I took a job at Don Post Studios, a company that made high quality Halloween masks and occasionally did some film and TV work. I was there a year and started out painting a gross of masks a day on the cheap line to being a member of the lab crew, developing new product and working on the occasional outside project. It was an education I would have paid for. I learned more in that year than in four years of college. But I was antsy and impatient, and one of the other Lab guys (Bob Short) and I left and started a little partnership doing odd projects. We both started to get good reputations, but each doing different things, so we split up and went our separate ways. And it just grew from there.

KH: Tell us, if you will, about working on some of your early credits like Island of the Fishmen (Screamers), Humanoids from the Deep and Piranha?

CW: Piranha was my first on set film experience. Jon Berg, who was in charge of the effects on the film, had been to Don Post to see about them running some of the rubber piranhas. That didn’t work out, but the connection had been made and when the FX shoot needed more people, Bob Short got pulled on board and then through Bob, I got pulled in. That was my entry into the crazy world of Roger Corman films. It was wild and desperate filmmaking in those days; no money, no time. The only good part was that IF you could actually make something to get in front of the camera within the meagre time and budget, you were a hero. It was a process that very quickly filtered out those who could from those who couldn’t. But it was exhilarating and magic at the same time. Isle of the Fishmen was a bit of a mess. The original Italian production had been purchased by some fly by night LA outfit and they wanted to “beef it up” for the American audience. We had almost nothing as far as a budget, but it was with some people that I felt comfortable with.  Miller Drake and (unofficially) Joe Dante. It was a small and relatively close group in those days at New World Pictures. We shot out at the beach in the middle of the night in January and nearly froze to death soaking wet in the Fishman costume. Other inserts were shot in Joe’s garage; it was that kind of filmmaking.  But Humanoids was a different story. New World had asked me to do it, but I was busy on GALAXINA and a couple of other films at the time, so I suggested Rob Bottin. But the schedule was a tough one on that show and Rob asked me to come in and do a bunch of the sculpting and running on the Humanoid costumes. As well as those absurdly huge arm extensions! It was an extremely intense time for me as there was way too much work and not enough people in town to do it all.

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KH: I know you probably get a lot of “Fly” questions and I think that if people really want a good insight into the making of that film they should watch the comprehensive Fear the Flesh. But, you worked on a few movies with Cronenberg (The Fly, Scanners and Naked Lunch). What was making pictures with David like?

CW: This is a great question, if for no other reason than it lets me applaud one of my very favourite directors I’ve had the honour to work with.  David Cronenberg is an amazing filmmaker. He’s not just a director. His films truly belong to him. They are his vision. He’s an astonishing writer. When I was first approached for The FLY, I turned it down. I didn’t want to do a remake, etc. Stuart Cornfeld, the producer, said, ” I know,  I agree. Just read the script”. I read the script and it was superb. David had redone the original script and made it his own. I couldn’t say no to that script.  And David is an astonishing director because he really understands the process that everyone is going through. A lot of directors are absolutists; it has to be a certain way. David understands that production is about compromises and that a good director only makes compromises that don’t hurt the film. He was demanding and understanding at the same time. Very unique qualities in a film director and I feel very fortunate to have worked with him.

KH: I have vivid memories of The Fly 2. I remember watching it on video with some cousins and felt my lunch coming back on me a couple of times during that flick. How was it to finally sit in the director’s chair on Fly 2 and the other films you directed?

CW: Somehow, we hold the director’s chair as some ethereal pinnacle in filmmaking. And in some ways it is. It is the ultimate decisive position, historically. But I had already been directing teams of dozens of artists at my company, coordinating large operations and such, so I don’t think I was as intimidated as a lot of first time directors. I was quite comfortable directing, especially as I had such a wonderful crew of true talents on the FLY II. I never actually wanted to be an effects person. It was just the easiest way for me to get into the business.  Besides, it’s ALL filmmaking. All of it. From craft service to timing final prints. Directing is just the most focused, exhausting position. But I loved it.

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KH: I interviewed William Sachs recently, director of Galaxina. Can you tell us about your work on that film?

CW: I’ve only lost money on two films. GALAXINA was the first one. At that time there were a lot of productions trying to cash in on the STAR WARS phenomenon. So there were a lot of over-ambitious, under-funded films being made. GALAXINA was right smack in the middle of those. Bill (Sachs) had his hands full on that film. He really did. And for me, it was a really, really tough show as there was a lot of stuff and very little money. We had to make a couple of the alien costumes overnight; the schedule kept changing wildly. I don’t know how Bill dealt with it all, honestly. It was furious alien making, to be sure. We had Angelo Rossito as the little alien creature. Little Angie, as he had been known, was a dwarf who had worked on countless films. The schedule changed dramatically and the three weeks we had scheduled to make his suit turned into 18 hours. But he was a total pro. He showed up with some of his old clothes for us to use as the base for the suit! We built the suit right on him and he never had a word of complaint at all. Total pro. Everything we did for Galaxina was done scraping the bottom of the barrel because there was so much work.

 

KH: I have a great fondness for both Dragonslayer and Enemy Mine, they speak to my youth. Tell us about working on those pictures; especially Enemy Mine, it’s one of my all-time favourites?

CW: Phil Tippet brought me up to ILM to work on the team for Dragonslayer. And that was a wonderful experience working with some of the absolute top talent in the field. Every day was an education for me. I was strictly on the in-house FX team and didn’t go over to England for the shoot. I made most of the molds for the dragons and baby dragons as well as running most of the rubber pieces.  I rigged the puppets for the baby dragons and built a few odds and ends pieces for individual shots; smaller scale grabbing legs, a bit of wing, etc. The biggest thing I was involved with was the close up Vermithrax puppet. It wasn’t part of the original plan, but they just couldn’t get the footage they wanted out of the full size head and neck that Disney had done, so I designed and built, and operated an animatronic puppet head. That was exhausting because the puppet had to be dripping water all the time, so the puppet became supersaturated and just kept getting heavier and heavier. But I think it worked in the end and helped the picture.

Enemy Mine was basically problem after problem. I started out working with the first director, Richard Loncraine, who I really liked and admired. We shot for six weeks on lava fields in Iceland before 20th Century Fox closed the picture down and hired Wolfgang Peterson to direct. We were supposed to be closed down for two weeks for the restart, but it was a full six months before we got going again.  I think, for us, the production got bogged down in a lot of committee decision making, which slowed everything down.  But in the end I was happy with the designs. We had an opportunity to do quite a lot of different effects for the film between the Dracs and all the odd creatures. The newborn Zammis puppet was one of my favourite rigs on that show.

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KH: You worked with Joe Dante on Gremlins which was produced by Steve Spielberg whom you worked with on Raiders which was produced by George who brought us Return of the Jedi which you are also credited as having worked on. In retrospect, what was it like working on these milestones of cinema?

CW: Every once in a while you get lucky. Gremlins was a true milestone for me in both my life and my career. It was the first time I was in charge of running such a big crew on a studio picture. It was truly an insane experience for me as the picture just kept changing and growing, with new gags being developed for the Gremlins almost daily.  I don’t think I’ve ever been worn out so completely on any other film. But at the same time it was great fun, like a bunch of grown up kids playing. We had no idea we were working on a film that would be so successful and impacting.

Working on Raiders of the Lost Ark was great. Challenging. But it was at ILM, which was then the absolute pinnacle of FX houses in the entire world. I really wasn’t used to being able to say, “I sure could use one of these…” and then having someone order it right up or just get it from another department. So I had options available to me that I hadn’t really had up to that time.  Richard Edlund was in charge of the FX on the show and he was great about making sure that I had what I needed for the melting head and the other shots. I didn’t get to see the film until just before it opened and I was blown away. It’s such an amazing film. I feel so lucky to have been a small part of it.

For Jedi, I really only did design maquettes for some of the alien races in the film. I set up the creature shop for ILM, but then I left to pursue other projects. It was very nice to be included in the credits on that one!

 

KH: You have a number of diverse entries among your credits like Deep Star Six, Arachnophobia, Hot Shots and Virtuosity. Were these genres you sought after or were the film’s concepts interesting or was it simply the want to be constantly working that brought you to these projects?

CW: After Gremlins, I had set up a genuine facility with a great crew who knew what they were doing and so I had to take what projects I could to keep the shop going. But some of the projects were favours; Deep Star Six was for Jim Isaac, who was striking out on his own after being on my crew for a number of years. House II was for Ethan Wiley, who had also been a member of my crew on Gremlins and others. Some films were projects I really wanted to do; ANYTHING David Cronenberg was doing. Anything for Amblin, Spielberg’s company. But in between those projects it was a matter of trying to choose what projects seemed like they might be good films as well as keeping the shop going as long as possible.

KH: You’ve been a writer, director and producer having a film you co-wrote come out in 2016. Did you ever want to make more of your own pictures and do you, like so many people in the industry, have dream projects that might have come close but never saw the flickering light of the silver screen?

CW: I would have loved to have done more directing.  But it just wasn’t in the cards. I have a number of projects I would love to see resurrected someday. One of my favourites is a project called “Dathulgon”, which is a steampunk combination of characters and plot lines from Jules Verne and other early steampunk writers mixed with the cosmic horror of H.P. Lovecraft. That project was humming along nicely when the big market crash ruined a lot of financing for films.  I have a whole list of projects I would still like to see happen!

KH: Well sir, as a long-time fan this has been a very large pleasure, and though we were not able to conduct this interview via recording I care not, for as I said I am honoured to have met you and am humbled that you have taken this time to be interviewed for podcastingthemsoftly?

CW: It’s been a pleasure. It’s fun to reminisce and I really appreciate knowing that there are people out there who look back fondly and remember the work kindly. Thanks!

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So there you have it. Chris Walas folks. Applause is totally necessary for this talented man and his amazing career.

 

I’ll just take a moment to let you know some other interviews I have coming up. I’ll be bring you chats with Mike Marvin (director of The Wraith), Chris Olen Ray (Two & Three-Headed Shark Attack), The Outlaw film critic VERN, Scott Rosenberg (creator of Cowboys and Aliens). Prior to the release of SHARKNADO 5 (because that’s the kind of nerd I am) I’ll be presenting a double feature that week prior to August 6th of my interviews with Steve Alten (we discuss the long cinematic gestation of Meg) and the man himself Anthony C. Ferrante (director of the SHARKNADO series). So as ever, thank you for checking out podcastingthemsoftly.com, and watch this space…

Cheers

Kent