Tag Archives: Ridley Scott

BLINDING ACTION: The Making of BLINDSIDED: THE GAME by Kent Hill

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It’s funny how the fates play their hand. Not long before I hand completed the interviews for this piece, I found I had been gifted the opportunity to interview Phillip Noyce, who happens to have directed BLIND FURY – a film that was both the inspiration behind and the film that came to mind when I first heard about Blindsided: The Game. And what a film! Walter is a seemingly unassuming guy who likes his peace and serenity – and his warm apple pie. His daily life, to the voyeur, would appear idyllic – that is until he decides to visit his local convenience store at the wrong time. A gang of stand-over men are looking for payment on a debt owed by the proprietor, and Walter’s friend. You know something is rotten in Denmark, and Walter looks as though he is the kinda guy to let sleeping dogs lie. No way! Like Josey Wales before him, Walter is the man, the hero who’ll always double back for a friend. That’s when the ACTION begins….

You might find yourself, as I did, waiting for something to happen. When Walter reveals his secret however, you’ll marvel and the grace, fluidity and devastating ability that the film’s hero has been keeping under his hat. The ensuing war which Walter wages with the movie’s antagonists is fierce – with a satisfying resolution.

I think the only thing I wasn’t happy about after watching Blindsided is that it ended – ’cause I, for one, wanted more. So it was an honor and a privilege to sit down with the filmmakers behind this veritable dynamo – this indie action gem waiting in the wings.

Blindsided: The Game pays homage to classic action films like Zatoichi and Blind Fury not only in its protagonist Walter, a blind swordsman, but also in that the film places heavy emphasis on storytelling combined with great action. This is no surprise with Clayton J. Barber in the director’s seat, who comes with over 20 years of experience as a stunt coordinator in Hollywood. Leading man Eric Jacobus plays Walter, a lovable cook who’s an expert gambler and swordsman. The character is the amalgamation of Jacobus’s 18-year career as a comedic action performer in the indie film arena. Director Clayton J. Barber is pushing the boundaries of modern action entertainment by bridging Hollywood with the indie action film world.

Barber notes that, “Eric Jacobus came from the indie action film realm. He was like a punk rocker of the action genre using raw film-making. We’re bridging these worlds together to create a totally new kind of action experience.” Jacobus echoes Barber’s sentiments: “Indie action guys have all the tools they need to showcase their skills, but the element of storytelling still has to be there. Clayton’s that storyteller who knows action. This is our Le Samurai.”

Barber and Jacobus aren’t the only stuntmen involved in Blindsided: The Game. The film features an ensemble of action stars and stunt performers both behind and in front of the camera. Roger Yuan, a veteran action star featured in action films such as Shanghai Noon and this year’s Accident Man, who plays the shopkeeper Gordon, also choreographed one of the film’s major fight scenes. Producer David William No (Altered Carbon from Netflix, and Matrix Reloaded) acts as a knife-wielding card shark and goes toe to toe with Jacobus in the climax. Veteran stunt performer Joe Bucaro (xXx, Iron Man) plays the ruthless gang leader Sal, Nicholas Verdi (Close Range, Agents of S.H.I.E.L.D.) plays Nico and acted as director of photography, and Sal’s enforcer is played by Luke LaFontaine (Savage Dog, Master and Commander) who also served as the sword fight coordinator.

Production company, JB Productions, is dedicated to delivering strong storytelling and first-rate action, created by people who truly understand action. Barber says, “This is a new approach to action film-making. Blindsided: The Game is the perfect collaboration for us, and we hired great stunt performers to play the lead roles and even work behind the camera with us because we wanted to work with folks who knew action. That’s the brand people are buying into, and we’re always looking to build that brand by collaborating with talent both in America and overseas.”   Jacobus and Barber previously collaborated on the hit short films Rope A Dope and Rope A Dope 2: Revenge of the Martial Arts Mafia. Blindsided: The Game is an expansion of the 2017 short film Blindsided, which was the first title under the Jacobus / Barber (JB) Productions banner. Blindsided was released to much acclaim, with fans craving a conclusion to the story. Blindsided: The Game replays the entirety of the original Blindsided and carries the story to completion, capping the film off at the length of a TV pilot.

Jacobus and Barber are confident that Blindsided: The Game will fulfil fans’ desires for a complete film. Blindsided: The Game will be free to stream on YouTube NOW!

ERIC JACOBUS

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CLAYTON J. BARBER

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DAVID WILLIAM NO

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LUKE LaFONTAINE

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WATCH THE FILM NOW…

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One of the Nicest Dudes: An Interview with Daniel Roebuck by Kent Hill

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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.

 

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.

 

“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.

Into the OTHERWORLD : An Interview with RICHARD STANLEY by Kent Hill

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It’s always a fascinating experience to sit down with Richard. The man is such a natural storyteller, with a unique perspective relating not only to cinema, but also to the world around him.

We caught up this time in the midst of bad weather, a troubled connection and, last but not least, a turbulent time in Richard’s beloved Montsegur. While our conversation touched upon this, along with the whys and wherefores of the situation, we eventually turned to movies. At this time it had been documented that Richard was again a part of an attempt to bring Moreau back to the screen – as a TV series. Having been hired by the same people that fired him during the doomed journey of his initial attempt, there seems to be, thanks to David Gregory’s documentary, a renewed interest in Richard’s take on his long-suffering passion project.

I did also bring up The Otherworld, which I had finally seen at the time. Stanley’s absorbing documentary-slash-ghost-story, and the myths and misconceptions surrounding it and ‘The Zone’ which forms the backdrop. Richard is steeped in the history of Montsegur and, flavored with his supernatural encounters, it is indeed a tale of great intrigue.

Also to we touched on, and I must say I highly anticipate, the writing of Richard’s autobiography. A project that was going smoothly until it was insisted, and initially resisted by its author, that a chapter be included on the subject of the collapse of Richard’s vision of Moreau. As thrilling a read as it will be – like I said Richard is a fascinating character – it will be equally riveting to finally have a recounting of the story from the embattled man at the center of the controversy.

Still, the future is full of possibilities, and I for one wait with inordinate eagerness for any and all of Richard’s creative endeavors to finally emerge . . . in whatever form they shall take.

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“Do we really suck, or is this guy really that good?” : An Interview with Michael Davis by Kent Hill (PART 1)

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I really love this gig. I really do. I’ve had the distinction of being able to converse with many a hero and much admired artist over my time at PTS. There have though, been a few surprises along the way – and this was one of them.

I have long wanted to chat with Michael Davis. Part of it, and I’m sure you’ll agree having seen his films, that here is a man who went from making 100 Women to writing and directing the most-excellent, ballet of bullets that is Shoot ‘em Up. And you just need a few minutes of talking with Michael to understand how this was possible.

They say Scorsese has a machine-gun-mouth. Well listening to Michael is like standing next to Jesse Ventura firing Ol’ Painless. And – WOW – what a delight, the frenetic and passionate electricity that this man generates in infectious.

Michael’s initial overview of the birth of his career is one of the most entertaining I’ve ever heard. From his beginnings as a storyboard artist, to various writing assignments (don’t say Double Dragon out loud), to his eventual directorial debut; it’s a madcap movie marathon coming at you – at high speed!

Our conversation was so enthralling, so engaging, that I would be doing my guest a severe injustice to cut even a moment of it. So I shall be presenting it to you as a trilogy. Each section I promise is as entertaining as the last. So, don’t touch that dial, and prepare yourself to experience the filmmaking personification of the perfect storm that is . . . Michael Davis . . . . . . PART 1.

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JACK DETH IS BACK . . . AND HE’S NEVER BEEN HERE BEFORE: An Interview with Tim Thomerson by Kent Hill

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I was mid-way through my interview with C. Courtney Joyner when Tim Thomerson’s name came up. Joyner of course, had directed Tim in Trancers 3, and cooler still, he had just had him round for breakfast earlier that day. You might call it an imposition, but I mentioned that if there was even a remote possibility that he could put me in touch with Tim, I would be forever grateful. Courtney told me he was seeing Tim again on the weekend and would put forward my proposition. Soon after, I received a message with a phone number.

Now, I’m usually in the habit of arranging an appropriate time and day to call, but Courtney had left it open. I remember for the first time, in a long time, being nervous to make the call. After all this was Tim Thomerson who was going to be picking up the phone; a guy, a legend that I had watched for years. So I summoned my moxy and dialled the number. The familiar international ring-cycle began and then . . . “Thomerson,” the voice on the other end of the line said.

I’m going to come off as an idiot here, but I.D.G.A.R.A. “Damn,” I remember thinking. “He sounds exactly like he does in the movies.” Stupid, I’m well aware. But the moment was profound, and I was instantly transported to that time when I sat in the theatre watching Metalstorm, and that glorious afternoon I first sat down to watch Future Cop (aka Trancers). Here was Jack Deth now, on the end of the line and talking to me like we had been buddies since forever.

I did kinda wish we could have jumped into our chat right there. Tim was at once disarming, candid and as cool as i had expected him to be. He was off to his retreat in the desert to do “old man shit” as he put it, and, while I realize he is an aged gentleman now, that voice, the larger than life character that he is still packed all of the vitality, swagger and youthful exuberance that very much belies his years.

I didn’t have to wait long before we would talk again, and when we did, the conversation picked up right where it left off. I would take a significant amount of time to go through the length and breadth of his career, so I restricted myself to personal favourites among his credits. We talked about his beginnings, his great friendships, his bumping into Mel Gibson at the doctor’s office, him working with his idols, Australian Cinema and his meeting with the legend that was Sam Peckinpah.

For those of you who regularly check out my stuff here on the site (God bless you), I fear I might be starting to sound like a cracked record. A number of times in the past I have found myself gushing about the opportunities I have enjoyed whilst writing for PTS, and how humbled and indeed awe-struck I have been as a result of these encounters with the folks who make the movies. Sadly I’m now going to do it again. Tim Thomerson is a hero of mine and it was at once spellbinding and an indescribable treasure to have had the chance to shoot the breeze with an actor I have long held in high regard . . .

. . . and an equal pleasure it is, to now share it with you.

Enjoy.