Tag Archives: Roddy Piper

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…

At play in the Fields of Cullen: A Look at the Director’s Cut of London Fields by Kent Hill

I must confess I am in the same boat as my learned colleague Mr. (Paul) Rowlands of money-into-light.com, when it comes to an interest in films marked by some form controversy. Well, not solely controversy, but the types of films that have been long-suffering passion projects finally seeing the light of day, or long overdue restorations of genuinely overlooked masterpieces that may or may not have suffered the same fate as the picture that I shall, in these words following, discuss. It is the wretched crime of the industry at large to present grand achievements in aborted states – the director’s vision left on the cutting room floor, or in the parlance of our times, designated to a file on some mass storage device.mathewThe embattled figure in this saga is filmmaker Mathew Cullen and his stunning debut, London Fields. A slick and stylish noir, bombarded by flashing images of humanity’s chaos, swirling around  and serving as the world beyond that which we shall traverse with the movies’ delightful assortment of strange and sympathetic characters. Into the urban sprawl, at the center of this film’s universe, comes the melancholically-serene presence of Samson Young (Billy Bob Thornton), who we learn has traded his own stateside shithole for the shabby chic and eccentrically opulent abode of Mark Asprey – a disembodied Jason Isaacs.static1.squarespace.comBut this is not where our story begins. Our story begins with a murder.

A death that was seen coming by its victim, along with the hook being that the killer remains faceless until the movies’ final moments when we discover exactly who our Keyser Söze is.x1080-38ESo we have Thornton/Young, a man that has to live his stories. Being a natural voyeur, he soon becomes intrigued and infatuated if you will, by the astonishingly sexy and magnetic presence of Nicola Six (Amber Heard), whom I have enjoyed since she appeared in John Carpenter’s last effort, The Ward and again in the truly awesome guilty pleasure that is Drive Angry with the quintessential renaissance man himself, Nicholas Cage.London-Fields-Featured-ImageShe has power both in character and in substance. She is a woman who has flirted with the perilous, courting intrigue, danger, the playful and the despicable. And this it would seem is her last hurrah . Bringing into the final web she will spin the polished bravado of Guy Clinch (Theo James), and the personification of grotty goodness, Keith TalentJim Sturgess taking his Cloud Atlas Scottish football hooligan character to its apex.

 

These crotch-led power-mongers think they have our girl Six clocked and at their mercy. The key portion of that sentence being, ‘think’. Because this is all ruse, all part of Nicola’s game, indeed part of how Nicola (we take from the shards of back story given) has lived out her existence until its brutal, bloody climax. Young/Thornton watches and listens along as Six leads the boys into her little traps, playing each against the other in the midst of their own debauched  and dysfunctional existences – Clinch’s disintegrating family life and Talent’s quest to become an all conquering champion of darts.MV5BZmYyNjAwMjQtNDBiYy00YWI0LWI5OTQtOTJhZDYyNTJlOTI2XkEyXkFqcGdeQXVyNjUwNzk3NDc@._V1_If it all sounds a bit nutty (wait till you meet Chick Purchase), I say now, don’t be afraid. The juxtaposition of comedy, tragedy, sex, violence, a musical number and the bizarre nature of Nicola’s game is an easy pill to swallow. For the casual multiplex visitor, yeah, maybe not – but this is a picture that had me from start to finish and brought to mind fond memories of the time when it was my privilege to witness another spectacular director’s cut in the form of Wim Wenders’ Until the End of the World – an equally luscious and absurdly-infectious cocktail of cinema.b0be7af53fa5c87a98786b212a5a1f17I have followed the press surrounding London Fields and waited for such an opportunity as I have thus been presented with, which is to experience the film as the director always intended it to be seen.5917e9efb12a157c32b854dbd16ed744912a0557 This being the case, I have in the interim sought out and devoured Martin Amis’ gorgeous darkly comedic, mysterious murder source material and also the theatrical version. So, if these words I write carry any weight at all with you, please believe my sincerity when I urge you, nay, implore you – seek out this, the director’s cut of London Fields. It is a heartbreaking urban-dystopian twisted noir love poem that, thank God, exists for us all to watch, to ponder, to cinematically wolf-down. Bon appétit, dear viewer.London-Fields

B Movie Glory: Sci Fighters

Picture a bleached out, acid washed dime-store version of Blade Runner on a shoestring, bargain budget and you’ll have some notion of Sci Fighters, a silly futuristic flick starring lovable wrestler ‘Rowdy’ Roddy Piper and B Movie stock villain Billy Drago. By most standards it’s a miserable little exercise in schlock, but if that’s your thing to begin with, it’s a pearl. So it’s set in 2009, and the film was made in 96’, which going by a combination of the math and the severely bleak atmosphere, the filmmakers didn’t even stretch their timeline barely past twenty years from their date, showing either amusing carelessness in writing or even more amusing cynicism for where we’re headed, and how fast. The setting is Boston, and it’s a goddamn slum, with perpetually overcast skies, garbage heaps everywhere and a general sense that people have given up. Piper is Grayson, a hard boiled detective on the trail of a somewhat unusual killer. Far above earth in a filthy off-world prison on the moon, criminal Dunn (Drago) has encountered some weird alien parasite which hijacks his gaunt frame and torpedos back stateside to start a murder spree. Drago vs Piper in a sad-sack, disease ridden Boston is pretty much the suitable logline, and it’s not half bad. Piper makes a more grounded leading man than the film deserves, while Drago is straight up certifiable (nothing new) especially when the extraterrestrial, who has a garbled and endearing speech impediment, is controlling him. Effort is put into the atmosphere to some degree, but I feel like the success in achieving mood was probably also by accident of just leaving shit lying around set. A true peculiarity, worth it only for fans of the two actors and schlock-hounds alike.

-Nate Hill

Enter “The Dragon”: An Interview with Don Wilson by Kent Hill

When you used to decide to hit the video store (back in the day) and roam the aisles in search of hidden gems, you’d discover a great many things. Sometimes it was the films in total – other times it was a star you seemed to have an unending body of work.

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That was my first impression of Don “The Dragon” Wilson. There always seemed to be more and more movies that he had been in. So, being the completest I am, I sought out each, any and every film he was in.

Don “The Dragon” Wilson is a world champion kickboxer, a European Martial Arts Hall of Famer and an action film actor. He has been called “Perhaps the greatest kickboxer in American history.”

Some (and I stress the word SOME) movies to his credit include: Futurekick, Bloodfist 1-8, Ring of Fire 1, 2 & 3, Out for Blood, Operation Cobra, Blackbelt, Cyber Tracker 1 & 2, Terminal Rush, Redemption, Say Anything, Capitol Conspiracy and Batman Forever as the leader of the Neon Gang. You can judge the scale of a film’s budget by the quality of the craft services. In the case of is brief but memorable appearance in Batman Forever, there would be no mere fold-out table with ice mochas and Doritos. No, Don found  the whereabouts of a catering trailer in which stood a chef, ready to cook him whatever he desired.

But back to the movies – Don’s career has been motoring along for decades – and he shows no sign of slowing down. With films like The Martial Arts Kid and Paying Mr. McGetty along with several others waiting in the wings, Don “The Dragon” Wilson is still as vital and explosive as ever. I for one can’t wait to see where journey goes from here.

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THEY LIVE – A REVIEW BY J.D. LAFRANCE

“I’m disgusted by what we’ve become in America. I truly believe there is brain death in this country.” — John Carpenter

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Filmmaker John Carpenter has always considered himself as an outsider in Hollywood. Like Sam Fuller before him, Carpenter makes genre films that are usually regarded by critics as simple thrill rides. However, underneath the surface lurks a strong, often savage social commentary on what Carpenter believes to be the problems that plague the United States. This approach is readily apparent in They Live (1988), an angry film born out of his disgust with the greed and materialism of the Ronald Regan era during the 1980s. What’s interesting is how its scathing critique of homelessness, rampant unemployment and corporate greed has become relevant yet again. Sadly, these problems never really went away, they’ve just become more prevalent because of the current global economic reality.

Nada (Roddy Piper) is a drifter, an amiable blue collar guy looking for steady work in Los Angeles. He arrives in town like the lone gunman in a western, completely with an accompanying soundtrack that even features a lonely harmonica like something out of an Ennio Morricone spaghetti western score (perhaps a nod to Once Upon a Time in the West). Carpenter shows all kinds of homeless people populating the city. Nada is told that there are simply no jobs available by a clearly indifferent government social worker. He wanders by a blind African American preacher (Raymond St. Jacques) who rants about being oppressed, the corruption of the American spirit and tells everyone that it’s time to wake up just before two police officers arrive to deal with him. Nada passes by a store with televisions in the window that present all sorts of cliché images of Americana: Mount Rushmore, the bald eagle, an American Indian dancing, a cowboy riding a wild horse, and a group of guys playing sports together. These are images of propaganda designed to keep us sedated and complacent.

Nada eventually finds a job and befriends a fellow worker named Frank (Keith David), a man who is clearly tired of Capitalism as he says bitterly tells him, “The golden rule: he who has the gold, makes the rules. They close one more factory we should take a sledgehammer to one of their fuckin’ fancy foreign cars.” Nada tells him to be patient but Frank has clearly run out of that particular commodity. He proceeds to lay it all out in a nicely written speech that sums up the American dream in a nutshell: “The whole deal is like some kind of crazy game. They put you at the starting line and the name of the game is ‘make it through life.’ Only everyone’s out for themselves and lookin’ to do you in at the same time. Okay, man, here we are. Now you do what you can, but remember, I’m gonna do my best to blow your ass away.” These sentiments eerily anticipate the anti-materialistic message of Fight Club (1999) by several years. Nada is more optimistic. He believes in playing by the rules as he tells Frank, “I deliver a hard day’s work for my money, I just want the chance. It’ll come. I believe in America. I follow the rules.” But this faith in the system begins to change when the squatter’s camp the men are staying at is suddenly bulldozed by the police one night. At first, there seems to be no reason for this unprovoked attack but over the course of the film Carpenter does an excellent job of gradually revealing what is really going on.

One day, while rummaging through some garbage, Nada comes across a pair of sunglasses that allow him to see things as they really are: the world is seen in black and white. The color facade disappears and billboards reveal their true messages: “OBEY,” “MARRY AND REPRODUCE,” and “SLEEP,” money is merely pieces of paper with the words, “THIS IS YOUR GOD,” written on them. Most shockingly is that with the glasses on, certain people turn out to be aliens in disguise. The glasses are a clever play on the notion of subliminal advertising and capitalism as the root of all evil. Once Nada wakes up, Carpenter has fun with the character, like when he enters a bank armed to the teeth, spots some aliens and says the memorable line, “I have come here to chew bubblegum and kick some ass. And I’m all out of bubblegum.” Or, when Nada confirms the truth of the alien’s existence to Frank when he tells him simply, “Life’s a bitch and she’s back in heat.” From this point, They Live’s pace rarely slackens as Nada and Frank form an uneasy alliance in an attempt to stop this secret alien invasion as if Marshall McLuhan suddenly took over scriptwriting duties and decided to rewrite Invasion of the Body Snatchers (1956) with a dash of Noam Chomsky for good measure.

The idea for They Live came from two sources: a futuristic story, involving an alien invasion, called “Nada” from a comic entitled Alien Encounters. This story was actually inspired from a short story called “Eight O’Clock in the Morning” by Ray Nelson that was originally published in The Magazine of Fantasy and Science Fiction in the 1960s. Carpenter describes it as “a D.O.A. type of story. A fellow is put in a trance by a stage hypnotist. When he awakens, he realizes that the entire human race has been hypnotized. Amongst us are alien creatures that are controlling our lives. He has only until eight o’clock in the morning to solve the problem.” Carpenter acquired the film rights to both the comic book and the short story and wrote the screenplay using Nelson’s story as a basis for the film’s structure.

The more political elements came from Carpenter’s growing distaste with the ever-increasing commercialization of popular culture and politics at the time. As he once remarked in an interview, “I began watching T.V. again. I quickly realized that everything we see is designed to sell us something…It’s all about wanting us to buy something. The only thing they want to do is take our money.” To this end, Carpenter thought of sunglasses as being the tool to seeing the truth, which “is seen in black and white. It’s as if the aliens have colorized us. That means, of course, that Ted Turner is really a monster from outer space.” In regards to the alien threat depicted in the film, the director said, “They want to own all our businesses. A Universal executive asked me, ‘Where’s the threat in that? We all sell out every day.’ I ended up using that line in the film.”

Since the screenplay was the product of so many sources: a short story, a comic book, and input from cast and crew, Carpenter decided to use the pseudonym, “Frank Armitage,” which was a subtle allusion to one of the filmmaker’s favorite writers, H.P. Lovecraft. Frank Armitage is in fact a character in Lovecraft’s “The Dunwich Horror.” Carpenter has always felt a close kinship with Lovecraft’s worldview and his influence can be felt in other films — most notably, The Thing (1982) and In The Mouth of Madness (1995). According to Carpenter, “Lovecraft wrote about the hidden world, the world underneath. His stories were about gods who are repressed, who were once on Earth and are now coming back. The world underneath has a great deal to do with They Live.”

After a budget of around three million dollars was established, Carpenter began casting his film. For the crucial role of Nada, the filmmaker surprisingly cast wrestler “Rowdy” Roddy Piper whom he had met at Wrestlemania III. For Carpenter it was an easy choice: “Unlike most Hollywood actors, Roddy has life written all over him.” Carpenter’s gamble pays off as Piper does a fine job playing an everyman-type hero who, at first plays by the rules, but once he realizes that it’s all a sham, decides to fight back. Piper’s performance is not going to win any acting awards but he does a solid job and brings the physical presence necessary for the role while also conveying a blue collar vibe.

Carpenter was impressed with Keith David’s performance in The Thing and needed someone “who wouldn’t be a traditional sidekick, but could hold his own.” To this end, Carpenter wrote the role of Frank specifically for the underrated actor. David does a great job as the perfect foil for Piper. The two men have this intense relationship that oscillates between outright distrust and grudging respect. This rather volatile alliance reaches critical mass in a wild, fist fight between the two men over a pair of the special sunglasses that lasts for several minutes. The brawl starts off seriously but eventually transforms into an absurd free-for-all. Carpenter remembers that the fight took three weeks to rehearse. “It was an incredibly brutal and funny fight, along the lines of the slugfest between John Wayne and Victor McLaglen in The Quiet Man.”

One of the reasons why They Live works so well is the film’s pacing. It starts off like the original Invasion of the Body Snatchers with the threat of alien invasion being implicit at first. Everything seems normal enough but after a half hour into the film, the threat suddenly becomes shockingly explicit when Nada puts on the sunglasses. From there, the film’s pacing speeds up and They Live begins to incorporate action film sequences into its science fiction premise. And yet, throughout the film, there is always thought-provoking commentary. This is represented by the pirate television broadcasts which, initially, seem like some lone conspiracy nut but eventually his ravings are revealed to be right on the money. His presence is the first sign that something is amiss. The television is presented as an electronic sedative in They Live. It’s a drug to the masses. When the T.V. pirate appears, the mind-numbing routine is broken and people get headaches as a result.

large_they_live_blu-ray_8Carpenter sees the commercial failure of his film as a result of “people who go to the movies in vast numbers these days [who] don’t want to be enlightened.” It’s a shame because They Live is far from being an overtly preachy film. On the contrary, it is always exciting and entertaining first, and a scathingly social satire second. However, the director sees the real tragedy to be the lack of humanity in society. “The real threat is that we lose our humanity. We don’t care anymore about the homeless. We don’t care about anything, as long as we make money.” If They Live is about anything, it’s a strong indictment against the capitalist greed that was so fashionable in the 1980s. It’s sentiment that still exists. This makes Carpenter’s film just as relevant today as it was back in 1988.