Tag Archives: sam neill

PHILLIP NOYCE: An Interview with Kent Hill

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One of the great things Phil told me – aside from passing through my hometown to play footy in his youth – was that Queensland had a big part to play in convincing the studio powers that Blind Fury (my personal favorite of Phil’s pictures) could be a hit.

After a regime change – as often is the way in Hollywood – the new brass didn’t have much faith in a film the previous caretakers saw fit to green-light. Phil knew he had a good picture and thus persuaded the powers to let him take it to the far side of the world and release it in the Sunshine State, where, with the help of a publicist, they sold the heck out of Blind Fury and brought in $500,000 buckaroos.

So Phil went back to the blokes in suits and told them if the movie can do that kind of business 7,510 miles from Hollywood, I think we have a shot. See that’s the Phil Noyce touch ladies and gentlemen, remaining Dead Calm in the face of Clear and Present Danger. If you believe that there is even a Sliver of a chance your movie can Catch a Fire, you can’t just sit there like The Quiet American and take it with a grain of Salt. You need to fix your courage to the sticking place, follow the Rabbit Proof Fence all the way home and for your hard work they’ll call you The Saint for being the The Giver of great cinematic entertainment. You can play Patriot Games till the cows come home, but if you attack them on the Newsfront then you’ll be The Bone Collector and bring home the receipts.

I’ve watched many a great interview and read many a great book about the life and career of Phillip Noyce – never thinking that one day I might catch a moment’s grace and be able to have a chat with him. I have to thank (again) a top bloke by the name of Nick Clement for putting in a good word for me – without Nick I’d still be dreamin’.

Phillip Noyce is a marvelous chap of the old school and the maker of some truly wondrous pictures. He really needs no introduction from me for his reputation speaks for itself. Without further adieu . . . the master . . . Phillip Noyce.

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Taika Waititi’s Thor Ragnarok

Taika Waititi’s Thor Ragnarok has got to be the most fun I’ve ever had watching a Marvel film. Trust Hollywood to make a sterling decision once in a blue moon, and hiring a deftly comic, renegade underdog subversive improv genius like Waititi to take the wheel is a smart, bold move. Now before I sing it’s praises to Valhalla, they don’t quite let him (he’s the Kiwi wunderkind behind the newly minted classics Hunt For The Wilderpeople and What We Do In The Shadows) go completely bonkers, which he clearly wants to do, and although he’s kind of bogged down by a generic villain and a recycled point of conflict in plot, a lot of the time he’s allowed to stage a zany, uncharacteristically weird (for the MCU, anyways) pseudo space opera that is a blast and a half. Thor finds himself, after a brief encounter with Benedict Cumberbatch’s Dr. Strange, carted off to a giant garbage planet surrounded by space portals (one of which is referred to with a straight face as ‘The Devil’s Anus’, which sent me into a fit) and lorded over by a certifiably loony Jeff Goldblum as the Grand Master, a demented despot who holds intergalactic gladiator matches for his own entertainment. There Thor is forced to fight his old buddy the Hulk, and somehow find a way to escape Goldblum’s nefarious yet hilarious clutches. He’s got just south of reliable allies in his brother Loki (Tom Hiddleston) and an exiled Valkyrie (Tessa Thompson) with an attitude problem, as well as rock-armoured warrior Korg, voiced hilariously by Waititi himself as the film’s most engaging character. Meanwhile back in Asgard, trouble brews when the equally dangerous and sexy Hela (Cate Blanchett, with enough authoritative, husky smoulder to make me weak at the knees) tries to steal Odin’s throne for herself, with the help of defector Skurge (Karl Urban, who gets a mic drop of an action set piece later on). Here’s the thing about Hela: Blanchett is in top form, a commanding, dark presence… but the role is as blandly written as a number of other MCU villains, and one wonders how they’ve managed to flunk out at creating engaging antagonists a few times over now. She’s stuck in a subplot that we’ve all seen before, one that’s stale and at odds with the fresh, humorous and wonderful storyline between Thor and Banner. Their side of things is like buddy comedy crossed with screwball fare and works charming wonders, especially when they’re blundering about in Goldblum’s cluttered trash metropolis, it’s just inspired stuff. Throw in a great 80’s inspired electro pop score and a cool VHS retro vibe (I’m all about the old school) and you’ve got one of the best MCU movies to date, and most importantly one that *tries something new*, which the genre needs more of, even if it doesn’t ultimately fully commit, this is still a gem we have on our hands.

-Nate Hill

Phillip Noyce’s Dead Calm

Fear of isolation has been a staple element in film since the beginning. A quiet, shrouded forest. A damp, derelict back alley. The endless waters of earth’s oceans, which is where Philip Noyce’s nightmarish psychosexual shocker Dead Calm takes place. The key is not in projecting fear of being isolated, which is bad enough, but instilling the unnerving notion that you’re not actually alone after all, and be it human, supernatural or the forces of nature, something is out there with you. This is what vacationing couple Sam Neill and Nicole Kidman discover, only in this case it’s no creature or ghost, but Billy Zane instead. I know what you’re thinking, that perennial goofball Zane is the farthest thing from fearsome you could find, but he’s actually one of the most memorable and shit-scary movie villains out there. Neill and Kidman are a couple with enough issues to begin with, sailing their schooner somewhere way out there trying to forget past tragedy, until Zane brings new trouble onto their horizon. After they rescue him half dead floating on the waves, he tells them of a capsized ocean liner, and claims to be it’s only survivor. Neill isn’t quite bought and sold on his story and ventured off to see for himself, unwisely leaving his wife behind with this strange dude, which is loose thriller plotting 101, but oh well, inciting incidents have to come from somewhere, don’t they. Zane turns out to be an unstable maniac of the highest order, and steers the schooner off on his own course with Kidman in tow, and Neill left in the wake, trying to find them out there and save her. The scary thing about this villain is that he has no plan, no goals, no endgame or reason for doin this, he’s simply certifiably out of his fucking head, and there’s an unpredictability to that which I found immensely freaky. The scenes aboard the boat with him and Nicole on their own are charged with a tangible danger and crazed frenzy, a canary in a cage circled by a thoroughly crazy cat. The acting sells it there, with Kidman’s raw terror and Zane’s oddball sociopathy walking a narrow, rigid tightrope that could snap any second, and does. When the action comes it’s fierce, R rated mayhem as Neill vengefully charges back into the picture, and although not as intimately scary as the horror bits, still holds our gaze. Zane also gets one of the coolest villain deaths ever seen, shot in full gory detail as well. A chamber piece at sea, a glowing example of effective filmmaking in the thriller genre, and scary in spades.

-Nate Hill

The Puppet Master: An Interview with Kevin McTurk by Kent Hill

They say in the film business, never work with children or animals. Of course you may find yourself working with dinosaurs, aliens, lions, beast-people, scrunts, kothogas, ghosts, morlocks, Batman, Spiderman, Hellboy, kaijus, wolfmen, clones, cliffhangers, vampires, giant crocodiles, homicidal maniacs, killer sheep, Predators, cowboys and mysterious brides out to Kill Bill.

Sounds ominous, doesn’t it? But that’s just some of the astounding creations and magnificent beasts that Kevin McTurk has encountered in his eclectic career in the realms of special effects.

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Working under the banners of legends like Stan Winston, Jim Henson and the new titans like Weta Workshop, Kevin has had his hand in erecting and simulating everything from the real world as he has from empires extraordinary. And, while I could have spent the entirety of our chat talking about his adventures working on the countless films, which are favourites of mine, he has in his CV, his impressive effects background is only part of the story.

For Kevin McTurk is a bold and visionary filmmaker in his own right. His puppet films, The Narrative of Victor Karloch, The Mill at Calder’s End and now The (forthcoming) Haunted Swordsman are exercises in capturing a style from a bygone era with modern filmmaking techniques. The results are beautiful, not only in their aesthetic quality, but in the level of excellence from the many different disciplines on display.

There is still time for you to join Kevin in his latest cinematic offering (https://www.kickstarter.com/projects/935772123/the-haunted-swordsman-a-ghost-story-puppet-film), and to listen in now to the man himself talk about his movies, influences and career.

I give you the talented Mr. McTurk.

Visit Kevin’s website for more: http://www.thespiritcabinet.com/

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Tales of Enchantment, Aliens, Arthurian Legend and the Lone Ranger: An Interview with Edward Khmara by Kent Hill

Edward Khmara grew up in California and had the desire to become an actor when he sold his first script and his career was set in motion.

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It was not the first script he’d written, but he was the one that got him noticed. It was a little film called Ladyhawke. But, as all first-time screenwriters know, once you make that sale, you have very little input into the journey your film will take from there.

Still, now a screenwriter, Edward would go on to pen one of the truly great, often forgotten gems of the eighties, Hell in the Pacific in outer space: Enemy Mine. This time he would right in the middle of it all. From being on set, to being invited to watch dailies, to having to comfort his daughter after her terrifying encounter with a completely transformed Louis Gossett Jr. in his Drac make-up.

Like most folks who have worked in show business, Edward has known the lows as well as the highs. But those negative experiences didn’t discourage him as he charged ahead, tackling to legends. One in the form of a lavish television production with an all-star cast; Merlin would be the telling of Arthurian days solely from the perspective of the mythical wizard. Then of course there would be his work on the retelling of the life of another legend, one who achieved this status during his own lifetime, Bruce Lee.

But one of the truly heart-warming moments of our conversation was chatting with Edward about him finally getting his shot at the profession he sought after before he took to the typewriter – his part in Gore Verbinski’s Lone Ranger.

A true gentleman of the old school, full of great tales and tremendous experiences – it was a real pleasure to interview him and now to present to you my conversation with the legendary screenwriter (and sometimes actor) Edward Khmara.

DO YOU SEE? Back to the Event Horizon with Philip Eisner by Kent Hill

 

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It was a good day for a movie. When is it not? I was home from university and had the agenda to go to a flick that started soon and looked good. Science fiction looked good and I had heard and read little about this new offering from the director of Mortal Kombat, the future impresario of  the Resident Evil franchise, Paul W.S. Anderson.

My buddy Paul was just coming out of the theatre, and as it happened he had just watched Event Horizon. I recall him being angry, “That’s shocking, terrible, grotesque,” he said. Well it’s been a while. But I certainly remember the look on his face and he was, for lack of a better word, mortified.

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Now when someone tells you not to look at something, what’s the first thing you do? That’s right, you go check it out. I knew I was going to. I knew my friend to be no coward, so I was automatically intrigued by the prospect of seeing this movie that had gotten to him on such a visceral level. I recall him saying, before we parted company, “Don’t waste your time with it,” or something to that effect.

I bullshitted and said sure, don’t worry, I’m seeing a different movie. After that review I was definitely going inside, and the movie I encountered therein was really cool.

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Coming out I felt satisfied. The movie worked on all levels. It was terrifying, impactful, funny at the right time, suspenseful, beautifully composed, strongly acted and above all, well written.

The world was not as socially connected at the time. Nor was it part of my complete breakfast during that period to track down and try to arrange interviews with the good people who make the movies.

Behind the scenes material was scant at best, and Event Horizon, no one at the time could have known, would go on to become a cult favorite and get a really nice re-release with a handsome collector case and lots of juicy bonus features. There is a great documentary included, commentary and the likes. But there was little about the film’s author and the script is only a brief part of the BTS discussion.

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Fortunately the world has moved on and we are all now accessible via a myriad of networking tools. Thus it was my good fortune to finally get in touch with and interview the very excellent screenwriter and all-round gentleman Philip Eisner. The man who was once locked away with nothing but The Road Warrior for a week, was an absolute pleasure to interview.

I feel, like I often do, when talking to the makers of my favorite films, like I’m getting the commentary track that should be included with the feature. After all, it is the with the screenwriter that these journey’s begin.

As I like to keep things as informal as possible, our chat was not restricted to Event Horizon. We discussed Philip’s journey to writing, the genesis of the script, how sometimes you homage and other times steal, what he thought of Rogue One (’cause us Star Wars boys can’t help ourselves), how it’s easier to say “No” in Hollywood and much more.

I sincerely hope you’ll enjoy this interview as much as I did and, in case you have wanted to know more about the true gem that is Event Horizon, or were looking for an excuse to watch it, if indeed you haven’t already…

Well now folks . .  . you’ll see.

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Taika Waititi’s Hunt For The Wilderpeople: A Review by Nate Hill 

Taika Waititi’s Hunt For The Wilderpeople speaks to the lost boy in all of us, tweaks our sense of humour with subtle doses in all the right places, taking what could have been a familiar feeling story and sending it miles down the road less traveled, in terms of emotion, comedy, script and pacing. This film has the largest scope of any he has made so far, but it’s purely for atmosphere; he remains steadfast in his need to explore what fascinates him the most: people. Their fears, desires, eccentricities and idiosyncrasies laid out bare and blunt, with none of the trademark gloss or cookie cutter cue card normalcy that so much writing has these days, clouding the potential for characters to feel geniune. They feel just that here though, and inhabit a world of harsh realities, unpredictable outcomes and organic, unforced interaction. Hell, even when his protagonists are vampires, they still feel far more lifelike than many a human character in film these days. The story is benign, until slowly kindled by all the elements I have just outlined. Child services, in the form of a tyrannical bitch (Rachel House), bring wayward boy Ricky (Julien Dennison, a wicked new talent) to stay with his new foster parents on a remote farm in rural New Zealand. The couple (Rima Ti Wiata and the legendary Sam Neill) couldn’t be more different than the young lad. He’s a hoodie wearing, rap rhetoric spewing, pop culture paintball gun of colloquial gibberish and big city malarkey. They are a withdrawn, earthy, isolated type of folk, content with farm life and each other’s company. Ricky is a disruption which they both need, creating a mini culture clash that provides countless moments of amusement as we wade our way into the story. The aforementioned unpredictability strikes when Neill’s wife passes away without buildup or ceremony, leaving him and a kid he barely knows, let alone likes, alone in the world. What follows is a touching, picturesque and endlessly funny glimpse at two people who are thrown into the thick of it together. These people are both lost in different ways; Ricky has never known a real family, tethered to nothing and set adrift among a sea of cyber role models and unreliable elders. Neil has just spent the majority of his life in a rock steady routine with his farmer’s wife and clockwork existence, suddenly unmoored and left with not a clue how to proceed. The two are hilarious together, providing each other with bushels of character development and scene after scene of purely inspired, bona fide human interaction that feels so utterly, blessedly unforced. They’re set among a slide show of breathtaking scenery, lively supporting work and attention to detail that adds up to quite the unforgettable package. If Waititi’s latest is any indication of what’s to come, lay down that red carpet runway post haste, because he’ll continue to take us by storm.