Tag Archives: Steven Spielberg

“I was just on my way out!” Remembering Voyage of the Rock Aliens with Michael Berryman by Kent Hill

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For those who were there…we can all remember a time when cynicism was nowhere to be found regarding our cinematic adventuring. Even during the age which saw the birth of the event picture; there were still fertile grounds from which material, attempting to ride the coattails of popular genre could grow into something that was more an mere homage. Indeed, it may very well have been just another amalgam of concepts, already witnessed by inquisitive travelers on the beaten track; the low-budget, video store self-fillers that are now, in some cases lost to history. Still, these movies were crafted with charm, professionalism and good intentions. No one sets out to make a bad movie, and the giants of the industry, no matter their field of expertise, all played in the same sandbox at one time or another – a pit rich with invention, ripe with interpretation and deep with heart.

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So we come to the splendid curiosity which is: Voyage of the Rock Aliens – which is at once a musical, comedy, adventure, romance which doesn’t scrimp on the flavors you know and love when it blitzes together, forming a cocktail of joyous absurdity.

In brief: A group of music loving aliens are traveling through the galaxy, exploring and researching different forms of life and rock ‘n’ roll. After their on-board A.I. robot companion, 1359 (voiced by none other than Peter Cullin) chills out to a music video, featuring one of the film’s main theme songs featuring star Pia Zadora and a character named Rain, played by Jermaine Jackson, who take on a band of biker-nun looking cats, only to end with Zadora leaving Jackson in the dust as she takes off on the horse she rode in on. (This completely bizarre segue almost gives the entire plot of the film away, but, since you probably haven’t seen it…you’re safe.)

The aliens decide to focus their attention on the planet Earth. Soon after entering our world they meet Dee Dee (Zadora) and her boyfriend Frankie (Nightbreed’s Craig Sheffer) and his band, The Pack. These cats are gang-bangers from the eighties trapped stylistically in the fifties, and there is no shortage of that era’s nostalgia which seems to blend easily with the techno-pop styling of the Rock Aliens…?

Mysteriously it all turns out well. Frankie doesn’t want his band singing without him, so it is odd that we never get to see how devastating a musical talent Frankie actually is “with” the band. He does however manage to snag  himself a solo, show-stopping number which shows us how much Frankie identifies with big cats (specifically a panther) – but I won’t spoil that one.

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It is a wild old tale, with all the talent and experience you could want both in front and behind the camera. For a film buried so deep in the 80’s VHS jungle, VOTRA had some impressive people working on it, for instance Director James Fargo had directed everyone from Chuck Norris (Forced Vengeance) to Clint Eastwood (Every which way but Loose); Gilbert Taylor was the director of photography on Star Wars and the film’s editor Malcolm Campbell worked with John Landis at the height of his powers. Yes everyone from Oscar winners (Ruth Gordon)  to horror film icons. That’s right, horror icons. The film stars the man who knows that the hills have eyes, Michael Berryman, as an escaping inmate from the Speelburgh State Hospital for the Criminally Insane. Simply known as Chainsaw, Berryman is an amazing screen presence with comedy, terror and a beautiful moment of tenderness at his command.

OKAY! So, if I haven’t tantalized your taste buds sufficiently to want to go and check this baby out, we have Chainsaw himself, Michael Berryman, who kindly offered me a fistful of remembrances of a movie I believe should be a cinematic audience sing-along spectacular of Rocky Horror proportions.

Some will look upon Rock Aliens as everything that was wrong with the eighties. But, instead of counting cinema sins why not, I challenge you, to embrace the warmth by the vintage hearth in which burns this vibrant flame, the quintessence of what our innocent youth saw as an excellent adventure…well before the music of Wyld Stallyns aligned the planets in universal harmony.

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KH: First allow me to thank you sir. It is gracious indeed for such an iconic performer of your calibre to grant us your time.

MB: A pleasure…

KH: So, you were once an inmate at the SPEELBERGH STATE HOSPITAL FOR THE CRIMINALLY INSANE?

MB: Yes, I was a patient at Speelbergh State Hospital for the Criminally Insane.  I had been a wood-cutter and chainsaw expert for many years before this film. Nobody knew this until I spoke up when I am to saw around one of the aliens. There was a 4×8 sheet of sheetrock between me and the other actor. He was to stand still while a real chainsaw cut around him.  I was asked to perform this feet. I refused. I told my director that if the actor moved, he could be fatally harmed. I asked that we use a green screen. The actor was ok with a chainsaw cutting around him through plasterboard. No way was I going to do this. So, they had a grip/prop manager do the sawing. Now I watched as he assembled a 4 cubic inch chainsaw and as he prepared to start the engine, I told him: ‘Do not pull the lanyard. If you do, the chain will jump from the bar, wrap around your wrist and sever your hand…you have put the chain on backwards!’ He then asked me to fix this mess. I secured the chain and wished him good luck as I walked over to the camera to witness an amazingly dangerous stunt. It was successful and we moved on.

KH: If you can recall, what did you think of Edward Gold’s script when you first read it?

MB: Edward Gold wrote a script that was, in my observation, a straight forward comedy/musical. I read it and found the references to E.T. and such to be ‘tongue-in-cheek’ humor. This film was designed to entertain, help you laugh, and the entire family could enjoy a great experience.

KH: You were just on your way out. I have had the privilege of having a former co-star of yours as a guest, Vernon Wells. When I spoke to Vernon, we talked about how (for a time) he hated the fact that he was type-cast. When Voyage of the Rock Aliens came along and you were tapped for the role of Chainsaw, were you content to play the part knowing you were perhaps cast as Vernon had been to be merely an incarnation of former characters?

MB: I was unaware of Vernon’s type casting…however, since I was in ‘Cuckoo’s Nest’, it seemed to fit that I play Chainsaw. I found it to be fun.

KH: You pass beneath the window of Academy Award winner Ruth Gordon after a Schwarzenegger Commando-style shopping spree for guns and grenades and such with Wallace Merck’s Breather, did you get to meet or chill out with Ms. Gordon or any other members of the eclectic cast?

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MB: I found Ruth Gordon to be an honest and total professional actor. She had the moxy that she was known for. It was sweet to watch her as our sheriff.

KH: Tell us about your battle with the Lake Creature?

MB: The battle with the Lake creature was simple, as I had to cut his tip off and then bubbles emerged…sweet and child-like.

KH: In the midst of the music and mayhem, you have a rather poignant and touching scene with Alison La Placa’s Diane in which she helps you fix your beloved chainsaw. It is capped with a moment of smouldering intensity on your behalf when you say, “For me,” allowing her to be the one to fire up the chainsaw following her service?

MB: Alison was a delight to work with during that scene…we had a sweet time with it. Chainsaw moved on and he leaves his ‘Excalibur’ behind! The passage through the portal expressed a positive exchange with her character and mine. We both made the decision to have her fire up the saw and discover a new beginning for us both. She was joy to work with.

KH: Do you think Diane and Chainsaw lived happily ever after, there relationship evolved after the two of you went for that walk?

MB: Of course, Chainsaw and Diane lived happily…forever!!       

KH: If you have any fond remembrances of tales from production, what would they be?

MB: One day we were at Stone Mountain. Pia’s husband arrived in a Bentley and had her try on 2 different mink stoles…some people mumbled about this but I saw her and him to be in an honest exchange…it was no one’s business but their’s. I found Pia to be a true professional and hard worker. She had no attitude or ego to complicate the day’s work. I was pleased to watch her performance. The shoot was a delight in every way.

KH: Thank you Mr. Berryman. From this fan of yours and the gloriously, toe-tapping, insane splendour that is Voyage of the Rock Aliens…I thank you again.

MB: Kent…Great memories! …Stay safe.

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The Cinema of Solimon by Kent Hill

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There is a filmmaker working in Hollywood right now, who is out to show the big boys that you don’t need hundreds of millions of dollars to make the movies you want to make.Shahin Sean Solimon is the man behind the movement. Together with his talented group of like-minded artists, he is forging new waves to achieve epic results without the big budget price tag.

“If I inspire some thirteen year old kid somewhere to pursue his or her dreams as I have, no matter what the nay-sayers say, I’ve done my job.”

And getting the job done is exactly what Shahin has been doing.  Beginning with his first feature Djinn, Based on ancient middle eastern fairy tales written thousands of years ago, and passed down from generation to generation, Shahin crafted luscious, fantastical realms along with a pure and moving tale love and destiny.

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With his second film he took it to the next level, conjuring the days of high adventure and summoning cinema which brings to mind the heady days of Ray Harryhausen with: Sinbad: The Fifth Voyage. When the Sultan’s first born is taken by an evil sorcerer, Sinbad is tasked with traveling to a desert of magic and creatures to save her. Add into this the talents of Patrick Stewart (X-Men, Star Trek: The Next Generation), who offered his distinct vocal styling as the films narrator.

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Now, for the next big thing. In his third feature Nebulous Dark, Shahin is tackling the sci-fi and post-apocalyptic genres with one mighty stroke. It is yet another epic waiting in the wings from Solimon, who used the production, not just to make an awesome movie, but to continue to hone and harsness the ever-growing cache of cinematic artistry he has at his disposal.

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There seems to be no end to his creativity or his ability to realize his visions. I thoroughly enjoyed chatting with this talented filmmaker who is, without a doubt, taking the bull by the horns and making the movies he wants to make.

“My inspiration as an artist is not about money, or fame…but about trying to project imagination, show a different perspective of life, and simply entertain.”

And entertaining us is what he has done and will, I believe, continue to do.

for more on the Cinema of Solimon, follow this link:

https://shahin-sean-solimon.com/

SYLVAIN DESPRETZ: Los Ángeles by Kent Hill

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I don’t profess to be anything except a guy who really loves his movies. So I was, needless to say, humbled when Sylvain Despretz, illustrator extraordinaire and Hollywood veteran, asked for my opinion on his new book Los Ángeles .

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The thoughts (abridged) I rendered unto him are as follows:

“Right off the bat I concede we have a very similar taste in movies, beginning on the opening page where you count James Mason among your idols. You have a free-flowing narrative style here – mixed in with a little distain for certain elements of ‘The Industry’. Yet there, embedded in your frankness, and if you know the lyrics to Billy Joel’s Piano Man, you strike me in predicament alone, to be like John the bartender; sure that he could be a movie star . . . if he could get out of this place.

So in that I feel your journey is unique – in the sense that you have been surrounded by the business, yet are melancholic, purely because you are no different than any other kid who wanted to run off and join the circus – you longed to be a lion tamer – you wanted to be a director.

Still I can’t wait to see this all come together. As I read your words I heard your voice and am reminded of great quotes from the towers of their fields from days past. Well, two in particular. One I heard Peter Guber say: “Success has many fathers and failure is an orphan.” And the other comes from Harrison Ellenshaw,  “Shakespeare never had a word processor . . . and now we word processors we have no Shakespeare’s.” Your life is extraordinary and the tapestry upon which your weave this tale is rich in texture and bold in attack.”

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Los Ángeles is a book that is much about one man’s love of cinema as it is his adventures in the screen trade. It might get personal, and it does…in the best sense. This separates it from the generic ‘greatest hits’ compilations which would merely be satisfied showing you only the art from the films and pictures of the movie masters Sylvain has been privileged to rub shoulders with.

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But this is not a film book. It’s about art, life, and loving movies so deeply you feel them at the source of everything that inspires one to create. Sylvain and I always have the most engaging and complex conversations, which are always nice to have with like-minded cineastes, especially when we share a similar perspective on what great films are and how they touch us.

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Life like cinema is about a series of moments. We all know the films we like, still, when asked, we find ourselves recounting the scenes which really spoke to us. Robert Altman once told his wife about his first viewing on David Lean’s A Brief Encounter. She recalled that, though Altman was initially just casually watching the movie, by the end, he had fallen in love with the films leading lady, Celia Johnson, and was utterly moved by the story unfurled.

Thus is the power of cinema, and the heart of Sylvain Despretz’s Los Ángeles.

As it has been written, so has it been done.

FOR MORE INFORMATION ON Los Ángeles, VISIT THE PUBLISHER’S WEBSITE HERE:

https://caurette.com/?fbclid=IwAR1Y5EdeVzKGdCZ1o2G-VExxykJR8ejEgEuphdnMHYkBiS7Frk2CbVHT5J8

In memorial: Nate’s Top Ten Max Von Sydow Performances

Roger Ebert once referred to Max Von Sydow as a “mighty oak of Swedish cinema” and the same can be said of his career as a whole both in his home country and Hollywood too. Max was an actor of tremendous presence, a noble spirit with the kind of line delivery that was immersive and drew you right into the scene. He has passed away this week at age 90 and will be missed by countless people who loved his work, but he leaves behind a multi decade legacy of brilliant and diverse acting work, and these are my top ten personal favourite of his performances:

10. Blofeld in Irvin Kershner’s Never Say Never Again

Might be controversial to say but Max was the coolest Blofeld in my book. Donald Pleasance and Telly Savalas had a businesslike, robotic vibe to their interpretations but Max gave this mega villain a decidedly sardonic, playful edge. Plus that hair makes him stand out from the classic bald image we’re used to. He isn’t in the film much but his scenes are super fun.

9. Leland Gaunt in Stephen King’s Needful Things

Malevolent, ancient and evil, Gaunt is a demon in human form hellbent on reaping souls. Setting up a curious antique shop in fictional Castle Rock, he goes up against suspicious Sheriff Pangborn (Ed Harris) and seems to have an unnatural knowledge of the town. Von Sydow makes keen, charming and ultimately super creepy work of this guy, one of the most well portrayed King antagonists put to film.

8. Dr. Kynes in David Lynch’s Dune

A longtime resident of the planet Arrakis, Kynes is an intuitive fellow who senses the buried potential within Paul Atreides (Kyle Maclachlan) and admires the resolve and integrity of his father Leto (Jurgen Prochnow). He gets some interesting, atmospheric moments in the film’s trademark voiceovers and makes a magnetic presence.

7. Judge Fargo in Judge Dredd

Fargo is one of the few high ranking judges of mega city who hasn’t been swayed by corruption, and that unconverted resilience is nicely embodied by Max. I know this isn’t the most well organized film and it hasn’t aged all that amazingly but there’s a lot to love, a bunch of dope production design and one hell of a cast, our man included. When he’s banished from the city for helping Dredd, there’s no sight quite as epic as a duster clad Max sauntering out into the desert like some intergalactic gunslinger. Good times.

6. Dr. Paul Novotny in Joseph Ruben’s Dreamscape

This underrated 80’s SciFi fantasy palooza sees clairvoyant Dennis Quaid get recruited by Max’s government researcher to infiltrate people’s dreams and uncover a conspiracy. He’s a good, kind and decent man here who has no idea how far up the chain this pseudoscientific mutiny goes, Max imbues him with a genuine curiosity for his field, an easygoing camaraderie with Quaid and steals the show.

5. Dr. Nahring in Martin Scorsese’s Shutter Island

Nahring is one of a few psychiatric professionals who heads up the austere institute that Leonardo DiCaprio’s federal marshal is snooping around in. If you know the twist and remember the dialogue, you get just how ingenious Max’s line delivery is here when he asks Teddy “if you see a monster, you should stop it, no?” It’s a great callback to the end of the film. At one point Teddy berates Nahring for being German because of his experiences during the war and one gets the sense from Max’s performance that he wasn’t on the side of conflict that Teddy assumes, it’s a terrific supporting performance that doesn’t intrude yet speaks volumes.

4. Lamar Burgess in Steven Spielberg’s Minority Report

The slick CEO of a futuristic murder investigation unit, Burgess has everything under control and then some.. until his plan unravels. This is a fantastic performance that follows the Hollywood beats of a hidden antagonist but allows Max to have one final beat to the character that he nails perfectly.

3. Lancaster Merrin in William Friedkin’s The Exorcist

This is one of the films that bridged the gap to Hollywood for him and has since become infamous. Merrin is a world weary, knowledgeable yet reluctant crusader who joins forces with Jason Miller’s Father Karras in doing battle with an ancient entity he encountered in Africa before. For all its razzle dazzle and pop culture iconography, this film has two very centred, humbled and down to earth performances from these two actors.

2. Jakob Bronski in Emotional Arithmetic

This soulful indie drama sees a group of people from various backgrounds gather on Quebec farmland to heal old wounds, resolve traumas from the past and roust the kind of bittersweet situational kerfuffles that only quaint independent stuff like this can brew up. Max’s Jakob is a Holocaust survivor with deep scars that aren’t immediately apparent and has a complicated relationship with Susan Sarandon and Gabriel Byrne’s respective characters. This is a tough film to track down but worth the haul as it showcases an excellent cast in earnest performances.

1. The Tracker in Vincent Ward’s What Dreams May Come

The afterlife holds many mysteries for Robin Williams in this stunning, overlooked classic, some of which are navigated by Max’s tracker, a mysterious being who helps him find his deceased wife in the underworld. There’s more than meets the eye to this character, bestowed with an arc that Von Sydow gives sly, heartfelt talent, his inherently angelic nature just adding to the overall tone.

-Nate Hill

Austin Powers in Goldmember

There’s two questions I get asked a lot when discussing films and they’re a) what is the scariest movie you’ve ever seen (to which I usually answer Blair Witch Project) and b) what is the funniest movie you’ve ever seen. It’s interesting how subjective these two specific genres are, and how impossible it is to please an entire demographic with just one film. Anyways that second question is a tough cookie but after some thought I’d most likely go with Austin Powers In Goldmember which really is solid gold and probably the most fucking funny thing in existence. It’s my favourite of the trilogy and arguably the best, right down to the little moments that seal the deal. It opens with a stunning Bruckheimer’s Bond type action sequence where we get the hilariously meta sight of Tom Cruise as Austin, Gwenyth Paltrow as (snigger) ‘Dixie Normous’, Kevin Spacey as Dr. Evil and best of all Danny Devito as Mini Me. It’s that kind of inspiration that one ups the other two films and goes the extra mile in making this the literal gold standard. Also… how effing hot is Beyoncé in this? Foxy Cleopatra is by far the best Powers babe and even puts a bunch of 007 vixens to shame. Honestly though the funniest part for me is Dr. Evil, a sublimely funny character whose speech patterns, ADHD shenanigans, bizarre recounting of his childhood and relentless abuse of his awkward son (Seth Green) just steals the show, man. Not to mention Fat Bastard, also played by Mike Meyers doing quadruple duty this time around. His in-depth analysis of an enormous fart has to be the pinnacle: “Even stink would say that stinks.” Off the top of my head I can think of countless elements that play part in making this my favourite comedy: Mini Me’s massive schlong (“It’s like a baby’s arm holding an apple”), the disturbingly raunchy shadow puppets, Dr. Evil’s MTV motivated prison break, Steven Spielberg doing cartwheels, Meyer’s uproarious ‘Dutch’ accent, Michael Caine’s super horny mega spy Nigel Powers and everyone laughing hysterically at Austin when he fails to show up to his knighting ceremony, the running montage of dick jokes that now pivots into boob jokes narrated by a host of silly celebrity cameos too abundant to check off here, Austin’s groovy hit single ‘Daddy Wasn’t There’, Britney Spears as a FemBot, a sneaky John Travolta, man the list just goes fucking on and on. The film has a loose way about it and is pretty off the wall regarding any sensible plot and as such I’ve kind of just made this a stream of consciousness thing about how dope this movie is rather than an actual review, plus I’m tired and lazy as shit today and don’t feel like writing any kind of structured review. So there you go, the funniest movie I’ve ever seen. The next big question I always get is ‘Will they ever make an Austin Powers 4?’ Well I’m not involved in Hollywood whatsoever and as such have no fucking clue. But never say never, I mean in this age of nostalgia we’ve gotten sequels to Dumb & Dumber, Bill & Ted, Bad Boys, Men In Black and more decades after the fact, so we’ll see. I will say that if Meyers & Co. do decide to go for it, they’ve set the bar intimidatingly high with Goldmember and better all bring their fucking Eh Game.

-Nate Hill

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

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It is impossible to convey to those who weren’t there when STAR WARS was new – what it used to be like. For the third time since my existence began, I find myself faced with the end of yet another trilogy – the end of the Skywalker saga . . . ?

So it was with incredible nerves thundering tremulous throughout my body, that I sat down to talk with the man, and I want you to really think about this, who cut the scene in which Luke and Ben Kenobi discover the message hidden in R2. He cut Luke’s run, part of the final assault on the Death Star. He is even the man who suggested to George Lucas that Vader’s lightsaber be red and Obi-Wan’s be blue. As a STAR WARS fan . . . think about that. Think about the contributions of Paul Hirsch on the images that permeated our dreams and in some cases . . . shaped our destinies.

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

My beloved Empire Strikes Back. Yes Paul came back for the sequel, but this is not merely an ode to the realm of Jedi’s and Rebels – it is a look inside the mind of a skilled craftsman of his art, and the journey which saw him mingle among the mighty company of the heavyweights of that last glorious era of Hollywood . . . the 70’s.

In a time when the men we would come to define as masters began their adventures in the screen trade: George Lucas, Steven Spielberg, Brian De Palma (with whom Paul cut frequently), Francis Coppola – oh, what a time. And it is not only the holy trilogy that has passed beneath the keen eyes of Hirsch – the work of other magnificent filmmakers like John Hughes, Joel Schumacher, George Romero,Herbert Ross, and Charles Shyer have all benefited from Paul’s expert touch.

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It took George’s clout to get him into Kubrick’s editing room. James Cameron boasted to him (referring to Titanic) that he made more money than the ‘WARS’ and didn’t have to make a sequel. He cringed at the idea of editing the helicopter sequence in Apocalypse Now for six months when Francis suggested it . . . yes folks . . . the cinema that has moved us to tears and had us on our feet cheering, has been before the eyes of my guest. And may the force be with him . . . always.

Ladies and Gentleman, please seek out the book, but until you do join me and Academy Award Winner . . . Paul Hirsch.

Where are the clowns? by Kent Hill

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It is that time of the year when we look to feel magical. The Christmas spirit lifts us up out of the murk that we have been grinding through all year long and . . . in the midst of a silent night; we find a moment of peace. Refreshing it is then, to have stumbled across a film so innocent. Whose message is born out of childlike innocence and hope – that the world which we inhabit has not killed all of the wonder, the mystery and the joy?

Into this scene comes a peculiar yet dynamic messenger. A herald from the heart of the child in us all that delivers a message so hauntingly simple, we would be fools not to take heed.  This visitor is a Clown – whether he is real, or merely a delightful apparition I leave to your perception – with a notion we often abandon in times of peril. The Clown speaks to us, in the tongues of men and angels. And he tells us to just, “Believe.”

This is a fascinatingly splendid, energetically wholesome and heart-warming sweet surrender entitled:THE BOY, THE DOG, AND THE CLOWN.

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The core of this film is the creative duo of father Nick Lyon (director) and son Adrien Lyon (The Boy). Nick’s cousin, Gabe Dell Jr., who trained as a performer with Cirque du Soleil, plays the role of The Clown. And the family canine, Foxy Lyon, plays the demanding role of The Dog. The film has its origins as a project for Adrien’s fifth-grade student film festival. Originally entitled The Sad Clown, they all realized the short film had some sort of mystical allure, and Nick decided to expand the story by writing a feature-length screenplay to incorporate the footage already “in the can.” Nick soon recognized that the latter part of the script was going to be complicated to shoot and expensive (it took place at a clown competition in Las Vegas). He also realized that by filming only on weekends, Adrien was destined to outgrow his role if they didn’t pick up the pace.   Nick knew that a retool was in order and sent the script to veteran screenwriter and friend, Ron Peer, who saw this as the opportunity to create something different, something special, an indie family film featuring … a clown!

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“I had never quite read anything like it,” says Peer. “There was just something charming about it. Watching the footage already shot, I was immediately entranced by Gabe Dell’s emotional performance as The Clown. I couldn’t take my eyes off him.” Nick and Ron’s new goal was to rewrite the screenplay so that it could be shot in two weeks during the upcoming summer. Ron and his wife Mitzi Lynton also acted as producers and crew of the film. The final two-thirds of the movie was shot in Big Bear, California, with a micro crew, including Nick’s eldest son, Parker Lyon, and close-friend and cameraman Rick Mayelian.

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In a world where evil clowns dominate the theatrical landscape, Nick and Ron were deliberately cutting across the grain by creating a family film that focused on the “good clown,”  harkening back to Shakespeare’s classic “Fool” and the performers of commedia del’arte. “Dell’s clown character stems more from the European tradition rather than the red-haired Bozo character seen at American circuses and children’s parties,” says Peer. “It’s a shame that the evil clown stereotype has become so prevalent that a word for fear of clowns has emerged in our lexicon: coulrophobia.”

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“I hope that audiences really respond to our little movie,” Nick adds. “I would love to direct a sequel. But at the speedy rate that Adrien seems to be growing, I may be shooting with his son.” THE BOY, THE DOG, AND THE CLOWN is reminiscent of the charming European films of the 1960’s, and has been compared to the French classic The Red Balloon.

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The film premiered at Dances with Films festival in June of 2019 and won the Audience Award. THE BOY, THE DOG, AND THE CLOWN has also received family certification from the Dove Foundation. Gabe Dell Jr. gives a performance I couldn’t believe. The man is a magician with a screen presence that was so engaging. The film that revolves around him brings to mind some of the luminously enchanting films I came across during my childhood like Vojtech Jasny’s The Great Land of Small.

This movie is pure joy . . . a perfect holiday gift . . . find it now . . .

Believe…

Actor’s Spotlight: Nate’s Top Ten Pete Postlethwaite Performances

Who remembers Pete Postlethwaite? I do and always will, for the creative mark he made on both my childhood, teenage years and older formative exploration of cinema is a huge one. This guy was a face you knew and remembered immediately, a slightly eccentric, wily looking dude who could command a scene like no other and had such a way with words, be they written by Shakespeare, Christopher Nolan or Christopher McQuarrie. Just to give you an idea of the character and spirit this guy had within the industry, here’s a direct quote from the man:

“My first agent wanted me to change my name. So I changed him instead. When I made a breakthrough as an actor, people started to say, ‘Who’s that bloke with the funny name?’ They advised me to change it, saying it would never be put up in lights outside theaters because they couldn’t afford the electricity. But I would never contemplate changing it. It’s who I am. It’s my mother and father, my whole family. It’s where everything I am comes from. I couldn’t imagine living my life with another name.”

Pete is no longer with us but his incredible career lives on and here are my top ten personal favourites from his body of work:

10. The Keeper in Aeon Flux

Okay so I feel a bit guilty for putting this on the list because it’s a godawful, stupid ass movie but Pete makes such a surreal impression basically playing the man in the moon. The whole film sees Charlize Theron’s Aeon doing all kinds of SciFi espionage garbage that culminates in a journey to some floating structure far above the city surface, where he waits for her in a tin foil poncho. It’s bizarre and off the wall but the guy could deliver lines like no other and the scene just somehow had a lasting impression on me.

9. Obadiah Hakeswill in BBC’s Sharpe

This adventurous period piece sees him do battle with Sean Bean’s titular Sharpe, a warrior and soldier of fortune who headlined a whole series of made for tv films in the early 90’s. Hakeswill was one of the most dastardly, hateful villains Sharpe ever faced, a rapist deserter with a mile wide mean streak and cunning nature that proved to be quite the adversary.

8. Dr. Lorbeer in Fernando Mereilles’ The Constant Gardener

He’s only onscreen for a brief few scenes in this stunning adaptation of John Le Carré’s political mystery, but as usual he makes a vivid impression. Lorbeer is a mysterious physician embroiled in a deep pharmaceutical conspiracy within the heart of Africa, and his quiet few words of cryptic advice to Ralph Fiennes’ Justin Quayle linger eerily long after the camera has left him out there on the desolate savanna.

7. Father Lawrence in Baz Luhrmann’s Romeo + Juliet

Some actors just have a way with Shakespeare. This is probably the quintessential film version of Romeo & Juliet and he makes the most out of his role as the botany inclined friar, relishing every over elaborate line and closeup adorned gesture.

6. Giuseppe Conlan in Jim Sheridan’s In The Name Of The Father

Pete and Daniel Day Lewis finds themselves in a harrowing situation here as father and son, one of whom is wrongfully accused of a nasty IRA bombing that puts both in prison for like a decade. This causes a horrific, prolonged experience for both as attorneys fight to clear their name, the years wear on and the performances of both Lewis and Pete cut more than deep in their desperation and haunting tragedy.

5. Gilbert Of Glockenspur in Rob Cohen’s Dragonheart

This classic fantasy sees Dennis Quaid’s rogue warrior team up with Sean Connery’s dragon to do battle with an evil sorcerer (David Thewlis). Pete is the intrepid, travelling outcast monk who gets swept up in the adventure and provides both gravitas and comic relief to this tale. One of the most affecting moments of the film is when he takes up bow and arrow during an intense battle and in captivating closeup makes the split second decision to abandon his vow not to take a life. Brilliant work here.

4. Fergie Colm in Ben Affleck’s The Town

One of his final roles and one of his scariest too. Fergie is a Boston flower shop owner who moonlights as a fence and crime boss and is none too happy when Affleck and his gang deviate from the specific heist plans he’s laid out. No one barks out heinous threats with a sidelong glance quite like he could, and he steals his few scenes as an all out psychopath.

3. Roland Tembo in Steven Spielberg’s The Lost World: Jurassic Park 2

One of the most memorable big game hunters in cinema, Tembo is a brittle badass who accompanies a research team as security and with the fierce personal agenda of bringing down a T-Rex. Postlethwaite plays him not as a sadistic or cruel hunter but with a cunning determination that’s respectful of his quarry, disdainful of military idiots around him and possessive of a keen intuitive nature in the field, or in this case the long grass.

2. The Old Man in Henry Selick’s James & The Giant Peach

I grew up reading Roald Dahl’s classic tale and to see Pete embody such a key character in the film version was pure magic. He only has like one and a half quick scenes but imparts such mysterious wisdom and magnetism he makes a huge impression as essentially the catalyst for the fantastical events on display.

1. Kobayashi in The Usual Suspects

There’s a ton of exposition delivered by many different characters in this serpentine crime saga but he makes his portion the most menacing, impactful and memorable. As a devilish lawyer and confidante to the boogeyman of the international criminal underworld, he calmly intimidates the collective protagonists with his even tone, barely veiled threats and promises of woe to come without batting an eyelash, it’s a master class in restrained scenery chewing that always holds the screen.

Thanks for reading and stay tuned for more!

-Nate Hill

Frank Marshall’s Arachnophobia

Scared of spiders? This is the perfect movie for you and no it’s not Eight Legged Freaks. Seriously though if you’re one of those people who are mortally, terminally and irrationally afraid of them then Arachnophobia will flare up just that kind of reaction. It’s produced by Spielberg too so it has that special kind of ‘menace in 80’s suburbia’ feel, this isn’t some cobwebby haunted house or fearsome jungle setting, this is killer spiders in the small town California which is all the more disarming. There is a jungle set prologue though because we gotta see just how these things did make it to Cali and you can thank scientist Julian Sands for that when he accidentally lets a breed of deadly arachnids hitch a lift in a coffin back to the states. There they slowly but surely begin to breed and wreak havoc on unsuspecting townsfolk until they’re basically everywhere. Jeff Daniels steps in for hero duty as a doctor who just moved into town and is getting a pretty suspect first impression of the area thanks to these creatures. It’s up to him and an intrepid posse to take them on while evading their deadly bites in the process. John Goodman shows up and steals the film as a boisterous, beer swilling exterminator who knows a maximum threat when he sees one and breaks out the non FDA approved methods for dispatching them. His character provides the film with levity and laughs as a kind of cross between Chris Walken’s kooky exterminator in Mouse Hunt and one of the Ghostbusters. This film is actually terrifying because it isn’t just giant spiders like in Harry Potter or The Hobbit and they’re not CGI or schlocky like countless other horror films, there’s actual craft and artistry put in and they use real spiders too so it’s pretty gnarly. There’s one scene where Daniels and his family are in the middle of the living room and there’s spiders literally everywhere.. the couch, ceiling, walls, appliances, floor… covered. We all know that feeling of seeing just one of them somewhere over in a corner, now amplify that by like a thousand. Yeah. It’s a great fright flick that never gets too gooey or gory and always maintains humour amidst the horror.

-Nate Hill

STEVEN LAMBERT: From Reel to Real by Kent Hill

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Steven Lambert has crafted what is, the apotheosis of a war chest of cinematic tales, told in such a vivaciously detailed manor . . . you crave each and every page. It was staggering to read this man’s life and his journey from the neighborhoods of Brooklyn, to the Mount Olympus of the movies.

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Buckle up for what has to be the wildest tell-all, behind the scenes peek into movie history, bursting at the seams with an incredible life, never before told. A self-proclaimed “punk kid”, Lambert trained in the martial arts before becoming an in-demand stuntman in the final golden age of Hollywood, rising from glory to glory, working with and beside screen legends such as Arnold Schwarzenegger, Sylvester Stallone, Jean-Claude Van Damme, Harrison Ford, Al Pacino and James Woods.

Lambert relates such staggering exploits – putting his life on the line for death-defying stunts in films such as Remo Williams: The Adventure Begins, where he literally hung from the Statue of Liberty without a harness, doubling Sho Kosugi, the original screen ninja, in films such as Revenge of the Ninja and Ninja III: The Domination. He witnessed the meltdowns and bad behavior from Nicolas Cage and Sean Penn on Racing With the Moon while doubling Penn. And, last but not least, “THE TRUTH” behind the Gene LeBell and Steven Seagal showdown on the set of Out for Justice.

But it’s not just action stars on offer . . . no . . . film-making masters also feature: such as Steven Spielberg, James Cameron, Martin Scorsese, and Roland Emmerich – plus the infamous producers Menahem Golan and Yoram Globus of the infamous Cannon Group.

He’s heard and seen it all – from Chuck Norris to Charlton Heston. I personally could chat to Steve for days, but I’m honored to have been given the time I had, and was humbled to read his utterly absorbing tome that is so packed with awesomeness, you just gotta get out there and get it! From the Streets of Brooklyn, to the Halls of Hollywood – NOW!

(See link below)

GET STEVE’S BOOK HERE: