ALBUQUERQUE — This sleepy town is getting rocked awake by a mad bomber in Deadly Impact. Thomas Armstrong (Boondock Saints‘s Sean Patrick Flanery) is a cop that is forced to shoot his wife in order to save 10 people that are being held hostage by The Lion (The Matrix‘s Joe Pantoliano). The ugliness of the moment cause Armstrong to quit the force and devote himself to booze. Eight years later The Lion reappears. The FBI wants Armstrong’s help in identifying him, but can he tangle with the diabolical madman who has promised to blow up the city?
Deadly Impact is an action rush with Pantoliano using the power of Bluetooth for evil. Here’s the trailer for the film:
The movie is out on DVD this week. I had a chance to swap email with Director Robert Kurtzman and Producer David S. Greathouse. The duo had previously made Buried Alive. Kurtzman is a special effects veteran having contributed to over a hunder movies including Predator, Hostel, Army of Darkness and Bubba Ho-tep. Greathouse is executive producer on Saint John of Las Vegas starring Steve Buscemi, Sarah SIlverman and Peter Dinklage.
Party Favors: What attracted you to the script for Deadly Impact?
Robert Kurtzman: It’s a well written script and Its an action/thriller which was something different and challenging for me. I love action films as much as I do horror. I’d worked with producer David Greathouse on several films prior including Buried Alive which I’d directed for him and we have a great working relationship which was also a big attraction for me. Dave’s a very smart producer and he always puts a great team together which as a director is very important. I know he has my back and I have his.
With your background in special effects, do you find it hard to read a script without immediately thinking how you’d devise a prop?
Robert Kurtzman: Yes… but it’s actually helpful when you’re trying to envision a sequence that maybe budget restrictive and you have to come up with alternatives in how you shoot or stage the action to accommodate the schedule. This film wasn’t a heavy creature FX film so in that sense I was free to concentrate on other aspects of the production.
Where did you first cross paths with Sean Patrick Flanery?
Robert Kurtzman: We actually met on this film. After reading the script he was the first actor that came to mind for the role of Tom Armstrong and luckily the studio agreed. I can’t imagine the film without him in it.
Do you get a certain buzz knowing that when you cast Joe Pantoliano, you get to figure out his hairstyle?
Robert Kurtzman: We did a bunch of rough sketches of the different character looks for the film and then designed the prosthetics and body suits accordingly. We were very lucky because Joey has his own lace wig collection from other films which we were able to utilize.
What do you think is key to create tension when actors are talking on the phone? Does Bluetooth free up an actor?
Robert Kurtzman: Building tension in the edit and camera movement. We had quite a bit of the back and forth with them on the phone and it was key to have things build and get more tense as Kaplow played his game with Tom. Bluetooth does free them up to be more animated, actors love doing things with their hands.
How does using the VIPER alter your approach to filmmaking visually? Do you have to modify the action or effects for the format?
Robert Kurtzman: I didn’t have to change my approach at all. It was just like shooting 35mm except I was able to shoot more coverage as I had no restriction on the amount of film I could shoot a day. Everything is captured to hard drives and you pretty much see what you’re getting on the monitors. The camera also has the ability to create presets for different lighting and color looks so we had selections for day and night shooting which we were able to punch up on the computer so scenes would carry the same look from one to another. The other thing that’s great about shooting digital is I don’t have to keep cutting and reload film when the actors are getting into a groove. You just let the camera roll and if someone fumbles a line or the camera move isn’t working you can just drop back to first position and pick it right up without having to cut.
Were there any explosions on the location?
Robert Kurtzman: Yes we had several explosions, two cars and the third story of a building.
How hard is it to juggle an active career in both special effects and directing features?
Robert Kurtzman: It’s not that tough because when I’m not directing I do effects work and when I’m direct a picture I supervise the effects in the planning stage and then let my crew take over on the day to day issues with fabricating and operating on the set.
Do you find your casting based on who you enjoyed being around on other sets?
Robert Kurtzman: Obviously you always try to surround yourself with people that you have a good working relationship with but it’s really about casting the right actor for the part. On this film almost all the actors were local New Mexico talent and only the two leads, Sean and Joey were brought in. I had never worked with any of them before.
Were you on the set of Predator when Jean Claude Van Damme was fired? Did you get a sense that he wasn’t going to be happy inside the suit?
Robert Kurtzman: No. I was hired as part of Stan Winston’s crew after all that went down and they decided to change the look of the monster. I worked in the studio but never went to set in Mexico.
Now the Party Favors chats with producer David S. Greathouse:
What made you bring Deadly Impact together?
David Greathouse: I had really wanted to make an action film with Robert for a while and I knew it would be a fun challenge to try to make with the resources we had.
With the Viper system, did you have post-production during production? Is it nice not to have to wait for dailies when on location?
David Greathouse: Yes, it’s always nice to be able to look at the footage before you leave a set to insure you have everything you need. Obviously, this eliminates the potential for costly re-shoots.
As a producer, what do you feel is your prime responsibility to the movie project?
David Greathouse: There are a lot of equally important responsibilities that change as the production moves from phase to phase. During development, the main thing is to get the money to make the film. During production it’s to make sure the money is spent wisely and insure the team’s creative vision is being recorded. During post, it’s to support the director and make sure he has the tools needed to make the film great. It really changes from minute to minute depending on the circumstances.
What is your favorite myth about producers?
David Greathouse: That we are all rich!
New Mexico seems to be attracting a lot of productions. What drew you to the state?
David Greathouse: Initially, the incentives. But, I’ve made a lot of films there now and I keep going back because of the crew that I am so fortunate to work with while in New Mexico. I’ve made good friends with some very talented people out there.
Did you have to avoid certain locations since they’d been used in Breaking Bad?
David Greathouse: No, we shot this film before Breaking Bad began production.
Is it nice to work with a director who knows how to work out an effect without it busting the budget? Or did Robert Kurtzman still want to push the budget?
David Greathouse: Robert and I have been good friends for a long time and we collaborate very well. He tells me what he needs and I try to get it for him. When it turns out that the budget can’t support the idea he has he knows it’s not me being cheap but that it’s just too expensive. He and I work together to find a suitable alternative. It’s a good partnership.
What was it like to make Teenage Caveman with Larry Clark (Kids and Bully)?
David Greathouse: At the time, I was a development executive for Stan Winston Productions. Teenage Caveman was one of ten projects we developed for the creature feature series for HBO. Of those ten scripts the studio chose the five that were to get made. Working on that project was…interesting.
Did you get to work directly with Samuel Z Arkoff on your early productions? If so, what essential lessons did you learn from him?
David Greathouse: Unfortunately, I didn’t have the opportunity to work with Sam.
GET THE CRAZY
I watch Pretty Wild to mock the three wannabe models and their dippy mother who used to be an underwear model. It’s Must Spite TV at the compound. In the middle of an episode, the mother starts quoting The Secret. I started howling at how this woman has latched onto the fad quasi-religion until it struck me that she’s a success story of the book. All her life she has imagined herself as a famewhore and now she’s there. She’s got a TV series on E! She’s got a camera crew that swear her moronic trio of young girls are famous. And I’m watching her. What I don’t get is what image she put on her mirror to make her wish to be a fame whore. According to The Secret infomercial, a kid put up a pic of a bike and wished for one until his mommy bought him that bike. In my day, we called that incessant whining. What did Pretty Wild mom worship for success? The best guess is a picture of the Kardashians – the ultimate family of famewhores. And it paid off since they’re E! neighbors. I’m going to go put a picture of The Secret book on my mirror in hopes that I find a copy discarded next to a dead possum carcass.
BOTTOMS UP
Those washed up celebrities on Sober House really need to chill out with a couple shots of Scotch. Can the producers quit referring to that one guy as the lead singer of Crazy Town. He’s only famous now for being a constant guest star on VH1’s Rehab shows.
THE SALLY JESSY TREATMENT
WHACK A MOVIE
What producer of Transformers has major plans to make a movie out of Chuck E. Cheese? You thought Stretch Armstrong was the rock bottom of Hollywood creativity, wait till Chuck E. Cheese: The Cinematic Slice hits the screen in the summer of 2012. Nic Cage wants the lead role bad. Rumor has it the script pages will taste about the same as the pizza.
BLU-RAY HEAVEN
Avatar Blu-ray + DVD combo arrives in time for your Earth Day celebrations. James Cameron has finally made an eco-thriller that entertains. Remember when Steven Seagal crash and burned with Fire Down Below? We’re taken to another world dubbed Pandora where the blue Na’vi battle fierce creatures to survive. A heartless corporation wants to mine the lush land for a rare element. Their big plot to take care of the natives involving fake Na’vi that are mentally controlled by marines. Things go wrong in the program when the tough military minds go native inside their blue avatar bodies. Can the military industrial complex overcome love? The coolest part of the film is how the CGI world looks like Roger Dean’s paintings done for Yes albums. It’s like the kinda fantasy landscapes dreamt up by a college sophomore getting wasted in his dorm room while listening to Rush’s Moving Pictures. Now that kid can get wasted while watching Avatar if they have an HDTV. If they only have a standard TV, they can still enjoy the otherworldly explosive romance with the DVD and hold onto the Blu-ray for when they go home to watch mom do their laundry.
The Blu-ray’s 1080p image is stunning on parents’ HDTV. The details come out of the floating jungle. You can hit freeze frame and have instant art on the wall. For those wanting to truly get lost in the screen, this not the 3-D version. No news when that will be released so you can watch it on the 3-D TV over at HH Gregg. This is a barebones edition. No commentary tracks or behind the scenes features that explain the creation of the Roger Dean influenced world. Word is that the mega-edition of Avatar will be coming in time for Christmas. But why wait to enjoy the action of blue people versus marine space helicopters? Here’s a little video sample to remind you why this was the biggest box office hit of all time.
DVD SHELF
Perry Mason Season 5, Volume 1 contains 15 more of the finest legal action. Raymond Burr plays the lawyer that never lets his clients down. He’s the man in the courtroom who never looks foolish. “The Case of the Malicious Mariner” has a First officer toss a million dollars worth of cargo into the sea to avoid capsizing. His captain is murdered before he can testify at the maritime court. Perry has to clear this guy of the dumping and the homicide. “The Case of the Crying Comedian” suspects Jackie Coogan (Uncle Fester) of evil! A comic returns to town to find his lost love. However she’s married even though the guy is a creep that’s had her tossed into the looney bin a few times. The bad husband ends up in the grave. Did the comic kill him with laughter? “The Case of the Unwelcome Bride” gives the teaming of DeForest Kelley (Star Trek‘s Dr. McCoy) and Alan Hale Jr (Gilligan’s Island‘s The Skipper. A dad feels his son’s wife has made him a loser. He’s not quite thrilled when she’s the main suspect in his son’s death. Can Perry bring them together? The series remains effective and thrilling with Perry making fools of DA Hamilton Burger and Lt. Tragg. There’s no bonus features. The nice thought is that the first half of the series is finally out on DVD.
I Love Lucy: The Movie is the bonus disc from I Love Lucy: The Complete Series. Now all the folks who bought the individual boxsets can quit contemplating put their stuff on eBay for the sake of a single disc. Is it worth it? Yes. “I Love Lucy: The Movie” had them string 3 episodes together for a theatrical feature. The cool part is the opening which has people arrive to watch the filming of the show. Thrill to the soundstage which brought so much hilarity. William Frawley gets to be himself as he waves to the audience. “Lucy Goes to Scotland” is a colorized episode that looks like they had broken out the Technicolor cameras on the set. Using color film shot behind the scenes that day, the hue artists get it right. The crazy redhead really does have red hair as she dreams of visiting the town. There are clips of the show winning the Emmy. Desi Arnaz takes time to point out that there needs to be awards for the writers at the Emmys. What a class act of a guy. It is nice to have this on the shelf so I no longer fight the impulse to buy the Complete Series.
Tales From The Darkside: The Third Season gives us more bumps in the night from executive producer George Romero (Night of the Living Dead). This was a syndicated series that aired in the mid-80s on Saturday night along with Friday 13th: The Series. Tales was a horror anthology with plenty of familiar faces to get spooked. “The Geezenstacks” gives us Larry Pine and a haunted dollhouse. “The Milkman Cometh” has Robert Forster and Seymour Cassel getting wishes fulfilled by the guy from the dairy. “My Ghostwriter – The Vampire” reminds us of when Jeff Conaway wasn’t a near vegetable on VH1 Rehab shows. “Everybody Needs a Little Love” is an early version of Lars and the Real Girl with Jerry Orbach (Dirty Dancing). There’s 22 episodes with enough queasy chills and jolts to keep you up past midnight. Let’s start the rumor that the fourth (and final season) will be out before Halloween.
Penn & Teller Bullshit: The Seventh Season is investigative journalism from the infamous magic act that aired on Showtime. The duo know how to do a cable news show since their special reports often feature nudity. The topics are conversation worthy. “Videogames” has them give a gun to a child who likes shooter games. Does he have the will to kill? “Orgasms” questions folks who claim they can make you rock it like a porn star. How much are people willing to pay to pop? “Apocalypse” debunks the whole 2012 end of the world business. Does this mean I’ll have to pay for my living room? “Organic Foods” was not sponsored by Whole Foods. “Lawns” delves into people who go nuts over their grass. What’s wrong with an astroturf front yard? Nine near-Freakonomically episodes are spread over 2 DVDs. Why aren’t these episodes rerun on Comedy Central after Colbert?
SWEDE ROCK
If you only can attend one rock festival this summer, let it be Sweden Rock Festival. This is the only place I know that dares to book the ultimate line up including Guns N’ Roses, Slayer, Danzig, Aldo Nova and Rick Springfield. Imagine how cool it would be to be partying backstage with Axl, Aldo, Danzig and Rick. The festival is from July 9-12 in Solvesborg. Hopefully that Icelandic volcano won’t kill the fun. Anvil is part of the show. Maybe they can make another film about them hanging with Aldo and Rick. Axl will just kick their ass for pointing a camera at him. You can get more info at www.swedenrock.com.
COMING SOON
James Cameron Plants a Tree in 3-D. Adjust your red and blue flames accordingly.
Comments: None
Leave a Reply |