#26: CRITTERS, CREEPERS & Other Impossible Projects: A Conversation with Producer Barry Opper

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Today’s guest is Barry Opper, best known as the producer of the CRITTERS series, the tongue-in-cheek sci-fi horror series about furry little creatures from outer space creating havoc here on Earth. Barry started out, together with his business partner Rupert Harvey, as the producer of Aaron Lipstadt’s 1982 sci-fi cult film ANDROID, which was made in collaboration with Roger Corman and starred Klaus Kinski and Barry’s brother Don, who also wrote the screenplay. Barry and Rupert went on to produce the CRITTERS series, which also starred Don as Critter hunter Charlie, and they also made Aaron Lipstadt’s post-apocalyptic film CITY LIMITS and the noir-ish crime thriller SLAM DANCE, both also written by Don. Later on, Barry worked as a producer on the first instalment of Victor Salva’s JEEPERS CREEPERS series and co-produced video director Marc Klasfeld’s feature-film debut, the biting satire THE L.A. RIOT SPECTACULAR.

In our conversation, Barry recalls how he went from working as a teacher in West Africa to joining the Company Theater group in Los Angeles and then becoming a movie producer. He tells numerous anecdotes from his various movies – for example, how a young and unknown teenager named Leo DiCaprio became one of the stars of CRITTERS 3. He discusses some of the problems that the productions ran into – including creative differences on SLAM DANCE and a difficult situation on JEEPERS CREEPERS which led to Barry being fired from the film. Barry also talks about his personal and his creative relationship with his Brother Don, and he discusses some of the projects he is currently working on.

The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please visit lichtspielplatz.at and check out episode #63, which features an in-depth discussion of Barry’s first film ANDROID. Also, make sure to listen to my interview with ANDROID director Aaron Lipstadt here on Talking Pictures.

So without any further ado, here’s Barry Opper discussing how he became interesting in the world of movies.

The mp3 file can be downloaded HERE.

Photos courtesy of Barry Opper
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

 

Talking Pictures #25: Aaron Lipstadt, Director of ANDROID

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Today’s guest is Aaron Lipstadt, best known from the mid-80’s onwards as a director on popular TV shows like MIAMI VICE, QUANTUM LEAP, LAW & ORDER, CROSSING JORDAN, THE 4400, BOSCH or ELEMENTARY. As a producer/director, he also worked on shows like THE MARSHAL, THE DIVISION, MEDIUM and GRIMM.

In our interview, however, we go back to the beginning of Aaron’s career – to an independent little science-fiction gem called ANDROID, which came out in 1982 and was compared by film critic Roger Ebert to cult debut films like George Lucas’ THX 1138 and John Carpenter’s DARK STAR. ANDROID was produced by Roger Corman and starred Klaus Kinski as a mad scientist working on a life-like robot called Max. The android was played by Don Opper, who also co-wrote the screenplay and then, a few years later, became a cult figure as bounty hunter Charlie in the CRITTERS series. In our conversation, Aaron recalls how he learned the ropes at Roger Corman’s company and how ANDROID came together, he discusses working with Kinski, talks about the ideas and themes of the movie and much more. Aaron also discusses his follow-up film CITY LIMITS, a post-apocalyptic action picture that, as he says, almost killed his career – and he recalls how he became involved with television directing, starting with an episode of MIAMI VICE.

The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out our episode #63, which features an in-depth discussion of ANDROID. Also, make sure to listen to my interview with Barry Opper, the producer of ANDROID and CRITTERS, which will be released shortly here on Talking Pictures.

So without any further ado, here’s Aaron Lipstadt!

The mp3 file can be downloaded HERE.

Photo courtesy of Aaron Lipstadt
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

 

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Talking Pictures #22: Nicholas Meyer, Writer of THE SEVEN PER-CENT SOLUTION

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Today’s guest is the amazing writer and director Nicholas Meyer. While Meyer is probably best known as the writer and director of the beloved sci-fi sequels STAR TREK II: THE WRATH OF KHAN and STAR TREK VI: THE UNDISCOVERED COUNTRY and also as the director of the sci-fi adventure TIME AFTER TIME and the devastating nuclear disaster TV movie THE DAY AFTER, our conversation revolves around his Sherlock Holmes stories. In 1974, Meyer published the bestselling novel THE SEVEN PER-CENT SOLUTION, presented as a rediscovered manuscript in which Arthur Conan Doyle’s famous detective meets Sigmund Freud in Vienna who cures him of his cocaine addiction. Meyer received an Academy Award nomination for adapting his book into a screenplay for the movie version directed by Herbert Ross, which was released in 1976 and starred Nicol Williamson, Robert Duvall, Alan Arkin, Vanessa Redgrave and Sir Laurence Olivier.

Meyer wrote four more Holmes novels in the following years, starting with THE WEST-END HORROR, in which Holmes and Watson solve a case in London’s theatre district and meet famous artists like George Bernard Shaw, Oscar Wilde and Bram Stoker. In the third Holmes novel, THE CANARY TRAINER, Holmes works undercover as a violinist at the Paris Opera and crosses paths with Gaston Leroux’s famous Phantom of the Opera. More recently, Meyer wrote THE ADVENTURE OF THE PECULIAR PROTOCOLS, in which Holmes is on the trail of the infamous Protocols of the Elders of Zion, a vicious forgery which is supposed to document a Jewish plan for world domination. The fifth Holmes novel, THE RETURN OF THE PHARAOH, is set in Egypt and has an older Holmes working with archeologist Howard Carter on solving a mystery revolving around a previously undiscovered pharaoh’s tomb.

Meyer’s Sherlock Holmes novels and his insightful autobiography THE VIEW FROM THE BRIDGE.

In our conversation, Nicholas Meyer discusses how he developed the ideas of his Holmes novels and how he found the connection between Arthur Conan Doyle and Sigmund Freud. He talks about the process of adapting the book for the film version of THE SEVEN PER-CENT SOLUTION and about his discussions with director Herbert Ross revolving around several changes. We also discuss the other Holmes novels and take a brief detour into Meyer’s STAR TREK movies. Meyer also explains why the job of a psychoanalyst is similar to that of a movie editor, and he shares a story that revolves around his take on the concept of originality.

The interview was conducted in connection with our German companion podcast Lichtspielplatz, so if you speak German, make sure to check out episode #57 which features an in-depth discussion of the film THE SEVEN PER-CENT SOLUTION and all five of Meyer’s Holmes novels.

So without any further ado, here’s the brillant Holmes to my ordinary Watson – Nicholas Meyer!

The mp3 file can be downloaded HERE.

Photo of Nicholas Meyer: Leslie Fram
Photo of Meyer books: Christian Genzel
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

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Talking Pictures #20: Allan Warnick, Supporting Actor in CHINATOWN

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This is the second part of our CHINATOWN series where we discuss the making of Roman Polanski’s 1974 masterpiece, and today’s guest is character actor Allan Warnick. CHINATOWN is Allan’s best-known role, and if you’ve seen the film, you remember Allan from the perfect and very funny scene in the Hall of Records where he plays the stuck-up clerk who tells Jack Nicholson that “This is not a lending library”.

Allan worked on several other films during the era, starting with Dennis Hopper’s EASY RIDER follow-up THE LAST MOVIE and then appearing in films like MOTHER, JUGS & SPEED by Peter Yates alongside actors like Harvey Keitel and Raquel Welch, POSSE by and with Kirk Douglas, ROCKY II by and with Sylvester Stallone – and also in the CHINATOWN sequel THE TWO JAKES, directed by Jack Nicholson, where he appears as another snooty clerk. In our conversation, Allan shares his memories of the CHINATOWN shoot and his other appearances as an actor, and he provides a captivating glimpse of the era itself – including a run-in with Charles Manson!

Allan Warnick.

Make sure to also listen to my interview with CHINATOWN assistant director Hawk Koch in Talking Pictures #19. The third CHINATOWN interview, a conversation with editing expert Bobbie O’Steen, the wife of late CHINATOWN editor Sam O’Steen, will be online shortly. The CHINATOWN interviews were conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out episode #56, which features an in-depth discussion of Polanski’s film.

So without any further ado, here’s Allan Warnick recalling how he became an actor.

The mp3 file can be downloaded HERE.

Photos courtesy of Allan Warnick.
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

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Talking Pictures #19: Hawk Koch, Assistant Director of CHINATOWN

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Our third season starts with three interviews where we discuss the making of one of the most revered New Hollywood classics, Roman Polanski’s CHINATOWN, originally released in 1974 and now considered to be one of the best American movies of all time. Today’s episode features my conversation with Hawk Koch, who worked on CHINATOWN as an assistant director and had previously worked with Polanski as a dialogue coach on ROSEMARY’S BABY in 1968.

Hawk Koch is the son of Hollywood producer Howard Koch, best known as the producer of THE MANCHURIAN CANDIDATE and THE ODD COUPLE. Originally known as Howard Koch Jr., Hawk worked as a road manager for the Supreses and the Dave Clark Five before he entered the film business as an assistant director during the New Hollywood era, working with legends like John Schlesinger on THE MARATHON MAN, Sydney Pollack and Robert Redford on THE WAY WE WERE, Alan Pakula and Warren Beatty on THE PARALLAX VIEW and, again with Beatty, HEAVEN CAN WAIT. Hawk later became a producer who was responsible for terrific films like WAYNE’S WORLD, SLIVER, PRIMAL FEAR, KEEPING THE FAITH and SOURCE CODE. Like his father in the late 70’s, Hawk Koch served as the President of the Academy of Motion Pictures Arts and Sciences from 2012 and 2013.

Hawk Koch (left) with director Roman Polanski.

 

Hawk Koch with Mia Farrow on the set of Polanski’s ROSEMARY’S BABY.

In our interview, Hawk remembers the shooting of CHINATOWN and working with Roman Polanski. He also has vivid memories of working on films like THE PARALLAX VIEW, Richard Rush’s GETTING STRAIGHT or Peter Fonda’s THE HIRED HAND. We also discuss Hawk’s wonderful Hollywood memoir MAGIC TIME – if you want to know more about his adventures in Hollywood and learn more about the relationship with his famous father, make sure to read it as Hawk is a gifted storyteller.

Make sure to also check out my interview with Allan Warnick, the actor from the famous “Hall of Records” scene, in Talking Pictures episode #20. There will be another CHINATOWN interview online soon, a conversation with Bobbie O’Steen, the wife of late CHINATOWN editor Sam O’Steen. The CHINATOWN interviews were conducted in connection with our German-language podcast Lichtspielplatz – so if you speak German, please check out Lichtspielplatz episode #56, which features an in-depth discussion of Polanski’s film.So without any further ado, here’s Hawk Koch remembering the changes brought along by the New Hollywood movement.

The mp3 file can be downloaded HERE.

Photos courtesy of Hawk Koch.
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

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Talking Pictures #18: John Ottman, Director of URBAN LEGENDS: FINAL CUT

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For today’s episode, I had the honor and pleasure of talking to John Ottman, best known as the editor and composer of several X-MEN films – X-MEN 2, DAYS OF FUTURE PAST and APOCALYPSE – and of other Bryan Singer movies like THE USUAL SUSPECTS, VALKYRIE and SUPERMAN RETURNS. In 2019, he won an Academy Award for editing the Queen biopic BOHEMIAN RHAPSODY. He’s also scored numerous other well-known films like THE NICE GUYS, HOUSE OF WAX, GOTHIKA, UNKNOWN and NON-STOP.

Our conversation, however, revolves around John’s feature film debut as a director: URBAN LEGENDS: FINAL CUT from 2000, the sequel to Jamie Blanks’ successful neo-slasher film URBAN LEGEND. Where the original film focused on killings inspired by urban legends, John’s sequel was set in a film school where the students are murdered because of their connection to a certain movie, so the film features numerous creative sequences which playfully comment on the mechanisms of making movies and the tropes of horror movies.

In our interview, John recalls how he got on board as a director, how the project developed and how an added scene changed the tone of the movie. He talks about working with a young Eva Mendes, discusses how his own experiences in film school found their way into the film, how he ended up editing the movie himself, and much more. John also recalls how he missed out on the very first X-MEN movie because of his commitment to URBAN LEGENDS: FINAL CUT, and he discusses a new project currently in development with him as a director.

John Ottman with the cast & crew of URBAN LEGENDS: FINAL CUT.

The interview with John Ottman was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, check out episode #51, which features an in-depth discussion of the first two URBAN LEGEND movies. Also, make sure to listen to Talking Pictures episode #17 in which I talk to the director of the original film, Jamie Blanks.

So without any further ado, here’s Talking Pictures with John Ottman!

The mp3 file can be downloaded HERE.

Photos courtesy of John Ottman.
Photo credit for Ottman portrait: Photo by Michael Buckner/Variety/REX/Shutterstock (9953559dr) John Ottman at Variety’s Music for Screens Summit at NeueHouse Hollywood on October 30, 2018. Variety Music for Screens summit, Los Angeles, USA – 30 Oct 2018

Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.
Thanks to Michael Hollands from Sound of the Movies.

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Talking Pictures #17: Jamie Blanks, Director of URBAN LEGEND

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Today’s guest is Australian horror movie director and genre aficionado Jamie Blanks. Jamie made a name for himself with his 1998 feature film debut URBAN LEGEND, a neo-slasher movie that came out in the wake of Wes Craven’s SCREAM movies and which told the story of a madman whose killings are based on popular urban legends. With a great cast of people like Alicia Witt, Jared Leto, Joshua Jackson, Robert Englund and Brad Dourif and a keen sense of style, the film became a hit which spawned two sequels.

Jamie then made another stylish slasher movie, VALENTINE, which took its cues from the Italian giallo movies and again featured an excellent cast of actors like Marley Shelton, Jessica Capshaw, Denise Richards and Katherine Heigl. Jamie directed two more movies in his home country, the grim, intense backwoods horror movie STORM WARNING, and a remake of an Australian 70’s cult classic, LONG WEEKEND. In recent years, he’s worked as an editor and composer, most notably for popular Mark Hartley B-movie documentaries like ELECTRIC BOOGALOO or NOT QUITE HOLLYWOOD.

Jamie Blanks (left) with URBAN LEGEND producer Neil H. Moritz (middle) and star Jared Leto.
Jamie Blanks discussing a scene with URBAN LEGEND star Rebecca Gayheart.
In our conversation, Jamie discusses how he got the opportunity to direct URBAN LEGEND after he was originally briefly involved with another well-known horror film of that era, he talks about his stylistic choices and the screen history of some his actors, and he recalls receiving some very good advice from Wes Craven himself.

We also discuss Jamie’s other movies and talk about how his student short film SILENT NUMBER paved the way for URBAN LEGEND, we talk about the feminist tendencies of VALENTINE, the extreme aspects of STORM WARNING, the challenges of remaking LONG WEEKEND, his influences, the appeal of Australian horrors, and much more. Jamie even teases a new project he’s working on a as a director.

On the set of VALENTINE, with star Marley Shelton.
Directing a particularly gruesome sequence on the set of STORM WARNING.
The interview with Jamie Blanks was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, check out episode #51, which features an in-depth discussion of the first two URBAN LEGEND movies. Also, make sure to listen to Talking Pictures episode #18 in which I talk to the director of the URBAN LEGEND sequel, renowned editor and composer John Ottman.

So without any further ado, here’s Talking Pictures with Jamie Blanks!

The mp3 file can be downloaded HERE.

All photos courtesy of Jamie Blanks.
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

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Talking Pictures #16: Jan de Bont, Director of TWISTER

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Filmmaker Jan de Bont became famous as one of the most creative and exciting cinematographers of the 70’s, 80’s, and 90’s. He started out in the Netherlands where he worked on Wim Verstappen’s controversial film BLUE MOVIE and quickly became known for his collaborations with director Paul Verhoeven on movies like TURKISH DELIGHT, KEETJE TIPPEL and THE FOURTH MAN. He continued working with Verhoeven in America on FLESH & BLOOD and BASIC INSTINCT and became a sought-after DP for blockbusters like DIE HARD, THE HUNT FOR RED OCTOBER, LETHAL WEAPON 3 and FLATLINERS.

But Jan de Bont is also a very talented and unique director in his own right. He made his 1994 directorial debut with the wonderfully tense action thriller SPEED, which he quickly followed up with the amazing adventure/disaster movie TWISTER, which was written by Michael Crichton and his wife and produced by Steven Spielberg. He also made the much-maligned sequel SPEED 2, which is actually a very fun action thriller if taken on its own terms; he directed the Spielberg-produced horror movie THE HAUNTING, which features one of the greatest horror houses in recent horror history, and the video game movie TOMB RAIDER 2 which features numerous inventive action sequences.

I spoke with Jan de Bont about the making of TWISTER and his philosophies of creating realism on screen. Our conversation took place in connection with a video featurette I produced for a 25th anniversary re-release of TWISTER for the German label Turbine who created a beautiful mediabook issue of the film with a new Dolby Atmos & Auro 3D soundtrack. More info on the release can be found here, my interview featurette is called STORM CHASERS – JAN DE BONT ON TWISTER.

We also talked about Jan’s casting choices, his admiration of Stanley Kubrick’s movies, and much more. Please forgive a couple of moments where the sound quality isn’t ideal, but I feel the conversation is definitely insightful and also entertaining enough to ignore a few background noises.

If you speak German, make sure to also listen to our companion podcast Lichtspielplatz and check out episode #50, which features an in-depth discussion of TWISTER in German.

So with no further ado, here’s Talking Pictures with maestro Jan de Bont!

The mp3 file can be downloaded HERE.

Photo of Jan de Bont conversation (C) Ghost Light Productions/Turbine Medien GmbH.
Portrait of Jan de Bont courtesy of Jan de Bont & Trish de Bont.
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

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Talking Pictures #15: Steve Beck, Director of THIR13TEN GHOSTS and GHOST SHIP

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Filmmaker Steve Beck created two notable horror movies in the early 2000’s: THIRTEEN GHOSTS, which came out in 2001, and GHOST SHIP, which followed in 2002 – both of them produced by Robert Zemeckis, Joel Silver and Gilbert Adler for their company Dark Castle Entertainment. THIRTEEN GHOSTS was a remake of William Castle’s B-movie classic by the same name from 1960, whereas GHOST SHIP was an original story. Both movies are effective ghost stories starring several recognizable actors like F. Murray Abraham, Gabriel Byrne, Tony Shalhoub, Matthew Lillard, and even a young Emily Browning. The real star of both films, however, is the production design – both movies take place in fascinating, unusual horror houses: THIRTEEN GHOSTS is set in a house made of glass that works like an intricate, demonic machine, while GHOST SHIP is set on an abandoned 1960’s ocean liner that is reminiscent of the underwater wreckage of the Titanic.

Steve Beck directing Alec Roberts in THIR13EN GHOSTS.
Steve Beck discussing a scene with young Emily Browning on the set of GHOST SHIP.

Unfortunately, THIRTEEN GHOSTS and GHOST SHIP were Steve’s only feature films. In his main career, he was an award-winning commercial director who created several SuperBowl commercials and worked for clients such as First Union, Pepsi, Gatorade, Toyota, Ford, BMW, Intel, Burger King, and other large brands. Steve also worked as a graphic designer and worked as a visual effects art director for Industrial Light & Magic, where he was involved with movies like INDIANA JONES AND THE LAST CRUSADE, THE ABYSS and THE HUNT FOR RED OCTOBER. He also worked as a theme park designer and producer, as an illustrator, and a sculptor, and more.

In our interview, Steve shares his memories of the making of both THIRTEEN GHOSTS and GHOST SHIP, talks about the cast and the incredible spaces that were created for both films, discusses some of the unmade projects he worked on afterwards, and more.

Steve Beck (left) with John DeSantos, who played the Juggernaut ghost, and Gil Adler (right), who produced both movies, on the set of THIR13EN GHOSTS.
Steve Beck (left) on the set of GHOST SHIP with DP Gale Tattersall, who also worked on THIR13EN GHOSTS, and 2nd AD Jennifer Leacey.

The interview with Steve Beck was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please visit www.lichtspielplatz.at and check out episode #49, which features an in-depth discussion of both THIR13EN GHOSTS and GHOST SHIP.

So with no further ado, here’s Talking Pictures with Steve Beck!

The mp3 file can be downloaded HERE.

Photos courtesy of Steve Beck
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

Talking Pictures #14: Bert I. Gordon, Director of THE AMAZING COLOSSAL MAN

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Bert I. Gordon at the 37th Annual Saturn Awards at The Castaway, Burbank, California June 23, 2011. Photo Credit Sue Schneider_MGP Agency

Our latest episode features a very special interview with a legendary filmmaker who put his own unique stamp on horror movies. His initials are B.I.G., and size is also one of the major themes of his movies which featured giant lizards, giant grasshoppers, giant cats, giant spiders, giant rats, giant ducks and yes, even giant teenagers.

I’ve had the pleasure of talking to Mr. Bert I. Gordon, who, starting in the Fifties, created many beloved B movies like THE CYCLOPS, THE AMAZING COLOSSAL MAN, BEGINNING OF THE END, EARTH VS. THE SPIDER, ATTACK OF THE PUPPET PEOPLE, VILLAGE OF THE GIANTS, FOOD OF THE GODS, and many others as a director, writer, producer, and special effects creator. He’s also done fantasy movies like THE MAGIC SWORD, thrillers like THE MAD BOMBER, and even sex comedies like HOW TO SUCCEED WITH SEX or THE BIG BET. In 2009, he released his autobiography, THE AMAZING COLOSSAL WORLDS OF MR. B.I.G., and in 2014, at age 92, and sixty years after his first feature, he released a wonderful new black-humored psychological thriller called SECRETS OF A PSYCHOPATH.

The amazing Mr. Gordon is now 98 years young, and I was able to talk to him over the phone about his life and his movies with a little help from his daughter Christina. Bert even teases a new screenplay that he has been working on!

The interview was conducted in connection with our German-language companion podcast Lichtspielplatz – so if you speak German, make sure to check out our episode #48, which features an entertaining journey through the monster movies of the Fifties and Sixties, including several of Mr. Gordon’s films and also movie by contemporaries such as Jack Arnold.

So without further ado, here’s Talking Pictures with Bert I. Gordon!

The mp3 file can be downloaded HERE.

Photos: (C) Bert I. Gordon

Special thanks to Christina Gordon for her help in setting up and conducting the interview.
Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent.

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