Columnists
Entries from September 2022
BY ERNIE MAGNOTTA
Six-time, undefeated world karate champion
Chuck Norris made his film debut in 1972’s Way
of the Dragon; a marvelous movie in which Norris played a villainous
character who battled the immortal Bruce Lee in a scene that is now considered
to be one of the greatest cinematic
fights of all time. In 1974, Norris did another villainous turn in the low-budget
martial arts film Slaughter in San
Francisco by portraying a powerful drug lord. He would then go on to
headline 1977’s Breaker! Breaker!
wherein he played the hero for the first time. When the higher budgeted and
more ambitious Good Guys Wear Black
was released the following year, it scored big and suddenly everyone took
notice of this rising new talent.
Vietnam vet John T. Booker (Norris) is now a
political science professor at UCLA who gets wind of the fact that someone very
powerful is killing off the remaining members of his old Special Forces team,
the Black Tigers. With the help of a young reporter named Margaret (Anne
Archer), Booker attempts to find out who’s responsible for the slaughter while
simultaneously trying to stay alive.
Very well-directed by Ted Post, Good Guys Wear Black was written by
Bruce Cohn and Mark Medoff (from a story by Joseph Fraley),and released by
American Cinema Releasing on June 2, 1978. The entertaining action film, which Norris
considers his breakthrough movie, is a post-Watergate/ post-Vietnam story, but,
in some spots, also feels very much like a James Bond film.
Much has been said about Norris’s performance
in this film. Norris himself doesn’t love his acting in this one. After Good Guys was released, Steve McQueen,
who was one of Norris’s karate students at the time, told the rising star that
it would be better if, from now on, he let some of the character actors handle
the heavy exposition while, much like Clint Eastwood and Charles Bronson, Chuck
only uttered the most important lines. Great advice, but still, I don’t think Norris’s
performance in this film is nearly as bad as everyone has said and he has nothing
to be ashamed of. If you watch his movies in order of release, you will see an
actor who worked hard on his craft and improved with each film.
To help support Norris in this early film
effort, the filmmakers cast Good Guys
Wear Black with an amazing array of acting talent the likes of Anne Archer,
James Franciscus, Lloyd Haynes, Dana Andrews, Jim Backus, Lawrence P. Casey and
Soon-Tek Oh (who would later appear in two more Chuck Norris films). The film
also features 9th degree black belt Pat E. Johnson, the first screen
appearance of Chuck’s brother (and fight choreographer) Aaron Norris, and a
cool musical score by composer Craig Safan.
Good Guys Wear Black has been released on
Blu-ray in anamorphic (1.85:1) widescreen from a brand new 2K transfer. The Region
1 disc also contains an interesting audio commentary by action film historians Mike
Leeder and Arne Venema, the featurette “The Making of Good Guys Wear Black”, an interview with director Ted Post, the
original theatrical trailer, reversible sleeve artwork, TV spot and several radio spots. There are also
trailers for five other Chuck Norris films as well as the trailer for Narrow Margin which stars Anne Archer.
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Ernie Magnotta is the author of "Halloween: The Changing Shape of an Iconic Series". Click here to order from Amazon
“RAIN,
A BIKE, WALK-UPS, AND THE DELIVERY GUY”
By
Raymond Benson
The
filmmaker Sean Baker, who most recently gave us (along with co-producer
Shih-Ching Tsou) such striking independent features as The Florida Project (2017)
and Red Rocket (2021), began his career modestly with extremely
low-budget indie pictures that take on a cinema verité style (a type of documentary-like filmmaking that is
improvisational and attempts to capture “reality” in all of its harsh and spontaneous
truths). Baker co-directed with Tsou his second feature film, released in 2004,
Take Out, which is a slice of life tale that takes place within the
twelve hours of a single day.
Ming
Ding (Charles Jang) is an undocumented Chinese immigrant living in New York
City’s Chinatown. He had come to America in search of a better way of life,
leaving his wife and son in China until a later date when he could afford to
bring them over legally. Unfortunately, he owes a great deal of money to an
unscrupulous loan shark, whose muscle men show up at Ming’s apartment of
squalor (where several immigrants also live) and demand that a payment of $800
be made by the end of the day or else Ming’s balance owed will be doubled. They
strike Ming in the back with a hammer to emphasize their seriousness. Ming
already has $500—his entire savings—so he must find $300 over the next several
hours. Ming works as a delivery boy for a take out Chinese restaurant on the
Upper West Side. One of his co-workers, Young (Jeng-Hua Yu), gives him $150. Thus
begins a frantic, and tension-filled race against the clock for Ming to deliver
enough orders to customers in an attempt to make $150 more in tips. Seeing that
many customers barely tip anything at all, the task is definitely a challenge.
Compounding
the situation is that Mother Nature has decided that this would be a day in
which torrential rain must plummet New York all day long. So poor Ming must
ride his bicycle in the downpour back and forth from the restaurant to
customers’ residences. Sometimes the elevator in high-rise buildings is out of
order. Many times he must trek up the stairs to walk-up apartments. Customers
run the gamut—some are nice and friendly; more are cranky or racist or
cheapskates or all of the above- and, this being New York City, Ming must also
be wary of criminals who might target him for the money he’s carrying.
This
is a riveting piece of cinema that is not only suspenseful but also quite
revealing. Those of us who have ordered take out Chinese food in the big city
perhaps do not appreciate what a difficult job it is for the delivery guy. It
is hard, thankless work. We also get to see how a storefront Chinese take-out
place (not a sit-down restaurant) works behind the scenes. The manager and
counter person, Big Sister (Wang-Thye Lee), is the conduit between the kitchen
and the public. She speaks English perhaps better than any of the other
employees, but she’s not beyond throwing insults to or cursing out rude
customers in Mandarin that the recipients don’t understand.
Shih-Ching
Tsou, who has collaborated with Baker as a producer on his subsequent pictures,
was instrumental in bringing Take Out to life. She not only co-produced
the movie, but also co-wrote and co-directed it with Baker, who cannot speak
Mandarin or Cantonese. The script was written in English, but Tsou translated
it into Chinese for the actors, who were, for the most part, amateurs. Baker
did all of the striking camerawork himself along with the editing. Take Out is
truly a “homemade” production.
The
acting is remarkably potent. Charles Jang as Ming doesn’t say much in the
movie, but his inner turmoil and frustrations are clearly evident in his
charismatic demeanor and stoic facial expressions. He rarely reveals his pain,
but we know what he’s feeling. Of special note is Wang-Thye Lee as Big
Sister, who is in many ways the beating heart of the film. She is a pleasure to
watch in action.
The
Criterion Collection’s Blu-ray release presents a new 4K digital restoration,
supervised and approved by Baker and Tsou. It has an uncompressed stereo
soundtrack and comes with an audio commentary by Baker, Tsou, and Jang. There
are new English subtitles, as well as English captioning for the hearing
impaired. Supplements include a fascinating new documentary on the film
featuring interviews with Baker, Tsou, Jang, Lee, and Yu; a vintage documentary
on the making of the film; deleted scenes; Jang’s screen test; and the
theatrical trailer. The booklet comes with an essay by filmmaker and author J.
J. Murphy.
Take
Out is
for fans of Sean Baker’s work, New York City locales, and independent
filmmaking with a bite. Highly recommended.
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BY ERNIE MAGNOTTA
After the release of 1982’s excellent
action/drama First Blood which
featured the debut appearance of Vietnam vet (and soon-to-be action movie icon)
John Rambo (brilliantly played by Sylvester Stallone), a slew of action films
featuring war veterans as their heroes soon flooded movies theaters of 1980s
America. Along with many others, entertaining films like Missing in Action (1984), Commando
and Stand Alone (both 1985)—which
starred Chuck Norris, Arnold Schwarzenegger and Charles Durning, respectively,
as war vets who faced almost insurmountable odds, yet still saved the day—satisfied
action-starved audiences around the country. Throughout the decade, Norris returned
with two Missing in Action sequels
and so did Stallone with Rambo: First
Blood Part II (1985) and Rambo III (1988).
Although these films (with the exception of the underrated Stand Alone) are probably the most remembered of the 1980s war
vet/action film genre, Steele Justice;
a somewhat forgotten, but very enjoyable war vet/action movie, was released in 1987.
While living in California, Vietnam vet and
former cop John Steele (Martin Kove, The
Karate Kid 1, 2 & 3, Rambo: First Blood Part II), who hasn’t been able
to hold down a job since the war ended, witnesses Lee (Robert Kim, Ferris Bueller’s Day Off), his best
friend and fellow vet turned cop, being gunned down by the Vietnamese mafia.
Steele soon learns that this mafia is run by Bon Soong Kwan (Soon-Tek Oh, Missing in Action 2, Death Wish 4), a former Vietnam General
who Steele and Lee tangled with during the war. Steele now wants nothing more
than to bring Kwan to justice, but with resistance from Chief of Police Bennett
(Ronny Cox, Deliverance, 1990’s Total Recall) and not one shred of
proof, the evil Kwan is untouchable. To make matters worse, Kwan has put out a
hit on Steele’s niece, Cami (Jan Gan Boyd, Assassination),
and framed the dead Lee, making it look like he was a crooked cop. Feeling that
the war has moved from Vietnam to the States, one-man-killing-machine John
Steele loads up his deadly arsenal and, with the help of his ex-wife Tracy
(Sela Ward, TV’s Sisters, 1993’s The Fugitive) and good cop Reese (Bernie
Casey, Never Say Never Again, I’m Gonna
Git You Sucka) sets out to take Kwan down.
Written and directed by Robert Boris, who wrote
the script for Electra Glide in Blue,
Steele Justice may not be in the same
league as the films of Stallone, Norris and Schwarzenegger, but if you’re a fan
of movies of that type (and 1980s action cinema in general), the somewhat
predictable, but still mostly fun Steele
Justice won’t disappoint. Boris’s direction is solid. He competently
handles the action sequences and keeps the film moving at a fast enough pace.
He also peppers his screenplay with likeable heroes and despicable villains.
Although many of these characters as well as the situations they find
themselves in, may seem somewhat clichéd, it’s exactly what fans of 80s action
(like me) came to see; a larger-than-life, lone hero singlehandedly taking out
a gang of evil bad guys with a smile on his face. Realistic? No. Entertaining?
Yes. You pretty much know what you’re getting into just from hearing the film’s
memorable tag line: “You don’t recruit
John Steele, you unleash him.”
Over the years, I’ve heard harsh criticism of
Martin Kove’s portrayal of John Steele, but I don’t find a problem with it. Kove
is one of those actors who is always welcome in just about anything as far as
I’m concerned. Whether he is playing hero or villain, he always comes through
with his performance and makes a film that much better. He is especially good
at playing henchman and bully-type villains as well as all-American heroes like
John Steele. If I have a complaint, it’s that the usually charismatic and
humorous Kove is toned down a bit here. It’s a minor complaint, but I would
have liked to have seen a little more enjoyment in his portrayal. Besides
benefitting from a strong lead like Kove, the movie also features a wonderfully
villainous performance from the great Soon-Tek Oh, super-talented veterans
Ronny Cox and Bernie Casey convincingly playing cops, and the lovely Sela Ward
as Steele’s sometimes exasperated ex-wife.
The fun movie also features several highly recognizable
faces such as Joseph Campanella (Defiance),
Sarah Douglas (Superman II), Peter
Kwong (Big Trouble in Little China),
Al Leong (Lethal Weapon), Shannon
Tweed (No Contest) and Irene Tsu (Three the Hard Way) who all add
immensely to the film’s enjoyment.
Although the movie itself may be a bit
derivative, it’s still a well-done and entertaining action film with a solid, extremely
likeable cast. If you’re a fan of this genre, I recommend checking it out.
Steele Justice has been released on
Blu-ray from Kino Lorber. The film is presented in its original 1.85:1 aspect
ratio and, as is usually the case with KL, the HD transfer is terrific. The
disc also contains a very informative audio commentary by Martin Kove, Robert
Boris and moderator Alex Van Dyne (Eddie
Brandt’s Saturday Matinee). It’s fun to listen to them reminisce about the
film and Martin Kove talks about how he would play the role differently today.
We’re also treated to the original theatrical trailer as well as trailers for
five other exciting action films: Code of
Silence; Taffin; Murphy’s Law; The Final Option and Hard
Target.
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Klubb
Super 8/ Eken Press
384
pages
Hardback
Published
2021
ISBN:?
978-9198677201
RRP:
£25
BY ADRIAN SMITH
If cinema made us
believe anything back in the mid-twentieth century, it was that those Europeans
were getting far more sex than the rest of us. From Brigitte Bardot to Sophia
Loren, from I – a Woman to I am Curious, films from Europe were
somehow more adult, more daring and sexier. There was an “Ooh La La!” factor when
it came to European cinema, and audiences did not always differentiate between
a challenging black and white French New Wave film or a ‘commedia sexy
all'italiana’. If it came from the continent there was an assumption that you
would get to see far more than in British or Hollywood films. Post-war it was primarily
French and Italian films that dominated this market, but gradually Sweden took
the crown and Stockholm became the sexy film capital of Europe. Whereas the
sophisticated French and Italian women all wore heavy makeup and expensive
lingerie and looked glamorous and unattainable, Swedish girls seemed to be
fresher, down-to-earth and more natural. There was something of the girl next
door about them, perhaps becoming a more realistic prospect for the average man
in the audience.
Although Rickard
Gramfors is keen to point out in this excellent new collection of film posters
that Swedish cinema was not all with angst and existential anxiety, Ingmar
Bergman’s Summer With Monika in 1953 was one of the first to make the
rest of the world aware of this sexy northern European nation. This is perhaps
because it was distributed in America under the title Monika – the Story of
a Bad Girl. Swedish films increased in popularity throughout the fifties
and sixties, although it was a change in censorship law in 1971 that finally
saw Sweden become one of Europe’s most prolific hardcore pornography production
centres. The country became so synonymous
with sex that the word ‘Sweden’ would often be inserted into film titles from
other countries to spice them up, from Bob Hope’s I’ll Take Sweden to
the Italian mondo documentary Sweden Heaven and Hell (now best
remembered for the origin of the ‘Mah-na-Mah-na’ song later used in The
Muppets). This book features many such examples.
Do
You Believe in Swedish Sin? also demonstrates that it
was not all just sex: Sweden’s growing film industry also produced action
films, westerns (known as Lingonberry westerns!), horror, sword-and-sandal,
comedies and even the occasional ninja epic.
As has been remarked
upon before in Cinema Retro, the art of the film poster is not what it
used to be, and this fabulous collection from the archives of Klubb Super 8, a Swedish
vintage distribution company, shows us many great examples of just how good poster
art was. As well as Swedish posters there are also examples from around the
world, from fantastic hand-painted Italian locanda that manage to make
everything look like a gothic masterpiece to eye-catching posters from the
grindhouses of 42nd Street. This is a book that will have you seeking
out many of the fabulous-looking films covered. Fortunately for you, Klubb Super
8 have recently established a new streaming service called Cultpix, where
indeed many of these films can now be viewed at the click of a mouse, from
classics like Anita - Swedish Nymphet to sex education films such as The
Language of Love. Cultpix also has cult films from all over the world in a
range of genres, and it is growing all the time. It is a must-have subscription
for anyone looking for something a bit different from the safer options on
Netflix or Disney +.
With hundreds of
posters and written commentary in English, Do You Believe in Swedish Sin?
is an eclectic and engrossing poster collection for any serious movie buff. This
glossy hardback book will add a touch of colour and Scandinavian glamour to any
top shelf.
You can order a copy
of Do You Believe in Swedish Sin? here: https://super8.merchants.se/en/article.php?art=181506235
You can explore what
Cultpix has to offer here: https://www.cultpix.com/
BY ERNIE MAGNOTTA
Although Robert Clouse will always be
remembered for directing the immortal Bruce Lee’s 1973 martial arts classic Enter the Dragon, the talented
filmmaker has quite a few more interesting movies in his filmography. Just
hearing about a small portion of the man’s work is enough to impress any film
buff. For instance, in 1970, Clouse directed the very well-done detective
mystery Darker than Amber. He also
helmed the 1974 cult classic action flick
Black Belt Jones (starring martial arts champion Jim Kelly). In 1978,
Clouse completed Bruce Lee’s fifth and final film (which was never finished due
to Lee’s unfortunate death) by writing and directing Game of Death. He then directed the great Jackie Chan in the
enjoyable 1980 actioner The Big Brawl;
a movie he also penned. While taking a break from action, Clouse took a few
stabs at the horror genre by first directing the enjoyable 1977 movie The Pack (starring the great Joe Don
Baker) as well as the fun, rats-on-the-loose feature Deadly Eyes (1982). He has also directed action film icons Cynthia
Rothrock and Bolo Yeung, and wrote the films Something Evil and Happy
Mother’s Day, Love George which went on to be directed by Steven Spielberg
and Darren McGavin, respectively. If
all this info has gotten you interested in Robert Clouse, then you’ll be happy
to hear that Golden Needles, a film
Clouse directed in 1974, was recently released on Blu-ray.
In Golden
Needles, the race is on as seven
people frantically search for a priceless Chinese statue which contains seven
needles that are guaranteed to grant the owner perfect health and vitality.
Filmed on location in Hong Kong, Golden Needles was distributed by
American International Pictures and released on July 17, 1974. Although the
movie is filled with plenty of action and adventure, it’s a tad more
lighthearted than, say, Enter the Dragon.
This entertaining film benefits from an engaging story, Clouse’s solid
direction, the Hong Kong locations, another funky ‘70s score from the legendary
Lalo Schifrin, and fun performances from the very talented cast. Besides Joe
Don Baker and Elizabeth Ashley, who are both very likeable and seem to have
some nice onscreen chemistry, we are also treated to humorous turns from Ann
Sothern and Burgess Meredith. Super cool Jim Kelly shows up and, as always,
it’s a joy to watch him kick ass. Last, but not least, as a cold-hearted
villain, Roy Chiao (best known as Lao Che from Indiana Jones and the Temple of Doom) is appropriately
intimidating. If you’re looking for a light, enjoyable adventure, this film
really hits the spot.
Golden Needles has been released on
Blu-ray by Kino Lorber in a widescreen (2.35:1) transfer from a brand new 2K
master, and the movie looks and sounds fantastic. The Region 1 disc also
contains the original theatrical trailer, TV spot, radio spots, an image
gallery, newly commissioned art by Vince Evans, reversible sleeve artwork and an informative audio
commentary by film historians Howard S. Berger and Chris Poggiali. Rounding out
the special features are seven terrific action movie trailers: Mr. Majestyk; Newman’s Law; Brannigan; Thunderbolt and Lightfoot; Truck Turner; The Laughing Policeman and
Revenge of the Ninja.
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BY ERNIE MAGNOTTA
In 1984, The Cannon Group released Missing in Action, a film that dealt
with Colonel James Braddock (Chuck Norris)’s attempt to rescue prisoners of war
from Vietnam. Directed by Joe Zito (The
Prowler, Friday the 13th: The Final Chapter), the entertaining
actioner, which was made for only $1.5 million, went on to gross almost $23
million. A sequel, which was actually a prequel and titled Missing in Action 2: The Beginning, was released the following year
(These two movies were originally filmed back to back and were to hit theaters
in reverse order, but because Zito’s film was the better of the two, it was
released first). The film dealt with Colonel Braddock’s time as a POW in Vietnam
and his subsequent escape. Although not nearly as successful as the first film,
MIA2 was still well-done and
entertaining enough for action movie icon Chuck Norris to return to the role of
Colonel Braddock for the third and last time in 1988’s Braddock: Missing in Action III.
After not only discovering that his thought-to-be-dead
wife, Lin (Miki Kim, Primary Target),
is still alive, but also that he has a 12-year-old son named Van (Roland Harrah
III, TV’s Airwolf) who are both
prisoners in present day Vietnam, Colonel James Braddock (Norris) heads back to
to his old war zone, against orders, in hopes of finding them. Once he does,
the Braddock clan, along with a benevolent Reverend (Yehuda Efroni, The Delta Force) and several children
from a nearby mission, are captured by General Quoc (Aki Aleong, TV’s Babylon 5) who kills Lin and makes
prisoners of Braddock, Van, the Reverend and the children. Does Braddock have
what it takes to overpower Quoc and his massive army in order to escape safely
with his son, the Reverend and the rest of the innocent children?
Shot in the Philippines, directed by Chuck’s
brother, Aaron Norris (Delta Force 2),
and written by James Bruner (An Eye for
an Eye) and Chuck Norris (as an outcry against the thousands of Asian-American
children trapped in Vietnam), Braddock:
Missing in Action III, which continued Chuck’s association with now
legendary film studio The Cannon Group, is a very solid (final) sequel to the
original film, making the Missing in
Action trilogy a completely entertaining and worthwhile action series. It
may not be as good as the original (most sequels aren’t), but it’s a very
enjoyable actioner as well as a nice continuation of the James Braddock
character. It also stays true to the series’ roots by having Braddock return to
Vietnam to perform a dangerous one man rescue mission without it seeming like a
lazy retread of the first film. Just as in any action film from this time
period, there are a few over-the-top action sequences, but director Aaron
Norris, who does a very nice job here, doesn’t go overboard with this and keeps
things nicely balanced by making the situations (and characters) believable
enough so that we can get completely caught up in the action and suspense.
It’s no big shock that action movie superstar
Chuck Norris delivers exactly what we want to see from him. Although he’s his usual likeable, low-key and
convincingly deadly self, his humorous quality is mostly absent here perhaps
due to the character’s journey being a personal one (rescuing his wife he
thought dead and his son he never knew he had). To go along with this somber attitude
(as well as with keeping the story and characters a bit more balanced than in a
usual 80s action extravaganza), Chuck is only given one over-the-top, action
hero line. When ordered by his superior not to step on any toes, Chuck utters
the immortal line: “I don’t step on toes;
I step on necks.”
Although Chuck is the main reason we’re all
watching this movie, he is ably supported by a very talented cast. To begin
with, Aki Aleong is terrific as the evil and sadistic General Quoc. Roland
Harrah III gives a very convincing performance as Chuck’s angry and confused
son Van, and Miki Kim and Yehuda Efroni do well in their roles of Chuck’s
ill-fated wife and the good-hearted Reverend, respectively. The film also
features familiar faces such as Jack Rader (1988’s The Blob), Floyd Levine (The
Hangover) and a brief appearance by the always welcome Keith David (1982’s The Thing, There’s Something About Mary).
Braddock: Missing in
Action III is currently streaming free for Amazon Prime
members.
(Cinema Retro's Mark Cerulli provides an update on his initial report that took readers inside the making of an indie horror film.)
By Mark Cerulli
My
first Cinema Retro report was just after we had wrapped our first shoot for Area
5150, a sci-fi/horror comedy I co-wrote with director Sean Haitz. It was 6 days filled with
warmth, laughter and moments of terror in the high desert outside Palm Springs,
California. But we got it done, movie in
the can, premiere on the horizon, right?
Not
so fast.
Haitz,
an intense storyteller (who also fronts a rock band), wanted to do a “Cold
Opening” to the film, launching the audience right into the action. He had a vision of a terrified young woman,
babbling in a foreign language, running down a deserted highway, trying to get
away from… something. Several
weeks later, damn if Sean didn’t have Kati Rausch, a young Finnish actress,
running down an empty highway in a bloody hospital gown at 7 AM on a
Sunday. She gets recaptured – ‘natch - and
then we meet our villain, Dr. Izar (an amazing character actor named Jed Rowen)
in a prison cell that would have done Hannibal Lecter proud.
A
few months later Sean landed Felissa Rose – the “it girl” of Sleepaway Camp,
now a well-known genre star with over 100 credits including Victor Crowley,
Terrifier 2 and the upcoming Dark Circles. We had her for only one day, so Sean and I pounded
out some scenes where she played a crazy desert rat mom with two feral kids – local
desert residents who brought a menagerie with them including a tarantula,
snakes and scorpions! (In a very un-Bondian
manner, this writer declined the opportunity to have the tarantula crawl up his
arm.) Felissa went all out and delivered an outstanding performance, getting
applause from the sleep-deprived crew.
That’s
a wrap, right? Well… we realized the
film needed more. In came a
brilliant young producer named Ryan James who had us write some
character-building scenes and stayed on for the duration. The entire cast was brought back for a new
shoot in March ’22. Like the previous year, we made use of every last
minute of daylight, especially during the fabled “Golden Hour” which seemed to
go by in minutes. Once again, we shot
scenes in an abandoned crack house – now even MORE vandalized than on our
previous shoot. Somehow, we managed to
get our new scenes shot both in the desert and in a soundstage in LA that had
very realistic standing sets which we used for the interiors of Area 51.
There
is still more to do – a few more scenes (possibly with an iconic genre actor)
and Sean has an epic attack on Area 51 by our lead mutant, Ruby Rose in mind.
There’s also hiring a skilled editor and funding the maze of post-production –
mixing, scoring, color correcting, etc. But we’re getting there…
For more on Area 5150 or to get involved on the
film, click here.
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