After the break / howling like a grape
Presenter - Welcome back everybody, tonight we've been talking with Erwin Breckenhauser about his career in films. I apologise if anyone had questions prepared for the Lars Von Trier evening - you can post on the forum as normal, though no more abuse about Bjork please...
E- Don't apologise man, I think they're having a good time
C- Well, I hope so, it's certainly been an eye opener for me. Now Erwin, I've logged on to the old interweb to swot up on your genre - the thing that fascinated me was the commitment of your cast. Doing their own stunts for example.
E- Not through choice. I remember throwing Frank Zagarino off a barn in '86. [Pause] Jesus we had to laugh. He broke his collar bone. But normally it's pretty safe. Close to the ground shit. You don't want to risk the kit. You know? Actors are usually have one-two hundred dollars worth of props. Three hundred if it's scifi. You wanna bill to replace that more than once in a shoot - I'm gonna break your balls.
Kevin - ahem, ahem, COUGH, "Bridge of Dragons" in 1989, suspension bridge
P- yes thank you Kevin, we are not open to questions from the floor yet-
E-Actually, he's right, I had Oesophogitis for 4 weeks during filming so my associate Ernest Barbosa took over, and redid all the sequences, I never approved it and I've been trying to track down every last damn copy and burn them personally.
P-Right. Okay so you like your action scenes a certain way but what about the psychological strain your protogonists always go through, they never seem to come out the films unscathed?
E- Well....I studied acting when I was in my 20's. I went to some Method classes, tried hard, you know that kinda shit: Pretend you are a statue, howl like a wolf, be a piece of fruit......now howl like a grape, whatever and so forth. But you don't use any of that shit in the Direct to Video world. Depth? How deep is the fucking wound, that's all we need to know!
P- That's a charming world indeed!
E- Hell yeah, this is what it is, if a writer has a problem with a character. You know the kind of thing: he's just had amazing sex with Tiffany, with Jazz music, great tit coverage and so forth, how we now gonna believe this guy is gonna start crying afterwards? I always give the same advice: Cut to a Vietnam flashback and have him being tortured. In Black and White.
P- What if that scenario doesn't apply? Say if the film is set in the future?
E- They Killed his Brother.
P- Only child?
E- They Killed his partner.
Kevin - In Beyond Forgiveness, they killed his brother, his partner AND he was a vietnam vet, it was a tour de force Erwin
P- [mouth agape momentarily speechless]
E- That kid really knows my stuff
P- [sotto]That's enough Kevin, this is not a panel discussion or a bloody game show
Yes, sorry about that, let's get some decorum back into preceedings. Before we do open to the audience, can you tell us what you are working on at the moment?
[Kevin disappears out the back]
...
E- Don't apologise man, I think they're having a good time
C- Well, I hope so, it's certainly been an eye opener for me. Now Erwin, I've logged on to the old interweb to swot up on your genre - the thing that fascinated me was the commitment of your cast. Doing their own stunts for example.
E- Not through choice. I remember throwing Frank Zagarino off a barn in '86. [Pause] Jesus we had to laugh. He broke his collar bone. But normally it's pretty safe. Close to the ground shit. You don't want to risk the kit. You know? Actors are usually have one-two hundred dollars worth of props. Three hundred if it's scifi. You wanna bill to replace that more than once in a shoot - I'm gonna break your balls.
Kevin - ahem, ahem, COUGH, "Bridge of Dragons" in 1989, suspension bridge
P- yes thank you Kevin, we are not open to questions from the floor yet-
E-Actually, he's right, I had Oesophogitis for 4 weeks during filming so my associate Ernest Barbosa took over, and redid all the sequences, I never approved it and I've been trying to track down every last damn copy and burn them personally.
P-Right. Okay so you like your action scenes a certain way but what about the psychological strain your protogonists always go through, they never seem to come out the films unscathed?
E- Well....I studied acting when I was in my 20's. I went to some Method classes, tried hard, you know that kinda shit: Pretend you are a statue, howl like a wolf, be a piece of fruit......now howl like a grape, whatever and so forth. But you don't use any of that shit in the Direct to Video world. Depth? How deep is the fucking wound, that's all we need to know!
P- That's a charming world indeed!
E- Hell yeah, this is what it is, if a writer has a problem with a character. You know the kind of thing: he's just had amazing sex with Tiffany, with Jazz music, great tit coverage and so forth, how we now gonna believe this guy is gonna start crying afterwards? I always give the same advice: Cut to a Vietnam flashback and have him being tortured. In Black and White.
P- What if that scenario doesn't apply? Say if the film is set in the future?
E- They Killed his Brother.
P- Only child?
E- They Killed his partner.
Kevin - In Beyond Forgiveness, they killed his brother, his partner AND he was a vietnam vet, it was a tour de force Erwin
P- [mouth agape momentarily speechless]
E- That kid really knows my stuff
P- [sotto]That's enough Kevin, this is not a panel discussion or a bloody game show
Yes, sorry about that, let's get some decorum back into preceedings. Before we do open to the audience, can you tell us what you are working on at the moment?
[Kevin disappears out the back]
...
posted by Mike at 2:06 PM
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