Showing posts with label Paul Kyriazi. Show all posts
Showing posts with label Paul Kyriazi. Show all posts

Saturday, August 4, 2018

Forbidden Powers: An Interview With Paul Kyriazi


Way back in July of 2009 I had the great pleasure of interviewing writer and director Paul Kyriazi. It was the very first one I ever did. In many ways it changed the direction of this blog. Along with becoming friends with Paul. With the Cathode Ray Mission's anniversary I asked Paul if he'd like to do a follow up interview so many years ago.


Since our last interview way back in 2009, you’ve been writing and have a new movie out this year! How have things been? 

The last year has been very exciting, Shane. I spent five months in Seattle directing my 7th feature film as well as doing all the post-production there at Victory Studios. I’ve spent the last years, since directing Omega Cop, making full-cast audio-books from my novels using stars of the ‘60s such as Rod Taylor (The Birds, The Time Machine), David Hedison (The Fly, Voyage to the Bottom of the Sea) and Robert Culp (I SPY).

When my long-time producer friend at Victory Studios purchased a Dragon 6K video camera and then Amazon started letting independent producers upload their own movies and have the proceeds go directly into the producer’s banks, instead of distributors stealing the money, I decided it was the perfect time to make my next feature. And not just any feature, but a story that I was just aching to produce.



Can you tell us a little about your new film Forbidden Power?

I’ve always like stories  where the hero suddenly becomes empowered. Limitless was one of the more recent movies. Wolf with Jack Nicholson is another, as well as Luc Besson's LUCY.  The Star Trek episode with Gary Lockwood; Where No Man Has Gone Before was also about an empowered man.


As much as I like those stories, I wasn't entirely satisfied with the stories or how the standard way the heroes were empowered; drugs and animal bites. Plus, the heroes had too much power such as in Lucy or the Lockwood Star Trek episode. I wanted a hero that is empowered just enough to have the edge on his business associates and his money-making capacities. Of course, he's sexually stronger and more ambitious, which gets him into trouble.


What inspired the creation of the film’s story? 

In real life, I've known men, including myself, who have become empowered after starting a relationship with a new woman. Of course, that is all mental. But what if a woman has some mysterious power that she can pass on sexually? Now that idea has not been done in movies that I know about, so that was my starting point. And then the question comes to mind; when did she get her power from and why does she choose certain men to give that power to?

 Not thinking about doing it as a movie, I quickly wrote up a 100-page novella to satisfy my creative urge of getting the story down on paper and putting it on Amazon as a kindle book. And as I mentioned, the timing was right to take a chance and make the movie.



Forbidden Power has a good, likable cast. Lincoln Bevers, Nasanin Nuri, Ben Leiataua, Harry Mok and Hannah Janssen to name a few. What where they like to work with?

The entire cast was great. Because of budgetary conditions, we all had to work efficiently, sometimes filming five completed scenes a day at various locations around Seattle. The cast could sense this. All of them had some stage or film experience so they knew their lines and ready to go on each scene.

It was difficult to cast the ‘mysterious woman’ as she had to be a Native American woman of a certain age and willing to do the required nudity. I searched Seattle where most of the cast came from, but didn't have any luck, so my co-producer put an add in a casting magazine and Nasanin sent in her photo from New York. So, we flew her into Seattle to film her scenes. Except for staging, I didn't have to do any directing for any of the actors, except in a few scenes.


What was it like for you to be in the director’s chair again? Scary? Exciting?

I’ve been directing movies small and large since I was 15 years old, so it was just ‘business as usual’. Shooting in digital made it much easier than film with a Panavision camera. We had a large TV monitor on the set and I could see exactly what we were getting. Also, the lighting is much easier and faster with digital. So, the experience was great, and I could move fast. However, it was a very ambitious project with a large cast for the schedule I could afford, so we had some tough working days.

The movie is mostly a drama punctuated by sudden explosions of action. But I didn't have the time for those actions sequences like I had on Weapons of Death or Death Machines, so I concentrated to make the action surprising instead of large scale.



Many of your films feature the martial arts in some way. What kind of influence have they had on your life?

When I saw James Bond use judo and karate in Dr. No, I immediately joined a karate school. My teacher introduced me to samurai movies, so all my 16mm movies and then features including martial arts in them.

The training of martial arts has a lot of personal discipline and training that is sometime not comfortable, so those that taught me to work through and persevere though tough financial times I had in the past between movie jobs.


There’s quite a few special effects shots in Forbidden Power. Was it a daunting prospect, dealing with visual effects for the film?

I knew what I could do with CGI effects because I searched them on the internet and learned what I needed to. For example, there is a train wreck in the middle of Las Vegas that we needed to do. Some of the crew members thought that we couldn’t pull that off with the budget, but I knew I could show the crash in long shot a few seconds at a time and have insert shots to distract from a weak CGI shot. However, the crash came out so good that I didn’t need the inserts and just held on the long shot of the train crashing into the New York, New York hotel, and knocking over the statue of liberty replica. It worked out great.


Ninja Busters and Death Machines have both had blu-ray releases in the last few years. Have you been involved with these new releases? What’s it like to see them getting the HD upgrade treatment?

Yes, I was involved with both of them and did the director’s commentary on them. I also did an on camera video intro for them. For Ninja Busters, I went to a ninja village amusement park and filmed there. For Death Machines, I filmed it outside a temple in Japan and worked that into my intro.


What is your creative process like when coming up with a novel or screenplay?

Well Shane, because on a lower budget I don’t have name actors such as I did on Omega Cop with Adam ‘Batman’ West, so I have to be sure to grab the audience right away in the first scene, add some mystery that has to be explained so that they keep watching.

My mental technique of writing both novels and screenplays is to think of the view watching my story on TV while he holds a remote control in his hand pointing it at the TV and thinking, “Okay, this is interesting. I’ll watch one more scene. Okay, one more scene. And then he finally is at the end of the movie.

In Forbidden Power, the hero has to decide to invite the mysterious woman to his hotel room or not. When he goes to the lobby ATM to get cash (thinking she’s a pro) and then buys condoms, I’ve got the male viewers hooked for sure. From there I have to keep them hooked. That’s what I do for every scene until the end. Keep that suspense, interest and pace up so I don’t lose the view because Bruce Willis or Brad Pitt is not in the movie.



What’s next for you? Another film?

I was thinking about doing my novel McKnight’s Memory as a movie. I already made an audio-book with Frank Sinatra Jr. narrated it about a CIA agent with amnesia. But then when I started getting good reviews on Forbidden Power from movie web sites with some of the reviewers saying, ‘I hope there’s a sequel’, so I decided to do that. But mostly because I like to do ‘weird and surprising’ action-drama scenes that keep the audience interested.

I’ll have to see how the fan base for the first movie builds over the next months as it is now available for rental on Amazon. If there are enough fans, then I’ll dive into the sequel.


Nice talking with you, Paul. And good luck with your new movie.

Thanks, Shane. It was fun talking with you.

Check out Forbidden Power on Amazon here! 

Thursday, June 24, 2010

Dreamers vs Parents - Mom Threw Out My $7,000 Monster Magazine


Writer/director and friend of the site Paul Kyriazi was kind enough to share this article he wrote. Enjoy!

by Paul Kyriazi

Film directors Steven Spielberg John Landis, and Joe Dante were forbidden during their childhoods to read 'Famous Monsters of Filmland' magazine. My friend Tony was caught reading the magazines by his mother. She sent him to talk to their church priest who reported to her "Don't worry. He's okay."

My mother was no different. Even more so.

At age 12 I loved the 1960 movie 'The Time Machine'. I had to secretly go to the theater because my mom wouldn't let me see movies with monsters in it.

I tried to explain that this movie was made from a famous novel and the 'monsters, 'the 'Morlocks', were just a small part of the story. She said no so I sneaked of to the theater to see it.


I got the promotional comic book of the move which had a great color cover of Rod Taylor in his time machine, but because there was also a Morlock on it she made me throw it away. (See above photo.)

I wrote to the 'Time Machine' director George Pal for a photo from the movie. This was when no one wrote to a studio. What a miracle, Pal sent me a photo and a letter. My mom found them, tore them up, and thew them in the garbage.

Four years later 'The Time Machine' was on TV and she watched it with me. 'What a nice movie', she said. Aha victory of sorts.

With all my Time Machine souvenirs gone I persisted on getting closer to that movie. In 1977 I got to meet director George Pal. In 2007I hired the two stars of 'The Time Machine' Rod Taylor & Alan Young to narrated two of my novels turned into a audio-books. And my mother??? ......

....... Now we go to Science Fiction conventions together (with my dad) and I point out to her the first issues of the magazine 'Famous Monsters of Filmland' that she made me throw out. They are now ($5000 to $7000 each. Issue #1 pictured above.) And we laugh as she says "Well, we were so worried about you with those monster magazines and movies. We didn't know you were interested in the movies. We worried that you were interested in monsters."

She did help me get into the movie department of college and paid for it. And I ended up directing six feature films and many documentaries. And my dad? We watched 'The Thing' many times and then got to meet the star Ken Tobey and talk to him about it.

And the good news is that I'm still going to movie conventions with my parents. We just saw the new 'Wolfman' together. Violent as hell, but my mom loved it. Go figure?

The moral of the story: Give your parents time to catch up with you.

Saturday, October 31, 2009

Paul Kyriazi's Top ten picks for Halloween viewing



Here's Paul Kyriazi (Film Writer / Director - Novelist) with his top ten picks for Halloween viewing. You can check out his web page here. And my two part interview with him here and here.



1 - Sleepy Hallow



2 - Abbott and Costello Meet Frankenstein



3 - Twilight



4 - Horror of Dracula



5 - The Wolfman



6 - The Omen



7 - American Werewolf in London



8 - The Shinning



9 - House on Haunted Hill



10 - The Bride of Frankenstein

Tuesday, August 4, 2009

10 Questions: An Interview with Writer and Freelance Director Paul Kyriazi Part two



This is part two of my interview with Writer/Director Paul Kyriazi, check out part one here.

Hi Paul, Thanks for talking about your film 'Omega Cop'.

1-Can you tell us how it came about?

Well Shane, as you know, I had made a karate action movie 'Death Machines' with karate tournament fighter and film actor/producer, Ron Marchini. It was released in 1975 and did pretty well. I did some big looking action scenes on a low budget in that one, so Ron knew he could trust me to get many and large looking action scenes for his new movie 'Omega Cop' in 1990.

It was 15 years after 'Death Machines', so it goes to show you to stay in the business now matter what other jobs you're doing until another opportunity comes around.


2- One of the stars of the film is the legendary Adam West. What was it like working with him?

Well, even though we were a small budgeted movie filming in Stockton, California, Adam took it very seriously. We hired him for two days. He was written purposely to be the police chief that remains in the bunker and talks with the hero on the radio. If you remember, it was kind of an 'end of the world' 'Road Warrior' movie, and the hero is exposed so a solar flare that makes everyone crazy, so he's not allowed to go back into the bunker, even though he hide from the flare and is okay.

So with this idea we could film all of Adam's seven or so scenes in two days. This was necessary as he, Troy Donahue, and Stuart Whitman were the most expensive items on our budget.

When Adam arrived to film on the police bunker set he was full of energy and wanted to talk to me right away about an opening narration he wrote for the film. It was about the earth's environment and the ozone layer problem, and how the world's people had paid no attention to it until it was too late, and that he was a law enforcement officer trying to keep what was left of the world together. Now remembers, this was back in 1990, so he was a little a head of the time. Of course, we were just making an end of the world action movie, but Adam's opening narration gave a little depth to it that we wouldn't have had if he had not voluntarily written that narration.

Adam has idea for other scenes in the movie, including scenes he wasn't in. Well, it was a great two days working with him. No problems. Just creative fun and laughs during breaks.



3- In 'Weapons of Death' (1982) you worked with Gerald Okamura who's been in everything from 'Big Trouble in Little China' to 'Hot Shots! Part Deux.' He's got a very intimidating look. How was he to direct?

Gerald Okamura, known as 'The Martial Arts Magician' because of the many secret weapons he makes on his own, is a total professional on the set. He comes with his dialogue prepared, his script in a binder marked with each scene, so that sometimes when I needed to look at the script, he was there with it faster than the script girl.

He always had ideas on how to play a scene and was very helpful with martial arts choreography. Recently, I was happy to work with him on one of my audio-books.

4-Can you tell us a little about your writing process?

When witting for independent movies that I had to raise the money for, my mind is always on the budget and what kind of movie we can make for that budget. I'm always thinking about who kind of big action scenes I can make and usually multiple characters, so hopefully everyone in the audience has someone in the movie that they will like.

You'll notice that in 'Omega Cop' there were three different types of beautiful women that the hero meets one by one. This was planned out, so that every time a new woman appears, the audience wakes up to see who it is. And hopefully they will have a favorite woman that they can identify with or be interested in. Thusly, keep them interested in the story to the end.

After that, I watch the pace of the story. Not the speed, but the pace of the interest of the audience. Will they keep interested or keep running out for popcorn as the did in my first feature film.

Next I think about the distributor's point of view. Will he have something to exploit and put on the poster? That's why in 'Omega Cop' we had the end of the world theme, three movie stars (even though in small roles), three woman, and a large explosion scene at the end. All for the poster and previews.

5-What would you say are your favorite films of all time?

You know Shane, for all us movie fans, it's the movies we see as teenagers that become our favorite. Mine are 'Rio Bravo', 'Vertigo', 'The Thing', and 'The Time Machine'.

In the more recent years I liked 'Pulp Fiction', 'Signs', 'Terminator 3', 'Casino Royal', and very recently 'Knowing'.

6-And what filmmakers have inspired you?

Of course, Alfred Hitchcock for suspense, Akira Kurasawa for martial arts action and film technique, Howard Hawks for his great characters, and John Sturges for his multi-character action films such as 'The Magnificent Seven'.



7-Can you tell us about your audio-book Rock Star Rising?

It's a full cast audio-book with film quality effects and music. An 'audio-movie' of sorts. I hired the actors that I loved in my favorite movies such as Rod Taylor 'The Time Machine' to narrate it.

Then I re-united Russ Tamblyn and George Chakiris from 'West Side Story' to play leads, as well as Robert Culp, James Darren, and Kevin McCarthy from 'Invasion of the Body Snatchers'.

The story is about a computer programer, played by Tamblyn, who wants to be a writer. When he takes his girlfriend to Las Vegas, he gets involved with a beautiful rock singer, who tells him about a dead rock star that might be alive. Tamblyn enlists the aid of his girlfriend's gangster brother, played by Chakiris, to find out if the rock star is really alive. In flashback, we see the rise of the rock star, played by singer / actor James Darren, aided by his agent play by Robert Culp. It's a romantic mystery thriller.

8-Your books have been turned into audio books directed by you.. How did that come about? Was it something you had intended to do all along or was it offered to you by the publisher?

It started off as a movie script, but when it was taking time to get financing, I turned it into a novel and then decided to do it as an audio-book. I had done an eight hour self help audio-book entitled 'How to Live the James Bond Lifestyle' and was getting pretty knowledgable in the new computerized recordings done at a high-tec studio. So I decided to turn my two novels into audio-books.

After 'Rock Star Rising' I directed, what could be honestly said to be the largest production in audio-book history, as I got 11 name actors to appear in it, including Frank Sinatra Jr to narrated. It stars Robert Culp, Nancy Kwan, David Hedison, Henry Silva, Alan Young, Gary Lockwood, and a very special favorite of mine, Edd 'Kookie' Byrnes from '77 Sunset Strip'. But you probably know him from 'Grease' where he played Vince Fontaine, the host of the dance contest scene.

Now I'm working with Frank Sinatra Jr on an audio-book called 'I Justice' where he will narrate in the first person and play the lead.



9-I have a strange question...Mari Honjo who played Madame Lee, every time I watch the movie I wonder, Was she wearing a wig or was that her real hair?

You're not the first one to mention Madame Lee's hair, Shane. In fact, in the Los Angeles newspaper, they referred to her as 'the lacquered hair and lisping Mari Honjo'. So now to reveal the mystery, it was a wig. Her hair was actually a short 'page boy' cut, and dyed slightly red. So she was totally different on screen. She was very believable and popular with the viewing audience, calling her 'the bad hit lady'.

10-When writing a screenplay what do you feel is the most important thing the writer should be aware of? Pitfalls to look out for?

Most new writers want to "express their art", but often forget about the audience. The paying audience is just a mere five minutes from running off and buying popcorn, as they did in my first movie. And when it gets to DVD or TV, perhaps a mere one minute before they switch to a different channel.

So I'd advise screenplay writers to remember the audience when writing. I once had lunch with 'Psycho' screenplay writer Joseph Stafano, who told me, "Hitchock was the only director that I worked for that mentioned the audience."

Thanks Paul.

It's always fun talking with you, Shane.


Be sure to check out his site here.

Wednesday, July 8, 2009

10 Questions: An Interview with Writer and Freelance Director Paul Kyriazi



I recantily talked to Writer/Director Paul Kyriazi about his classic cult film Death Machines (1976) and his filmmaking career. 



"Paul Kyriazi's martial arts action film Death Machines concerns a trio of expert fighters. A gangster doses the three of them with a mind-control drug and forces them to do his bidding. The threesome eventually ends up working for Mr. Gioretti, who assigns them to wipe out a martial arts school. One man survives the attack and swears to avenge the deaths." ~ Perry Seibert, All Movie Guide

1-How did you first get into filmmaking?

When I was eight years old I saw 'The Making of 20,000 Leagues Under the Sea' on Disnyland TV. They showed the story boards and the actors talked about working on the movie. Right then I knew I wanted to make movies. In high school I made 20 minute 8mm action stories with my friends. In my college film department, I made 16mm action movies. Two of them won the Berkeley film festival. Then I financed my first low budget feature film, shot in 35 mmTechniscope and kept going from there.


2-There's a scene were one of the killers (Ron Marchini) escapes from a police station and crashes into another car. You were driving the other car. What was it like doing the stunt yourself?

I remember doing that vividly. We couldn't afford a stunt man in that scene, so the producer / star Ron Marchini would drive the car that rammed into me.

It was on 'Mother's day. I told my cameraman friend, "If anything happens to me, call my mother."
I was roped into the driver's seat at tight as it could be, as the car didn't have seat belts. Now I realize what a stupid thing that was. What if the car caught fire?

On the first take I drove too fast and the car that was suppose to hit me, didn't get there on time. Everyone laugh and blamed me for being scared and escaping the car. That might have been true. The next take was perfect as Ron hit my car right on the door opposite me. Wow, I can still remember the shock of that hit.

Then Ron said we should do another take with my car stationary to get a better sliding of the car after the impact. I sat there as he raced toward me and hit me. I was glad it was over. Someone yelled, "Paul Kyriazi, stunt man Extraordinaire". But I was glad it was over. Now I realize it was a stupid thing to do just to get the stunt. But that's how involved I was in making the movie as good as possible.

3-What was it like working with Mari Honjo who played the evil Madame Lee?

We found Mari Honjo at a casting agency in San Francisco. At that time, there didn't seem to be too many Asian actresses available. But we had a choice of about five of them and she seemed the most determined and had a strong look when she played angry. I remember clearly that she was a good sport and followed direction perfectly. Never a problem. Always professional. I remember being shy about telling her to get turned on as she watched her three killers fight off their opponents in that first scene, but she got what I meant, and acted sexually excited.


4-And have you seen this website about her? Where is Mari Honjo?

Yes, I have and I corresponded with her ex-husband who put up that site. He asked me if I knew where she was, but I didn't see her after filming. Not even at the premier. Very mysterious that she might be pretending she was someone else. Maybe she took the part in the movie to the extreme and continued her role after we wrapped.



5-Crown International Pictures who picked up the film wanted to make it a sci-if movie and you filmed a new opening correct?

Yes, that's right. At the time Crown picked it up the sci-if movies, 'Rollerball' and 'Death Race 2000' were popular, so they wanted to put a sci-if slant to 'Death Machines', which seemed really ridiculous to me, but they wanted to distribute it that way, so I directed the opening sequence a few months after the main filming.


6-I've read that Kung Fu kata champion Eric Lee was to be original Asian killer. But Sam Peckinpah wanted him to work on The Killer Elite (1975) so he took a smaller role as the karate instructor at the dojo the killers attack. True?

Yes, that's true. We were a few weeks away from filming and Eric called and said he had the Pechinpah movie opportunity. I told him right away to take it. Eric then told me about Mike Chong who was also a Kung Fu Magazine 'cover boy'. Eric and I became great friends and made two other features together. Recently he did some voices for my audio-book.


7-The evil mastermind in the shadows and the ending left it open for a sequel. Was there ever any plans to make one?

Yes, you guessed it, Shane. That's exactly why Crown told me to keep the guy in the shadows, so if there was a sequel we wouldn't be stuck with that actor. Any actor could replace him. But alas, no sequel. The movie made a profit everywhere it went around the world, but not enough to warrant another production.


8-The films trailer is very interesting. It further stresses the sci-if angle and makes it seem like the film takes place in the future. Did you have anything to do with the trailer or was that Crown?

No, I didn't. And sadly, the sci-if angle kept many martial artists away and angered the sci-if crowd that went to see it so much that kung fu shots had to be added to the newspaper ads. To bad the posters weren't re-done as well. The movie opened in 50 theaters in Los Angeles alone, and could have really done big at that time if it were for the phoney sci-fi angle.

9-Can you tell us about some of the other films you've done?

I followed up with two other martial arts movies. My best was 'Weapons of Death' that I shot in panavision starring Eric Lee and a large cast. After that I worked with Eric again on the comedy 'NinjaBusters'. Next came a cop movie 'One Way Out' followed by 'Omega Cop' once again working with Death Machine's Ron Marchini. That one co-starred Adam West (Batman), Troy Donahue, and Stuart Whitman.

10-Any advice for aspiring filmmakers?

I believe in Woody Allen's advice for filmmakers, "80% of it is showing up." I have seen with my own eyes over the years that actors and crew members who show up and do whatever job is asked of them end up continuing in the business. I also suggest , to expand your mind from 'the movie business' to the 'communication business'.

To survive between film jobs work in all aspects of the film and communication business. That's why I got into novel writing, then producing them as audio-books with stars like Rod Taylor and Robert Culp, and then, because of that, back into the movie business. Yet in my mind I was never out of it.


Thank you for taking the time to talk to me.

It's been a pleasure, Shane.

Visit Paul's site here.

Part two here.

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