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algren wrote:I cannot stand movies like The Bourne Ultimatum, that have action scenes where the camera moves around and chops and changes from one camera to the next just to make it appear that the main star can actually fight. Well, Dolph can fight, we all know that, so they just put a camera on him and let it role. Very pleased with that side.
I liked Dolphs hair, nice and slick.
algren wrote:I do wish they didn't use this cover i have (a), though, as he doesnt look like this at all! Instead he looks like this (b).
I cannot stand movies like The Bourne Ultimatum, that have action scenes where the camera moves around and chops and changes from one camera to the next just to make it appear that the main star can actually fight. Well, Dolph can fight, we all know that, so they just put a camera on him and let it role. Very pleased with that side.
Jox wrote:Some hurt even physically because my eyes and brain are attacked in such a way they can't even follow and take it.
How did you get to start working with Dolph Lundgren on the Sidney J. Furie picture DIRECT ACTION ?
Well my family and his family are sort of friends, so that’s how I know Dolph from the beginning. With Direct Action I can’t remember exactly, that must have been five years ago or something? A year earlier or so, I met Dolph and his wife, we had lunch, and I had been working on a lot of Swedish movies and stuff. And then he went to Canada to shoot DIRECT ACTION with Sidney, and suddenly they needed a composer and Dolph thought of me and asked me if I wanted to send some stuff over. So I sent some stuff to Sidney and he liked it and then they flew me over to Canada to meet with Sidney. So I brought my laptop and I started working on the score as we were in the editing room.
You probably didn’t have a lot of time on this movie?
No, I think we had maybe four weeks or something like that…
How was working with Sidney J. Furie?
Sidney really didn’t have much opinions on what I did, he thought most what what I did was pretty cool, so he let me do my thing. As I remember I don’t think they had a temp track, because as I started making music in the editing suite they used a lot of my cues as a temp score. So I think I did four or five cues when we were in Canada, so I was sitting in the same room, working with the editor and Dolph. Dolph was actually doing lot of the editing at that time.
I heard Dolph was very involved in the process, almost co-directing with Sidney?
Yeah, I think he was actually much more involved than Sidney was in the post-production process. As you know, Dolph has been taking a bigger interest in his career during the last five or six years and this is was probably the movie when he thought of doing this. On the movies preceding that one, I think he sort of lost it because they screwed a lot of money around, after the shooting was finished. But then he thought to take a bigger interest in the output on the screen. He saw that his career was suffering from not getting as good as results as he could get in…
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