How Scott Frank convinced Liam Neeson to star in yet another hostage movie; “Last Days in Vietnam” portrays the U.S. exit from Saigon; and a look at the legendary jazz musician at the heart of “Keep On Keepin’ On.”
Why Liam Neeson was 'very reluctant' to star in 'A Walk Among the Tombstones'
Screenwriter and director Scott Frank has been trying to make “A Walk Among the Tombstones” for more than a decade, but it wasn't until Liam Neeson signed on that his efforts finally came into view.
Based on the Lawrence Block novel, “Tombstones” stars Liam Neeson as Matthew Scudder, an ex-cop working as an unlicensed private investigator. He agrees to help a well-to-do drug trafficker hunt down the kidnappers who have brutally murdered his wife.
Frank wrote the screenplay and, after the departures of other attached directors, Frank decided to step behind the cameras himself.
When he came by The Frame studio, Frank spoke with host John Horn about Neeson's great strengths as an action hero and how he convinced Neeson to sign on to the project.
Interview Highlights:
John Horn: Liam Neeson has evolved in a fascinating way as an action hero. When did you start having conversations with him about this movie, and what was it about him as an actor that made it feel like the right fit?
"Well, what's interesting is that Larry Block, the novelist, had always said, going way back to 2003 or something, that the perfect actor for this, after [he saw] 'Michael Collins'...would be Liam Neeson. Chris Andrews, who is Liam's agent, always loved the script and was always trying to find a way to put it together, and he's the one who gave it to Liam back when D.J. [Caruso] was going to direct. So the first time I met Liam to talk about the movie, I was talking to him as the writer, not as the director of the movie. And then when D.J. fell out to go do a different movie at Sony...we had a conversation about directing the movie.
JH: Was this before or after the first "Taken" had come out?
This was well after the first 'Taken,' this was right before the second 'Taken.'
JH: So Liam is...succeeding as a version of that character, and I wonder if that success cuts both ways, that maybe there's a reluctance on his part to not do something that's quite as similar? Or is that part of your conversation that you have with him?
It absolutely cuts both ways, and that was a huge part of the conversation because there's a kidnapping in this story, and there he is on the telephone for a few minutes at the end of the movie talking to kidnappers, and there are similarities [to 'Taken']. And he knew that was the way to sell the movie, and so he was very reluctant. And I talked to him and I had him watch 'Klute,' and I said, "That's the movie we're gonna make. We're not going to make 'Taken,' we're going to make a movie that's like 'Klute,' or a little bit like 'Dirty Harry,' or one of those old-school '70s films. It's going to feel more like that than an action movie."
JH: Liam Neeson's not physically imposing, but there's something about him that really kind of makes the hair on the back of your neck stand up. What is it about him as an actor in this kind of part?
Well, there's a couple things. One: you believe him. No matter what he's talking about, it seems authentic and true...he has this thing about him that, whatever he's doing, you believe him. Two: he's one of those actors like Gene Hackman where he can convey exposition and make it feel like character. He can talk pages of exposition and make it all feel like it's character and drama — it's a great thing. The other thing about him is that he has this real gravitas, and it almost borders on sadness sometimes; it's interesting when you watch him and you feel like there's all this other life going on behind him.
JH: That he has nothing to lose, in other words.
Nothing to lose, and he says that at one point in the film, but I think it's those things that are all at work at the same time.
Lois Smith has a memorable role in 'Marjorie Prime' at the Mark Taper Forum
Lois Smith has had a long and varied acting career. She made her Broadway debut in 1952 and three years later was cast opposite James Dean in “East of Eden.” She was in “Five Easy Pieces” with Jack Nicholson and — more recently — she had a role on HBO’s “True Blood.”
Now, the 83-year-old Smith is starring at the Mark Taper Forum in the world premiere of “Marjorie Prime” — a play by Jordan Harrison about aging, memory and artificial intelligence.
Smith spoke with The Frame's John Horn about the play and her role.
Interview Highlights
Smith on how "Marjorie Prime" addresses the notion of memory
"One character at some point says, 'I don't know what memory's made of. Is it sedimentary layers?' The play [is] not a meditation, but a riff, perhaps, on that subject. Jordan [Harrison, the playwright] said at some point, 'This play is the intersection of perhaps humanity and technology.' The play takes place a bit in the future. Not a long time — we'll all recognize ourselves very well — but that's one of its surprises."
Smith on the evolution of becoming a character
"It's been extremely interesting. I suppose in every play [the process] deepens and stretches out. This one, no doubt about it...it's elusive in a lot of ways and I think, 'Oh good, I'm getting there, I'm finding out.' And then I think, 'Oh, farther to go.'"
Smith on how audience members of different ages react to the play's take on aging
"One friend saw it in regards to [her] mother, who's becoming forgetful. [That] mother saw her own very aged father. They laughed about what they each brought up, because they had just been sitting at the same performance of the same play."
Smith on her role, which isn't too physically taxing
"I'm not doing much walking around. I walk on, I walk off, I walk on — and that's about it. I sometimes say, 'It's almost as good as a bed part,' because I spend time in a recliner, which is pretty nice."
Jazz master Clark Terry gets his due from Quincy Jones in 'Keep On Keepin' On'
Trumpeter Clark Terry played in Count Basie's and Duke Ellington's bands. He was the first African American hired for The Tonight Show band. He mentored the teenage prodigies Miles Davis and Quincy Jones. But Terry isn't as well known as you might think he'd be.
Thanks to the new documentary, "Keep On Keepin' On," you can see Clark Terry — or C.T., as everyone calls him — in action. The film tells the story of Terry's early love of the trumpet, his quick rise through the jazz ranks, and how he's devoted much of his life to inspiring other musicians — all with a sparkle in his eye.
The movie is directed by first time filmmaker Alan Hicks and made on a shoestring budget. Hicks is himself a drummer and had been one of Terry's students. Originally it was going to be a short film about Terry and Hicks' relationship, funded by the Australian Broadcasting Company. (Hicks is from Australia.) When that financing fell through, Hicks improvised. Determined to tell the world about Terry, he and a childhood buddy, Adam Hart, decided to do it themselves — despite having no filmmaking experience. They bought a camera and plane tickets to the U.S. and began following Terry.
For many years their schedule was to shoot until they ran out of funds, usually about three months, work for a few months to save more money, then go back to shooting. To demonstrate how Terry mentors his students, they followed one young man in particular. Justin Kauflin is a blind jazz pianist with stage fright who would spend days and nights practicing at Terry's bedside. Over the course of the film, as we learn about Terry's past, we see the aging trumpeter in the present (he's now 93) — struggling with advanced diabetes, but always composing riffs from his bed late into the night.
In one moving scene, Kauflin is riddled with anxiety as he prepares to compete in the Thelonious Monk International Jazz competition. Terry sends him an audio letter and some lucky socks for inspiration.
Years into the project, when Quincy Jones came to visit Terry, he met Kauflin and the filmmakers. Eventually Jones signed on as an executive producer of "Keep On Keepin' On" — as is only fitting given that, at age 13, he'd been Terry's first student.
Jones, Hicks and Kauflin spoke with The Frame about Terry and his unparalleled talent as a musician and as a mentor.
Kevin Smith says 'Tusk' is the only movie he's ever made while stoned
When Kevin Smith records his podcast, Smodcast, he says, "I'm usually blazed." Which, if you've heard the episode where Smith comes up with the entire story for his new film, "Tusk," it should come as no surprise.
The film is about a man who takes another man hostage and turns him into a walrus. While the movie itself doesn't mention or include any weed, Smith thought medical marijuana would be a nice complement to the viewing experience.
A24, the film distribution company, came to Smith with a marketing idea: create strains of weed for the film. Smith thought it was genius. Buds and Roses — a cannabis dispensary in Studio City — was approached by Smith and his team to make medical marijuana specifically for the film. The dispensary came up with two strains called "Mr. Tusk" and "White Walrus."
We met up with the director at Buds and Roses to see why the green substance was a perfect pairing for the film:
Interview Highlights:
Smith knows that some people enjoy going to the movies stoned:
"This movie, out of all movies, seems like a real head trip of a flick. So if they have their medical marijuana card, by all means, enjoy the movie. Don't feel the need to go back if you don't remember anything. It's not a gimmick to make them go twice or anything. But in a world where people are gonna smoke medicinal marijuana, having a 'Tusk' sticker on there just makes me smile. Kind of makes sense for this movie."
How Fleetwood Mac and weed helped his writing:
"I put on Fleetwood Mac's 'Tusk' over and over on repeat and would just sit there and blaze while I wrote. And you know, I blaze in the way that I used to smoke cigarettes. So, I'll light it and put it in an ashtray, let it burn and stuff. So it fills the room like incense if you will. But, yeah, for a movie like 'Tusk,' I guess you gotta be pretty stoned to make the guy-who-makes-a-guy-into-a-walrus movie. And I'm kinda glad I did. It's weird. People are calling it the best movie I've ever made and I was like, 'Well, this is the only one I made stoned.' So I'm like, 'Guess what I'm doing, kids!'"
Smith used to be against drugs:
"I smoked weed in my life, but I would never consider myself a stoner. In fact, I still had the '80s [attitude] lingering, 'Just say no,' and, you know, 'Oh my lord! It's a drug!' It wasn't until I became older — age 38 — when I started smoking weed on a regular basis. I was like, 'This is not a drug. This is ridiculous! It grows in the Earth.' So once I got past the bias that was pounded into us in the '80s, suddenly I was like, 'Heavens. I like who I am here.' It doesn't make you a better person, kids. It doesn't make you more creative. What it does is it kind of knocks fear on its ass. You face your fears a little better."
Disclaimer: Smith wants you to know that he does not endorse marijuana for anyone under 21:
"Kids, teenagers... I'm talking to you. The teenage brain is stunted by marijuana smoking so you guys have to wait 'til you're older. I didn't start smoking 'til I was 38 years old. I'm not saying wait 'til then. That was a stupid mistake on my behalf. But wait until you're legit. Wait until you're 21 before you start smoking."