Exclusive Video Interview: Dean Devlin Talks About the Making of ‘Bad Samaritan’

Bad Samaritan

With Roland Emmerich, he helped bring “Independence Day,” “Godzilla” and “The Patriot” to the silver screen. In 2017, he struck out on his own and made his directorial debut with the disaster film “Geostorm.” Now filmmaker Dean Devlin follows that up with his sophomore directorial effort, a horror thriller named “Bad Samaritan” which was written by Brandon Boyce (“Apt Pupil”) and stars former “Dr. Who” actor David Tennant, Robert Sheehan and Carlito Olivero. Whereas “Geostorm” was a big budget Hollywood blockbuster, “Bad Samaritan” sees Devlin taking the independent film route to create his most intimate motion picture yet.

We get introduced to Sean Falco (Sheehan), an aspiring photographer who works as a valet with longtime friend Derek Sandoval (Olivero) at a local Italian restaurant. What his employers do not know, however, is Sean and Derek have more on their minds than parking cars. Once customers give them their keys, they drive out to their homes to burglarize them, and among the items they abscond with is a diamond ring which Sean gives to his girlfriend, Riley (Jacqueline Byers). But one night, when Sean breaks into the home of an especially rude customer, Cale Erendreich (Tennant), he discovers a woman chained to a chair. From there, it becomes a cat and mouse game as Sean tries to find a way to save her without getting arrested as a thief in the process.

I was lucky enough to speak with Devlin at the London Hotel in Los Angeles, California where he was doing press for “Bad Samaritan.” Devlin talked about how making this movie reminded him of why he got into filmmaking in the first place, the twisted psychology of Tennant’s character, what made him especially interested in working with Boyce, and of the advantages he had in shooting the film in Portland, Oregon.

Please check out the interview below and be sure to catch “Bad Samaritan” which arrives in theaters on May 4th.

Godzilla (1998)

godzilla-1998-poster

I originally wrote this review on May 20, 1998, not long after I watched this “summer blockbuster.”

The momentous day has finally arrived! Roland Emmerich’s “Godzilla” has finally hit the big screen in all of its reptilian glory. Trailers for this movie have been up and running for over a year now, and the past few weeks have had us bombarded with television commercials from Taco Bell with the Chihuahua, hoping to cash in on this film’s predicted box office success. But now the wait is over and the film has finally hit the big screen. Everyone is waiting to see if the movie will suck in the biggest opening in box office history and outdo “Titanic” as the highest-grossing movie of all time…

What can I tell you? “Godzilla” sucks! I even wrote it up on the dry erase board in the main hall of my college dorm for everyone to see:

GODZILLA SUCKS!!!

People need to be warned because, unlike “Titanic,” this was not worth the wait. For me, this was a very depressing cinematic experience and one of those movies where the trailers for coming attractions, in this case “X-Files – Fight the Future,” “Lethal Weapon 4” and “The Mask of Zorro,” were far more entering than the main event. I read a review somewhere which quoted one patron as saying it made “Jurassic Park: The Lost World” look like “Citizen Kane.” I couldn’t agree more, and I liked “Jurassic Park: The Lost World,” a movie many consider to be one of the worst Steven Spielberg has ever directed.

Where do I start? The characters were all clichés, barely registering as humans. Kevin Dunn plays the military commander who is always in a bad mood and barking out orders, Michael Lerner is your typically clueless mayor, and Matthew Broderick portrays the nerdy scientist who is the polar opposite of Ferris Bueller. Maria Pitillo, who looks a lot like Heather Graham, was cute, but her television reporter character really belongs in a sitcom instead of a movie like this.

I blame this all on the direction of Roland Emmerich, a director who never seems to understand just how cheesy his movies are. “Independence Day” tried to be the next “Star Wars,” but it ended up being an overproduced B-movie. Still, it’s a classic of American cinema when you compare it to this overhyped mess.

There’s a scene in the beginning of the movie where three fishing boats are pulled backward underwater into the water – a direct rip off of “Jaws.” Now on one hand, I liked how Emmerich was never quick to show the giant mutated lizard, but on the other the “Jaws” reference came to illustrate all the things that “Godzilla” unforgivably lacks: great actors, strong characters, and a good storyline. Special effects by themselves can’t save a movie, especially one as crappy as this one.

Furthermore, the music score by David Arnold was way too much, and less could have been a lot more. In fact, everything about this movie was overblown, robbing it of whatever suspense it could ever have hoped to generate. There were moments where things did quiet down, and that was a relief and also showed some promise this movie might actually become exciting to watch. But then the screen became overwhelmed with countless explosions and massive destruction which we have seen in far too many movies to keep track of. Heck, the special effects in those movies are infinitely better than any in “Godzilla.” Trust me; the money is not up there on the screen.

Producer Dean Devlin and Emmerich appear to be big New York haters as they again lay waste to the city’s most famous monuments just like they did in “Independence Day.” But then again, New York seems to be the target of destruction this summer judging from the trailers I have seen for “Deep Impact” and “Armageddon.”

Now for Godzilla himself (or herself if you are not sure). When we do finally get to see the big lizard, it really proves to be nothing more than a big special effect. The more you are aware of this, the less threatening Godzilla becomes, and the action sequences end up lacking a lot of friction. I really loathe digital imaging and effects because they are too obvious on the big screen. In retrospect, I would have preferred seeing a guy in a suit instead.

There’s one moment where Godzilla jumps into the ocean, and it looks like it was lifted directly from a scene in “Alien Resurrection.” Originality is not in existence in films these days, but what else is new? I did not go in expecting a great movie, but I was at least hoping it would be exciting and intense. It was neither.

Furthermore, the look of Godzilla was nothing particularly impressive or horrifying. It looked like a cross between a Tyrannosaurus Rex that had an amazing growth spurt and the kind of lizard I saw crawling all over the place in Ibiza. Once again, originality is nonexistent and we have “Jurassic Park” all over again.

The only part that really scared me some was when the main characters discovered all the eggs Godzilla had lain in Madison Square Garden. What could we expect to see when they hatched? But hatched they did, and they all came out looking like Velociraptors or Velociraptor wannabes.

You’d think after a film like “Independence Day,” which was a huge hit worldwide but not exactly a critical success, that the filmmakers would learn from their mistakes and make a better movie. But no! We get one which is even worse and yet is still bound to make tons of money. But having seen “Godzilla,” I am more than confident that it will not dethrone “Titanic” as the all-time box office champ. Hey Tri-Star Pictures! Don’t count your chickens before they hatch!

A lot of people say that James Cameron is a big egomaniac and a jerk to his cast and crew on each movie he has directed. Maybe he is, claiming he can make these kinds of movies better than everyone else. But after “Godzilla” ended, I think Cameron can brag all he wants until he makes a tremendously crappy movie like this one. I don’t care how bad you thought the dialogue was in “Titanic;” “Godzilla” is the bottom of the barrel in the screenplay department. How many writers did it take to come up with this script anyway?

And, of course, we have the obligatory ending where Madison Square Garden is destroyed, but for some bizarre and unexplained reason there’s an egg which was somehow undamaged (go figure). The baby burst out of the egg just as the movie faded to black, and I imagined a lot of audience members probably thought the following when they saw it:

“Oh no! It’s a baby!!!”

But I just stared at the screen and thought to myself:

“Oh no! It’s a set up for a sequel!! SAVE US NOW!!!”

Just how many times can you destroy New York in the movies anyway?

½* out of * * * *

Gareth Edwards and Thomas Tull Talk About Making ‘Godzilla’

godzilla-2014-poster

I was invited to attend a special press screening of the 2014 “Godzilla” at Grauman’s Chinese Theatre (it’s now called TCL Chinese Theatres, but I prefer to call it Grauman’s), and it proved to be a huge improvement over Roland Emmerich’s 1998 debacle. Following the screening, we were treated to a Q&A with the movie’s director Gareth Edwards and the CEO of Legendary Pictures, Thomas Tull. The two of them discussed how they saw this version of the giant monster, the first time they became aware of who or what Godzilla was, and of how their film mirrors the current events of today.

There have been dozens and dozens of “Godzilla” movies made since 1954, most of them made in Japan by Toho Company Limited. There have been a couple of American movies made about this enormous monster as well, but they didn’t fare well to say the least. “Godzilla 1985” was universally panned by film critics and died a quick death at the box office. As for Roland Emmerich’s “Godzilla” which came out in 1998, I still cringe at the thought of its existence as it was amazingly awful. But when it came to making the 2014 version, Edwards made clear he was not about to let fans or critics down.

“We were trying to put more into it than just a simple monster movie because the original was definitely a metaphor for Hiroshima and Nagasaki and a very serious film. So we were inspired to try and reflect that,” Edwards said. “We police the world and go, ‘You can’t have nuclear power. You can’t have it. But we can have it, and we have nuclear weapons.’ And what if there were a creature that existed, creatures that were attracted to radiation? Suddenly the tables would be turned, and we’d be desperately trying to get rid of that stuff.”

From there, both Edwards and Tull described the first time they saw Godzilla. Hearing Tull talk about his first exposure to the Japanese monster came to illustrate just how big of an effect monster movies had on him when he was growing up. As for Edwards, he ended up describing his first exposure as being embarrassing.

“First time I saw it, it was the ’54 version,” Tull said. “I was probably around 7 years old. Where I grew up in upstate New York, what I looked forward to every year was the Friday after Thanksgiving when the local TV station would play ‘Godzilla’ marathons all day. That was my favorite thing of the year. I had the incredible fortune of making movies out of all the stuff I loved as a kid: ‘Batman,’ ‘Superman,’ Watchmen’ and now ‘Godzilla.’ Somehow the magic genie made it happen. This is really special to me.”

“In the U.K. when we were kids growing up, they had the Hanna Barbara cartoon. Not many people know that in America. I thought it was a worldwide thing,” Edwards said. “But it was basically Godzilla and I guess his son, Godzuki, and it would fly; it was all very cute. When you’re a kid it was great. I got offered this amazing opportunity. People in the U.K, they like to take the piss out of their friends, so just to mock me they would always refer to it as Godzuki. They’d be like, ‘How’s Godzuki going? Have you been to any Godzuki meetings?’ And I used to play along with it to the point where my phone learned how to spell Godzuki more than Godzilla. So when we used to have regular emails about the film, I’d type Godzilla and it would automatically change it to Godzuki. And for a while, I thought I might get fired.”

Edwards said while he and Tull were in the process of putting the movie together, the Tōhoku earthquake and tsunami, also known as the Great East Japan Earthquake, occurred which decimated much of Fukushima and caused serious accidents at nuclear power plants. Now when horrific events like this occur, Hollywood is quick to distance itself from them for fear of appearing like they are profiting from them. But considering the genres “Godzilla” covers, there was enough of a reason not to ignore the serious events happening around the world.

“There was a point where it felt like, well, maybe we shouldn’t set it in Japan. Maybe we shouldn’t deal with radiation or anything like this,” Edwards said. “We had genuine conversations for quite a while and we talked to a lot of people, and knew a lot of people, who were Japanese obviously working with Toho. And after a while the general consensus was that the 1954 version, the whole point of that movie, and science fiction and fantasy in general I think, they have this opportunity to reflect the period that they’re made in, and so it was thought as long as we did it respectively and the city and the events in our film are not about anything that happened in Japan. So, we felt it kind of appropriate to acknowledge some of these issues as we were figuring out the storyline.”

“When I was a kid, my dad used to have an encyclopedia on the twentieth Century, and on the front cover was Hiroshima, JFK’s assassination, Hitler, all the major events of the twentieth century,” Edwards continued. “I used to look at it and think none of that happened in my lifetime. Nothing significant like that has happened in my lifetime. Maybe nothing like that ever will. And then in the last ten years with the obvious things, it’s nearly impossible to genuinely sit down and say, ‘OK, I want to do a monster movie. I want to try and treat this like it really happened. What would it look like? How would people react and not be infected by the imagery over the last ten years, whether it be the natural disasters or even some of the terrorism?’ So that kind of infected the film a little bit. But we tried to do it in a way that, first and foremost, it’s entertainment. You’re here to see a Godzilla. But I personally like a little meat on my bone, so within that there’s obviously this other imagery and meaning that you can pull from as much as you want or as little as you want.”

Before this, Edwards had only one directorial effort to his name, the 2010 film “Monsters.” It had a budget of only $500,000 and, in addition to directing it, he also worked as writer, cinematographer and the visual effects artist which may explain why it didn’t cost much to make. With “Godzilla,” he had the backing of a major studio and an estimated budget of $160 million. Talk about one heck of a promotion! This has got to put the fear of God into any filmmaker making this kind of transition, but Edwards sounded like he has handled big budget moviemaking very well.

“It’s a massive, massive deal,” Edwards said. “It’s not just a once in a lifetime opportunity; it’s a once in a million-lifetime opportunity to be able to get to do this. The way I dealt with it was to forget we were doing it and just convince ourselves, which was kind of very easy to do, that we’re just in this bubble; it’s just us, and we’re just making a movie that we want to sit and watch, something that will give us goose bumps. And it’s kind of this selfish passion project in the way you kind of approach every day. Because I’d get paralyzed if I really thought about the number of people who would end up seeing the film and all the publicity and press that would come from it.”

“But it’s such a great opportunity,” Edwards continued. “I grew up since I was a little kid desperate to be a film director, and the second they mentioned it I was just like, I could never live with myself if I ever turned this down. I mean, I love monster movies. My first film was a monster movie. This is the ultimate monster movie. So how could you live with yourself having not made ‘Godzilla’ when you had that opportunity?”

Even before its release, “Godzilla” had already sparked conversations about a sequel or a potential franchise. This is not a surprise as movie studios are always looking for the next big movie trilogy to thrust at movie fans eager to pay their hard-earned money for. Edwards, however, said it was his intention to make a stand-alone movie, something I was very pleased to hear. As for Tull, with Legendary Pictures having been purchased by Universal Pictures, he was asked if a sequel would be released by either Universal Pictures or Warner Brothers, the latter which is distributing this movie. In the end, Tull could only say the following:

“We have a little rule: we can’t talk about anything else until this comes out and works,” Tull said. “It’s a little superstition I have. All I can say is, we’re passionate fans of the universe and we love Godzilla and some of those other folks do too, so if this comes out and works we’ll figure it out.”

Save