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CRIME, PUNISHMENT AND CENTREFOLDS - an interview with Andy Sidaris by Jeff Young profile filmography
[interview via email, March 2002]
How did your filmmaking career with the Playboy playmates begin? My filmmaking career with Playboy playmates began when I had an idea for a movie starring a female detective... a female Raymond Chandler type character that lived in LA and who solved crimes. She was named Stacey, after my eldest daughter. I cast Anne Randall in the lead. Anne was a Playboy centrefold. I interviewed a few playmates and she was the one that was the most beautiful, the most athletic and had the most spunk to carry off the role. |
Andy Sidaris, surrounded by (clockwise from left):
Carolyn Liu, Roberta Vasquez, Cynthia Brimhall, Ava Cadell, Dona Speir |
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With all the latest weapons and technology in your films, how do you keep informed about what new
guns and gadgets are available without the budget for research that a James Bond production has? I keep up to date on gadgetry by reading every spy, detective novel I can get my hands on. I'm constantly going to gun stores to check out various new weapons as they hit the market. Also, I've used a couple of people from Nashville, Tenn. (Bill and Ellen Pryor who are friends of mine). They are very inventive in creating fantasy weapons such as the rocket gun in Hard Ticket To Hawaii and the rocket launcher in Guns and the computerised cane gun in Picasso Trigger. Recently, our Property Master, Eric Baker, created navigational equipment and weapons for us. I have always wondered if you like the 007 movies? Do you have a favourite Bond film that has, perhaps, influenced you? I love the Bond movies. Doctor No influenced me the most because of its simplicity and innovative storytelling style. It did not have any computer special effects or graphics, which, for me, makes it like a cartoon instead of a motion picture. Sean Connery was very handsome and Ursula Andress was a knockout. What is the most difficult stunt involving girls and guns that you have ever filmed? We never put anyone in any danger or compromise his or her safety in any way. The closest we come is to use long lenses to foreshorten the action, so that the actors appear to be much closer to the danger than they really are. When I saw your movie, Seven (1979), on video in England during the 1980s, it looked like some scenes had been cut. With the mix of sex and violence in your films, do you have much trouble with censors around the world? Generally, we do not have trouble with censors. When we first started producing, we had to explain the tongue in cheek approach to the MPAA. They have since gotten the joke and appreciate our lack of graphic violence and lack of profanity, while appreciating the celebration of the female form that we present. Your early films had a few serious dramatic moments in them. Why did you decide to add more jokes to later productions? We prefer the lighter approach to our brand of entertainment. We like people feeling good at the end of the film. Some of the humour in your films looks improvised. Do you allow your cast to change the script much? There isn't much improvising but when an actor can add a touch of their character to the scene, we usually appreciate it.
Erik's agent, Jack Gilardi at ICM, recommended Erik. The producer of Pat Morita's TV series, O'Hara, recommended that we meet Pat. Have you got any anecdotes about acting opposite Charlton Heston in Two Minute Warning or, perhaps, your uncredited work on Robert Altman's M*A*S*H? After Two Minute Warning was screened, I ran into John Cassavetes at a restaurant. He greeted me with an embrace and said, "I just saw the film. You're the best thing in it!" I said (to John Cassavetes, one of America's best actors), "Yes." Robert Altman's greed got in the way of doing the right thing by giving me the credit I earned and deserved in M*A*S*H. My work included finding the location, hiring the actors, entirely and solely staging the football scenes, solely directing the action and the majority of the dialogue. The episode was a career launcher for him and a pain in the ass for me (except for the cash). Do you have a personal favourite among your many films? My personal favourite among my films is the next one. Your son has directed some of your recent productions. Has this changed the familiar Sidaris formula much? Drew taking over the 'baton' in two of the films was a very smooth transition. Many thanks, Andy and Arlene, for your time. Good luck with future Malibu Bay projects! |
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