INTERVIEW WITH ACTOR SAM GROOM

I have the immense pleasure today of welcoming a very special guest, actor Sam Groom, to CINEMATIC REVELATIONS for an interview. Sam has acted in many motion pictures over the years including ACT ONE, RUN FOR THE ROSES, FOR PETE’S SAKE!, THE BABY MAKER [my review of the film can be found here] and DEADLY GAMES, to name a few examples. In this interview Sam will be discussing his role in THE BABY MAKER, acting, television, and his position on the acting faculty at HB Studio in New York.

Welcome to CINEMATIC REVELATIONS Sam!

Athan: When did you first realize that you wanted to be an actor?

Sam: When my brother and I were young we went to 'the movies' almost every Saturday. We loved Cowboy, Tarzan, Pirate and War and Spy movies, almost anything with action and adventure. Afterwards we would go home and be those characters not act them but in our minds actually be them. As we grew up our focus turned to athletics. We were both pretty good and our dreams turned to being college and eventually professional athletes. In my senior year of high school I happened to see James Dean in East Of Eden and Marlon Brando in On The Waterfront. Unless you were young in the middle Fifties you won't completely understand what an enormous impact their work as actors achieved. Instead of the slick product of the past theirs was visceral and raw-almost embarrassing in its honesty. I thought THIS is what I want to do and be. My parents thought I was crazy but they supported me. When I had my first television success my Dad just walked around saying 'I can't believe it, I can't believe it!"

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Athan: Where did you study acting?

Sam: After secretly deciding to pursue an acting career while in college I began auditioning for every major school production. I was immediately cast as Dr. Stockman in Ibsen's ENEMY OF the PEOPLE and as Hamlet in Shakespeare's HAMLET. Although I read as much as I could I didn't formally study acting. I was simply lucky enough to be cast in shows and I learned by doing. (I don't necessarily recommend this method as I discovered later).During my last two summers of college I was hired as a resident actor in two professional summer theaters and after being married my senior year arrived in New York with a wife and very soon a son I had to provide for.

While working at night at a seaman's hotel, I was cast in a famous "live" hour long tv show, "THE ARMSTRONG CIRCLE THEATER" in a leading role. Actors such as Paul Newman and James Dean had done this show in the past. It was like a miracle after only five months in New York!

I continued to work regularly for a number of years relying on some natural ability and not formally studying. All that changed for me when I made a movie for television directed by the great Daniel Mann who was one of the founders of the Actor's Studio and director of Anna Magnani and Elizabeth Taylor in their Academy Award performances. After one particular scene he said that I was a "lazy actor". I was horrified. I was working as hard as I could. This lead me eventually to return to New York and to study with the great Uta Hagen. I discovered that what Daniel perceived as "lazy" was simply that since I never had formal classes there was a part of the acting process that I was not aware of. Knowing this I spent most of the rest of my career working in the theater and trying to perfect the techniques I FINALLY learned in class.

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Athan: Your performance in THE BABY MAKER as the charming, strong Jay was perfect. What is it that drew you to the role of Jay in this production?

Sam: What is most important for an actor is finding aspects of a character that he (or she) can personally identify with. For me this was not too difficult. Like Jay I came from a fairly conservative family background. Both my parents were college graduates. My dad was in the business world and many of our relatives were also in business or the law. People from that world generally have strong family expectations of a good life and further family success for their children. I know my parents did. The cultural conflicts that arose from the radical idea of having another woman carrying Jay's child and his building emotional connection to her despite his love for his wife were interesting ideas. The fact that Jay was a good and decent person was very appealing to me.

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Athan: What did you find most exciting about the experience of making THE BABY MAKER?

Sam: One of the most exciting aspects of making THE BABY MAKER was a call from my agent in early Dec.1969 telling me that the producer of a major film wanted to fly me to Los Angeles immediately. I was to meet with the director, Jim Bridges (who I knew) and Barbara Hershey (whose work I had admired) and read for a major role in a new film. Another [actor] was being offered the film. I happily accepted and flew my family to sunny California to spend two wonderful months living on the beach in beautiful Malibu while we filmed (five years later I bought the home and lived there for eight years).

As an actress, Barbara was very easy to work with. Unfortunately she was living with David Carradine and personally they were a bad combination. So working with her was fine but personally not so wonderful. Years later Barbara and I ran into each other on the street in Sherman Oaks and she apologized.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of THE BABY MAKER?

Sam: Unlike plays which progress straight through from act one to act three in a dramatic line, films are shot out of sequence creating some difficulty for the actors in creating a truthful emotional journey for their characters. The BABY MAKER was a prime example of this difficulty.

The first scene and the last scene were filmed on the first day of shooting in a wonderful house (owned by Adam West of Batman fame) situated high above the ocean in Malibu. The actors had to make all the experiences from the beginning to the end of the script real to themselves although he (or she) had not lived them yet. The practical reason for this problem is financial. It costs a lot of money for film crews to move from one location to another so if more than one scene is to be shot at the same location they will always film them all at the same time.

The director, Jim Bridges, did something very rare in film-making. He had the entire cast rehearse for a week before shooting began, sitting around a long table at the studio working on our character's emotional truth. This was a great benefit to me!

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Athan: THE BABY MAKER dealt with the topics of infertility and surrogacy in a candid, but empathetic manner for all parties in the film. After acting in THE BABY MAKER, did you find that your perceptions of these subjects altered from what they were before appearing in the movie?

Sam: An interesting example of the perception of surrogate birth motherhood in 1970 when THE BABY MAKER was released was the huge difference in newspaper reviews in Columbus, Ohio (my parents’ home city). One reviewer loved the film and the acting. The second completely dismissed the film. His main point was that since the whole premise of a woman carrying a child for another woman was so unbelievable the film failed.

While we were filming, Jim Bridges told me that his idea for the film was inspired by speaking with a young (hippie) woman in Venice Beach, CA. who had twice carried children for barren women. She said she just loved creating babies.

As an actor I must have a vivid imagination to use as an aid in living truthfully under any given circumstances. When you combine that with the very truthful and appealing performance of Barbara [Hershey] and my own wife's often stated love of the creativity of being pregnant (we had three sons by this time) my perceptions didn't need much changing.

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Athan: Have you kept in contact with any cast members and crew from THE BABY MAKER?

Sam: Until the early 1960's the major studios (MGM, COLUMBIA, 20th CENTURY FOX, UNIVERSAL etc.) all had a long list of people (actors, directors, writers) under exclusive contract to the studio. They also had huge back-lots with sets of every description. As a result of this, these people would see each other frequently-either on set or eating in the studio dining room and lasting friendships would be created.

As a larger and larger percentage of the public watched TV, fewer and fewer went to the movies. In order to stay in business the studios sold off their back-lots for real estate projects (Century City) and no longer had actors under contract. Films were made on location around the world and the actors were hired only for one project. They would work together intensely for a time then be off to other projects and other cities.

That is a long answer to your question - not really. Scott Glenn and I had worked together in an off-Broadway production of 11 short plays by the top young writers in the theater called "Collusion Course". It got great reviews and ran for a year. One of the plays I did was written by Jack Larsen (a partner of Jim Bridges) so Scott and I knew each other before THE BABY MAKER and were friends.

Immediately after the film we all went in different directions. I was under contract to Another World in New York so I had to return. A year later I was in Toronto beginning a series called Police Surgeon and had dinner with Jim Bridges who was filming scenes of his film Paper Chase there. A few years later I had dinner with Jim and Jack Larsen in L,A. and visited with Scott and his lovely family at his home in Topanga Canyon. Again we all went off in our different directions. As I said I only saw Barbara once on the street.

My wife became ill and I spent much of my time in those years trying to hold my family together and continue with a career at the same time.

It took all of my attention.

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Athan: THE BABY MAKER was directed by James Bridges, who later helmed equally diverse motion pictures such as THE PAPER CHASE, THE CHINA SYNDROME, and URBAN COWBOY. What was the experience of being directed by Mr Bridges in THE BABY MAKER?

Sam: Before filming THE BABY MAKER Jim Bridges had been a screen writer (or as most screenwriters in Hollywood – a re-writer hired to improve another writer's efforts). This can be very lucrative. But Jim had never directed a film. Wisely, Jim cast his film with good people, had a week of rehearsal before shooting began, and then pretty much left his actors alone. He was very supportive and easy to work with. As is apparent from the quality of his next films he learned very, very quickly.

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Athan: You have starred on many television series, both daytime and nighttime, over the years such as Another World, The Edge of Night, Gunsmoke, Hill Street Blues, The Love Boat, and Law and Order, to name a few. What for you were the main differences when comparing television, and film?

Sam: The main difference between films and TV is speed. Not only speed of filming but speed of casting and of script writing as well. With the last series I did (Otherworld) the casting was completed, literally, the evening before filming began. The writing of the following episodes was just as delayed. This was not unusual. For some reason studio executives in television seem unable to make decisions until the last possible moment.

Theatrical films are entirely different. Scripts go through many rewrites before financing is in place then a careful search for a director and actors takes place. (Interestingly my casting in THE BABY MAKER was against all norms. Jim had wanted me since seeing me in Collision Course but he had to finesse the casting. He auditioned many known film actors, turned them down one by one until time was running out and the part had to be cast.  I was not well known in the film community so Jim had to create a situation where a quick decision had to be made. When Barbara and I met and read our scenes together the producer was pleased and agreed to the casting).

Most hour long series episodes are filmed in seven days. Television movies take about three weeks to film. Contrast this to theatrical films that take at minimum six weeks and with complicated special effects a great deal longer.

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Athan: You have been an acting coach in HB Studios New York for many years. What is it the you find most rewarding in this position?

Sam: My primary method is teaching from my mistakes-this is what I did wrong or what I failed to do. It seems when students have concrete examples-very personal in my case-they more easily accept and remember the guidance and incorporate it into their work. Finally I relate something the wonderful actor and director Alan Arkin told me -before every performance he says a simple prayer - "Dear God if there is anyone in the audience whose pain I can relieve through laughter or I can help through a clearer understanding of the human condition, please allow me to do so today!" I only wish I had known this from the beginning!

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Sam: As to future projects I am always looking for something that would be interesting to direct since at my age (I hate to say it) there are very few good roles being created for my work as an actor.

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Thank you so much today for your time Sam, and for the insight you have provided into the art of acting, THE BABY MAKER, cinema, television, and acting coaching. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Sam Groom links

+Sam Groom IMDb Actor Page

+THE BABY MAKER movie IMDb page

INTERVIEW WITH ACTOR MARK JENKINS

Today I have the immense pleasure of welcoming a very special guest, actor Mark Jenkins, to CINEMATIC REVELATIONS for an interview. Mark has acted in several motion pictures over the years such as DOCTORS’ WIVES, THE FILTHY FIVE, RIVERRUN [my review of the film can be found here] THE ANDROMEDA STRAIN, and DESERT BLOOM, to name a few examples. In this interview Mark will be discussing his role in RIVERRUN, acting, theatre, and position, now retired, as Professor Emeritus, Acting, in the University of Washington’s School of Drama.

Welcome to CINEMATIC REVELATIONS Mark!

Athan: When did you first realize that you wanted to be an actor?

Mark: It was my private, secret ambition from about the age of fourteen. While in college I discovered I could do this.

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Athan: Where did you study acting?

Mark: First at the University of Wyoming near where I grew up. Then in New York, with Herbert Berghof, and eventually at The Actors Studio.

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Athan: Your performance as Dan in RIVERRUN was a distinctive portrayal of a thoughtful young man trying to find his way in life away from the hustle and bustle of modern life, seeking a more meaningful existence. What it is that drew you to the part of Dan?

Mark: Auditioning and being offered the role - my first film role. I would have been happy to work in any movie. I had done only theatre work before riverrun, mostly Shakespeare. But,  I happened to identify with Dan for two reasons. I had left city life in Denver, Colorado to work on a ranch during my high school years which transformed me. Second, I was resisting being drafted for the war in Viet Nam and anticipated I would go to prison. Luckily I didn’t. I responded to Dan’s idealism and determination to do what he felt was right.

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Athan: RIVERRUN had a strong cast with yourself, John McLiam, and Louise Ober as the central trio of protagonists. What was it like working with these performers?

Mark Jenkins, Louise Ober, and John McLiam in RIVERRUN

Mark: It was easy to work with those good people. We had an easy rapport. John was very experienced and gave me a lot to push back against. Louise Ober was not even an actress but was easy going, natural and had a quietly expressive depth. 

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Athan: What did you find most exciting about the experience of making RIVERRUN?

Mark: Probably the fact that we were living and working far away from Hollywood and the show-business world, on an out of the way part of the Pacific coast. John Korty had leased a real farm where we shot most of the film. There were no distractions from us making a world for the film.

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Athan: RIVERRUN had a large amount of location filming, which gave the movie an authenticity. The waterways, the farm, the streets of the town, for example, all oozed realism, adding to the verisimilitude for which the film aimed in its presentation. For you, what was the most demanding, but emotionally satisfying segment of filming RIVERRUN?

Mark: Trying to tell my story with simplicity and authenticity. And adjusting to working for the camera which is massively different than working for in a play before an audience.

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Athan: Have you kept in contact with any cast members and crew from RIVERRUN?

Mark: John McLiam, became a good friend and introduced me to his agent who ‘”signed” me and to a whole community of good, experienced actors and directors. We even did a play together about ten years later - Eugene O’Neil’s Desire Under the Elms, in Los Angeles. Louise Ober never acted again, that I know of. She was an extremely curious soul, audacious and adventurous. Unfortunately, she died, far too young, of cancer.  

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Athan: RIVERRUN was directed by John Korty, who directed other diverse motion pictures as FUNNYMAN, THE CRAZY-QUILT, OLIVER’S STORY, and ALEX & THE GYPSY. What was it like being directed by Mr Korty in RIVERRUN?

Mark: He created a situation where; on one hand he considered us all as collaborators and welcomed our input and points of view. Only later did I realize that he kept his primary vision of the film to himself. (I would say, his attempt to merge nature with the human spirit by means of visual details.) To him, in this film “nature” was more than background.

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Athan: You were Professor Emeritus, Acting, in the University of Washington’s School of Drama for many years, and have taught many drama courses to students over the years. What did you find the most satisfying aspects of working with students in the School of Acting?

Mark: That is too big a question for this interview. Let me just say that being able to help actors peel away preconceptions, vanity, and ego-needs so that actual creativity can take place in real time, is profoundly satisfying. Also, I have able to introduce many actors to the subtle but thrilling genius of and craft of Anton Chekov’s plays which can be transforming to one’s sense of what art and theatre can be. I’ve also been able to teach, act and investigate acting as it’s practiced in Russia, Japan, Asia as well as locally.

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Athan: You are also a life member of The Actors’ Studio, which is renowned for the caliber not only of its alumni but also, its acting coaching. What it is that you most admire about the Actors Studio?

Mark: The Studio’s utter devotion to the actor’s individual process in order to unlock and reveal the inner life of a character “profoundly and intensively.”  

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Mark: I spent much of the last thirty years trying to write plays. One, All Powers Necessary and Convenient was produced twice in Seattle and published by the University of Washington Press.  It deals in some detail with how the anti-communist “red scare” played out in Washington state in the late 1940’s. Since I retired, I’ve been trying to create a coherent and interesting look-back at my life’s journey.

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Thank you so much for your time today Mark, and for the insight you have provided into the art of acting, RIVERRUN, cinema, and academia. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Mark Jenkins links

+Mark Jenkins IMDb Actor Page

+RIVERRUN movie IMDb page

RIVERRUN (1968)

Title: RIVERRUN

Year of Release: 1968

Director: John Korty

Genre: Drama

Synopsis: A young couple who live on a farm in San Marino County, California, receive a visit from her seafaring father, which causes issues in their relationship. 

Within a film history context: Several movies over the years have explored the relationship between a son-in-law, and his father-in-law in close detail. One of the earliest was Alfred Hitchcock's silent THE MANXMAN (1929). In this film, a pub owner objects to the man who wants to marry his daughter on account of being a poor fisherman, which sets in chain a series of events. With THE IDLE RICH (1929), directed by William C. de Mille, a son-in-law tries to help not only his father-in-law but also, other members of the family in a monetary sense, but his good intentions run them up the wrong way, until something changes everything. In Lewis Milestone's MY LIFE WITH CAROLINE (1941), a father-in-law maintains a good relationship with his son-in-law, but nevertheless, supports his daughter in her amorous pursuits, who as a habit of falling in, and out of love. MARRY THE BOSS'S DAUGHTER (1941), directed by Thornton Freeland, has a son-in-law in love with the boss's daughter, who supports him no matter how her father treats him, which includes retrenching him at one point.

Into the 1950s, Lloyd Bacon's KILL THE UMPIRE (1951) was different in tone. A man who dislikes umpires, being a former baseball player, is coerced by his father in law in taking a course in umpiring to support his wife and family. GOING STEADY (1958), directed by Fred Sears, had a father-in-law initially refusing to accept his son-in-law, but the fact of his daughter's pregnancy, among other things, eventually alters his feelings on the subject. Blake Edwards' pungent DAYS OF WINE AND ROSES (1962), had a tenuous father-in-law/son-in-law connection. A father views the man who wants to marry his daughter with disdain, and is proven correct when he leads her into a life of alcoholism, but they later find common ground. RIVERRUN is a movie where the father-in-law/son-in-law relationship was clearly delineated throughout the movie.

Unlike the other films where the father-in-law/son-in-law connection was a small part of the narrative, in RIVERRUN it is one of the major arcs within the picture. It works in conjunction with the daughter/father, young man/young woman dynamics, and draws comparisons between these unions. These relationships in RIVERRUN are of a more complex nature than previous entries, which were in many instances geared toward comedy, and more traditional views of these three relationships. In films such as THE MANXMAN, there is a concern on the part of the father for his daughter marrying a fisherman, with paternal economic considerations obvious. The father here is in a position of power over the son-in-law, likewise with THE IDLE RICH, MARRY THE BOSS'S DAUGHTER, and KILL THE UMPIRE. This, though, is where RIVERRUN diverts from these movies.

RIVERRUN has more in common with films such as GOING STEADY, and DAYS OF WINE AND ROSES, where the father is trying to protect his daughter from a man he considers inappropriate for his offspring. It is not about money in these cases, but a concern with the psychological traits of the respective son-in-law, and the prospective harm he might cause the daughter. RIVERRUN highlights  Dan's pacifist ideals, and reluctance to enlist for Vietnam, which cause friction between him, and his father-in-law. Aside from this, RIVERRUN has a plot point which places it in complete contrast with all the other films. While all the movies had a married couple, in RIVERRUN, Dan and Sarah are not married, but, by all appearances, are akin to a legally recognized union. Once Jeffries discovers this, matters take another turn for him in the movie, railing against this knowledge, and Dan. 

The movie does not paint Jeffries as an all-out villain, but someone who cares for his daughter, and believes in the institution of marriage. RIVERRUN, though, also depicts Jeffries as a man who wants his daughter to be married, but did not carry through on his own marriage to Sarah's mother. This provides the film a note of reality, and complexity in its characters' thoughts and actions. What this presents is Jeffries as an example of a person in the mould of 'do as I say not as I do', which does occur in real life. These examples point to something about RIVERRUN. A picture with a more intricate view of interpersonal relationships, particularly the father-in-law/son-in-law connection, RIVERRUN offers an impressive account in this arena. 

Overview: John Korty was an American director with seven motion pictures to his credit, being more active on television, with twenty-eight telemovies bearing his name. His works followed the intimate lives of characters, displaying sympathy for them, and their milieu. Mr Korty's first movie, THE CRAZY-QUILT (1966), was about a couple, charting their marriage, foibles, and charming idiosyncrasies. Next came FUNNYMAN (1967), with the life of a comedian coming under the microscope in this comedy-drama. SILENCE (1974) was a change of pace, a family drama about a deaf-mute young boy adopted by a couple. The boy becomes lost in the woods, and befriends a man from whom he learns about survival in the elements. 

ALEX & THE GYPSY (1976) focused on a bond bailsman, and his burgeoning relationship with a young woman in trouble with the law, accused of murder. In 1979 John Korty directed OLIVER'S STORY, the sequel to 1970's blockbuster romance LOVE STORY. Unlike the original movie, OLIVER'S STORY was unsuccessful at the box office, even though it continued the life of its protagonist, with Ryan O'Neal reprising his role in the sequel. John Korty's last picture, TWICE UPON A TIME (1983), was an animated feature about an arch-villain trying to make everyone's life miserable, making them see nightmares instead of pleasant dreams, but some good souls soothe everything in the end. RIVERRUN was John Korty's third feature film, and one of his best.

With RIVERRUN, John Korty has crafted an entrancing, compelling motion picture. As with many of his films, it documents the lives of characters who are not far removed from reality, and could exist in all actuality. Mr Korty's output was geared toward down-to-earth characters, and stories, and this is something that makes RIVERRUN so irresistible. It is a movie for people who are seeking emotionally enriching fare without exaggeration, or overtly larger than life material. In RIVERRUN, John Korty does not play around with the film, and the events that shape its characters. He has a tight concentration upon the three main characters in the film, and this is to its advantage. There are no extraneous scenes, or characters, to weigh it down, which would have taken away from the central trio. The finely-drawn characters are representative of the director's attention to detail in RIVERRUN.

The movie is about a young couple, Dan and Sarah, who are living and working on a farm in San Marino County, California. They previously lived and studied in Berkeley, California, and unhappy with what was going on there in the late 1960s. They seek a simpler, quieter existence on their farm. Their lives are changed when her seafaring father makes a visit to the farm. While this scenario may sound conventional to the casual eye, Mr Korty takes a leisurely approach to his story, and characters, which works in a naturalistic manner. One witnesses events build slowly but surely, and sides to characters are revealed without heavy melodrama. RIVERRUN also ensures that viewers are aware of the back story affecting characters, this informing events taking place in the present. This is undertaken by the director peppering the story with flashbacks, these functioning in an informative way. The movie, in effect, is a refreshing slice of life which rewards spectators for their patience. A beautiful movie that has unfortunately been little-seen over the years, RIVERRUN deserves re-release, and critical reappraisal as one of John Korty's best movies.

Acting: RIVERRUN has a trio of performances which assist it to be the great film it is. There is a tangible chemistry between the performers which makes the movie a convincing viewing experience. In the role of Dan, Sarah's partner, Mark Jenkins delivers a carefully-executed performance as the quiet, thoughtful young man with a firm set of ideals. His facial expressions and body language say so much without the need for dialogue in many instances. As Sarah, Dan's partner, Louise Ober radiates charm as a young woman, like Dan, who is seeking something else in life. An actress for whom this was her sole film role, Miss Ober passed away far too young, robbing cinema of further subtle acting interpretations. The thorn in the side of both Dan and Sarah is Sarah's father Jeffries, played with vigor by John McLiam. With his mixture of jauntiness, anger, disillusionment, and jolliness, Mr McLiam brings a quality of tragedy to his part which gives the movie punch. 

Soundtrack: RIVERRUN takes a spare approach to its selection of music which does wonders for the movie. Brahms' 'Clarinet Quintet in B Minor' by David Oppenheim and the Budapest String Quartet, is utilized in an excellent manner during the birth scene, heightening the drama of this major event in the film, but without overshadowing what is taking place onscreen. Other music by Richard Greene and Peter Berg, such as the short harmonica piece at the beginning, and the fiddle tunes played throughout the picture, exude a rustic charm and atmosphere which only adds veracity to the visuals.

Mise-en-scene: RIVERRUN has a sheer authenticity with everything that appears in front of the camera. It could be said that location shooting is another star of the movie, with riverways, the farm exteriors, and other locations evoking immediacy and realism. There is the feeling that the viewer is there with the actors, in on the action.  This extends to other locales in the movie. The interior of Dan and Sarah's home is warm and inviting, reflecting the people living there, with an assortment of furniture pieces, and accessories, nicely appointed. The impression is that Dan and Sarah are looking to create their slice of paradise here in their unpretentious manner, and it is a set that works very well in the movie to express this.

Notable Acting Performances: Mark Jenkins, Louise Ober, John McLiam.

Suitability for young viewers: No. Brief female nudity, adult themes.

Overall Grade: A

Link: IMDB Page

INTERVIEW WITH SCREENWRITER BARRY SANDLER

I have the immense pleasure today of welcoming a very special guest, screenwriter Barry Sandler, to CINEMATIC REVELATIONS for an interview. Barry is the writer of many movies including GABLE AND LOMBARD, THE DUCHESS AND THE DIRTWATER FOX, KANSAS CITY BOMBER [my review of the film can be found here] THE MIRROR CRACK’D, MAKING LOVE, and CRIMES OF PASSION, to name several examples. He also has produced the two latter afore-mentioned movies, and is Associate Professor at the University of Central Florida’s Nicholson School of Communication and Media. In this interview Barry will be discussing his role as writer of KANSAS CITY BOMBER, screenwriting, producing, and Academia.

Welcome to CINEMATIC REVELATIONS Barry!

Athan: Where did you learn the art of screenwriting?

Barry: I became obsessed with movies as a kid. My parents would take me to all the new movies until I was old enough to go on my own and I tried to see every movie I could in my hometown of Buffalo, NY.  Seeing that many movies, screenplay structure, character development and dialogue rhythms became subconsciously ingrained and instinctive so it was a solid foundation for the formal training I had at UCLA Film School, where I majored in Screenwriting.

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Athan: Have you studied acting?

Barry: I took an acting class as an undergraduate at UCLA but that's about it.

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Athan: KANSAS CITY BOMBER originated as a thesis you wrote for your UCLA Master of Fine Arts degree. Did what appear on screen alter much from your original vision of the story, and its characters?

Barry: Actually I wrote the script on spec as an undergraduate, then after it was made at a major studio with a famous movie star when I was enrolled in the UCLA Masters Program, I asked if it could serve as my Masters Thesis and they approved. The final film was considerably different from my original screenplay that I sold to Raquel Welch and Warner Bros.  It was much darker and more dramatic, more in the vein of "Requiem For a Heavyweight" and "They Shoot Horses, Don't They?" It went into turnaround at Warner Bros., got picked up by United Artists, then went into turnaround there and finally ended up at MGM. By the time it was finally made at MGM, after several other writers at three different studios had a hand at re-writing it, the final film became more of a documentary-style road movie.

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Athan: KANSAS CITY BOMBER was one of the most successful releases for its studio, MGM, in 1972. How did it feel to see the movie do well at the box office?

Barry: Well it felt great of course, to see that my conception and creation was turned into a movie that a lot of people went to see. It felt particularly good because I owned a profit participation, albeit a small one, and I'm still getting profit and residual checks from it after all these years.

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Athan: What did you most enjoy about the experience of making the KANSAS CITY BOMBER movie?

Barry: I think the origin story of the movie, how it came to be, is a pretty wild one, that became kind of legendary around town and especially at UCLA. 

When I was at UCLA, a few buddies took me to something called "roller games" (roller derby) which I wasn't too familiar with. I was fascinated by it, seeing skaters circle the track and jam into each other while the crowd roared and ate up the violence. I thought it would make a terrific backdrop for a movie, especially centered around a female roller derby queen. I constructed a story -- of a young woman from Kansas City who comes out to Hollywood to make it in show business as an actress, but just isn't good enough. Her dreams of fame and glory are shattered, when she meets a former roller derby star -- a broken-down alcoholic old dame who runs a skating rink -- who takes her under her wing and builds her into a roller derby star, re-living her own faded glory, and in doing so our heroine is able to find the fame and glory she sought as an actress only the perverse irony is as a black-jersey roller derby star, getting booed, hissed, spat on and popcorn boxes thrown at her.

I thought it would be a great role and character for Raquel Welch, who at the time was one of the biggest movie stars in the world and was looking to do more dramatic roles. I had a strong gut feeling she would respond to the material, so I set about getting it to her.

I found out where she lived from one of those "maps to the stars" and in a bold, impetuous burst of youthful daring, I drove to her house and rang the doorbell.  Her assistant answered, I told her I was a UCLA Film student who wrote this screenplay for Raquel and wanted to deliver it personally. The assistant was taken aback, told me Raquel was in Europe finishing a movie but she would read it herself and if she liked it, she'd give it to Raquel when she got back. Weeks went by, I didn't hear back. I called the assistant who told me Raquel was back but very busy, but the assistant did read the script and liked it and gave it to Raquel.  More weeks went by, I still didn't hear, so I decided to make another move -- I sat down and wrote Raquel a heartfelt letter, telling her my intentions in writing the script, saying I was sorry for invading her privacy by ringing her doorbell but that she would understand and appreciate it once she read the script.

A few days after I wrote that letter I got a call that Raquel read the script, loved it and wanted to buy it and star in it. A few days after that I went to her house and had dinner with her and her family, and this time I ENTERED the front door. I was only around 20 at the time, and I strongly advise my students not to do anything like that today or they might get shot.

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Athan: Have you kept in contact with any cast members and crew from KANSAS CITY BOMBER?

Barry: No, since I really wasn't involved in the actual shooting in Portland, Oregon. I do see the story of getting the script to Raquel repeated occasionally, sometimes in interviews with Raquel and not too long ago in the intro to the film on Turner Classic Movies.

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Athan: KANSAS CITY BOMBER was directed by Jerrold Freedman, who later also directed BORDERLINE, and NATIVE SON, and was his first feature film. What was your experience working with Mr Freedman on the movie?

Barry: I met him a few times but by the time he came on to direct, I was not really involved in the shooting.  He came on to the shoot late, replacing the original director -- the great Oscar-winning cinematographer Haskell Wexler -- who conflicted with the powers-that-be at MGM.

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Athan: You were the producer and writer for films MAKING LOVE, CRIMES OF PASSION, and KNOCK ‘EM DEAD, films which pushed boundaries, and made their mark. How was it acting in both capacities for these movies?

Barry:  I don't have any interest in being a movie producer, but being a producer on a movie I've written gives me a much greater degree of involvement -- in casting, in making creative decisions, etc. -- depending of course on my relationship with the director.  Since I never had any desire to direct, only to write, the directors I've worked with were very willing and happy to have me involved, in most cases to serve as a partner and sounding board.  In some cases (Ken Russell, Sidney J. Furie, David DeCoteau) I made life-long friendships and while Ken R is deceased, I still have a strong friendship with Furie and DeCoteau, and saw them both last month when I was in L.A. Being a producer on movies I've written does give me far more opportunity for creative involvement.

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Athan: Over the years you have received many awards for your services to filmmaking and humanity, such as the PFLAG Oscar Wilde Award, GLAAD Media Award, People for the American way Defending Freedom citation, and Southern California Psychotherapy Association Courage in Filmmaking Award. What was the feeling of winning these awards, and having your work recognized in this manner?

Barry: One of the most gratifying experiences any writer can have is knowing your work has had a profound impact on people. By writing MAKING LOVE, I was able to do so.  It was the first major studio movie in history to present a positive portrayal of a gay man, after years of depicting LGBTQ characters as freaks, degenerates, self-loathing suicides, butts of mocking jokes, etc. Here was the first movie, a coming-out story, to show a man who denied his true nature all his life, finally -- through a relationship with another man, an out gay man -- finally coming to terms with who he was and not only accepting it, but finding pride, dignity, and fulfillment living honestly. The film was embraced by the LGBTQ community -- still is, in fact -- we just had a special sold-out 40th anniversary screening and celebration in L.A. at the new Academy Museum. I received thousands of letters from gay men and women around the world thanking me for the film, telling me how it changed their lives, gave them the courage to come out to their families, etc. I'm very proud of the film, and the effect it has had over the years.

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Athan: Since 2003 you have been on the faculty of the University of Central Florida, teaching screenwriting and film history. What is it that you most love about your work there?

Barry: I love sharing my knowledge and experience with students who are at the same point I was at way back when, though now I'm glad to say with more opportunities, more venues to sell their work and get hired to write (with streaming, cable, etc.)  I can guide them on the pitfalls to avoid and the challenges they will face, from my own experience, that will hopefully help and guide them in their careers. I can also give my input on their writing.  Plus I love showing them great classic films, films that I grew up with that made me love movies, and see them embrace these films as well.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Barry: I'm in the final stages of writing a new original screenplay -- a murder mystery with humor set in a 1980s Midwest high school with a dynamic young rebel-misfit protagonist. I describe it as Ferris Bueller meets Basic Instinct.

I'm also in the middle of workshopping a stage musical for which I've written the book, a really wild off-the-wall show in the vein of Little Shop of Horrors and Rocky Horror Show.

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Thank you so much for your time today Barry, and for the understanding you have provided into the art of screenwriting, acting, the KANSAS CITY BOMBER movie, moviemaking, and working in academia. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Barry Sandler links

+Barry Sandler IMDb Page

+KANSAS CITY BOMBER movie IMDb page

KANSAS CITY BOMBER (1972)

Title: KANSAS CITY BOMBER

Year of Release: 1972

Director: Jerrold Freedman

Genre: Action, Drama

Synopsis: A young roller derby star dreams of becoming a champion on the circuit, but her personal life may get in the way of her ambitions.

Within a film history context: An abundance of movies over the years have been made about skating, such as the films of Sonja Henie, and roller skating, but the roller derby is a subject not often tackled in cinema. The first to deal with it was Tay Garnett's THE FIREBALL (1950). Following the exploits of a young man who becomes a roller skating champion, competing in the derby, it offered Mickey Rooney a meaty part in the main role. Many years later, in 1972, the same year that KANSAS CITY BOMBER was released, THE UNHOLY ROLLERS made its way to cinema screens. It was the tale of a young woman who becomes a roller derby champion, and details her personal, and professional lives. KANSAS CITY BOMBER was similar to these movies, particularly THE UNHOLY ROLLERS in charting the life of its protagonist, but was the best of the films about the roller derby. 

It is closest to THE UNHOLY ROLLERS in that it focuses upon a female lead character, and the audience becomes acquainted with her in an intimate manner. One finds out about her family, their place in her life, and how her relationships with others are influenced by her take on life, and decisions made. Her relationships with men are also explored, and that these are not any easier than those with the same sex. Both movies also feature a dynamic actress who ably evokes interest in the plight of the respective protagonist, and thus sympathy in the viewer. Where KANSAS CITY BOMBER diverts is in its focus upon the intricate emotional life of its lead character, K.C. Carr, and how this leads to consequences for her. While this is not to discount Karen Walker in THE UNHOLY ROLLERS, this film has more of an interest in exploitation elements such as sex, nudity, and coarse language, than presenting a fully dramatic portrait of its character. KANSAS CITY BOMBER is crisper in these areas, instead concentrating upon K.C.'s trials and travails, than permissive action. 

The sexual antics of Karen's friend, and her own are depicted in THE UNHOLY ROLLERS, but in KANSAS CITY BOMBER the affair between K.C. and team owner Burt Henry is suggested, and how the fallout from this affects other characters is clearly shown. In addition, the feelings of Hank Hopkins, and how K.C. stands up for him, is another standout segment of the movie. It takes things to another level in the film, giving depth to the characters, and the story, that it deserved. The subversive elements present in THE UNHOLY ROLLERS were not in evidence in KANSAS CITY BOMBER, such as Karen's tattoo session. In KANSAS CITY BOMBER, it was not just about a young woman wanting to buck the system to make it as with Karen in THE UNHOLY ROLLERS. K.C. in KANSAS CITY BOMBER strove to be the best she could, and came up against obstacles, but somehow managed to surpass these, which is an inspiring sentiment indeed. For these reasons, KANSAS CITY BOMBER stood above its movie counterparts as a whole.

Overview: Jerrold Freedman is the director of three motion pictures, being active in television, directing and writing for episodic prime-time programs, and helming twenty telemovies over the space of twenty-five years. Mr Freedman's second movie, BORDERLINE (1980) was an action film about a policeman on the trail of a smuggler responsible for his partner's death, with Charles Bronson in the lead role. The third, and final of Jerrold Freedman's pictures, NATIVE SON (1986) was set in the 1940s, and dealt with issues of race. A young black man assumes the role of chauffeur to a white family, but matters take a nasty turn when he unintentionally kills their daughter. His attempts to disguise his part in the crime might doom innocent parties to an unfair fate. KANSAS CITY BOMBER was Jerrold Freedman's motion picture début, and his most recognized cinematic work.

With KANSAS CITY BOMBER, Jerrold Freedman has crafted an entertaining, fast-moving film. The combination of drama, comedy, and action is well-handled by the director in his examination of the world of roller derby, and the personalities who make it come alive. While the life of lead character K.C. Carr takes center stage in the movie, there is also a rich tapestry of supporting characters who the movie spotlights in a savvy manner. The weaving of characters in an out of the narrative, and their reactions to events, give the movie balance. While the film in other hands could have been given over to the action sequences, which are plentiful in number here, one is given a sense that the people in the movie are authentic, and lead real lives away from the roller arena. K.C. Carr is portrayed as an ambitious young woman whose appearance, and persona, bring out the worst in some people without her even trying, which gives the film a realism and credence. The adage for K.C. of 'damned if you do, damned if you don't' makes matters all the more credible in the film. Sometimes whatever one does in life, others are never happy. Despite the fact that the movie does have its virtues, there are a number of flaws which do detract somewhat from its impact.

The interspersing of the personal lives of the characters between the action sequences is admirable, but in some instances, there is the sentiment that more of these scenes would have made a great film excellent. K.C.'s relationship with her mother, and son, are some of the best moments in the movie. The scene in which K.C. tries to connect with her young son, and fails in this mission, is one of the most touching parts in the entire film. Likewise, the emotional turmoil experienced by Jackie Burdette could definitely have been shown in greater detail. Jackie's drinking, and jealousy of K.C. are vividly presented, but, as with K.C. and her son, one yearns for more of these moments. The friendship of K.C. and Lovey could also have been extended as it was another true-to-life story. The relationship of K.C. and Burt Henry, though, was documented in detail, in comparison to the other threads, and not as abrupt in its resolution. In all, though, and despite several deficiencies, KANSAS CITY BOMBER does have the courage of its convictions. It is an action-packed motion picture which not only diverts but also, offers its audience a thoughtful backbone to all its visual razzle dazzle.

Acting: KANSAS CITY BOMBER boasts great performances from a talented cast. In the lead role of K.C. Carr, roller derby champion, Raquel Welch is in one of her best early roles. An actress with a poise, and dignity, which is too often overlooked in favour of her physical appearance, she is believable as an honest young woman seeking fame on the derby circuit. As the manager of the roller derby, Kevin McCarthy exudes an ease as the older man used to getting what he wants, which includes the attention of K.C. Carr. With his handsome looks and way about him, Mr McCarthy convinces as Burt Henry. As Jackie Burdette, K.C's rival on the roller circuit, Helena Kallianiotes excels. Making an impression as the volatile woman prone to fighting, drinking, and jealous spats, Miss Kallianiotes makes the most of her meaty part. Another pithy role is that of Hank Hopkins, played by Norman Alden. As K.C's only friend on the circuit, Mr Alden brings a touching slice of sympathy to Hank which gives the movie a melancholic edge. Four other actors deserve mention whose individuality infuses the movie.

Katherine Pass, as Lovey, K.C's first friend, is delivered with realism and frankness by the actress. A performer who unfortunately has not been active in movies since the 1980s, she brings a note of loyalty and real friendship to the movie. Mrs Carr, K.C.'s mother, is brought to life by character actress Martine Bartlett. An actress who played mother roles to perfection, Miss Bartlett strikes a chord as the righteous maternal figure. Randy, a Lothario with wandering hands, is made memorable by William Gray Espy. An actor who made his mark on daytime soap operas with his singular presence, here he shows cheeky magnetism as the irreverent Randy. The final acting of note was by Jeanne Cooper as Vivien, the coach of the roller derby team. As with William Gray Espy, Miss Cooper was notable for her work on daytime serials, and here shows her authority as the no-nonsense, gravelly-voiced Vivien.

Soundtrack: KANSAS CITY BOMBER has a subtle soundtrack, by Don Ellis, which is a nice contrast to the highly audible roller derby action scenes. It is generally employed during the movie's quieter moments, such as the sequence where K.C. and Burt converse on the waterfront. The boldest musical piece is the film's theme song which is played both during the opening, and closing credits.

Mise-en-scene: Attention has been duly paid to the onscreen experience for viewers in KANSAS CITY BOMBER. Cinematography by Fred Koenekamp is beautiful, the roller derby scenes colorful, but not to a garish degree. The scenes away from the roller derby have also been handled nicely, with a softer use of colour creating a point of difference with the red hues in the stadium. Editing by David Berlatsky is smooth and satisfying, giving the film a grace in this department. Costuming by Ronald Talsky shrewdly takes into account the personalities of the film's characters and their roles in the narrative. Notable instances of costuming are the stylish uniforms worn by K.C. and Jackie, Burt Henry's elegant suits, and Mrs Carr's more everyday attire. Interior locations are all excellent, from Mrs Carr's house, Lovey's houseboat, Burt's office, to the roller derby stadium. Exteriors are likewise of a high standard, with the outside of the Carr family home, and the train station just some examples.

Notable Acting Performances: Raquel Welch, Kevin McCarthy, Helena Kallianiotes, Norman Alden, Katherine Pass, Martine Bartlett, William Gray Espy, Jeanne Cooper.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer