INTERVIEW WITH FILM DIRECTOR FRANC RODDAM

Today I have the immense pleasure of welcoming a very special guest, director Franc Roddam, to CINEMATIC REVELATIONS for an interview. Franc has directed a broad variety of motion pictures over the years such as QUADROPHENIA, THE LORDS OF DISCIPLINE [my review of the movie can be found here] THE BRIDE, ARIA, WAR PARTY, and K2. He has also been a producer and writer on several movies such as THE BOOK OF VISION, ARIA and QUADROPHENIA. In this interview Franc will be discussing his role as director of THE LORDS OF DISCIPLINE, his producing and writing work, and as founder and chairman of multimedia Ziji Publishing.

Welcome to CINEMATIC REVELATIONS Franc!

Athan: When did you first realize that you wanted to be a film director?

Franc: I grew up in a small town in the North of England, there were two cinemas at the end of my street; one known locally as ‘The Fleapit’, because it was built on a swamp, and the second called ‘The Modern’ because it was an art deco building. From a very early age, I used to go to the cinema as often as possible. Sometimes, if it was what was termed an ‘A’ film you had to have an accompanying adult. All the kids would ask somebody in the queue, ‘can you take us in, mister?’ then abandon them once we got into the cinema. Occasionally, somebody would pay for your ticket, which was a real treat. I loved Westerns, and saw hundreds of them, but the A films were often films with Bogart and Cagney in them, and as an 8- and 9-year old kid, they had a certain mystery and magic for me. Being from such a provincial town, I did not realise cinema was available to me as a profession. It’s only when I was traveling as a young man and got a job as an extra on a film in Greece that I saw the whole thing laid out in front of me and thought, I want to do this. When I came back to London from my trip, I happened to be sharing a flat with somebody from film school, which I also did not know existed. I applied, got in, and had great success at the London Film School. I was hooked. 

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Athan: Were you influenced by the oeuvre of movie directors from Classic and New Hollywood, British, or international cinema in your filmmaking?

Franc: I found inspiration and influence from a whole plethora of film-makers. I started with John Ford and John Houston, moved on to Kurasawa, loved the Italian and French cinema of the sixties and early seventies. I had particular favourites: I loved Erice’s The Spirit of the Beehive, and The South. The cinematic poetry of those films left a long impression on me. I embraced it and tried to incorporate it into my work. So, John Ford and John Houston for storytelling, Kurasawa for cinematic energy, French and Italian cinema for intellectual content and Erice for poetic pieces. 

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Athan: You were featured as an extra in the 1967 science fiction comedy THE DAY THE FISH CAME OUT. Did you study acting, or have aspirations to be an actor before becoming a director?

Franc: As a child, I wanted to be the hero in the film, rather than the actor in the film so I never saw myself taking up the acting profession. It requires a certain confidence and calmness that I seem to lack.

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Athan: Your direction of THE LORDS OF DISCIPLINE was flawless, making it a prestigious and memorable motion picture, one of my favourites. What is it that drew you to directing the movie?

Franc: After Quadrophenia, I was invited to work in Hollywood with 20th Century Fox. I wanted to make a film called Rainforest, about the destruction of the Amazon; in 1978 no-one knew what I was talking about but the Fox executives went along with it. I spent six months in the Amazon and over 2 years with Spencer Eastman, wrote a fantastic script. It was going to be my Citizen Kane, and it would save the save the world. Robert Redford became attached to it but after long and protracted dealings with him, he eventually pulled out, which coincided with a management change at 20th Century Fox, and my film got dropped. I’d spent 2 years on this enterprise and realized I had to make a film soon. I gave myself 2 goals: to make a film that was both innovative and moral. Rainforest had those qualities. Jeffrey Katzenberg, an executive at Paramount at the time, took me to breakfast at the Beverly Hills Hotel and said, “You haven’t made a film for more than 2 years, you’d better do this one.” I realized it was not an innovative film, but it would be moral and that’s why I decided to take it. The central theme is about institutions and hypocrisy, which can apply to many a country and, honestly, particularly, the USA right now. I had a fantastic time making this film with all the young actors that I chose and my cameraman and collaborator, Brian Tufano. I looked at the film again recently, after 32 years of not seeing it, and strangely enough it does seem relevant to now. 

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Athan: What did you find most exciting about the experience of making THE LORDS OF DISCIPLINE?

Franc: With Lords of Discipline, I assembled a group of young actors, and like with Quadrophenia, the actors who did not get the main parts, were given small parts, or even extra parts. I had a company of actors working with me that I knew, and would do anything to make the film work. My great and lasting experience is working with them. 

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming THE LORDS OF DISCIPLINE?

Franc: I wanted to make sure that I was presenting an institution to the audience, so there are a fair number of set pieces in the film with large crowd scenes. For instance, the arrival of the new cadets in the college, which is about 3 minutes into the film, there’s a very complicated shot in the corridor, which introduces the scale and behavior at the college. I foolishly shot it on my first day; it runs for 3 or 4 minutes, which is above the daily average that any director is expected to achieve. Setting up took me until 4.30 in the afternoon, so when the people in Paramount got the report of the day, it said, “Time of turning over: 4.35; number of shots achieved today: 1.” In Hollywood they prefer turning over at 8.30 in the morning and getting 12 set-ups by end of day. They also like to be able to cut into a set-up, with this one they couldn’t. They were about to fire me on the first day of filming and sent their crusty old production manager from LA to get me. I convinced him to let me carry on and that long sequence is in the film in its entirety. There are other sequences like in the chapel or the cadets singing Dixie, that are also quite big set-ups. I’ve noticed in my films like Quadrophenia, War Party and Lords, that I often will create a big scene. To me, it’s part of the grandeur of cinema and I enjoy them. The court case was particularly difficult in the film because you have to hit all the beats so there’s a large number of shots, which is different from my normal style. A court scene must be precise. 

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Athan: Have you kept in contact with any cast members and crew from THE LORDS OF DISCIPLINE?

Franc: My best buddy from Lords of Discipline was the actor, Bill Paxton, who sadly passed away a couple of years ago. We were big mates to the end. Also, Malcolm Danare, who played Poteete and Michael Biehn and was in K2. Brian Tufano has been a lifelong friend, we worked together many times on film, television and commercials. Brian held my hand in the early days of my career. 

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Athan: Television production has been a great area for you in terms of output, being format creator of Auf Weidersehen, Pet, Making Out, Harry, The Canterbury Tales, and Masterchef just some of the many projects you have headed. What are some of the main differences you find in comparing film, and television?

Franc: I started a production company, hopefully to raise revenue to pay for film development and Masterchef was originally an idea set up that would pay for the secretaries and the telephones! It’s now the biggest cooking show in the world and is seen by 300 million a year. With regard to the other programs you mentioned, I did not direct any of them but they were an outlet for my creativity whilst I was waiting for a ‘yes’ on some movie or other. All of these programs were very successful, I am proud to say. I did direct the mini-series Moby Dick and Cleopatra; they had healthy budgets and healthy schedules, which made them attractive to me. I shot Moby Dick at Point Cook in Melbourne and it was the best film experience of my life. I loved the Australian film crews, they were men and women after my own heart.  

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Athan: You founded multimedia company Ziji Publishing in 2004, where book publishing is teamed with film production. What have been your proudest moments thus far with Ziji?

Franc: Ziji has provided me with many proud moments. Masterchef, of course, is its biggest achievement, and employs something like 10,000 people around the world. The third book we published, The Last Templar, sold approximately 6 million copies. I’ve also been able to help a number of young film-makers get their projects started in script form.  

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

Franc: I’m developing one screenplay for myself to direct, and several TV series, which I will produce, should they be picked up. I still find cinema as exciting as I did when I used to go to The Fleapit three times a week. 

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Thank you so much today for your time Franc, and for the insight you have provided into THE LORDS OF DISCIPLINE, directing, production, and publishing. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Franc Roddam links

+Franc Roddam IMDb Director Page

+THE LORDS OF DISCIPLINE movie IMDb page

+Ziji Publishing official website

THE LORDS OF DISCIPLINE (1983)

Title: THE LORDS OF DISCIPLINE

Year of Release: 1983

Director: Franc Roddam

Genre: Drama, Suspense

Synopsis: A senior cadet at a Carolina military school encounters hazing by fellow students designed to weed out undesirable candidates; disgusted by this, he tries to stop these incidents from happening.

Within a film history context: While hazing has been the subject of quite a few movies over the years, particularly with reference to its occurrence in universities, hazing taking place in military academies has been less frequent onscreen. The first notable example was John Ford's SALUTE (1929), in this story of two brothers in a military academy. Featuring a single incident of hazing which is more comical than serious in intent, it did not delve as such into this in a deep manner, more concerned overall with the romantic aspects of the story. NAVY BLUE AND GOLD (1937), directed by Sam Wood, featured a scene where a student at a naval academy is subjected to off-screen hazing by a smarmy upperclassman. Alfred Green's THE DUKE OF WEST POINT (1938) was about a haughty young man from England who enrols in the West Point military academy, and is ignored by the other cadets when he violates the academy's honor code. NAVAL ACADEMY (1941), directed by Erle C. Kenton, was set in a military reform school. There is a scene where one of the students is subjected to hazing by several upperclassmen, falling into a swimming pool with his hands tied, and eyes covered, but is saved by a fellow student. One of the most incisive depictions of hazing could be found in Jack Garfein's THE STRANGE ONE (1957). In a Southern military college, a charismatic but sadistic young Cadet dominates his fellow students with deceptive and bullying tactics, but is undone by his deplorable behavior. A dark movie which boasted excellent acting, particularly by Ben Gazzara in the lead, and George Peppard, Pat Hingle, and Peter Mark Richman in support, it was a challenging, but rewarding movie experience. THE LORDS OF DISCIPLINE was akin to the films mentioned above, but added its own distinctive flourishes to the topic of hazing in military academies.

THE LORDS OF DISCIPLINE is closest to THE STRANGE ONE in terms of its uncompromising treatment of hazing within the narrative. Both examine the emotionally devastating effects of hazing on its victims, highlighting those who disagree with it, finding it morally objectionable. Both of these movies are more explicit in depicting the hazing incidents, particularly THE LORDS OF DISCIPLINE, which is something the earlier movies such as NAVY BLUE AND GOLD could only refer to verbally, but not show onscreen due to the censorship of their day. THE LORDS OF DISCIPLINE differed from THE STRANGE ONE in that the hazing did not have overt homosexual overtones, but was more along the lines of power and racism. Where both movies did coincide is that the perpetrators of the hazing are brought to account, which gives the audiences of THE LORDS OF DISCIPLINE and THE STRANGE ONE a comforting notion of justice being rightly served. There are some other variations between THE LORDS OF DISCIPLINE and the earlier movies which deserve mention.

Where THE STRANGE ONE has a number of characters who rail against the hazing, and put a stop to it eventually, in THE LORDS OF DISCIPLINE this weight is carried by one character. THE STRANGE ONE has Jocko dominating the other students physically and psychologically, while in THE LORDS OF DISCIPLINE it is a group of students, named The Ten, who carry out the hazing. The Ten are more of a faceless entity in the movie, their uncovering a suspenseful part of the film, but Jocko is anything but hidden. In addition, THE LORDS OF DISCIPLINE, as such, did not have the romantic subplots or feel that permeated earlier examples such as SALUTE and NAVY BLUE AND GOLD. While there was the presence of girlfriends of the military academy students in the film, by and large this thread took a backseat to the dominant hazing storyline in THE LORDS OF DISCIPLINE. This was something that THE STRANGE ONE also shared with Jocko and his fleeting romantic pursuit. One of the most trenchant films about hazing in military academies, or in any setting ever produced, THE LORDS OF DISCIPLINE is a compelling movie.

Overview: Franc Roddam is a British director who has made six films over his career, with one movie segment in an anthology motion picture. His first film, QUADROPHENIA (1979) was a portrait of a young man in 1960s London, clashing with his parents, becoming involved with drugs, and generally indulging in anti-social behavior. THE BRIDE (1985) was a horror movie about a group of scientists who create what they believe is the ideal woman, but with a number of unexpected repercussions. Franc Roddam directed a segment in ARIA (1987) entitled "Liebestod", which followed the escapades of two ill-fated lovers, starring Bridget Fonda and James Mathers. WAR PARTY (1988) was a drama concerning the recreation of a century-old battle between the US Cavalry and Native Americans, which causes contemporary problems for its participants. Mr Roddam's last film to date, K2 (1991), detailed the adventures of two men, based upon a true story, who aimed to climb the K2 mountain in Pakistan. THE LORDS OF DISCIPLINE was Franc Roddam's second motion picture, and one of his best.

With THE LORDS OF DISCIPLINE, Franc Roddam has made a carefully-constructed, crisp film which is a winner. Based upon the novel by Pat Conroy about life in a 1960s Carolina military academy, specifically following hazing incidents taking place among its students, it is an engrossing, thoughtful movie that keeps the attention from beginning to end. The atmosphere is well-managed, maintaining a balance between light but also, more serious moments. The movie also lacks a melodramatic nature, preferring for a more naturalistic, easy-going approach. While THE LORDS OF DISCIPLINE is at heart a somber work, it never becomes depressing or maudlin, despite its subject matter. It makes its points succinctly, without ever becoming morose, or violent in showing hazing. It does not exploit its subject matter for cheap visual thrills, something which is to be commended. THE LORDS OF DISCIPLINE thus does not wallow in depravity, something a lesser filmmaker would readily consider. Further features of the movie are also worthy of discussion.

While it could be argued that the lack of a distaff side does not allow for other points of view in the movie, this does not matter overall. THE LORDS OF DISCIPLINE is tightly-made, and stays consistent to its storyline, never making needless deviations. Aside from its examination of hazing, THE LORDS OF DISCIPLINE is also a character study, with Will at its center. Although The Ten are brought to justice, one does not experience the fallout from this, but how this entire episode marked Will's life. The movie could have spotlighted the frenzied reactions of those in The Ten to being caught, but it shies away from this. It does not as such present the story as one with revenge elements, as Will was the movie's epitome of truth and honor, which would not have been suitable given this. THE LORDS OF DISCIPLINE handles matters in a more subtle manner, keeping the ambience on an even, more nuanced keel. A movie that has unfortunately been vastly underrated over the years, THE LORDS OF DISCIPLINE is one of the best films of the 1980s, and a great example of Franc Roddam's cinematic artistry.

Acting: THE LORDS OF DISCIPLINE offers many great performances which bolster the movie. In the lead role of Will McLean, David Keith is excellent. As the upright Will, who encounters many obstacles along the way in his search for the truth, Mr Keith is entirely convincing. An actor with an air of both integrity and a generous nature, the personable Mr Keith is the cornerstone of the movie. Rick Rossovich, as Dante, Will's friend and roommate at the academy, brings a sense of both the comic, and dramatic to his part. Watching Mr Rossovich verbally and physically thrashing his roommates is great fun, then his reaction to being accused of a crime, deftly expresses both comedy, and pathos, exceptionally well. In his movie debut as Tradd, Will's roommate and best friend, Mitchell Lichtenstein brings another complicated character to the screen. An actor with a veneer of quiet calm and comforting voice that distinguishes protagonists more intricate than first meet the eye, he does exceedingly well as the smooth, charming Tradd. Malcolm Danare, as Poteete, is striking as the tragic academy student who makes an irreversible decision. With his unique voice and acting style, Mr Danare makes Poteete a riveting figure it would have been great to have seen more of in the movie. There are four other contributions in the acting department that make THE LORDS OF DISCIPLINE a fine film.

As the oily and scheming John, Will's nemesis, and the movie's central villain, Michael Biehn is an effective figure of malice and devil-doing in THE LORDS OF DISCIPLINE. With his subtle body language, careful movements, and magnetic stare, Mr Biehn is excellent as the methodical, evil John. In a small role as Abigail St. Croix, mother of Tradd, Barbara Babcock makes the most of her cameo as the relaxed Abigail. It is entertaining watching the married Abigail trade quips with Will, and make friendly advances toward him. G.D. Spradlin, as General Bentley Durrell, kingpin of the military academy, is fine as the officious General with more than one skeleton in his closet. Seeing him swallow his pride in the final scenes is one of the film's highlights. The final acting of note was by Robert Prosky as Bear. With his cigar-chomping and grizzled demeanour, Mr Prosky adds both humor, and authority to THE LORDS OF DISCIPLINE with the seen-it-all Bear.

Soundtrack: THE LORDS OF DISCIPLINE has a rousing theme which is utilized both during the opening credits sequence, and closing credits. The latter version is a sprightlier version of the one during the opening credits, reflecting the change in tone from the start, and end of the movie. The film also contains musical accompaniment throughout its run, ranging from the intimate scenes of character revelations, to the sequences of hazing with startling graphics.

Mise-en-scene: THE LORDS OF DISCIPLINE has meticulous attention to mise-en-scene. The scenes at the military academy, both indoors and exteriors, the family home of Tradd St. Croix, the diner, the Ten's meeting place, to name several examples, are all well selected, and impart valuable information which support the story and its characters. Costuming is also of a high standard, with uniforms, and attire worn when the students are in civilian mode, all reflecting the movie's 1960s setting. Cinematography by Brian Tufano is also beautiful, the colour just right without being too bright, and in keeping with the film's thoughtful nature. Both daytime, and nighttime filming is also impressive, the viewer being able to see the action clearly during both parts of the day.

Notable Acting Performances: David Keith, Rick Rossovich, Mitchell Lichtenstein, Malcolm Danare, Michael Biehn, Barbara Babcock, G.D. Spradlin, Robert Prosky.

Suitability for young viewers: No. Infrequent coarse language, male nudity, adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

Trailer