March 21, 2026 • 50 mins
On his third interview with the Fisch Bowl, actor Patrick Kilpatrick talks about his experiences in the acting world in films like Last Man Standing, working alongside household names like Christopher Walken and Bruce Willis, and his upcoming film currently in the production stage, Dying For Living.
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SPEAKER_00 (00:00):
Attention, all you fishes in the sea.
SPEAKER_02 (00:03):
Welcome to the Fishbowl.
It's Sam Fish.
SPEAKER_00 (00:08):
What's up, all my fishes in the sea?
Thanks for tuning into theFishbowl and for being a
subscriber.
I'm your host, Sam Fish, andtoday's guest is a recurring
guest, Patrick Kilpatrick.
On today's episode, we talkabout his work on Minority
Report, Last Man Standing,Eraser, and a bunch of other
cool stuff.
(00:28):
You don't want to miss thisepisode.
Check it out.
All right, Patrick Kilpatrick onthe fishbowl once again.
Good morning.
SPEAKER_01 (00:38):
Good afternoon.
SPEAKER_00 (00:39):
Great to have you on the show again.
This time we can actually see.
Well, I can see you.
My apologies about my cameraissue.
SPEAKER_01 (00:48):
I got there you go.
You're there.
In and out, in and out.
Yeah.
See, that was a perfect example.
I use the word intermittent.
You use the word in and out.
That's in and out is muchpreferable to intermittent.
SPEAKER_00 (01:06):
Okay.
Thank you.
Thank you.
SPEAKER_01 (01:08):
In the context of screenwriting.
SPEAKER_00 (01:11):
Right, right.
You know.
Definitely.
Let's let's talk about your newfilm you have coming out, Dying
for a Living.
SPEAKER_01 (01:21):
Well, Dying for a Living has been an incredibly
transformational journey for me.
Let's start about just in theproduction.
I've got a really great team.
First of all, writing,directing, producing, and acting
in a movie of this scale may bea bridge too far.
(01:42):
But we managed to get throughthe first week and the second
week, the second week we startedto hit our stride.
I would be remiss to say that Ithink, you know, in an effort to
make it all turn out the way itwas, I look, you do what you
have to do, but the bottom lineis I think it was a very
(02:05):
transformational experience forme in learning how to lead
people.
That you can never get lose yourcool about it.
You can never, it just isn't theway to lead people.
So we began to hit our stride inthe second week.
(02:25):
I feel like I personally got agreat deal out of that process
because I you have decisionmaking coming at you so fast
from so many different quartersthat eventually I liken it to
like being in combat.
(02:47):
You really have to steadyyourself and only focus about
what is two feet in front ofyour face, and as they say, slay
the dragon right in front ofyour face, and then move on to
the next thing.
So it looks great.
The footage looks great.
(03:08):
We have got about 45%, 50% ofthe film done.
Here's the other great lifelesson I got from that, which
was what appears to be anegative, which I thought I knew
this lesson, but it was verymuch reinforced for me on Dying
for a Living.
(03:29):
What appears to be a negativeactually is positive on the road
to the final product, the finalfilm.
For example, like I wanted myson to play this particular
part.
He's incredibly handsome and sixfoot five and a natural good
actor.
I know from having directed,directed him in school plays and
(03:53):
stuff as he was growing up.
He's now 25.
And I asked him to do it, and hedidn't want to do it because
acting's not his thing.
He's a really talentedarchitect.
And so he said, no.
Well, so I ended up hiring anactor who looked similar, who
was immensely accomplished andhighly skilled and educated in
(04:18):
acting.
And on the day of the shoot, hegot COVID.
And so I had to call my son andsay, please, will you help your
old man out?
And he he did it.
So it was really like destinywas taking care of me and
wanting my final realization tohappen.
(04:39):
And you have to really acceptthat.
We broke because we ran out ofmoney, but that allowed us to
have the opportunity to rewritethe script, to add in depth, to
make it much more deeper,connect all the dots, and to
create some additional cast,which really elevated the
(05:00):
project.
So, on the one hand, it's howthough you ran out of money, the
movie stopped, but it's all forthe good of the final project.
So now what we're doing rightnow is we're working really hard
to get somebody to come in andplay my brother for three days,
who's a huge name, who wouldelevate the distribution rights
(05:23):
of the film astronomically, andat the same time find that sweet
spot where they don't want two,three million dollars.
They want a figure that we canpay and get them to supplement
the cast.
We added Nina Bergman, who'sbrilliant and is a great asset.
(05:44):
I'm very excited about workingwith her again.
I did Assassin X with hersuccessfully, and she's just a
terrific talent and greatphysical action, acting skill
actor, great actress, real greatbeauty.
Happy to have her come in andplay my ex-wife in the film.
(06:04):
We've just made the projectreach her.
Now that leads to the process ofraising money.
Raising money, as I just wastelling you off camera before we
started recording.
It's a journey of evolution,strategic materials that's
supported.
It has a lot to do with numbers.
(06:26):
It has a lot to do with thedistribution community, which
they're hardcore conservative.
I don't want to say bottomfeeders, but they are very, very
hardcore cold cash number guyguys and ladies.
And so you're working in thatworld.
(06:47):
They don't particularly careabout artistic considerations.
It's all down to numbers.
They care about artistic things,but only as it supports the
numbers.
So that's a journey in itself.
Just like acting, you've got tomake sure that you're coming
(07:08):
from an authentic place, evenwhen it becomes mind-numbing.
And so I jump in the cold poolall the time and wash it off and
then go right back onto thetrack.
That's what's going on withthat.
It's a learning process, and I'menriched by the learning
process.
(07:28):
And I really mean that.
It can be debilitating, sort oflike law school.
You know, they really put youthrough the basis, but I know in
the end that it will be good forthe project.
We got another project that wehave elevated the script, and we
hope to shoot it in Coloradocalled First American, which is
(07:51):
a terrific project.
That's a sort of a side job thatcame in.
The director that I just did amovie called Nessie with in
Scotland, which will be out inChristmas, Robbie Moffat wrote
the original script, and weelevated it here at Uncommon
Dialogue Films, and we've gotthat out to some big name
(08:14):
talents.
So hopefully that will cometogether.
It's a much bigger budget thandying for a living.
Not as expensive as some of ourother projects, but still
significant elevation of themoney involved.
Did a lot of meetings withArizona tax incentive people and
film commission people.
Just a lot of seeking offunding.
(08:36):
You know, the heartwarming thingabout all everybody in this
town, whether it's Spielberg orme or anybody.
They're all looking for funding,whether it's from a studio,
streaming service, or a highnetwork individual, or a hedge
fund or whatever.
You're all it's kind ofheartwarming.
(08:57):
We're all doing the same thing.
And I think that's part of thelife of a filmmaker.
The money has to come fromsomewhere.
So there you go.
SPEAKER_00 (09:07):
Very cool.
Very cool.
Now the the big baddie andthying for living is Costus
Mandlore, right?
SPEAKER_01 (09:19):
Yeah, he's supplemented by Tatiana Neva,
who is plays my ex-wife, who iscentral to all of that.
And Nina coming in to play myother ex-wife.
He is the central on the screenantagonist, although this person
who's coming in to play mybrother would be uh the Uber
(09:43):
band.
So um that's what's going onwith that.
It's an intricate ensemblepiece.
There's a lot of parts to thepuzzle.
And Costus is fantastic.
He does this incredible job.
Consus is the kind of guy like Iam that, you know, you just tell
them what you need and want, andthey bring it, uh, which is a
(10:07):
great pleasure to work with.
Aside from the fact he's asuperb man, you know, a real
man's man, an authenticpersonality, and a dear friend,
and I really bless to work withhim.
He's a super scout, too.
He's out there always lookingfor assets, funding assets,
distribution assets, and thingslike that.
(10:30):
So very much part of the teamhere.
SPEAKER_00 (10:32):
That's awesome.
I um I actually got to meet himum a couple years ago at
Pittsburgh's local Comic-Con.
Right.
And uh he he was a super niceguy.
I'm I'm trying to get him on myshow, and I'm I'm friends with
him on Facebook, but I'm notsure how often he checks his
(10:54):
Facebook messages, but he'sdefinitely someone I would love
to get on the show.
And I'm also a big fan of hishis brother as well.
SPEAKER_01 (11:03):
We have Lewis, we almost were gonna have him in
the movie.
Lewis has had some success withDeath Collector, um, so and a
number of other things.
So it really came down todollars, and and in the end, we
really decided that we we hadour Mandalore brother already.
(11:24):
But never say never.
Lewis may enter dying for livingat some juncture.
You know, there's already acircus of really talent quality
to Olivia Gruner is an uh actionname.
Egan Machado, the eight-time uhworld jujitsu champion, is just
a super guy and is doing anextraordinary job in the movie.
(11:48):
We added Victorian Prince, who'san NBA superstar, for a couple
of reasons.
He's got a really great look.
He's got a really aggressivestyle of play.
And uh he's our sort of firstperson we're cultivating out of
the NBA.
Who else Tatiana Neva does agreat job athletically and
(12:10):
acting wise, of course, he'svery beautiful as well.
So I'll I'll I'll mention it toCostas, have him come on your
show.
SPEAKER_00 (12:18):
Oh, that would be fantastic.
Thank you.
That'll be awesome.
SPEAKER_01 (12:24):
He's an easygoing guy.
He lives in Portugal, so and hejust had a baby.
Oh, congrats.
Yeah, so I guess maybe she'sfour or five months now.
That's Tina.
So yeah, he'll be a great dadand have a lot of fun doing that
too.
His lovely wife, Victoria.
SPEAKER_00 (12:44):
That's awesome.
That's awesome.
I had a grandson.
Yes, I I I heard.
Congrats.
SPEAKER_01 (12:53):
Alexander Jude Kilpatrick, he's awesome.
Uh uh, you know, interesting.
I know for my wife'sgrandchildren, granddaughters,
you know, there's a lot ofFaceTiming.
So it's interesting to watchthis process of how uh these
very tiny new beings uh uhrelate with the two-dimensional
(13:19):
Patrick or Heidi.
And then when you meet them inreal life, uh you're you're
three-dimensional.
And in the case of Heidi, it'ssometimes her kids were living
in another state, so hergrandchild, yeah, so the
grandchildren.
So they had a lot of thattwo-dimensional FaceTime thing.
(13:42):
And so uh it kind of comes askind of a slightly
disorientating shock when you'resuddenly a three of the
three-dimensional being in frontof them.
SPEAKER_00 (13:54):
I'm sure, I'm sure that's awesome.
SPEAKER_01 (13:56):
Yeah, Alexander Teeth's about two months old
now.
SPEAKER_00 (14:01):
Fantastic, fantastic.
I I wanted to let you know, oneof my all-time favorite films
that you're in is Last ManStanding.
And it's also one of my favoriteBruce Willis slash Walter Hill
(14:21):
films.
And I recently reached out toWalter Hill's publicist, and I'm
trying to get in the process ofhaving him come on the show.
And, you know, one of myprobably one of my biggest
inspirations for just everythingI like, writing, movie style.
(14:44):
I I was wondering, I guess, youknow, with the recent news with
Bruce Willis retiring, uh, couldyou maybe share an experience or
some experiences, what it waslike to work with both Walter
and Bruce Willis on that film?
SPEAKER_01 (15:03):
Yeah, I uh I love Walter.
I haven't seen him for a while.
Um we share shoting things.
Let's see.
Overall, Last Man's Fanny was areally fun job to do.
I auditioned for the job and gotit.
(15:24):
And then as I was going out thedoor, I said to him, Can I read
for this other part?
Because it was bigger, notknowing that that was the Chris
Walkin thing that they hadoffered Chris Walken.
So uh Walter said, Well, I likea man who likes to play poker,
you know, sort of upping theante.
Of course, they didn't have meshoot back because I had found
(15:47):
out later that they had alreadyoffered that part to Christopher
Walken.
I remember I played an IrishAmerican there, and I remember
it was a lesson that I kind ofgenerally carried with me.
I had prepared the dialect, andthey wanted me to back down on
the dialect just a little bit sothat it was a little less
(16:08):
pronounced, which is easy to do.
That was that.
I also remember working withChristopher Walken, who I've had
some connections with in thepast, that weren't necessarily
acting, but just meeting atevents and restaurants and
things and talking and sendingin material.
But it was really interesting towatch how he works, and he sort
(16:31):
of improvs many differentversions of a line.
And so the editor, at leastthen, I don't know what he's
doing now as a work uh process,but then he would literally come
up with about, I don't know, 20different versions of a line.
(16:51):
And so the editors must have aand all of which were spot on
and really cool.
I'll give you an example, likeif his line was, hey, how are
you, Patrick Kilpatrick, hewould say, um, hey, it's
Babaloo, Babaloo, uh MoklaBalouk, Patrick Kilpatrick, and
(17:15):
you know, just playing with it.
And then he'd do this 20different times, and each one of
them different.
And so the editor would have aselection of a lot of different
things.
That was interesting.
I, you know, I talk about uhlast man's family a lot in my
book, volume two of which, in mymemoir, volume two of which I'm
(17:40):
working polishing right now.
It was written before COVID withthe first book, The Dying for a
Living, Volume One, but I splitit into two volumes, and this
one is all show business.
And I talk about Last ManStanding a lot in the in the
book.
I I remember Karina Lombard, whowas very beautiful in it, and I
(18:05):
always thought that I hoped forromantic connection between Rob,
Bruce Willis' character, andKarina Lombard.
I thought that was somethingthat was somewhat of a missed
opportunity there.
And the other thing is, if youdo you remember when Bruce
Willis has his face near acut-up roast beef or ham?
(18:28):
Yeah, yeah, yeah.
Very funny.
You know, his face is all beatto hell and looks like this
roast beef.
And I I I I longed for more ofthat sort of ironic humor
throughout the movie.
Um I feel like Last Man Standingis probably it's probably if I
(18:49):
mean, of course, now we haveJohn Wick and stuff like that,
but really some of the best guncinematography I've ever seen,
and that was stunt, great stuntcoordinator Alan Graff.
Of course, that brings up mydeath.
You know, when I got blown outthat window, that door in the
barroom.
(19:10):
I was being doubled by DaveRobin then.
And so I took it up to the doorand then they put a ratchet.
Do you know what a ratchet is?
SPEAKER_00 (19:20):
I'm not exactly familiar with it.
Is it some type of likehydraulic?
SPEAKER_01 (19:26):
Yeah, it's it's a hydraulic harness.
Okay.
A harness that's put underneathyour wardrobe, and then you're
hooked up to this pneumaticthing that just literally blasts
you backward and or whateverdirection they want to send you.
And they forgot to calculate theheight of difference between the
(19:50):
ground and the deck that he wasbeing launched backward off of.
So they had dug a pit in themiddle of the street to soften
the earth, but he flew rightover that.
Oh wow.
Almost hit that truck on theopposite side of the street.
(20:12):
And uh Alan Graf's a very gruffformer Oakland Raiders football
player and great stunt cornetti.
He also did any given Sunday,and he's done some acting too.
But anyway, I said, God, whatthe hell happened to there?
Because I thought Dave Rowdenhad been killed because he he
(20:33):
tumbled end over end and landedon the back of his neck.
And I thought, oh my God, thisis really a major screw up.
And Alan was like, no, there wasno mistake there.
So, but I said, well, if therewas no mistake there, how come
he went right over the pit andalmost hit the truck on the
(20:56):
opposite end of the street?
Alan also did replacementkillers that I did with Antoine
Fouquet, and I had to sort ofterrorize Javier Fat, and then
he does something, and we haveto go back.
And I was carrying this machinegun before.
(21:17):
And as I go backwards, I'mfiring, and I lost my balance as
I was going backwards.
And the the set was a paint shopinside a garage, you know, where
they in fact inside a car washwhere they did body work and
painting.
That was the conceit.
(21:38):
Anyway, I lost my footing andwent and assover and smashed
into the set and literallydestroyed the whole set.
And, you know, the light bulbsthat they use on the heat of the
paint to bake it into the cars,all of that was blown away
because meat falling.
Alan was beside him himself,going that was.
(22:00):
Such a mistake, but AntoineFouquet stepped out and said,
that's the take.
That's perfect.
So sometimes your mistakesbecome indelibly the appropriate
thing.
So what else do I remember?
I remember, do you know LastMan's Fanny?
Original was called Gundown.
(22:21):
I didn't know that.
Yeah.
Which I thought was a greattitle.
You know, one day I'm sittingthere with Walter Sarkissian and
what was his name?
Arthur Sarkissian and WalterHill.
I'm sitting there.
I was a fairly young actor atthe time.
And uh Bruce Willis goes, hey,the name of the town where this
(22:44):
takes place is Jericho.
How about if we call it Welcometo Jericho?
Well, you could tell that ArthurSarkissian, the producer, and
Walter Hill, the director, and Ireally thought that was not a
great title as opposed toGundam.
But nobody was going to have theballs to say that to Bruce
(23:06):
Willis.
Least of all me.
Because maybe Walter, but youcould tell even Walter Hill
didn't want to tell him this.
And Arthur Sargisian didn't.
So the movie was beautifullychanged on the scripts to
Welcome to Jericho.
And everybody thought it wasawful.
(23:27):
We didn't like it.
But Bill Paxton came in one dayto watch Dailies.
We'd watch Dailies at lunchtime.
And he stands up or set thelunch table and he goes to
Walter.
He goes, Walter, what the hellis with this welcome to Jericho
(23:48):
title?
And then he makes a motion like.
He said whatever came to hismind, and then it worked out to
(24:11):
get rid of that title.
I loved working with Bruce.
I loved working with Brucebecause Bruce is an actor, and
his origins were the stage inNew York, which is where my
origins are.
And I had been through a numberof movies with athletes, not
(24:33):
that there's anything wrong withthem, but athletes who had
become actors, like Jean-Claudeand to some extent Stephen Segal
and Chuck Norris.
And it just had a similarity oforigin story with Bruce Willis.
And so I really loved workingwith him.
(24:53):
And I got along with him reallywell.
Madonna's makeup artist as well.
And a friend of my then wife andI, and we had bought some land
in Colorado together.
(25:14):
And Bruce Willis had land in SunValley, Idaho.
And I had bought some land inTell you Right.
So we had a lot to talk about.
I remember the first day I methim, we were doing that scene
outside the car, you know.
Yeah.
I said, How are you doing?
And he goes, Well, you know,just doing tough guy number
(25:36):
five.
And, you know, he was prettycool.
I liked him a lot.
Some other good people, MikeImperioli was in that movie.
Oh, yeah, yeah.
I really like his work.
I recently watched Sopranos forthe first time, and he's really
riveting in that.
Very energetic.
(25:57):
I forget who else.
The other thing about that job,which was great, you know, when
I got killed, you remember theylined up people in the mortuary?
Right, right, right.
In the window.
So I would get$1,000 a day everytime I came in to lie in that uh
coffee coffin.
(26:19):
So, you know, I was picking upsome money for just lying there
with my hands folded.
It was a great, great job, uh,great job.
I I I really enjoyed it.
I I I intend my only criticism,and it's not really criticism,
is I would have had someromantic involvement between uh
(26:42):
Bruce Willis and Karina Lombard.
SPEAKER_00 (26:45):
I can see that.
I can see that.
SPEAKER_01 (26:48):
I I I I think you know, you have to think about
doing things that are, I know alot of women, including my wife,
love action movies, and that's agreat one.
It's certainly a beautifullyfilmed.
Lloyd Ahern, the cinematographeron that show, was the guy who
did Death Warrant with me.
(27:08):
And, you know, he became huge asa cinematographer, huge.
And the movie reflects that hisskill and talent.
Really beautiful, just reallywell shot.
And but I I always, when I'mwriting something and we're
developing a movie here, wealways want to encompass the
(27:33):
romantic and the things thatwould appeal to the romanticism
and contact between the sexes.
So that would be my onlyscriptural decision that I would
make if I was that and more ofthe hand-fisted humor aspect of
(27:58):
it, just a little bit more.
I think the movie that wouldhave carried the movie a little
bit more to a greater audiencelevel.
But it's very well thought of bypeople, mostly because of the
cinematography, I think.
SPEAKER_00 (28:12):
I I definitely agree with that.
The whole way it's shot, thesetup, the angles, it it makes
it a very memorable, you know,but but yet like unique action
film that kind of sets it apartfrom a lot of the other ones.
SPEAKER_01 (28:30):
Yeah.
I uh Walter's great.
He's never really spent a lot oftime with women characters.
And I think that hurts him, youknow, to some extent.
Uh, because as the world hasevolved and changed, and since
52% of the world's population isfemale, you know, you it's it's
(28:55):
I think you really have toconsider making that like if we
have a movie that we'redeveloping and there's two male
leads, or a male lead, or twomale leads, we make sure that
behind that there are femaleleads.
If there's two female leads or afemale lead, make sure that
you've got two or three or fourmale leads underneath it.
(29:20):
So you're you're I think tellinga more dynamic story that has
the potentiality of grabbing ahold of both sexes.
You take a movie like I lovePeter Weir.
You take a movie like MasterCommander, I think the movie
(29:41):
would have been much better ifRussell Crowe's character had a
fling, if you will, or a romancewith the native woman that comes
up to the boat.
Now, there's a legitimatethematic thing that he looks at
her and then his sense of dutypulls him away and he goes back.
(30:06):
But I think what that does is itmakes Master Commander all about
just men on a boat rather than,and I think great movies have
that component of romanticism.
I mean, there are notableexceptions of that.
Saving Private Orion doesn'thave a lot of chicks in it.
Right.
(30:26):
But and it's still an epic, epicmovie.
But I think generally in thenorm, in the broader scheme of
things, I would write things.
Like if I was doing SavingPrivate O'Brien, maybe there
would have been a woman in thattown.
(30:47):
And some connection, even ifit's not fully realized,
perhaps, between somebody likeTom Hanks and someone else that
was there, uh, that was Frenchor something like that.
So I don't mean to stretch itand change it into something
(31:07):
else.
It's still a movie about a groupof guys that goes out to save
one another soldier.
But I just think the movies thatI gravitate to most have that
component of romanticism.
And just like they haveredemption, certainly Saving
Ryan has an awful lot ofredemption.
(31:29):
Like, you know, there's a placein the cinematic stratosphere
for everything.
SPEAKER_00 (31:35):
Definitely, definitely.
Another movie of yours that meand my dad quote like literally
all the time is Minority Report.
SPEAKER_01 (31:45):
Yeah, great one.
Really masterful.
I if you and if you think howprophetic it was to all the
touchscreen stuff and everythingelse.
Yeah, I mean, uh one of my Imean, I loved every just about
everybody who's in that movie.
Samantha Morton was fantastic,Peter Strohmeyer, the I forget
(32:11):
her name right now, but theolder woman who was in the
garden with the poisonousplants.
Yeah, yeah.
Fantastic scene.
Just really good.
It was great fun working withColin Farrell.
You know, we actually filmedstuff where I saved Tom Cruise's
character.
(32:31):
I know why he didn't use it, butuh Stephen filmed a lot of stuff
that doesn't make its way intothe the main the end movie.
He I remember him as a veryfrugal big budget director.
And he thought nothing of justcutting something.
(32:53):
He acted like it was all his ownmoney.
You know that police stationthat was made out of glass?
Yeah, yeah.
They gave that to me after themovie, and I was gonna build a
house with it, but I actuallydidn't have any place to store
it.
So I didn't take it.
(33:14):
But so they just big budgetmovies, they trash a lot of
stuff like that.
It was the kind of glass whereif you if you break it, it
shatters.
So yeah, I would have had toconstruct a house that was only
out of the big panels.
So uh yeah, it was fun.
I uh Tom Cruise is great to workwith.
(33:36):
He really is.
Um he loves doing his ownstunts.
He he and I were flying arounddoing all of that stuff.
We won stunt of the year forthat stuff, and specifically,
some of it wasn't even stunts,it was just like the you know
the tube where we go flying up,yeah, yeah, and I'm screaming
(34:00):
and he's on my back.
And well, really all that waswas a rope, and he's attached to
my back, and they pull up, pullme up slowly through the thing,
and I'm screaming as they'redoing it, and then they add the
flame from my rocket pack inpost-production.
So it's not much of a stunt.
(34:21):
There was plenty of stuff wherewe were flying 125 feet above
the uh Warner Brothers lot, butthat particular piece wasn't,
and it won stunt of the Yu-Gi-Ohaward.
And by the way, they gave it toa stunt.
Man, I didn't get it.
And Tom didn't get it, which isfine.
(34:41):
But yeah, it was a lot of fun.
A lot of fun.
Just a great movie.
I mean, you know, you do aSpielberg movie, you know you're
on the top of the food chain.
SPEAKER_00 (34:52):
Absolutely.
That that one is is one of mytop favorite Steven Spielberg
films, and I'm also a hugePhilip K.
Dick fan, which you know, the itwas it was based off his story.
SPEAKER_01 (35:05):
Yeah, I I'm a big fan too, although he torpedoed,
even though he wasn't alive,well, a movie I got hired to
direct and produce and writecalled Glycic Stuff, which was
Nazis Won the War deal.
I got hired to write and produceand direct this thing and
(35:26):
acting.
And we were about halfwaythrough it, and we built this
whole future world where theNazis had won the war.
And then Man on the High Castlecame out.
So that kind of screwed thatmomentarily, although I switched
it to another period, and wehaven't gotten back around to
(35:46):
finishing that one, but I thinkit's more interesting now.
That's another thing that youlike the dying for living things
that appear to be negativeinitially turn out to be better
for you creatively.
You think that your project'sdestroyed by man on the high
castle coming out, but in fact,with a little bit of creative uh
(36:10):
elbow grease, the the you'reinto something that's much
finer.
SPEAKER_00 (36:15):
So that that sounds really cool.
I I would love to see that whenthat comes, whenever that that
is able to be finished.
SPEAKER_01 (36:25):
Yeah, you know, I I got uh these script writing jobs
when COVID started, and we'veall worked on them as a team
here.
I just haven't gotten back tothat one, but it's a really
interesting project.
I yeah, I'm very dedicated togetting paid.
So mostly because I'm supportingemployees and things like that.
(36:49):
So we don't do a lot ofspeculative work.
So uh I I should call theproducer of that one and say,
hey, let's get some moredevelopment funds so we can
finish that one.
SPEAKER_00 (37:02):
Definitely, definitely.
I I also wanted to let you knowthat I'm I'm planning to take a
trip to California sometime inthe new year.
And I wanted to, I guess, checkcheck with your schedule if if
you knew far enough in advanceto possibly meet you in person.
SPEAKER_01 (37:28):
Sure.
I generally don't know that farin advance.
Currently, meetings will come upand things like that, but just
let me know.
I'm sure we'll work it out.
SPEAKER_00 (37:43):
Awesome.
SPEAKER_01 (37:44):
You know, about Costas, just send me the uh a
little uh email uh inviting himon the show, and I'll just
forward it to him.
SPEAKER_00 (37:54):
I I will definitely do that.
Thank you again for that.
That's awesome.
SPEAKER_01 (38:00):
No worries, the number of guys we can do that
on.
SPEAKER_00 (38:03):
I I actually I I I think the last time we spoke on
the phone, I told you my I justrecently did an interview with
Peter Dobson, and he was talkingabout Lewis Lewis's new World
War II film that he was workingon and trying to trying to get
(38:24):
Lewis on my show.
So to get Costas and Lewis, youknow, would would be awesome
because I'm I'm like I'm a I'm ahuge fan of both their stuff.
You know, really, reallyawesome, awesome action movies
and everything.
SPEAKER_01 (38:41):
Well put the two emails together and I'll forward
them to you.
SPEAKER_00 (38:45):
Awesome.
Thank thank you.
I I will I will definitely dothat.
No worries.
Awesome.
And there there's, you know, I II saw that Stallone had the new
Expendables movie coming out.
Uh-huh.
And and in all honesty, I'm kindof shocked that he hasn't
(39:07):
approached you to have some sortof role in in one of those in a
possible expendable sequel.
Because I I always kind ofconsidered you, you know, among
like the the heavy-hitting, youknow, action stars.
You know, I mean, you're you'reSchwar Schwarzenegger was always
(39:30):
my my number one because my mydad let me watch Total Recall
when I was like five years old.
And you know, just cover my eyeson the three-tited lady.
Um but it left like a like ahuge impression on me, and I've
been like hooked on actionmovies and and you know the the
(39:54):
whole you know star lineup fromfrom working with you know the
the greats.
SPEAKER_01 (40:02):
Well, I really thank you very much for that.
I mean, it wouldn't surprise me,but it doesn't surprise me when
you consider how movies getcast, and I've certainly been
through that with dying for aliving.
It's a it's it's a madness, themadhouse.
And you're not the first personwho said I I should have been in
(40:23):
those movies, but you know, I II don't even know if Sylvester
Stallone knows that I'm alive.
So um he's one of the few guys Ihaven't gone up against as an
antagonist.
But and I'm a big fan of him,largely because I know how
skilled he is as a writer and adirector and an actor, and I
(40:50):
love to work with him.
I uh we'll see what happens.
I you know, I think they thesethings, the good lord, the
universe, whatever you want tocall it, sends you where it's
supposed to go.
I I I definitely agree with thatbecause Arnold is sorry, I
didn't mean to interrupt you,but I didn't know Arnold is
(41:13):
fantastic to work with, by theway.
Really fun.
SPEAKER_00 (41:17):
You know, it it it's uh it's a bucket list item of
mine to to meet bothSchwarzenegger and Stallone and
possibly an interview.
I'm not asking that of youbecause I know that's that's
that's probably a little hard todo.
SPEAKER_01 (41:35):
Uh it's it wouldn't be hard if I ran into them, like
Tom Cruise, run into them at thesupermarket or something,
because then you have a goodconversation with them.
The problem calling them is thatyou have a lot of intermediaries
that their whole job is stoppingthem.
(41:58):
I've kind of lost contactdirectly with Arnold ever since
he became governor, which ismany years ago now.
So, but or I've run into both ofAllen's film sets, and always
great and wonderful to see them.
But, you know, they it's theirnumbers are changing, or
(42:21):
something like that, or so.
But yeah, he's a lot of fun.
Just a well, great practicaljoker, too.
I I've I've heard some stories.
Yeah, he's Chuck Russell was thedirector, and he would do stuff
like make a balloon penis andstick it on Chuck's back without
(42:43):
Chuck knowing it.
So he would keep going aroundthe set all day with the balloon
penis on his back.
Very just a big kid having uh areally good time.
Terrific guy, really great uhability to be an icon.
Uh I um what else were wetalking about there?
SPEAKER_00 (43:10):
I I was just gonna say, I think while we were
talking about you know, thinkthings guiding in the right
places and everything.
And I I just wanted to add thatI think that's true because it's
allowed you know you and me toconnect and you know, I think,
you know, build a build afriendship, and I'm I'm very
(43:31):
grateful for that.
SPEAKER_01 (43:33):
Well, me too.
You're awesome, and I uh I'lltalk to you the days ahead.
Just put those emails togetherand I'll forward them to Louis.
SPEAKER_00 (43:42):
I definitely will.
I definitely will.
SPEAKER_01 (43:44):
Uh have you ever had a conversation with Ken
Davidian?
Who?
Ken it was the fan manager inBorat.
Oh, okay.
Yeah, yeah, yeah.
He's uh another great guy.
Marty Cove, uh, who's having areal moment with Kova Khan, and
(44:06):
uh he's a good guy too.
Um we got a bunch of MichaelPere.
Has he been on your show?
SPEAKER_00 (44:14):
No, um, but I'm a big fan of his too.
He's a really good actor,underrated.
SPEAKER_01 (44:19):
Yeah, yeah.
SPEAKER_02 (44:21):
Yeah.
SPEAKER_01 (44:22):
And a good guy.
Just put a template together andI'll afford to get together.
I've been out.
You know, I've been on the show,and would you like to?
Here's his contact number.
SPEAKER_00 (44:36):
That would be terrific.
Thank you so much.
That is awesome.
SPEAKER_01 (44:42):
Well, we gotta turn have your podcast turn into the
biggest podcast just short ofJoe Rogan.
SPEAKER_00 (44:49):
Exactly.
Exactly.
I I totally agree.
I I I really appreciate thehelp.
SPEAKER_01 (44:57):
And it's it's I know, you know, it's the it's
not an easy gig cultivating apodcast.
I I've kind of resisted it,mostly because we're so busy
with the film writing and theproducing and stuff and the
fundraising, but it's not aneasy thing.
You gotta it's one thing to beasked questions, it's another to
(45:20):
ask questions all the time.
SPEAKER_00 (45:22):
Right, right.
Well, I think this this is uhprobably a good place to stop.
Um it's it's it's again justbeen a pleasure speaking with
you this time.
I know my camera kind of failedout, but I can see you, so it's
been great talking with yousomewhat face to face.
(45:44):
And I I just again appreciateeverything you're doing for me,
all the help.
And I'll I'll keep in touchabout when I'm planning a trip
out there and looking very muchforward to meeting you in
person.
SPEAKER_01 (45:59):
Well, you have to, I don't know, are you a donuts
fan?
I am a big donut fan.
Well, Aaron McKinnon donuts.
They're vegan and justdelicious.
They're I I I always say they'rethe most expensive donuts.
I don't know if they are really.
There's another one called BlueBottle uh donuts.
(46:19):
It's really well thought of.
But they're they only have threeAaron McKenna shops, one here on
Larch, one in New York, and onein Miami.
And they're really great,awesome donuts.
They're vanilla donuts or mapledonuts out of its world.
I I live in a really greatneighborhood that's got a lot of
(46:40):
great stuff and coming up allthe time.
So maybe we'll go have a donutwhen you come.
SPEAKER_00 (46:47):
That would be awesome.
SPEAKER_01 (46:49):
All right, man.
You stay out of trouble, andI'll be talking to you shortly.
SPEAKER_00 (46:53):
Sounds great, I definitely will.
SPEAKER_01 (46:55):
Oh, I just do want to say shameless moments of
self-promotion.
Let's see, I I God love them.
I got Best Supporting Actor inBest of Borrow Time Three, a New
Jersey Film Festival, FilmAwards, Best Supporting Actor in
Borrow Time, New Jersey FilmAwards.
I got Best Ensemble Cast forCatalyst, directed by Chris
(47:19):
Fulkins.
Borrow Time 3 is directed byAlan Delabi.
And Costas is in that one withme too, as is Lewis.
And also Best Ensemble Cast forBorrow Tank 3, too.
So a couple of wars.
And there's a movie coming outdirected by Robbie Moffat called
(47:43):
Nessie, which is about the LochNess monster.
It should be out aroundChristmas time.
And also Dying for a Living,Volume 2, show business, all
about the jobs and the films andeverything else, coming out
shortly.
So um, and I'll I'll I'll I'llget back on your show when that
(48:04):
comes out.
Awesome, awesome.
And volume one upbringing isAmazon, and you can get an
autograph copy,patrickkilpatrick.com, but it's
on Barnes and Noble's and AmazonAudible 2.
There's a rigorous littleexercise.
Do you ever do an Audible ofyour own book?
(48:27):
I I have not.
It's uh pretty crazy.
Because you know, you're paying$500 an hour for the studio, so
you're cranking along, but youwanted to have the most
emotional power.
So five days in a studio, maybe10 hours a day.
Wow, doing that, but it's wellthought of.
(48:48):
And Dying for Living won, Volume1, won the Best of Bellet Award.
So happy about all that.
So really excited about Nesting,though.
We'll see how that turns out.
SPEAKER_00 (49:03):
Onward and upward, my friend.
Awesome, awesome.
Congrats on everything again.
And I look I I'll be able to dothat.
SPEAKER_01 (49:10):
Oh sorry, Lie Heart is out, which is a little
lighthearted comedy directed bymy buddy Ian Niles, and I play
the Father of the Bride.
And it's a silly movie, and it'sreally well done.
SPEAKER_00 (49:26):
Fantastic.
All right, stay out of trouble.
I definitely will.
Alright, see you soon.
Thank you.
Thanks so much.
Thank you.
What's up, all my fishes in thesea?
Thanks again for tuning in andfor being a subscriber.
Your continued support means alot.
(49:46):
I want to let all my guppies inthe sea know you can now
purchase custom fishbowl merchby DMing me, Samfish, on
Instagram at theFishbowl88 or onFacebook at the Fishbowl.
Get hooked on yours today.
We have custom t-shirts, mugs,pens, handbags, hats, beanies,
hoodies, everything to make youthe coolest looking fish in the
(50:10):
sea.
And if that's not enough, I amnow accepting early access
subscribers on my BuzzFrowwebsite.
That's right, you can subscribefor early access to the Fish
Fool's content, as well as I amaccepting donations to help keep
the show going.
Again, your support means themost.
It's the most important fishesin the sea to keep the unit
(50:32):
going.
Thanks again, y'all, and keeptuning in, and let's all keep
swimming upstream.
Attention, all you fishes in the sea.
SPEAKER_02 (00:03):
Welcome to the Fishbowl.
It's Sam Fish.
SPEAKER_00 (00:08):
What's up, all my fishes in the sea?
Thanks for tuning into theFishbowl and for being a
subscriber.
I'm your host, Sam Fish, andtoday's guest is a recurring
guest, Patrick Kilpatrick.
On today's episode, we talkabout his work on Minority
Report, Last Man Standing,Eraser, and a bunch of other
cool stuff.
(00:28):
You don't want to miss thisepisode.
Check it out.
All right, Patrick Kilpatrick onthe fishbowl once again.
Good morning.
SPEAKER_01 (00:38):
Good afternoon.
SPEAKER_00 (00:39):
Great to have you on the show again.
This time we can actually see.
Well, I can see you.
My apologies about my cameraissue.
SPEAKER_01 (00:48):
I got there you go.
You're there.
In and out, in and out.
Yeah.
See, that was a perfect example.
I use the word intermittent.
You use the word in and out.
That's in and out is muchpreferable to intermittent.
SPEAKER_00 (01:06):
Okay.
Thank you.
Thank you.
SPEAKER_01 (01:08):
In the context of screenwriting.
SPEAKER_00 (01:11):
Right, right.
You know.
Definitely.
Let's let's talk about your newfilm you have coming out, Dying
for a Living.
SPEAKER_01 (01:21):
Well, Dying for a Living has been an incredibly
transformational journey for me.
Let's start about just in theproduction.
I've got a really great team.
First of all, writing,directing, producing, and acting
in a movie of this scale may bea bridge too far.
(01:42):
But we managed to get throughthe first week and the second
week, the second week we startedto hit our stride.
I would be remiss to say that Ithink, you know, in an effort to
make it all turn out the way itwas, I look, you do what you
have to do, but the bottom lineis I think it was a very
(02:05):
transformational experience forme in learning how to lead
people.
That you can never get lose yourcool about it.
You can never, it just isn't theway to lead people.
So we began to hit our stride inthe second week.
(02:25):
I feel like I personally got agreat deal out of that process
because I you have decisionmaking coming at you so fast
from so many different quartersthat eventually I liken it to
like being in combat.
(02:47):
You really have to steadyyourself and only focus about
what is two feet in front ofyour face, and as they say, slay
the dragon right in front ofyour face, and then move on to
the next thing.
So it looks great.
The footage looks great.
(03:08):
We have got about 45%, 50% ofthe film done.
Here's the other great lifelesson I got from that, which
was what appears to be anegative, which I thought I knew
this lesson, but it was verymuch reinforced for me on Dying
for a Living.
(03:29):
What appears to be a negativeactually is positive on the road
to the final product, the finalfilm.
For example, like I wanted myson to play this particular
part.
He's incredibly handsome and sixfoot five and a natural good
actor.
I know from having directed,directed him in school plays and
(03:53):
stuff as he was growing up.
He's now 25.
And I asked him to do it, and hedidn't want to do it because
acting's not his thing.
He's a really talentedarchitect.
And so he said, no.
Well, so I ended up hiring anactor who looked similar, who
was immensely accomplished andhighly skilled and educated in
(04:18):
acting.
And on the day of the shoot, hegot COVID.
And so I had to call my son andsay, please, will you help your
old man out?
And he he did it.
So it was really like destinywas taking care of me and
wanting my final realization tohappen.
(04:39):
And you have to really acceptthat.
We broke because we ran out ofmoney, but that allowed us to
have the opportunity to rewritethe script, to add in depth, to
make it much more deeper,connect all the dots, and to
create some additional cast,which really elevated the
(05:00):
project.
So, on the one hand, it's howthough you ran out of money, the
movie stopped, but it's all forthe good of the final project.
So now what we're doing rightnow is we're working really hard
to get somebody to come in andplay my brother for three days,
who's a huge name, who wouldelevate the distribution rights
(05:23):
of the film astronomically, andat the same time find that sweet
spot where they don't want two,three million dollars.
They want a figure that we canpay and get them to supplement
the cast.
We added Nina Bergman, who'sbrilliant and is a great asset.
(05:44):
I'm very excited about workingwith her again.
I did Assassin X with hersuccessfully, and she's just a
terrific talent and greatphysical action, acting skill
actor, great actress, real greatbeauty.
Happy to have her come in andplay my ex-wife in the film.
(06:04):
We've just made the projectreach her.
Now that leads to the process ofraising money.
Raising money, as I just wastelling you off camera before we
started recording.
It's a journey of evolution,strategic materials that's
supported.
It has a lot to do with numbers.
(06:26):
It has a lot to do with thedistribution community, which
they're hardcore conservative.
I don't want to say bottomfeeders, but they are very, very
hardcore cold cash number guyguys and ladies.
And so you're working in thatworld.
(06:47):
They don't particularly careabout artistic considerations.
It's all down to numbers.
They care about artistic things,but only as it supports the
numbers.
So that's a journey in itself.
Just like acting, you've got tomake sure that you're coming
(07:08):
from an authentic place, evenwhen it becomes mind-numbing.
And so I jump in the cold poolall the time and wash it off and
then go right back onto thetrack.
That's what's going on withthat.
It's a learning process, and I'menriched by the learning
process.
(07:28):
And I really mean that.
It can be debilitating, sort oflike law school.
You know, they really put youthrough the basis, but I know in
the end that it will be good forthe project.
We got another project that wehave elevated the script, and we
hope to shoot it in Coloradocalled First American, which is
(07:51):
a terrific project.
That's a sort of a side job thatcame in.
The director that I just did amovie called Nessie with in
Scotland, which will be out inChristmas, Robbie Moffat wrote
the original script, and weelevated it here at Uncommon
Dialogue Films, and we've gotthat out to some big name
(08:14):
talents.
So hopefully that will cometogether.
It's a much bigger budget thandying for a living.
Not as expensive as some of ourother projects, but still
significant elevation of themoney involved.
Did a lot of meetings withArizona tax incentive people and
film commission people.
Just a lot of seeking offunding.
(08:36):
You know, the heartwarming thingabout all everybody in this
town, whether it's Spielberg orme or anybody.
They're all looking for funding,whether it's from a studio,
streaming service, or a highnetwork individual, or a hedge
fund or whatever.
You're all it's kind ofheartwarming.
(08:57):
We're all doing the same thing.
And I think that's part of thelife of a filmmaker.
The money has to come fromsomewhere.
So there you go.
SPEAKER_00 (09:07):
Very cool.
Very cool.
Now the the big baddie andthying for living is Costus
Mandlore, right?
SPEAKER_01 (09:19):
Yeah, he's supplemented by Tatiana Neva,
who is plays my ex-wife, who iscentral to all of that.
And Nina coming in to play myother ex-wife.
He is the central on the screenantagonist, although this person
who's coming in to play mybrother would be uh the Uber
(09:43):
band.
So um that's what's going onwith that.
It's an intricate ensemblepiece.
There's a lot of parts to thepuzzle.
And Costus is fantastic.
He does this incredible job.
Consus is the kind of guy like Iam that, you know, you just tell
them what you need and want, andthey bring it, uh, which is a
(10:07):
great pleasure to work with.
Aside from the fact he's asuperb man, you know, a real
man's man, an authenticpersonality, and a dear friend,
and I really bless to work withhim.
He's a super scout, too.
He's out there always lookingfor assets, funding assets,
distribution assets, and thingslike that.
(10:30):
So very much part of the teamhere.
SPEAKER_00 (10:32):
That's awesome.
I um I actually got to meet himum a couple years ago at
Pittsburgh's local Comic-Con.
Right.
And uh he he was a super niceguy.
I'm I'm trying to get him on myshow, and I'm I'm friends with
him on Facebook, but I'm notsure how often he checks his
(10:54):
Facebook messages, but he'sdefinitely someone I would love
to get on the show.
And I'm also a big fan of hishis brother as well.
SPEAKER_01 (11:03):
We have Lewis, we almost were gonna have him in
the movie.
Lewis has had some success withDeath Collector, um, so and a
number of other things.
So it really came down todollars, and and in the end, we
really decided that we we hadour Mandalore brother already.
(11:24):
But never say never.
Lewis may enter dying for livingat some juncture.
You know, there's already acircus of really talent quality
to Olivia Gruner is an uh actionname.
Egan Machado, the eight-time uhworld jujitsu champion, is just
a super guy and is doing anextraordinary job in the movie.
(11:48):
We added Victorian Prince, who'san NBA superstar, for a couple
of reasons.
He's got a really great look.
He's got a really aggressivestyle of play.
And uh he's our sort of firstperson we're cultivating out of
the NBA.
Who else Tatiana Neva does agreat job athletically and
(12:10):
acting wise, of course, he'svery beautiful as well.
So I'll I'll I'll mention it toCostas, have him come on your
show.
SPEAKER_00 (12:18):
Oh, that would be fantastic.
Thank you.
That'll be awesome.
SPEAKER_01 (12:24):
He's an easygoing guy.
He lives in Portugal, so and hejust had a baby.
Oh, congrats.
Yeah, so I guess maybe she'sfour or five months now.
That's Tina.
So yeah, he'll be a great dadand have a lot of fun doing that
too.
His lovely wife, Victoria.
SPEAKER_00 (12:44):
That's awesome.
That's awesome.
I had a grandson.
Yes, I I I heard.
Congrats.
SPEAKER_01 (12:53):
Alexander Jude Kilpatrick, he's awesome.
Uh uh, you know, interesting.
I know for my wife'sgrandchildren, granddaughters,
you know, there's a lot ofFaceTiming.
So it's interesting to watchthis process of how uh these
very tiny new beings uh uhrelate with the two-dimensional
(13:19):
Patrick or Heidi.
And then when you meet them inreal life, uh you're you're
three-dimensional.
And in the case of Heidi, it'ssometimes her kids were living
in another state, so hergrandchild, yeah, so the
grandchildren.
So they had a lot of thattwo-dimensional FaceTime thing.
(13:42):
And so uh it kind of comes askind of a slightly
disorientating shock when you'resuddenly a three of the
three-dimensional being in frontof them.
SPEAKER_00 (13:54):
I'm sure, I'm sure that's awesome.
SPEAKER_01 (13:56):
Yeah, Alexander Teeth's about two months old
now.
SPEAKER_00 (14:01):
Fantastic, fantastic.
I I wanted to let you know, oneof my all-time favorite films
that you're in is Last ManStanding.
And it's also one of my favoriteBruce Willis slash Walter Hill
(14:21):
films.
And I recently reached out toWalter Hill's publicist, and I'm
trying to get in the process ofhaving him come on the show.
And, you know, one of myprobably one of my biggest
inspirations for just everythingI like, writing, movie style.
(14:44):
I I was wondering, I guess, youknow, with the recent news with
Bruce Willis retiring, uh, couldyou maybe share an experience or
some experiences, what it waslike to work with both Walter
and Bruce Willis on that film?
SPEAKER_01 (15:03):
Yeah, I uh I love Walter.
I haven't seen him for a while.
Um we share shoting things.
Let's see.
Overall, Last Man's Fanny was areally fun job to do.
I auditioned for the job and gotit.
(15:24):
And then as I was going out thedoor, I said to him, Can I read
for this other part?
Because it was bigger, notknowing that that was the Chris
Walkin thing that they hadoffered Chris Walken.
So uh Walter said, Well, I likea man who likes to play poker,
you know, sort of upping theante.
Of course, they didn't have meshoot back because I had found
(15:47):
out later that they had alreadyoffered that part to Christopher
Walken.
I remember I played an IrishAmerican there, and I remember
it was a lesson that I kind ofgenerally carried with me.
I had prepared the dialect, andthey wanted me to back down on
the dialect just a little bit sothat it was a little less
(16:08):
pronounced, which is easy to do.
That was that.
I also remember working withChristopher Walken, who I've had
some connections with in thepast, that weren't necessarily
acting, but just meeting atevents and restaurants and
things and talking and sendingin material.
But it was really interesting towatch how he works, and he sort
(16:31):
of improvs many differentversions of a line.
And so the editor, at leastthen, I don't know what he's
doing now as a work uh process,but then he would literally come
up with about, I don't know, 20different versions of a line.
(16:51):
And so the editors must have aand all of which were spot on
and really cool.
I'll give you an example, likeif his line was, hey, how are
you, Patrick Kilpatrick, hewould say, um, hey, it's
Babaloo, Babaloo, uh MoklaBalouk, Patrick Kilpatrick, and
(17:15):
you know, just playing with it.
And then he'd do this 20different times, and each one of
them different.
And so the editor would have aselection of a lot of different
things.
That was interesting.
I, you know, I talk about uhlast man's family a lot in my
book, volume two of which, in mymemoir, volume two of which I'm
(17:40):
working polishing right now.
It was written before COVID withthe first book, The Dying for a
Living, Volume One, but I splitit into two volumes, and this
one is all show business.
And I talk about Last ManStanding a lot in the in the
book.
I I remember Karina Lombard, whowas very beautiful in it, and I
(18:05):
always thought that I hoped forromantic connection between Rob,
Bruce Willis' character, andKarina Lombard.
I thought that was somethingthat was somewhat of a missed
opportunity there.
And the other thing is, if youdo you remember when Bruce
Willis has his face near acut-up roast beef or ham?
(18:28):
Yeah, yeah, yeah.
Very funny.
You know, his face is all beatto hell and looks like this
roast beef.
And I I I I longed for more ofthat sort of ironic humor
throughout the movie.
Um I feel like Last Man Standingis probably it's probably if I
(18:49):
mean, of course, now we haveJohn Wick and stuff like that,
but really some of the best guncinematography I've ever seen,
and that was stunt, great stuntcoordinator Alan Graff.
Of course, that brings up mydeath.
You know, when I got blown outthat window, that door in the
barroom.
(19:10):
I was being doubled by DaveRobin then.
And so I took it up to the doorand then they put a ratchet.
Do you know what a ratchet is?
SPEAKER_00 (19:20):
I'm not exactly familiar with it.
Is it some type of likehydraulic?
SPEAKER_01 (19:26):
Yeah, it's it's a hydraulic harness.
Okay.
A harness that's put underneathyour wardrobe, and then you're
hooked up to this pneumaticthing that just literally blasts
you backward and or whateverdirection they want to send you.
And they forgot to calculate theheight of difference between the
(19:50):
ground and the deck that he wasbeing launched backward off of.
So they had dug a pit in themiddle of the street to soften
the earth, but he flew rightover that.
Oh wow.
Almost hit that truck on theopposite side of the street.
(20:12):
And uh Alan Graf's a very gruffformer Oakland Raiders football
player and great stunt cornetti.
He also did any given Sunday,and he's done some acting too.
But anyway, I said, God, whatthe hell happened to there?
Because I thought Dave Rowdenhad been killed because he he
(20:33):
tumbled end over end and landedon the back of his neck.
And I thought, oh my God, thisis really a major screw up.
And Alan was like, no, there wasno mistake there.
So, but I said, well, if therewas no mistake there, how come
he went right over the pit andalmost hit the truck on the
(20:56):
opposite end of the street?
Alan also did replacementkillers that I did with Antoine
Fouquet, and I had to sort ofterrorize Javier Fat, and then
he does something, and we haveto go back.
And I was carrying this machinegun before.
(21:17):
And as I go backwards, I'mfiring, and I lost my balance as
I was going backwards.
And the the set was a paint shopinside a garage, you know, where
they in fact inside a car washwhere they did body work and
painting.
That was the conceit.
(21:38):
Anyway, I lost my footing andwent and assover and smashed
into the set and literallydestroyed the whole set.
And, you know, the light bulbsthat they use on the heat of the
paint to bake it into the cars,all of that was blown away
because meat falling.
Alan was beside him himself,going that was.
(22:00):
Such a mistake, but AntoineFouquet stepped out and said,
that's the take.
That's perfect.
So sometimes your mistakesbecome indelibly the appropriate
thing.
So what else do I remember?
I remember, do you know LastMan's Fanny?
Original was called Gundown.
(22:21):
I didn't know that.
Yeah.
Which I thought was a greattitle.
You know, one day I'm sittingthere with Walter Sarkissian and
what was his name?
Arthur Sarkissian and WalterHill.
I'm sitting there.
I was a fairly young actor atthe time.
And uh Bruce Willis goes, hey,the name of the town where this
(22:44):
takes place is Jericho.
How about if we call it Welcometo Jericho?
Well, you could tell that ArthurSarkissian, the producer, and
Walter Hill, the director, and Ireally thought that was not a
great title as opposed toGundam.
But nobody was going to have theballs to say that to Bruce
(23:06):
Willis.
Least of all me.
Because maybe Walter, but youcould tell even Walter Hill
didn't want to tell him this.
And Arthur Sargisian didn't.
So the movie was beautifullychanged on the scripts to
Welcome to Jericho.
And everybody thought it wasawful.
(23:27):
We didn't like it.
But Bill Paxton came in one dayto watch Dailies.
We'd watch Dailies at lunchtime.
And he stands up or set thelunch table and he goes to
Walter.
He goes, Walter, what the hellis with this welcome to Jericho
(23:48):
title?
And then he makes a motion like.
He said whatever came to hismind, and then it worked out to
(24:11):
get rid of that title.
I loved working with Bruce.
I loved working with Brucebecause Bruce is an actor, and
his origins were the stage inNew York, which is where my
origins are.
And I had been through a numberof movies with athletes, not
(24:33):
that there's anything wrong withthem, but athletes who had
become actors, like Jean-Claudeand to some extent Stephen Segal
and Chuck Norris.
And it just had a similarity oforigin story with Bruce Willis.
And so I really loved workingwith him.
(24:53):
And I got along with him reallywell.
Madonna's makeup artist as well.
And a friend of my then wife andI, and we had bought some land
in Colorado together.
(25:14):
And Bruce Willis had land in SunValley, Idaho.
And I had bought some land inTell you Right.
So we had a lot to talk about.
I remember the first day I methim, we were doing that scene
outside the car, you know.
Yeah.
I said, How are you doing?
And he goes, Well, you know,just doing tough guy number
(25:36):
five.
And, you know, he was prettycool.
I liked him a lot.
Some other good people, MikeImperioli was in that movie.
Oh, yeah, yeah.
I really like his work.
I recently watched Sopranos forthe first time, and he's really
riveting in that.
Very energetic.
(25:57):
I forget who else.
The other thing about that job,which was great, you know, when
I got killed, you remember theylined up people in the mortuary?
Right, right, right.
In the window.
So I would get$1,000 a day everytime I came in to lie in that uh
coffee coffin.
(26:19):
So, you know, I was picking upsome money for just lying there
with my hands folded.
It was a great, great job, uh,great job.
I I I really enjoyed it.
I I I intend my only criticism,and it's not really criticism,
is I would have had someromantic involvement between uh
(26:42):
Bruce Willis and Karina Lombard.
SPEAKER_00 (26:45):
I can see that.
I can see that.
SPEAKER_01 (26:48):
I I I I think you know, you have to think about
doing things that are, I know alot of women, including my wife,
love action movies, and that's agreat one.
It's certainly a beautifullyfilmed.
Lloyd Ahern, the cinematographeron that show, was the guy who
did Death Warrant with me.
(27:08):
And, you know, he became huge asa cinematographer, huge.
And the movie reflects that hisskill and talent.
Really beautiful, just reallywell shot.
And but I I always, when I'mwriting something and we're
developing a movie here, wealways want to encompass the
(27:33):
romantic and the things thatwould appeal to the romanticism
and contact between the sexes.
So that would be my onlyscriptural decision that I would
make if I was that and more ofthe hand-fisted humor aspect of
(27:58):
it, just a little bit more.
I think the movie that wouldhave carried the movie a little
bit more to a greater audiencelevel.
But it's very well thought of bypeople, mostly because of the
cinematography, I think.
SPEAKER_00 (28:12):
I I definitely agree with that.
The whole way it's shot, thesetup, the angles, it it makes
it a very memorable, you know,but but yet like unique action
film that kind of sets it apartfrom a lot of the other ones.
SPEAKER_01 (28:30):
Yeah.
I uh Walter's great.
He's never really spent a lot oftime with women characters.
And I think that hurts him, youknow, to some extent.
Uh, because as the world hasevolved and changed, and since
52% of the world's population isfemale, you know, you it's it's
(28:55):
I think you really have toconsider making that like if we
have a movie that we'redeveloping and there's two male
leads, or a male lead, or twomale leads, we make sure that
behind that there are femaleleads.
If there's two female leads or afemale lead, make sure that
you've got two or three or fourmale leads underneath it.
(29:20):
So you're you're I think tellinga more dynamic story that has
the potentiality of grabbing ahold of both sexes.
You take a movie like I lovePeter Weir.
You take a movie like MasterCommander, I think the movie
(29:41):
would have been much better ifRussell Crowe's character had a
fling, if you will, or a romancewith the native woman that comes
up to the boat.
Now, there's a legitimatethematic thing that he looks at
her and then his sense of dutypulls him away and he goes back.
(30:06):
But I think what that does is itmakes Master Commander all about
just men on a boat rather than,and I think great movies have
that component of romanticism.
I mean, there are notableexceptions of that.
Saving Private Orion doesn'thave a lot of chicks in it.
Right.
(30:26):
But and it's still an epic, epicmovie.
But I think generally in thenorm, in the broader scheme of
things, I would write things.
Like if I was doing SavingPrivate O'Brien, maybe there
would have been a woman in thattown.
(30:47):
And some connection, even ifit's not fully realized,
perhaps, between somebody likeTom Hanks and someone else that
was there, uh, that was Frenchor something like that.
So I don't mean to stretch itand change it into something
(31:07):
else.
It's still a movie about a groupof guys that goes out to save
one another soldier.
But I just think the movies thatI gravitate to most have that
component of romanticism.
And just like they haveredemption, certainly Saving
Ryan has an awful lot ofredemption.
(31:29):
Like, you know, there's a placein the cinematic stratosphere
for everything.
SPEAKER_00 (31:35):
Definitely, definitely.
Another movie of yours that meand my dad quote like literally
all the time is Minority Report.
SPEAKER_01 (31:45):
Yeah, great one.
Really masterful.
I if you and if you think howprophetic it was to all the
touchscreen stuff and everythingelse.
Yeah, I mean, uh one of my Imean, I loved every just about
everybody who's in that movie.
Samantha Morton was fantastic,Peter Strohmeyer, the I forget
(32:11):
her name right now, but theolder woman who was in the
garden with the poisonousplants.
Yeah, yeah.
Fantastic scene.
Just really good.
It was great fun working withColin Farrell.
You know, we actually filmedstuff where I saved Tom Cruise's
character.
(32:31):
I know why he didn't use it, butuh Stephen filmed a lot of stuff
that doesn't make its way intothe the main the end movie.
He I remember him as a veryfrugal big budget director.
And he thought nothing of justcutting something.
(32:53):
He acted like it was all his ownmoney.
You know that police stationthat was made out of glass?
Yeah, yeah.
They gave that to me after themovie, and I was gonna build a
house with it, but I actuallydidn't have any place to store
it.
So I didn't take it.
(33:14):
But so they just big budgetmovies, they trash a lot of
stuff like that.
It was the kind of glass whereif you if you break it, it
shatters.
So yeah, I would have had toconstruct a house that was only
out of the big panels.
So uh yeah, it was fun.
I uh Tom Cruise is great to workwith.
(33:36):
He really is.
Um he loves doing his ownstunts.
He he and I were flying arounddoing all of that stuff.
We won stunt of the year forthat stuff, and specifically,
some of it wasn't even stunts,it was just like the you know
the tube where we go flying up,yeah, yeah, and I'm screaming
(34:00):
and he's on my back.
And well, really all that waswas a rope, and he's attached to
my back, and they pull up, pullme up slowly through the thing,
and I'm screaming as they'redoing it, and then they add the
flame from my rocket pack inpost-production.
So it's not much of a stunt.
(34:21):
There was plenty of stuff wherewe were flying 125 feet above
the uh Warner Brothers lot, butthat particular piece wasn't,
and it won stunt of the Yu-Gi-Ohaward.
And by the way, they gave it toa stunt.
Man, I didn't get it.
And Tom didn't get it, which isfine.
(34:41):
But yeah, it was a lot of fun.
A lot of fun.
Just a great movie.
I mean, you know, you do aSpielberg movie, you know you're
on the top of the food chain.
SPEAKER_00 (34:52):
Absolutely.
That that one is is one of mytop favorite Steven Spielberg
films, and I'm also a hugePhilip K.
Dick fan, which you know, the itwas it was based off his story.
SPEAKER_01 (35:05):
Yeah, I I'm a big fan too, although he torpedoed,
even though he wasn't alive,well, a movie I got hired to
direct and produce and writecalled Glycic Stuff, which was
Nazis Won the War deal.
I got hired to write and produceand direct this thing and
(35:26):
acting.
And we were about halfwaythrough it, and we built this
whole future world where theNazis had won the war.
And then Man on the High Castlecame out.
So that kind of screwed thatmomentarily, although I switched
it to another period, and wehaven't gotten back around to
(35:46):
finishing that one, but I thinkit's more interesting now.
That's another thing that youlike the dying for living things
that appear to be negativeinitially turn out to be better
for you creatively.
You think that your project'sdestroyed by man on the high
castle coming out, but in fact,with a little bit of creative uh
(36:10):
elbow grease, the the you'reinto something that's much
finer.
SPEAKER_00 (36:15):
So that that sounds really cool.
I I would love to see that whenthat comes, whenever that that
is able to be finished.
SPEAKER_01 (36:25):
Yeah, you know, I I got uh these script writing jobs
when COVID started, and we'veall worked on them as a team
here.
I just haven't gotten back tothat one, but it's a really
interesting project.
I yeah, I'm very dedicated togetting paid.
So mostly because I'm supportingemployees and things like that.
(36:49):
So we don't do a lot ofspeculative work.
So uh I I should call theproducer of that one and say,
hey, let's get some moredevelopment funds so we can
finish that one.
SPEAKER_00 (37:02):
Definitely, definitely.
I I also wanted to let you knowthat I'm I'm planning to take a
trip to California sometime inthe new year.
And I wanted to, I guess, checkcheck with your schedule if if
you knew far enough in advanceto possibly meet you in person.
SPEAKER_01 (37:28):
Sure.
I generally don't know that farin advance.
Currently, meetings will come upand things like that, but just
let me know.
I'm sure we'll work it out.
SPEAKER_00 (37:43):
Awesome.
SPEAKER_01 (37:44):
You know, about Costas, just send me the uh a
little uh email uh inviting himon the show, and I'll just
forward it to him.
SPEAKER_00 (37:54):
I I will definitely do that.
Thank you again for that.
That's awesome.
SPEAKER_01 (38:00):
No worries, the number of guys we can do that
on.
SPEAKER_00 (38:03):
I I actually I I I think the last time we spoke on
the phone, I told you my I justrecently did an interview with
Peter Dobson, and he was talkingabout Lewis Lewis's new World
War II film that he was workingon and trying to trying to get
(38:24):
Lewis on my show.
So to get Costas and Lewis, youknow, would would be awesome
because I'm I'm like I'm a I'm ahuge fan of both their stuff.
You know, really, reallyawesome, awesome action movies
and everything.
SPEAKER_01 (38:41):
Well put the two emails together and I'll forward
them to you.
SPEAKER_00 (38:45):
Awesome.
Thank thank you.
I I will I will definitely dothat.
No worries.
Awesome.
And there there's, you know, I II saw that Stallone had the new
Expendables movie coming out.
Uh-huh.
And and in all honesty, I'm kindof shocked that he hasn't
(39:07):
approached you to have some sortof role in in one of those in a
possible expendable sequel.
Because I I always kind ofconsidered you, you know, among
like the the heavy-hitting, youknow, action stars.
You know, I mean, you're you'reSchwar Schwarzenegger was always
(39:30):
my my number one because my mydad let me watch Total Recall
when I was like five years old.
And you know, just cover my eyeson the three-tited lady.
Um but it left like a like ahuge impression on me, and I've
been like hooked on actionmovies and and you know the the
(39:54):
whole you know star lineup fromfrom working with you know the
the greats.
SPEAKER_01 (40:02):
Well, I really thank you very much for that.
I mean, it wouldn't surprise me,but it doesn't surprise me when
you consider how movies getcast, and I've certainly been
through that with dying for aliving.
It's a it's it's a madness, themadhouse.
And you're not the first personwho said I I should have been in
(40:23):
those movies, but you know, I II don't even know if Sylvester
Stallone knows that I'm alive.
So um he's one of the few guys Ihaven't gone up against as an
antagonist.
But and I'm a big fan of him,largely because I know how
skilled he is as a writer and adirector and an actor, and I
(40:50):
love to work with him.
I uh we'll see what happens.
I you know, I think they thesethings, the good lord, the
universe, whatever you want tocall it, sends you where it's
supposed to go.
I I I definitely agree with thatbecause Arnold is sorry, I
didn't mean to interrupt you,but I didn't know Arnold is
(41:13):
fantastic to work with, by theway.
Really fun.
SPEAKER_00 (41:17):
You know, it it it's uh it's a bucket list item of
mine to to meet bothSchwarzenegger and Stallone and
possibly an interview.
I'm not asking that of youbecause I know that's that's
that's probably a little hard todo.
SPEAKER_01 (41:35):
Uh it's it wouldn't be hard if I ran into them, like
Tom Cruise, run into them at thesupermarket or something,
because then you have a goodconversation with them.
The problem calling them is thatyou have a lot of intermediaries
that their whole job is stoppingthem.
(41:58):
I've kind of lost contactdirectly with Arnold ever since
he became governor, which ismany years ago now.
So, but or I've run into both ofAllen's film sets, and always
great and wonderful to see them.
But, you know, they it's theirnumbers are changing, or
(42:21):
something like that, or so.
But yeah, he's a lot of fun.
Just a well, great practicaljoker, too.
I I've I've heard some stories.
Yeah, he's Chuck Russell was thedirector, and he would do stuff
like make a balloon penis andstick it on Chuck's back without
(42:43):
Chuck knowing it.
So he would keep going aroundthe set all day with the balloon
penis on his back.
Very just a big kid having uh areally good time.
Terrific guy, really great uhability to be an icon.
Uh I um what else were wetalking about there?
SPEAKER_00 (43:10):
I I was just gonna say, I think while we were
talking about you know, thinkthings guiding in the right
places and everything.
And I I just wanted to add thatI think that's true because it's
allowed you know you and me toconnect and you know, I think,
you know, build a build afriendship, and I'm I'm very
(43:31):
grateful for that.
SPEAKER_01 (43:33):
Well, me too.
You're awesome, and I uh I'lltalk to you the days ahead.
Just put those emails togetherand I'll forward them to Louis.
SPEAKER_00 (43:42):
I definitely will.
I definitely will.
SPEAKER_01 (43:44):
Uh have you ever had a conversation with Ken
Davidian?
Who?
Ken it was the fan manager inBorat.
Oh, okay.
Yeah, yeah, yeah.
He's uh another great guy.
Marty Cove, uh, who's having areal moment with Kova Khan, and
(44:06):
uh he's a good guy too.
Um we got a bunch of MichaelPere.
Has he been on your show?
SPEAKER_00 (44:14):
No, um, but I'm a big fan of his too.
He's a really good actor,underrated.
SPEAKER_01 (44:19):
Yeah, yeah.
SPEAKER_02 (44:21):
Yeah.
SPEAKER_01 (44:22):
And a good guy.
Just put a template together andI'll afford to get together.
I've been out.
You know, I've been on the show,and would you like to?
Here's his contact number.
SPEAKER_00 (44:36):
That would be terrific.
Thank you so much.
That is awesome.
SPEAKER_01 (44:42):
Well, we gotta turn have your podcast turn into the
biggest podcast just short ofJoe Rogan.
SPEAKER_00 (44:49):
Exactly.
Exactly.
I I totally agree.
I I I really appreciate thehelp.
SPEAKER_01 (44:57):
And it's it's I know, you know, it's the it's
not an easy gig cultivating apodcast.
I I've kind of resisted it,mostly because we're so busy
with the film writing and theproducing and stuff and the
fundraising, but it's not aneasy thing.
You gotta it's one thing to beasked questions, it's another to
(45:20):
ask questions all the time.
SPEAKER_00 (45:22):
Right, right.
Well, I think this this is uhprobably a good place to stop.
Um it's it's it's again justbeen a pleasure speaking with
you this time.
I know my camera kind of failedout, but I can see you, so it's
been great talking with yousomewhat face to face.
(45:44):
And I I just again appreciateeverything you're doing for me,
all the help.
And I'll I'll keep in touchabout when I'm planning a trip
out there and looking very muchforward to meeting you in
person.
SPEAKER_01 (45:59):
Well, you have to, I don't know, are you a donuts
fan?
I am a big donut fan.
Well, Aaron McKinnon donuts.
They're vegan and justdelicious.
They're I I I always say they'rethe most expensive donuts.
I don't know if they are really.
There's another one called BlueBottle uh donuts.
(46:19):
It's really well thought of.
But they're they only have threeAaron McKenna shops, one here on
Larch, one in New York, and onein Miami.
And they're really great,awesome donuts.
They're vanilla donuts or mapledonuts out of its world.
I I live in a really greatneighborhood that's got a lot of
(46:40):
great stuff and coming up allthe time.
So maybe we'll go have a donutwhen you come.
SPEAKER_00 (46:47):
That would be awesome.
SPEAKER_01 (46:49):
All right, man.
You stay out of trouble, andI'll be talking to you shortly.
SPEAKER_00 (46:53):
Sounds great, I definitely will.
SPEAKER_01 (46:55):
Oh, I just do want to say shameless moments of
self-promotion.
Let's see, I I God love them.
I got Best Supporting Actor inBest of Borrow Time Three, a New
Jersey Film Festival, FilmAwards, Best Supporting Actor in
Borrow Time, New Jersey FilmAwards.
I got Best Ensemble Cast forCatalyst, directed by Chris
(47:19):
Fulkins.
Borrow Time 3 is directed byAlan Delabi.
And Costas is in that one withme too, as is Lewis.
And also Best Ensemble Cast forBorrow Tank 3, too.
So a couple of wars.
And there's a movie coming outdirected by Robbie Moffat called
(47:43):
Nessie, which is about the LochNess monster.
It should be out aroundChristmas time.
And also Dying for a Living,Volume 2, show business, all
about the jobs and the films andeverything else, coming out
shortly.
So um, and I'll I'll I'll I'llget back on your show when that
(48:04):
comes out.
Awesome, awesome.
And volume one upbringing isAmazon, and you can get an
autograph copy,patrickkilpatrick.com, but it's
on Barnes and Noble's and AmazonAudible 2.
There's a rigorous littleexercise.
Do you ever do an Audible ofyour own book?
(48:27):
I I have not.
It's uh pretty crazy.
Because you know, you're paying$500 an hour for the studio, so
you're cranking along, but youwanted to have the most
emotional power.
So five days in a studio, maybe10 hours a day.
Wow, doing that, but it's wellthought of.
(48:48):
And Dying for Living won, Volume1, won the Best of Bellet Award.
So happy about all that.
So really excited about Nesting,though.
We'll see how that turns out.
SPEAKER_00 (49:03):
Onward and upward, my friend.
Awesome, awesome.
Congrats on everything again.
And I look I I'll be able to dothat.
SPEAKER_01 (49:10):
Oh sorry, Lie Heart is out, which is a little
lighthearted comedy directed bymy buddy Ian Niles, and I play
the Father of the Bride.
And it's a silly movie, and it'sreally well done.
SPEAKER_00 (49:26):
Fantastic.
All right, stay out of trouble.
I definitely will.
Alright, see you soon.
Thank you.
Thanks so much.
Thank you.
What's up, all my fishes in thesea?
Thanks again for tuning in andfor being a subscriber.
Your continued support means alot.
(49:46):
I want to let all my guppies inthe sea know you can now
purchase custom fishbowl merchby DMing me, Samfish, on
Instagram at theFishbowl88 or onFacebook at the Fishbowl.
Get hooked on yours today.
We have custom t-shirts, mugs,pens, handbags, hats, beanies,
hoodies, everything to make youthe coolest looking fish in the
(50:10):
sea.
And if that's not enough, I amnow accepting early access
subscribers on my BuzzFrowwebsite.
That's right, you can subscribefor early access to the Fish
Fool's content, as well as I amaccepting donations to help keep
the show going.
Again, your support means themost.
It's the most important fishesin the sea to keep the unit
(50:32):
going.
Thanks again, y'all, and keeptuning in, and let's all keep
swimming upstream.
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