Episode 12 - Guardian Angel - The PM Entertainment Podcast

Episode Transcript
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Speaker 1 (00:00):
You have had the entertainment podcast. Hello and welcome to

(01:03):
an all new episode of the PM Entertainment Podcast. The
show that says, Oh, you have a speedboat we can use,
and you want a part in the movie, put on
this beetlejuice jacket and you could be the chief of police.
Because we don't have time to mess around. There are
speedboat chases to film and speedboats to explode. The show
that says, how do we show the audience this woman
is truly evil? Have her lighter Hillbillies croutch on fire.

(01:24):
And the show that doesn't have time to turn around
and do a second take when it's stunt person's wig
flies off into the ether. I refer, of course, and
as always to those denizens of Direct to Video Action town,
Rick Pepin and Joseph Mehe the p VM. You know
what time it is. It's time for some PM entertainment.
I'm your host, John Cross and don't forget. If you

(01:45):
like the show, please remember to rate and review us
on any of the podcasting platforms you use, share our
Facebook posts and our Instagram stories like comment, and you
can contact us via our email Pmenttpod at gmail dot com.
That's PM ntpod at gmail dot com. Also just a
quick shout out to Hucks Pop Culture Cafe, hosted and

(02:08):
run by Brian Huckaba, who was Chicken Boy in Steel Frontier.
I had the absolute undiluted pleasure to be a guest
on his show his YouTube channel the other night, and
we got all into all kinds of PM, all kinds
of physical media, and it was just an absolutely fantastic time.

(02:30):
So the link is on our Facebook page and on
our Instagram, but check out Hucks Pop Culture Cafe over
on the YouTube's and you will be able to see
a guest appearance by yours truly, John Cross on his
episode from the other night. It was fantastic. It was
all PM concerned, it was all about physical media, it

(02:51):
was all about movies. It was a geek first of
the highest order, and we had a great time. Go
watch it all. Right. This week, we're incredibly honored to
have the legendary Cynthia Rothrock as our very own guardian Angel.
The film is from nineteen ninety four. It's the only
film that Cynthia sadly did for PM. But that might
just be because if you were engaged to martial artigue

(03:11):
and he was shot in the head by a frenchwoman.
You'd probably throw in the towel and go live in
a winner Bago with a dog and wear a lot
of flannel as well. It is directed by Richard W. Munchkin,
who goes all the way back to the start with
josephin Rick and directed Dance or Die for City Lights
Entertainment back in nineteen eighty seven. A special Blu Ray
edition of which is now out from Terror dash Vision

(03:34):
dot Com and is also available from brother Bellile dot com,
the Ableegu DVD and all the usual online indie Blu
Ray retail stores. Please don't forget if you're going to
buy some of these special edition Blu rays, shop small, people,
Shop small. It means so much more than just going
on to Amazon. And a lot of these things don't
even appear on Amazon, so you have to shop small,

(03:56):
which is fantastic anyway. Pick up Dance or Diet's an
incredible space edition by the director of Guardian Angel Richard W. Munchkin. Okay.
It is written by the legendary Jacobson Hart, who wrote
The Lion's Share of the best films PM Entertainment ever made.
The Fight choreographer is our Camacho. The stunt coordinator is

(04:16):
Cole S McKay, and the costume designer was Lisa die House.
I bring it up because that's funny, isn't it. I
suppose were you wanting to change the color of some
fabric for a costume, you would have to go to
a die House. Anyway. Our guest this week is a
returning champion that at this point should need no introduction,

(04:36):
and so instead I will give him someone else's introduction
that I found lying around the podcast is Breakroom Discarded
and flecked with ketchup. This week on the podcast, we're
joined by a man who's been struck by lightning twice,
both times while trying to microwave his own shoes during
a thunderstorm. A man who legally changed his name to
Alan Dazzleton for just three months in nineteen ninety eight

(04:56):
for tax reasons. He refuses to explain to us, and
when we pre on it, he made a menacing face
and shook a rather angry looking sock puppet at us.
He's the only person banned from both SeaWorld and Chuck
E Cheese in the same week for what he will
simply tell us were hair based incidents. He believes bees
are just angry sky raisins, and is the only man
to get kicked out of a mind class for being

(05:18):
too loud. Give it up for amateur zipline architect, Goblin Wrights,
activist and self declared winner of Most Elbows twenty nineteen,
The One, the Only Matt Poia. Matt, Yes, thank you
ever so much for coming back on the PM Entertainment Podcast.
You have now guested. This will be your fourth time,

(05:40):
and so we've run out of things to ask you
about you. People already know so much about you, and
I don't know if they care or not. I hope
they care. I deeply care, and I hope they care too.
But I've run out of things to talk about. So Matt,
why don't you just let us know what's happening over

(06:02):
in the world of direct to video connoisseur because you
did do something today that is PM related. Let's talk
about it now.

Speaker 2 (06:10):
I did.

Speaker 3 (06:11):
So.

Speaker 2 (06:11):
I've got a new computer that's got a faster processor
more ram, and I thought, why don't I download OBS.
I was familiar with it, and I was like, why
don't I make a video for YouTube? Try it out?
And so I created a video essentially going over the
opening action sequence to Skyscraper bo So the bud Dry
truck that blocks it, you know, the the guys doing

(06:32):
the dirty dealing with the bad ties in the back
alley in LA and suddenly some dude with a rocky
launcher shows up, and then Malibu's there with a machine gun,
the whole thing, you know, and then all of a sudden,
the car just has to back out through the the
bud Dry track. One of the things I hadn't noticed
before is that there's a yellow boat of a car
that has the word Taxi written on it that the
guy lands on his car lands on. I'd missed that before.

(06:54):
But yeah, so it was my first time trying it out.
So I kind of did like a little open word
at the PM logo in the background, created a stinger,
and then had the show, you know, kind of did
the video with a little commentary as I was going
through it, just that little piece of it, so you know,
when to see what the responses to that, maybe do
some others, you know, maybe you know PM related ones
or just action ones. I think the next one I'm
thinking about it doing is a Mission of Justice. That

(07:15):
scene where Wind cat that throws his batons in the
middle of the colin. So yeah, that might be the
next one. But yeah, but you know, so you know.

Speaker 1 (07:22):
The crazy thing about that sequence in Mission of Justice
because whenever we watch Wincott, we think, oh, Wingcott's an
expert at martial arts blah blah blah blah blah. Actually
he had never used those and I don't know the
proper terms for the baton, there is a word for them,
but he was taught, like literally, he like, he showed

(07:44):
up on set, someone handed him the baton. He was like,
I've never done this before, because we all think of
him as a martial artist, but he's not really. I
mean he is, he studied marchial arts, but he's he
wasn't a martial artist first. He's always been an actor
who does some action. And he was handed this and
he was like, I have no idea what to do
with him. He went away with a stunt coordinator fight

(08:04):
coordinator in the corner. They did some moves, he learned
some moves, and then he went right back and shot
that sequence of phenomenal. I mean phenomenal because it like
it comes off like he's been doing this for years.

Speaker 2 (08:20):
Yeah. Wow, that's just that it makes it even more amazing. Yeah,
so's the thinking, you know, because you know, right now
the YouTube page really the YouTube channels just podcast episodes
that get you know, pushed there through the RSS feed,
and so you're just getting the podcast episode with the logo,
you know, the or the DTV constle podcast, you know image.
So I thought about trying to you know, maybe add
some some videos. So we'll see, we'll kind of see

(08:41):
how that goes there. I mean, we self the site,
we self the blog on the site. Another PM related thing,
we just put Cole s McKay in the fifty club.
He's gonna be in the Hall of Fame soon. He
has fifty eight movies on the site. It wasn't a
PM film that we were reviewed for. That was a
movie called Savage Salvation that as Robert de Niro, Jack
Houston and John Malcovich. Not not not the best one,
but you know, and for all oatis randall scandal kind

(09:04):
of movie.

Speaker 1 (09:04):
But anyway, it's so funny that Robert de Niro is
still doing because he does like Robert de Niro is
still doing, like he just did that big Netflix TV
show that was you know, a big deal and shot
in New York and was like expensive and everything else.
Why does he occasionally It's not all the time, but
occasionally he does, like a straight to video action like

(09:26):
what what money problems is Robert? I know?

Speaker 2 (09:31):
Well, And the thing is like he's he was a
little bit more invested in this one. I was. I
was joking in the review that it's like usually when
you see de Niro in these movies, when he's doing
his lines and everything, he's you could seem like mentally
installing the kitchen island or pizza or whatever he's did.
You know, he's paying off with this, you know, with
this money here when he's a little more gage here.

(09:51):
But but yeah, I mean Cole s Backay, I mean,
you know we're gonna be talking about him coming up
here in this movie because you know he's in as
a part in this movie. But you know, obviously PM Entertainment,
I mean, you know, we think Spirit was out us
because Spirou was at us kind of went on to
the you know, all that fame, but a lot of them,
a lot of the big ones were Collas McKay onan's
as well, and then he just kind of stayed with it.
I mean he was doing a lot of stuff before

(10:12):
PM and then after PM. He's just kind of I
mean he kind of you know, was in the two
thousands doing stuff and again like Savagelation about twenty twenty
two and the stunt coordinator there, so well, yes, yeah,
fantastic cat just you know, all around me, just greatest.
I mean, you know, he he did stunt work. He's
never stunt coordinator to the extent that Spiro's out us

(10:33):
was in the big movies, but he was like, did
a lot of stunt work for the Transformers movies and
things like that. So so yeah, it was kindaka, we
gave him his due there. He's gonna get the Hall
of Fame officially in the fall. So we have different
sort of categories for people with the fifty club, forty
club and fifty club. Those are the people that are
you know, have so many tags and he has fifty eight,
so he's he's closing on Gary Daniels who has sixty
and then Dolph has seventy one. So but yeah, so

(10:56):
so another PM related element there.

Speaker 1 (10:57):
Yeah, yeah, because in the movie what's interesting is an
IMDb under stunts, they have Cole s McKay as the
stunt coordinator the stroke stunts, but then they have the
second unit directors as Jerry P. Jacobs and Scott McAboy.
And what's interesting about that is when you look at

(11:19):
the Spirozatos PM movies, he is normally both. He is
normally both the second unit director and the stunt coordinator.
In fact, when I interviewed him and I asked him
about movies that he is credited as just a stunt
guy for PM, T Force and some of the earlier
ones prior to Last Man Standing, he said, no, he

(11:42):
didn't do those. He said, that's wrong. He only counts
his stunt coordinator work. Now. I didn't get into it,
and I didn't. He just said no, he didn't have
anything to do with T Force, which is weird because
he's listed as having Yeah, now he's credited as stunts,
he's not credited as coordinator. When I found him, he

(12:06):
told me that the big thing he did with PM,
the reason why he was so invested in PM, outside
of his friendship with Joseph, because they're still good friends
to the stay and very close. Outside of that, the
reason why he stuck it out was it got him
his stunt coordinator credit, and in fact, he talked about
in our interview how he used to stunt double weirdly

(12:27):
enough for Robert de Niro and did in Midnight Run,
I think, and gave that up on the understanding that
he could be a stunt coordinator because that's really where
he wanted to pivot to. So we covered Last Man
Standing and we were talking about obviously the big sequence

(12:48):
in that movie, which is the armored car motorbike sequence
with wind car jumping from the motorbike into the back
of the armored car and then fighting with the guy
and then being thrown out the back, holding onto the
chain whatever. All of that was Sparrow. All of that
was like Sparrow's first time coordinating. So it seems to

(13:12):
me like Sparrow didn't want whether he wanted to bring
it up or not, he didn't want to talk about
any of his just stunt work outside of saying that
he doubled for the Narrow Yeah.

Speaker 2 (13:25):
I mean, I wonder too if because it does seem
like with PM that there was a kind of I
don't say all hands on deck approach, but it seemed
like people wanted to get in and help other people
and so I wonder if you maybe he didn't do
a lot on Tea for us, and if he looks
at it as like I was just helping out to
do a few things and I got credited, and too,
you wonder too, because you know, i'mgb being a crowdsource

(13:47):
kind of thing, and maybe you know, he wasn't expecting
to be credited, and then somebody else who worked on
the production added his name in because you know, they
thought it would be important for him, and maybe he
didn't see it that way. I mean again talking about
coll S McKay. I mean you see movies where like, yeah,
he's just sort of listed as stunts, and you wonder
if he just was around that day, and like, you know,
and I think the other thing too, is it seems

(14:08):
like all those un coordinators got along, right. They were
all friends. It seemed like they were all buddy. So
maybe you're just like, hey, you know, you need somebody
to do this this sequence here. Sure, and maybe all
it is with maybe all spirit dial and any of
them did was maybe just like shimmy and fall down
because they got machine gunned. And it's like, well, I
don't want a credit for that, because all I do
is stand there on set for five minutes and shimmy

(14:28):
and fall down. But you know it's enough for me
to to, you know, give them a tag on the
site of course. No, and it's still the movie.

Speaker 1 (14:38):
It's wonderful than col S mackay. You know, he's pulling
down at the moment, three hundred and sixty six credits
on IMDb as as stunts and only you know twenty
one as second unit or assistant director. So he's still
you know, in the thick of it, throwing himself around

(14:58):
or doing the driving or you know, doing whatever. I mean,
I don't know, like all the things that you you
do as a stunt guy. And he was the stunt
driver on one of one of my recent favorite movies,
The Trust, with Nick Cage and Elijah Wood. That is
such a good movie that never gets talked about, but

(15:19):
maybe made by the Brewer brothers Alex and Benjamin, who
I interviewed on aftermovie Diner, and they would go on
to work with Cage again. Well, Alex would. He made Arcadian,
which was the monster horror movie that I championed from
last year. But yeah, Coles McKay has just kept doing it. Man,
whether it's like you say, big big movies like Transformers,

(15:42):
Dark in the Moon or whether it's Attack of the
Fifty Foot Cheerleader made by Kevin O'Neill starring Treat Williams
and Sean Young apparently wow, yeah, okay, right.

Speaker 2 (15:54):
Right the Lord watch you guys bring him in. Still
you know he still does those two and so I
wonder I listen to La maybe and they just fly
Hi out to places and he just does the things
I mean, I mean, you know, Savage Salvation didn't have
a lot. It's it's interesting. It's like the end of
the movie is where a lot of the stunts come in.
It's kind of like it's a weird movie because the
first half of the movie is almost like two people,
a couple dealing with addiction, and then the second half

(16:16):
is the revenge, you know, death spree kind of thing, right,
and so that's where he you know, he's obviously making
his money there. But I was joking in the review
that it was like there's cars all over the place,
and I was just wondering, ill if he was like
going up to rain the lemon, just being like, are
you sure you don't need me to flip any of
the easier, because I mean I could, I could do it.

Speaker 1 (16:34):
You know, we're just itching to flip a fucking car, dude,
let me do it. In terms of PM, though, let's
have it. Let's have a look at Cols mackay. Let's
go deep, deep, deep on Coles Bouquet before we get
into Guardian Angel. Let's actually look at what he did.
He started off very early with with PM. He goes

(16:54):
all the way back to the eighties with PM, so
he actually does a city Lights movie. He does La
Crackdown with city Lights, so he actually is one of
the few people who started before PM became PM, as
did Richard Munchkin, Paul Vulk, obviously Rick and Joseph and

(17:17):
a few others who would go on Adison Randall. Yes,
he does some stuff with city Lights. In fact, he
doesn't do many later pms. He does most of the
early PM. But Coles McKay his PM entertainment rundown would
be Deadly Breed, Angels of the City, East La Warriors, Sinners,

(17:39):
Cold Fire, Chance, Knight of the Wild, A Living to Die, Repo, Jake,
the Killer's Edge also known as Blood Money, the Killing Zone,
the Art of Dying. So He does all the Wingshouser Ones,
Quiet Fire. He does the Last Riders, which I was
just showing off because I just got the VHS stealed

(18:01):
with the PM Entertainment watermark, which is phenomenal. He does
Zipper Face, which is not a PM Entertainment movie, but
so many PM Entertainment people were involved in Zipper Face.
I kind of counted because Zipper I love Zipper I
don't know if you've seen it, but you should definitely
want Zipper Face. It's fantastic. Years ago Jamie Moe and

(18:23):
I covened it on Drunk on VHS, but I love
Zipper Face. Out for Blood, Ring of Fire two, Blood
and Steel Firepower, No Escape, No Return, l A Wars.
He did stunt coordinator on Save Me, which you and
I covered exactly.

Speaker 2 (18:39):
I was saying like that when I was writing the reviewers, like,
I've got a couple in the can of his review.
It's gonna push them over.

Speaker 1 (18:45):
Sixt It's it's not a PM film, but you and
I covered it. He did Forced to Kill CyberTracker, A
Dangerous Place, Guardian Angel, Lion Strike also known as Ring
of Fire three, Right Steel Frontier, Hologram Man, the Power
Within to the Limit. He does Guns and Lipstick, which

(19:05):
is not a PM film, but wings Hauser obviously is
in that movie.

Speaker 2 (19:10):
And another wings that he does before, The Victim of Desire. Yeah,
we're still frontiers, so another one. Yeah, he gets to
throw Johnny rose Beef out the window.

Speaker 1 (19:20):
CyberTracker two Skyscraper, which you just talked about, Tiger Hat,
The Silences, Dark Breed, a little Bigfoot, Executive Target, Road Ends,
the Sender, Land of the Free, Extra Marital, a lot
of stunts and extra matal A that, yes, I haven't
seen it. I'm assuming La Heat eighteen episodes of La Heat.

(19:42):
He does The Stray, a third PM film for Angie Emaha,
of course, because she's in Running Red. She did the
one that we just covered, our Executive Target, and she
did The Stray also with Michael Mats Buy a Trap,
which is still technically a PM film, even though I

(20:04):
believe the P and the m had moved on. But yes,
it is produced by so George Shamir, who is the
was the PM entertainment sales guy. He was the guy
who was out selling movies left and right, being like,
you know, we're going to do this with this actor.
And it's going to have this many stunts, give us

(20:24):
your money. And Paul Volk, who was obviously third guy
behind PM, he produces fire Trap with Dean Kane, as
does George Shamia. So I still count it because although
p and M have moved on, it's still technically a
PM film. I feel like PM moved on Rick Peppin

(20:47):
and Joseph May moved on, and then a few guys
were still left in the office who were like, well,
what do we do with this dan Kin movie we have?
And they were sort of left to kick it over
the finish line. That's how I think about it. Anyway.
That was our rundown on Collins Maqua anymore from a
direct to video Cars said, before we dive into Gardian Angel.

Speaker 2 (21:10):
I don't know, that's that's pretty much it. I mean again,
of course, if you want to buy my books, you
know Naughty and Aiden is the newest one. Go to
Amazon look up Naughty Aiden. Then I'm also my short
action novel Bainbridge. That's gonna come up a couple of
times when we talk about this movie, because there's a
couple of things in this movie that inspired some things
that happened in the book.

Speaker 1 (21:30):
So yeah, I'll mention exciting, exciting, exciting. Okay, all right,

(21:55):
we have money forging. Drop gone wrong, park based fifty cuffs,
kick the cuffs and shoot out. Foot chase becomes a
car chase. Cart flips with sparks. Car then explodes. Lady
Cops undercover at fancy party as fancier ladies hosts outrageous
hair piece rothrock's enormous red blowout and curled bunts, some
much needed kungfu. Host openly shoots gun into sea of

(22:16):
party guests. More martial arts action. Next snap chair broken
over back, cop partner shot in the forehead by hosts.
Grease tupe van drives through wall of warehouse. Another shootout,
another car chase, another newsstand, needlessly demolished. Car drives through
window of random boat, showroom that's only seemingly selling a
single boat. Nightclub shootout and a nightclub that sells drinks

(22:38):
with multiple rainbow colors. Martial arts in a wax museum
with multiple hench persons. Marshal Tigue wasted by woman he
would clearly have seen hiding behind the same side of
the pillar that he is. Robert Miano shot into polystyrene sculpture,
prison escape shootout with helicopter butler startled by Rothrock's weirdly
butt faded jeans an awkward lakers' cap, oh and yes gun.

(23:00):
Rothrock jumps through second story window and does cool tuck
and roll landing. Rothrock beats up hary shirtless henchmen in
front of bikini babes broom fu maid falls into pool
barkeep I'll take one hillbilly flaming crutch to go. Polo
tracks shootout with hit man angry at Charcuterie platters. Even
more martial arts horse chase, Rothrock drag behind horse made

(23:21):
kicked off balcony, tremendous Rothrock led barb brawl with scorpion
kick and slow mo hillbilly flying through glass door curse
Ostendorff's sudden but inevitable portrayal. Even more more martial arts
fisticuffs and kick tocuffs, Jetski speedboat, cigarette lady, superspeedboat and
helicopter chase jump from one speedboat to another, fight and

(23:42):
moving speedboat cool hanging from a helicopter hero escape speedboat explodes.
Gritiatis director comedy Cameo Gutiati's Ping pong with bikini babes,
Gritiata's close up of actors pretending to ride horses, gutiatis
close up of actors pretending to drive speedboats. Gutiatis stunt
person's wiglass grititis. Dang it, she was an evil made
reveal gratuitous, an unnecessary Butler death gratuitous, an exceptionally sleazy

(24:07):
soft core saxophone over end credits Guardian angel Is from
nineteen ninety four. I consider nineteen ninety four the first
year of what I consider a three year run of
sort of the pinnacle of PM. So I feel like

(24:27):
ninety four they're finding their feet, ninety five and ninety
six they really perfect it. And then I think ninety seven,
as we were talking about on the episode with Executive Target,
they only do two big action films. In ninety seven
they do Executive Target and The Underground, And I feel

(24:49):
like after ninety four, ninety five, ninety six, where they
are really as PM, firing on all possible cylinders with
with the guys that they started with, with the Don Wilsons,
with the Gary Daniels, with the Jeff wing Cutts, with
the Cynthia Rothrocks, They're firing on all cylinders for those

(25:09):
three years with those stars, and then they try their
hand at bigger movies. So ninety seven is the first
year I feel like, you know, because you think about
executive target. It's got Michael Madson, Roy Scheider, Keith David, Angie,
Hev Hart, Like it's a starier cast for them at

(25:30):
that age in that time. You know, Michael Madsen was
a big deal in the nineties, guys, you know what
I mean, So to have him in a movie, and
Keith David, of course, who's phenomenal an executive target. But
this one comes out in ninety four, and ninety four
to me is the first year where PM are like, Okay,
let's do this, and they get Cynthia Rothrock of course,

(25:55):
because they've got this history with Don Wilson, they've got
a history with Gary Daniels. Obviously she's aware of PM Entertainment,
so she only does the one PM film, which which
is I think sad in retrospect. I think she herself
would would have wanted to have gone on and done more.
I think she considers this again, you'll hear this in

(26:17):
the interview, but she considers this one of her better
straight to video movies like it's interesting that after this
she goes on to do Sworn to Justice, which is
one of her favorites. The reason why that's interesting is
that for people who don't know as much as she
obviously loves the action and loves being known as an

(26:37):
action star, one of the things that I think Cynthia
was really interested in at this time was also her
acting was also being seen as feminine rather than as
always sort of the just the kung fu fighting woman,
and obviously Sworn to Justice, which is sort of a

(26:57):
the closest she gets to doing a nineties erotic thriller
meets action film. I think there was part of her
in the nineties, in the mid nineties that was looking
to be seen as, you know, a woman, beautiful, sexy,
capable of acting different roles, capable of being in thrillers
and dramas and holding her own with bigger stars. And

(27:21):
so it's interesting because when she talks about Guardian Angel,
she talks a lot about the character, the acting, the performance,
her fellow actors, rather than just the action scenes, which
obviously she also enjoys. Let us get into it, then,
matt as is tradition now on the Peam Entertainment podcast.
I hand over the job of describing the plot of

(27:44):
Guardian Angel to you, sir, the guest, give us the lowdown.
What is Guardian Angel all about, sir?

Speaker 2 (27:51):
So Cynthia Rothblok. She plays a police detective who is
busting a counterfeit ring run by Robert Miano.

Speaker 1 (28:00):
And regular who's been in every movie we've covered so far,
but yes, anyway exactly.

Speaker 2 (28:08):
By him and his assistant Lyddy Dannier. So anyway, so
she thinks she's got them, even though she loses her partner,
who I think is Kathy Long. They she's not credited,
but it looks like Kathy Long is her partner who
gets killed when they go undercover to try to get
these plates. And what ends up happening is that they
end up kind of her and her husband or fiance,

(28:29):
Marshall Tigue.

Speaker 1 (28:30):
They kind of Marshall we talked about on a Dangerous
Place a lot right exactly.

Speaker 2 (28:37):
Through a series of beating up informants, they get a
meeting with Liddy Darnier. They think it's gonna be Miano actually,
and when when they show up, they go to arrest them.
So it's uh Darnier's her and her her team, so
I think Heil Jacoby is one of her thugs that's there.
But anyway, after beating everybody up, Danier escapes and she's

(28:58):
got Marshall Tigue at gunpoint and decides, hey, I'm just
gonna blow his head off. She just shoots him and
kills him, so he goes, She goes to prison. Roth
Rock is inconsolable. She has to leave the force and
go live in a trailer somewhere with a dog who
she sometimes takes care of, sometimes doesn't. Danny gets out
of prison and some playboy, some wealthy playboy, asks roth

(29:21):
Wick to be his bodyguard, and we find it it's
because they had a relationship, him and danny A. So
this whole thing is sort of unraveling, but she's trying
to get to the bottom of it. There trying to
stop danny A because she's just out killing all kinds
of people. They're protecting the plates. They don't know where
the plates are. It's kind of that mcguffin kind of thing.
But in the end, the whole thing just you know,
ends in a big shootout at the mansion and then
a shootout on boats and his explosions and everybody lives

(29:44):
happily ever after.

Speaker 1 (29:45):
Yeah, so it's part revenge movie. What's nice about it
is that, yes, there is a through line crime mcguffin,
which is these plates, right, and this frenchwoman who has
been helping me Jano who is why is Miano in
like a mental institution and being all weird and stuff?

Speaker 3 (30:06):
What? What?

Speaker 2 (30:08):
So he gets shot by Danny I remember when when
So when she gets right, right, that's how she gets arrested.

Speaker 1 (30:14):
She goes and then the sculpture which is very obviously polystarid, right,
and it all kind of falls apart.

Speaker 2 (30:21):
Yeah, yeah, when she when she shoots him, he falls
into it and the whole thing collapsed right, right, And
so then the brothers hiding him in this mental institution,
which I mean it looked very like like MTV like
when you go in it. I think we'll probably talk
a bit about the cinematography of this is a little
bit unique in spots. But yeah, so that's but that's
why Miana was there. It was sort of like this.

(30:41):
It was like a big reveal midway through that oh
he's actually still alive because in a PM flick that
would kill anybody else right, just you know, but yeah,
but he survived.

Speaker 1 (30:52):
Well, it's Miano, so Mianna has to survive even an
executive target where Angie Evaha is killing the rest of
her criminal gang. Miano still smokes, which is great because
Robert Miana, I mean, he is in a ton of
PM flecks and I he does crop up, as is
Marshall t As as as is a lot of the
people in this movie. But Cynthia Rothrock gets to she's

(31:16):
living in a trailer, as you said, in a in
a in a Winnebago type thing, wearing a lot of
plaid shirts and nothing else. She gets called up by
this guy who had who likes to play ping pong
with bikini babes. That's his whole thing is he plays
a lot of ping pong with bikini babes. And he
has a weird butler, which is phenomenal. The butler played by.

Speaker 2 (31:41):
The Butler's John O'Leary. Clayton was Clayton the butler, Yes,
I believe, so, yes, sir, John O'Leary doesn't have a
picture on IMDb.

Speaker 1 (31:50):
No, but fantastic nonetheless, so yeah, he has a butler.
He plays ping pong with bikini babes. He calls up
roth Rock, who shows up in the weirdest outfit. I mean,
I get that they're trying to grune her down a bit,
but who picked out those jeans because they're Remember you know,

(32:12):
faded jeans were a thing, right, like three faded jeans.

Speaker 2 (32:17):
Eight years after this, yeah, but ten years after this
they were huge, right, you know, but on the knees
and stuff like that.

Speaker 1 (32:23):
Right. But what's weird about this is, and I don't
know if you ever remember this, but like when you
would go to buy pre faded jeans, if you went
to a cheaper place, a cheaper place, you know, a
Calls or a TJ Max or something like that, Right,
the fades would be in weird places, let's just say it.

(32:46):
Right In in like Levi or Wrangler or one like
one of the bigger guys, the fades would be like
you say, on the knee or on the thigh, or
on the shin or whatever. But the cheaper ones, the
fades were like on the butt, on the back of
the knee, on whatever it was, just wherever they thought
they could like fade the neck. They put her in

(33:06):
a pair of excessively baggy like it's boot cut kind
of jeans. They're not flares, they're like boot cut. They're
like big kind of workman jeans with a faded butt.
And the only problem with that is is that obviously,
you know, as you're watching a film in which the

(33:28):
lead is a female, you're gonna look at the butt
because they've given her a big white butt. And then
she's walking through the mansion to get to the bikini
babes and get through the bikini babes to get to
the big wealthy guy who she's going to have her.
Well they won't. They kind of back and forth relationship
with eventually they've got her in these fucking jeans, and

(33:53):
I'm sorry, you're just looking at the butt, going why
is her butt white? The rest of the jeans blue.
It just looks weird. It just looks that's weird, as
does the purple cap and the baggy shit like, none
of it. There's a way to like grunge up a
woman so she doesn't look like, you know, like Cynthia
does at the early part of the movie where she's
all dressed up to go to the party, she's got

(34:14):
curlors in her head, she's got the big blue evening
gown on. She's gonna go in, She's gonna chat up
this rich guy. You know, there's a way to grunge
that way. In fact, when she's wearing the plaid shirt
in the Winnebago, like that looks great. Like give her
a plaid shirt and some daisy dukes and you know,
a backwards baseball cap, whatever you need to do. But

(34:35):
like whatever they dress her in that one scene where
she shows up at the Bikini Babe mansion. Ah, it's awful,
it really is. It's it's just terrible.

Speaker 4 (34:45):
No.

Speaker 2 (34:45):
I mean the Lakers hat that she has on, it's
so cheap. It looks like, you know, I don't know.
When you go to Hollywood, Like if you're driving through Hollywood,
you see these signs that say shirts ten for ten dollars. Yes,
And then you get there and it's tiny little letters.
It says kids over it, right, But it's like they
sent a pa there to get her head.

Speaker 1 (35:06):
Oh yeah. No, if you go to if you're in
Hollywood and Vine, like if you're on Hollywood Boulevard, almost
every other shop is a cheap gift shop, or it
used to be. I mean, I haven't been to l A.
I haven't been to Hollywood and Vine in a few years,
but like it's mostly cheap. It's it's like when you're
in Times Square, if you go two blocks towards Hell's Kitchen,

(35:28):
it's all you know, knock off back of the truck
type merchandise for New York, for New York sports teams,
for you know, whatever it is. You're right, this looks
like a Laker's hat that was bought on Hollywood and
Vine for like fifty cents.

Speaker 2 (35:45):
Yep, exactly. And of course, like the running joke is
is that, oh, she's the plumber, right, They all these
bikini crab women ask her she's the plumber. All the
cabana toilets really clogged or whatever. She's like, I'm not
the plumber. I'm not you know whatever and so. But
but like in true PM fashion, right, the I'm not
the plumber comes into play. Uh, you know where she's

(36:07):
somehow she's got a car phone, right, she's living in
a Winnebago, but she's got a car phone. And while
she's like talking to the police captain, her old police
captain who's played by Anadalva a great name Goddard, that
she has She's kind of like a cross between Linda
Evans and Sharon Gless.

Speaker 1 (36:26):
I think from her, well, she she looks like Beetlejuice
without the makeup face makeup, because she wears a black
and white striped blazer throughout the movie, which makes her
look like Beetlejuice on his off hours.

Speaker 2 (36:40):
Right exactly, It makes no sense. And and she's like
calling her saying, hey, you didn't tell me that you know,
what's her name got out of prison. She's like, why
was I supposed to tell you're done on the force anymore?
And then she sees a second plumbing truck go by,
and she goes because she saw one go leave as
she was leaving the premises she sees when she's like,
oh wait, two plumbers trucks. That means one of those

(37:01):
got to be a killer, right right? Of course shows
up and the guy who's pretending to be the plumber
looks like like a poor man's Matt Hannon from Samurai Cop,
just a total himbo, which is great, I mean, and
I mean, you just want to see Rothrock kick him
through a window, and I wanted to see her kick
him into the pool, but unfortunately she kicks him into
the maid, who then falls in the pool. It's like, really,

(37:23):
you've got to have the person who's working at that moment,
right that has to deal with that indignity. Like I
don't know what they were thinking of that.

Speaker 1 (37:29):
One Matt caring about the little guy caring about Yeah,
I guess.

Speaker 2 (37:35):
I shouldn't be so upset because either either that was
the impetus for the maid later on to do you
know what she does when she tries to kill Rothrock
later that was either the impetus for it, or you know,
she just.

Speaker 1 (37:52):
Don't they get a new maid because that made you.

Speaker 2 (37:55):
He didn't recognize her, right, That poor maid probably got
swimmer's ear and had to take the day.

Speaker 1 (37:59):
Off, and that's yeah, she goes, yeah she got swimmers here,
or you know, went blind because of the chlorine or whatever,
or maybe maybe the the bikini babe bikini top snapped
off and flicked her in the eye and she went
blind or something. But either way, because yes, you're right
that there's a maid later on who is a plant

(38:23):
an evil maid. Look out, it's an evil maids, which
is fantastic. I mean, everyone's everyone's all the people that
you think are evil in this movie turned out to
be pretty good, and all the people who are very
fairly innocuous turn out to be evil. That's that's pretty much.
But what I love about this movie though, is because

(38:46):
I think it's a really good plot that I haven't
seen in another movie, which is this playboy used to
date the bad woman, the woman who's gonna come after
everyone and try and kill everyone. Right, so he hires
the woman who's trying to avenge the death of her

(39:08):
husband as his bodyguard. I mean, that's a really good
like just logically speaking, that's because there's two ways this
PM movie could go, right. It could be like roth
Rock's Down on the Lug. She finds out what's her
name's broken out of prison and goes after her. Right,
that's the Liam Neeson movie that we've all seen, right, right.

(39:31):
Or there's the She's down on the lock her fiance
was killed blah blah blah blah blah. She takes a
job as a security guard or the guy and ends
up falling in love with the guy. Right, That's that's
the other movie. PM just goes put those two together

(39:51):
and it sort of really works like it works as
a concept. It works as I think the only thing
that I would say about the concept is that mister
millionaire Hobbs played by Daniel McVicker, you know, mister Sleeves,
mister millionaire, mister hang out with the Bikini Babes, Mister
ping pong with the bikini babes, that guy. The only

(40:14):
thing I would say is that the moment Rothrock shows
up and moves into his house to be his bodyguard,
the Bikini Babes are nowhere to be seen. They're in
that one opening sequence, and then he's just like, fine,
I'm gonna get rid of all of the bikini Babes
for Rothrock. Which look, I'm getting rid of all of
the bikini babes for Rothrock too. Listen, I'm with him.

(40:37):
Rothrock is my gal, like I'm backing her all the way.
I'm not saying that I wouldn't give up the Bikini
Babes for Cynthia Rothrock, because I would, and you'd be
a fool not to, because she's got a mean, mean
kick on her, scorpion kick on her. But I don't
believe that McVicar or Hobbes would give them up that quickly,

(40:59):
because yes, as chemistry right off the bat but it's
not mutual until much later in the film. But the
Bikini Babes disappeared too soon for my liking. I would
have liked to see more Bikini babes. Matt your take
on the Bikini Babes.

Speaker 2 (41:15):
So the Bikini Babes were like the dog, they were
inconvenient to the plot, and so they just disappeared. I
mean the dog. When she first moves into the house,
I'm like, well, where's the dog? Why is the dog
not jumping on the bed? Why is the dog not
doing stuff? And then at the end of the movie,
there's like sort of this like little period of time
where he tells her to leave because the butler was

(41:35):
killed and he doesn't want her he possibly killed too.
She goes back to the trailer, she has this like
soliloquy with the dog, and I was like, wait, the
dog was there the whole time. Who's taking care of
the dog? Like, but it's a PM thing. It's like,
we don't care about the dogs. We don't care about
bikini babs, right, Bikini Babes just come and go and
sudden it's like, oh, okay, we paid the extra fee
for this day, We're not paying it for this other day.

(41:56):
So that's it. I mean some of the bikini babes
were credited.

Speaker 3 (41:58):
Some of them.

Speaker 2 (41:59):
I think one of them is a yellow bikini. Pink
bikini and yellow bikini, yes, so so Luyenne fairly plays
pink bikini. Tanya Lawson was yellow bikini as Tanya Offer.
So I don't know if she's gotten married since then
had changed her name. So so they were like, yeah,
we're not paying out any more SAG fees to these
these bikinis. They're gonna start putting their credits in our movies.

Speaker 1 (42:24):
Uh, I am to be known for Guardian Angel, Pacific Blue,
and Dangerous Seductress. So everyone to look at Dangerous Seductress
although it looks oh sleep with her and you sleep
Forever is the tagline to Dangeroustris. It's directed by h

(42:47):
To jet to Jalliel h to jet to Jalliel and
synopsis says that Evil Queen returns to possess an American
girl who she orders to go out and claim victims
to sit a blood last, and Tanya Lawson was also
in that as Tanya Offer. So look Out nineteen ninety

(43:10):
two is dangerous to doctors figure it out anyway, yes,
yellow bikini, pig bikini.

Speaker 2 (43:16):
Yeah, yeah, yeah, but no, but that's what it is.
I mean, it's like, you know, it's interesting because I
was I was recently seeing on on Facebook fredoll And
Ray will sometimes kind of give anecdotes about his movie, right,
and he talked about I think it was air Boss
that he was talking about, where he said the thing
he hated about airplane movies was that, you know, you
didn't know what to do with the with the passengers

(43:38):
and and this one, I guess they locked them in
an airlock or.

Speaker 3 (43:41):
Something like that.

Speaker 2 (43:42):
And he's like, that was how we got rid of them.
And so it's like this thing of like anything it's
like difficult or you don't want to deal with, you
get rid of it. And I guess in this movie
it was like, yeah, we we we need to get
rid of all of these things. Bikini babes.

Speaker 1 (43:54):
Yeah, well that I mean, listen, it's absolutely fine because
obviously we're invested in the rough vicer well they won't
they relationship. But I think we should have had one
more scene with the bikini bas instead of we we
get a lot of scenes with John O'Leary as Clayton
the Butler, I could have done with one scene with

(44:17):
with more bini grapes, right.

Speaker 2 (44:19):
And again, me as an animal lover, I'm just the
whole time just thinking like, is this poor dog waiting
to get let out? Who's feeding the dogs?

Speaker 3 (44:27):
Right?

Speaker 2 (44:27):
Right? And again, I guess you just have to suspend
that for these these pm FO films that you know,
they just thought it was cool to have her talk
to a dog, and it's like the rest of the time,
the dog doesn't exist.

Speaker 1 (44:38):
Yeah, very what a shame. Also, it's a it's a
shame that Martial Artigue was cast as the fiance because
I feel like I would have loved to have seen
Tigue and Denny A as some kind of evil couple.
I think Tige was underused in the movie.

Speaker 2 (44:59):
That I mean, that was one of my his complaints
when I saw this the first time, when I reviewed
it on the site. I didn't like the fact that
Tea was in and out so quickly. That was when,
you know, I mean, one of the things about this overall,
with this movie, I appreciate it more now. I think
some of the things we're going to talk about are
things that I didn't appreciate when I saw the when
I saw the first time, I just thought, Okay, this
is a serviceable roth Rock actioner, Like it does what

(45:19):
you need to do, but it's not anything special. And
I think but one of my complaints was like, oh,
we've got Marshall t what are we doing here?

Speaker 3 (45:25):
You know, right?

Speaker 1 (45:27):
But you know, when they need Teague and if I
don't get Tig, I'm disappointed. That's what we're saying, right, Yes,
I didn't come.

Speaker 2 (45:37):
I mean, you know again, like like you you talked about,
I mean he we get all these scenes with people
that we don't necessarily need, like the butler, I mean
Ken McLeod uh. The funny thing about Ken McCloud is
a year after this, he's playing a high school student
in Showdown. So he's, you know, already in his thirties.
We already know that, but he's gonna play high schol
student in next year.

Speaker 1 (45:56):
He's the one that he's the unnecessarily a great, a
negative police guy who hates Rothrock for no reason.

Speaker 2 (46:05):
Right. He hates her because she's a woman on the force.
He doesn't think that there should be women on the
Ryan's force. And it's like, yeah, it's like some kind
of stereotype thing that they wanted this thread throughout the
movie that like, well, she can't be a police officer
because she's a woman, she can't be a bodyguard because
she's a woman. Turns out she can do all these things.
She's much more capable than anybody else as doing these things.
And Ken McLeod was the sort of the negative Nancy

(46:27):
the whole time, right, and we just wanted to see
her kick him through a plate glass window at some point.
That was really it was all building up there.

Speaker 1 (46:34):
It was, it was building up to the McLeod McKay,
which I'm mixing. Ken McLeod's his real name, and McKay
is Cynthia Rothrock's character's name. His name is Austin Dorf.
The names in this movie are incredible. So Rothrock is McKay,
Daniel McVicker is Hobbs, Lyddy Danny is just Nina Marshall,

(46:57):
Artigue is just Nick Ken mcle out as Austendorf, I mean,
his name's McLeod. Why are you giving him like a
what is that like a Northern European like Slavic name,
like Austin Dorf or German. Maybe John O'Leary is Clayton.
That's fine, that's a butler. I guess Anna Dalvo is

(47:18):
the It's just Goddard, Yeah, it's it's weird. It's just everyone.
Robert Miano is David, Brian Brophy is Slick, Matthew Walker
is Lippy. The first twenty people in the movie just
have one name. And then Art Camancho, who is only
in the opening sequence as the rival gang of money

(47:40):
launderers or whatever they are, is Jimmy Lee. He actually
gets a full name.

Speaker 2 (47:46):
Well, the funny thing is he plays two people in
this because he's he's Jimmy Lee in that opening scene
and then he's in the bar bra and Cimthy Rotherwick
smashes him into like a post or something at the bar. Yeah,
he's wearing a flailed shirt and so he's this there twice.
I mean Dale Jacoby, who did a good number of
PM flicks. He just gets Nina's partner as his name.

(48:07):
He gets an unceremonious death right. He wants to hit
his bong one last time and she won't let him.
She shoots him before he can hit the bong one
last time. With his great genes that he's got on
and I mean, yeah, somebody that they just you know,
dal Jacoby, he played these characters. It was just like
they just pulled them off of Venice Beach. If it
wasn't the same person. Every time, you think they just

(48:27):
found a new person, right that they were getting But no,
Dale Jacoby was there, you know No.

Speaker 1 (48:32):
But I have to say that there's two things going
for Guardian Angel. One is well, I mean three if
you count rough Throup. But in terms of movie making,
there were two things going for Gardian Angel. One is
that it has a decent central premise, Like the premise

(48:52):
adds up. The premise is not loose or flimsy. It
makes sense. It's an ABC plot. It works out, it's
all good. The second thing it has going for it
is that, either by design or just by fortuitor circumstance,
every action sequence is different. They vary the action sequences.

(49:16):
So while this doesn't have the level of shootouts that
PM would do in ninety five ninety six ninety seven,
it doesn't have the level of car chases the PM
Entertainment would do in ninety five ninety six ninety seven.
It has a bit of everything though, so it has
a little bit of a shootout at the beginning. It
has a little bit of a car chase at the beginning.

(49:37):
It has a bar brawl, as you mentioned, it has
a By the way, that's my favorite scene in the
whole movie is the bar fights. I absolutely love the
bar fight. It has a phenomenal speedboat helicopter chase to
end the movie, absolutely fantastic. And they don't do a
lot of water stunts in PM films, so this is unique.

(49:58):
We get a horse chase sequence, which is again different
for PM. There's not a lot of horse chases that
PM do. We get plenty of martial arts, we get
plenty of fisticuff shootouts, and those are all the good things,
So those are I think it has a really good plot.
It switches up the action every time they do a

(50:19):
set piece, and Rothrock is legitimately good. And in fact,
I think Rothrock and mcvicor do make a you know, compelling,
good chemistry, fun back and forth, you know what I mean.
I would have liked to have seen mcvieckor in more
of these movies, because I think he was pretty good
at doing the kind of cheesy chromo who happened upon

(50:42):
some money and happened upon some bikini babes and happened
upon Rothrock kind of thing, which is great. I think
that's all great. I The only problem I see with
Guardian Angel is I don't feel after I'm done watching
it that it adds up to the sum of its parts.
Do you know what I mean by that? I think
it has really, really, really strong parts. I just don't

(51:06):
think as a whole it one hundred works. But we
have to look at it as a bit of a
You can't stack it up against Last Man Standing and
Rage and some of these other ones because it's nineteen
ninety four, and nineteen ninety four is the precursor to
all those movies. Do you know what I'm saying?

Speaker 2 (51:28):
Yeah, no, no, no, I totally get. I mean, I
think the things that helped this movie that I think,
you know, with it being like you said, this early
period is I think one, you've got Art Camacho and
Richard Norton as as fight choreographers, And I think that's
a really important thing because then you know roth Roll
that actually isn't.

Speaker 1 (51:48):
The reason why Norton gets the credit is because Norton
was the one who convinced Rothrock to accept Camacho.

Speaker 2 (51:56):
Oh Okay, I didn't know that.

Speaker 1 (51:57):
Well that's what That's what Camacho says on the Blue Right.
So Camacho says that Richard Norton brought Camacho in, and
Camacho had already faced a little bit of pushback from
some of the stunt teams, right exactly, because they were like, well,
we do the stunts, and he's like, right, but I
just do the fights. Like it's different. They eventually will

(52:19):
figure it out. And Camacho like very very complementary about PM.
And but he's just talking about the thing when his
story is and Rothrock does not say that. Rothrock says
it was great working with Camacho and everything was fine.
Camacho's story from the Blu Ray is that Norton brought
Camacho to Rothrock and was like, give Camacho a child.

Speaker 2 (52:43):
Basically, Yeah, I'm not surprised. I mean the thing that was,
you know, the interview that you did with with our
Camacho which was on the Dangerous Place that episode. Yeah,
what a great interview. I mean, because he talked about
that about how like when you know Mayor he first
brought him on that this coordinators were not happy with it,
and of course, you know, we think of PM as

(53:03):
a sort of this collaborative thing where everybody's doing all
this stuff. But you know, at that time, it was
considered you know, that was the stunt coordinators perfew, was
the fights, right, and you know our Camacho kind of
was coming more from a martial arts But but you
know what, and I guess at least Rothrock would know
because that you would do fight court. You know, the
fight coordinator might be different in Hong Kong, but it's

(53:24):
one of those things that like once they figured it
out that he wasn't there to like, you know, take
up their car chases or anything like that, that he
was bringing something different. And I think also too, probably
when they saw that the fights looked better when he
did them, then you know, the coordinators. But it kind
of makes sense too that Rothrock would be like, well,
who is this Camacho ga? Because he was new at
that time, he was still kind of you know, making

(53:44):
his way, but I think he had worked with Norton
before that, and so that's why Norton would know like, hey,
this guy's a real deal. He can put your scenes
together the way you want them to. And I think
the other thing two is I think uh Kamacho, it
seems like he gets a lot of input from the
people that he's working with as well, So I think
he's I mean, he's worked with much everybody.

Speaker 1 (54:01):
Yeah, and by the way, Cynthia was nothing but complimentary
about him in the interview, as you'll hear, oh sure, yeah,
and look, I do not envy Ark Camacho at all.
He had to step into a role where he was
working with top level martial artists, you know, at the
top of their game, who had done multiple movies both

(54:22):
here and abroad, and again was fighting this situation with
the stunt teams where they were like, well, why is
this guy coming in? Like, we can coordinate whatever you need.
That art Camacho not only survived, but excelled and continued
to be a force for good in the in the
action film community, to the point where he's done just

(54:43):
about every job there is to do on a set
to do with an action film. Fair play to him,
because it can't have been easy half the time. No,

(55:08):
all right, do we have some interviews for you. That's right,
We have pulled out all the stops for our Guardian
Angel special episode this week. We have none other than
the Guardian Angel herself, Cynthia Rothrock here talking all about
the film, all about PM Entertainment, and talking all about

(55:29):
her brand new film Black Creek, which, as of recording
this right now, is going to be live tomorrow on
all of the streaming services where you can rent it
or buy it. And I strongly suggest, from seeing all
the trailers, the stills and talking to Cynthia about it,
that you do exactly that. Go go go support Black Creek.

(55:53):
It looks phenomenal. Cynthia Rothrock, Richard Norton, and Don the
Dragon Wilson in a Western kung fu epic. Who doesn't
want to see that? Then we have director of the film,
Richard Munchkin. That's right, Richard Munchkin, who was one of
our first interviews, and yet this is only his first

(56:14):
episode of the PM Entertainment podcast that he's appearing on,
So Richard will be appearing several times again in the future. However,
this is the first of his films that we're covering.
So he talks a little bit about the making of
Guardian Angel. And then finally we have a small clip
from Rick Peppin, who did some second unit cinematography on

(56:38):
the film, specifically the filming of that epic speedboat chase
at the end of the movie. So if that isn't
exciting enough, I don't know what to tell you the
PM Entertainment Podcast, My goodness, have we not outdone ourselves.
So sit back, relax. You know the score. There'll be
a couple of adverts, you'll hear the interviews, and then

(57:00):
we'll go back to the show. Your old hats at this. Now,
you've listened to eleven other episodes, so you know what's coming. Right,
this isn't the first episode you've dipped in. You've listened
to the other eleven episodes, right, Okay, If this is
the first episode, then you will get a couple of adverts,
because we need to pay for this show and be
able to afford hosting and all that other good stuff.

(57:20):
Please ignore them. Don't do anything the adverts say. I
don't even like having to put them in the show,
but there they are.

Speaker 4 (57:25):
There.

Speaker 1 (57:26):
It is what it is. It's necessary evil. Then you
will get the interviews. They'll be fantastic, they'll be interesting,
they'll tell you stuff you've never heard of before. Are
it's gonna be so exciting, it's gonna be so fantastic.
And then we'll go back to the rest of the show,
and we'll finish out our review and our points and
our rankings and all that good stuff for Cynthia Rothrock's

(57:49):
Guardian Angel. And lastly, it is just left for me
to say, don't forget. If you love this show, and
if you are excited and surprised and impressed by all
the things that we've managed to accomplish with the show
and all the people we've managed to interview and all
that other good stuff, support us completely for free by
rating and reviewing us. The best place to do that

(58:12):
is on Apple Podcasts. Our stats show that most people
listen to us on Apple podcasts, so please rate and
review us. If you happen to listen to us on
YouTube because you are an Android or a Google user,
then please just leave comments like subscribe all that good stuff.
Please please please. It makes such a huge difference to

(58:32):
an independent podcast like ourselves, and it does help the algorithm,
and it does get the word out. If you just write, hey,
love the podcast five stars and put it up on
Apple podcasts, or if you like subscribe and comment on
any one of our YouTube episodes, that would be incredible. Anyway,
enough hanging around and blinting by me. Let's hear what

(58:55):
miss Rothrock has to say. Thanks again, Cynthia for being
on the show and for agreing to be on the
PM Entertainment podcast. We're very happy to have you today.

Speaker 5 (59:04):
Well, it's good to be here.

Speaker 1 (59:06):
And before you did Guardian Angel with PM in nineteen
ninety four, were you aware of PM Entertainment. I know
that Don Wilson, who's a friend of yours, had worked
with them pretty extensively.

Speaker 4 (59:18):
Yes, I was aware of because I knew that they
were a big company that did a lot of action
and I was friends with some of the stunt coordinators
on that, so I was familiar with their work. So
I was excited actually when they called me to do
Guardian Angel.

Speaker 1 (59:36):
Yeah, did they reach out to you or was it
through the It wasn't through the Martial Arts networking then.

Speaker 4 (59:43):
No, No, Actually they reached out to me and sent
me the script and I really liked it. So yeah,
that's kind of how that all came about.

Speaker 1 (59:54):
Great, And what were your first impressions of jacobson Heart
script compared to some of the other films you were
doing in the night at the time.

Speaker 4 (01:00:01):
Well, it was a little different, you know, because I
just came back. I think I did my last movie
in Hong Kong in ninety two, you.

Speaker 5 (01:00:09):
Know, and it was it was a nice story. It
was different. It wasn't like the Girl next door. You know.

Speaker 4 (01:00:14):
This woman had a little bit of class. I loved
the title Guardian Angel, you know, and you know, it's
been a long time since I've done that movie. So
what's good for me is that last year I went
to Germany for like an appearance, and they screened Guardian Angel. Yeah,

(01:00:36):
and I got to see it after all this time,
you know, and I really didn't know what to expect,
because you know, I've done over seventy movies, and usually
when you do a movie, you watch it once or
maybe twice, and that's it.

Speaker 5 (01:00:50):
You don't go back to it. So I forgot a
lot about the film, and I was so surprised. I
really enjoyed it.

Speaker 1 (01:00:59):
You know.

Speaker 4 (01:00:59):
I was going and thinking, I don't know what to
expect from this, you know, and I think from looking
at that film, what attracted me to it is that
it was a very good character. It was a character,
you know that I haven't portrayed before, and I think,
you know, I was like, wow, yeah, this is going
to be great, you know, and they were interested in

(01:01:20):
when I looked at it, Like the wardrobe. It's probably
the best wardrobe I wore up to that point from
any of the movies that I've done.

Speaker 1 (01:01:28):
Right, Well, you've got to you've got to kind of
wear the whole gamut because at some points, you know,
especially when you go under cover at that party at
the beginning, you know, you're in very fancy dresses and
sort of very feminine. And then when you kind of
hit the skids your fiance gets killed or whatever and
you go and live in the trailer, you're sort of
in more sort of tomboyish clothes. And then later on

(01:01:50):
you're in riding gear doing the horse riding sequence. I mean,
there's sort of lots of I think what I love
what I love about Guardian Angel and sort of what
I love about PM is they really seemed to when
they knew they had someone like yourself, someone with a
name and a lineage and a prestige and everything else.
I think they really tailored the film to you to

(01:02:10):
some extent. They there are multiple stunt sequences, multiple action sequences.
They're all different. There isn't one action sequence that is
sort of the same as the next you know, you
get car chases and shootouts and bar fights and horse
riding and you know, the big speedboat chase at the end.
It sort of covers the gamut of everything I would

(01:02:32):
imagine an action style would want to do on screen.
Is that sort of how you felt, right?

Speaker 4 (01:02:37):
And you know, and I think I think they really
took a care about the character, not only because up
until then it was just how much I can fight, you.

Speaker 5 (01:02:45):
Know, just the fighting aspect of it.

Speaker 4 (01:02:47):
But looking back at it, you know, they really like
I was like, wow, they did nice makeup on there,
and they did my hair really nice.

Speaker 5 (01:02:54):
That must have putting all those curls in it.

Speaker 4 (01:02:57):
So for me, it was such a It was such
a treat to have someone more interested in the look
as well as fighting, you know. And like you said, yeah,
the fights were all different, because you know, when I
go back on these things, I'm like, oh, it wasn't
a Hong Kong movie.

Speaker 5 (01:03:12):
What are these fights gonna look.

Speaker 6 (01:03:14):
Like, you know, right?

Speaker 4 (01:03:15):
And I was like, what, I really really enjoyed it,
and I thought the fights were really good, you know,
And I'm glad that I went back and saw that
movie after what, like, how many years is that?

Speaker 1 (01:03:27):
Yeah, it's what it's over. It's thirty one years old now, yeah,
the film is thirty one years old. And I know
that you were over in Germany because Claudio Urek, who
I've also been speaking to obviously because he's putting the
movies out on Blu Ray. And I actually just did
a video review of the Blu Ray because he just
sent me the Guardian Angel Blu Ray that they're doing

(01:03:47):
over there for Focus Media. How do you feel about that?
How do you feel about this movie getting you know,
remastered and widescreen and updated and available for everyone to see.
I know you did some extras for the Blu Ray.

Speaker 4 (01:04:00):
Yeah, I love that because you know, even like like
that film there, the fights still hold up. You know,
it was a nice story and it's it's it's great
because you have this new generation that are becoming familiar,
you know, with who you are. You know, of course
you have the fans from all the way back then,
but you know, a new generation gets to see that,

(01:04:23):
and I think it's great because you're thinking, like, you know,
nineteen ninety four, like you said, there weren't too many
female lead action stars at that.

Speaker 1 (01:04:31):
Time, No, not at time. I mean certainly not in
sort of the martial arts vein that you had, you know,
cut your career out of. I think everyone always kind
of points to actors who did one or two action films,
like Sigourney Weaver or Linda Hamilton, but I always say, well,
they weren't really action stars. Yes, they had a franchise

(01:04:52):
that they did some action in, but you know that
wasn't When you say Sigourney Weaver, you don't think action star.
I don't, certainly, you know what I mean. I mean,
the alien franchise is Frianta. But if I say if
I think female action star, I think you. I think
Pam Grea, Like. These are the names that come to mind,
because you guys really carved out your career in that genre.

(01:05:15):
And I think both of you, Pam in the seventies
and you in the eighties, kind of led the way
for a I think, a new kind of feminism almost
on film without getting too deep and pretentious about it,
but that's how it comes across to me As someone
who's always loved to see star I love to see films,
genre films with interesting and diverse stars rather than just

(01:05:39):
always the Stallone or Arnie Model, do you know what
I mean?

Speaker 4 (01:05:43):
Yeah, exactly, And I agree with you, you know, because
there's so many people that are considered like an action star,
whether male or female. But like you, I think, to me,
an action star is someone that can really fight, you know,
And that's just you know how I feel too, because
you know, you could.

Speaker 5 (01:06:02):
Do stunts, so you could do this kind of stuff.
And for me, I'm so critical on action movies.

Speaker 7 (01:06:06):
You know.

Speaker 4 (01:06:06):
It's kind of like said they were a chef and
they don't like to go to other restaurants because they
criticized the food too much. And I'm like such a
you know, I'm looking at everything and going, oh that
was a mess, or oh that was a miss there,
that punch didn't work, that kick didn't work. Oh their
foot was in the wrong position. They would have broke
their foot, you know what I mean, Like, oh that
that was a double there was that, and I it

(01:06:29):
kind of spoils it for me. And so when I
do see a really good action picture where someone really
knows how to fight, I get excited because a lot
of times, you know, we don't see that, and I
think the general public don't really notice these little things
like if you were really a fighter, you know that
you noticed in film.

Speaker 1 (01:06:47):
Yeah, and I mean I think that the fans of
the eighties, you know, it's really that eighties and nineties
Golden era that allowed martial arts. I mean America kind
of you know, Hong Kong had already been doing it,
and Japan had already been doing in the sixties and
seventies obviously, and then they became very successful. And then
in America, obviously, in the eighties was really when all

(01:07:10):
the studios sort of started looking around and saying, well,
you know, we need our action style whatever it is,
you know what I mean. And you know, people like
Van Dam and Sigal and Jeff Speakman and Don the
Dragon Wilson, yourself, Gary Daniels, people like this started to
do not just one or two kind of novelty martial

(01:07:32):
arts pictures, but having whole careers that continue today, which
is which just continually makes us as fans and action
film appreciators very very happy. So you work on Guardian
Angel with Art Camacho. I believe it was the first
time you worked with Art. Is that correct?

Speaker 4 (01:07:52):
I think so, I believe, yeah, that is the first time,
because I know I did the China o'brians and I
did uh, I.

Speaker 5 (01:08:02):
Did Martial Law before then.

Speaker 4 (01:08:04):
Yeah, I think I think you know that that came
around that time there, So yeah, I believe that's the
first time I met art. I remember, I'm trying to
Cole McKay was the stunt coordinator.

Speaker 1 (01:08:16):
Yeah, Cole McKay did all the big yeah, and then.

Speaker 4 (01:08:18):
He did the big stunts and stuff like that, and
the first time I met him, And you know, it
was such a different era then, and I think PM
was known for like their car you know rex like
you know where they go put the ramp in and
the stuntman is really in there and they flipped this
car and you see this car spinning through the air
and crashing and the stunt person get out. You know. Nowadays,

(01:08:40):
I don't think they do that. I think it's all CGI.
But I think I was so excited to work with
PM then is because they really really did like that
that kind of action. Before We're not too many companies
we were doing that, especially in the United States.

Speaker 1 (01:08:56):
Yeah, exactly, so I was actually gonna watch simparately. But
but sort of with that come out. How collaborative was
it because obviously you, with your experience and your history
not only obviously knows what you're capable of and knows
how you can fight. But obviously at this point you've
done you know, thirty films or whatever it is you've
done by this point in the mid nineties, maybe twenty
twenty five films by the mid nineties, you also know

(01:09:19):
about how to set up a scene and how to
stage a scene and where you work best in the scene.
So was it collaborative?

Speaker 4 (01:09:27):
Did you?

Speaker 1 (01:09:27):
Guys? Butt heads? Was it? Did you kind of figure
it out? How was you and Art kind of staging
some of those more fist and kick fights, not so
much the big stunts, but sort of the fight sequences
without how was sort of setting those up?

Speaker 5 (01:09:44):
Yeah?

Speaker 4 (01:09:44):
I think that was more of a collaboration, and it
kind of works like that probably with most of my films,
Like Art would put the general idea toward it and
do a basis, and then I would come in and say, okay,
let's change this, let's do that. And the good thing
about Reguardian Angel with is you know he would go, oh, yeah,
I love that, that's great, Yeah.

Speaker 5 (01:10:02):
That's good.

Speaker 4 (01:10:03):
You know. So definitely had a major input in the
fight scenes, you know, or oh, I think this would
look a little better here, this is stronger this, you know.

Speaker 5 (01:10:11):
So I think it definitely was like a team collaboration
on the fights.

Speaker 1 (01:10:17):
Great, well, they all came out fantastic. I think one
of my favorites is probably the bar fight, just because
I always love it when a slightly more modern movie
kind of throws it back to that kind of Western thing.
And obviously I want to talk to you about Black
Creek as well. I want to I want to make
sure that we talk about that and promote that as well,
which is coming up on Apple TV. But you've got

(01:10:38):
to do a good old fashioned Western style bar fight
in this was What.

Speaker 3 (01:10:42):
Was that like?

Speaker 4 (01:10:43):
Yeah, I mean I'm trying to go back now to
think of the bar fight, you know, I from when
I look other than the China O'Brien movies, right, yeah,
Like you know, I did the martial laws and the
fast getaways and this and that, and I just think that,
you know, these fight scenes were a little more elaborate.

Speaker 3 (01:11:04):
You know.

Speaker 4 (01:11:05):
I was shocked when I saw it again in Germany
because you know, I'm totally a big fan of like
Hong Kong action, you know, and I came back and
started doing after China O'Brian. The action was to me
quite simple, you know, it wasn't as extravagant or complicated.
And I think because you know, you're looking at time,
I don't remember how many you know, how long we

(01:11:26):
shot that movie for, but I'm going to guess it
was like six to eight weeks. And you know, I'm
coming out of Hong Kong shooting movies eight and a
half months. So you're doing a fight scene, you might
be doing that for two weeks at a time like
and yes, madam, my ending fight scene was took a month,
you know, And I think just.

Speaker 5 (01:11:43):
You know, for a film with short period of time action,
you know, the action was really good.

Speaker 4 (01:11:49):
You know, I was expecting it to be a little
bit more americanized, very simple, very easy. You know, Okay,
let's do this one take. But you know, like I said,
I don't they and rush this film. You know, they
took their time, and I think they really really wanted
to come out with, you know, a good, good film,
you know, not just let's just sell it on Cynthia,

(01:12:10):
let's sell it on the action, make some money. I think,
you know, they really, you know, put a lot of
a lot of a thought and you know, work into
doing Guardian Angel, which I love.

Speaker 1 (01:12:21):
I love that sure, And as we talked about earlier,
you worked with Coles McKay as the stunt coordinator. Obviously,
Guardian Angel finishes with this big speedboat chase, but there's
also sequences of car chase at the beginning, and there's
the horse race, the horse chase sequence that you do
as well. How much did you work with Cole on

(01:12:42):
that and were you still doing some of those yourselves
or was that kind of taken on by the second
Unit and you had a stunt double for some of
the biggest, longer, wider scenes.

Speaker 4 (01:12:52):
Yeah, I did all the action myself. But there's a
funny story about that, and I never forgot it. I remember,
you know, back in the day and we used to
do these movies. You used to go and look at daili's,
you know, when you would look at the film as
they were editing it. And on the horse chase, there's
a long shot of me going across, right, I'm on

(01:13:13):
the horse, but on the long shot, I'm not that
That was probably that was col you know, doing Second
Unit while we were shooting something else and I'm watching
it and I don't know. You probably didn't notice this either.
The stunt woman's that was riding the horse wig came
off and.

Speaker 5 (01:13:29):
It's playing on the ground.

Speaker 4 (01:13:31):
And I remember going to them, said, oh my god,
you can't use that shot.

Speaker 5 (01:13:35):
You could see that wig on the ground. And they're like, no, no, no.
With all the sound and the music, nobody's gonna notice that.

Speaker 4 (01:13:42):
So here I am sitting in Germany and I know
this scene is coming up, and I'm like, okay, watch
this horse scene.

Speaker 5 (01:13:47):
Tell me if you see something funny, right, And they
don't see it. They don't see it at all. And
I said, I said, the wig on the some person
came off and on the ground. You know, it's funny.

Speaker 4 (01:14:00):
After all those years, I just never forgot that.

Speaker 5 (01:14:03):
And and you know, it's funny watching it. So if
you guys, you know, they watch it again, you look
for that.

Speaker 4 (01:14:08):
It's it's pretty.

Speaker 5 (01:14:10):
It looks like a porcupine or something like laying in
the middle of the grass.

Speaker 1 (01:14:14):
I mean, I've I've seen the film enough and I
and I sort of have seen that. The wig comes
off it it goes by so quickly you kind of
don't notice and I'm certainly, you know, suspending disbelief as
I watch a movie like this, So it's it's it's
not too big a problem, but yes, sometimes, ever so occasionally,
I mean, normally PM are pretty good considering how quick,

(01:14:37):
you know, run and gun, cheap and so on that
they made their films. I mean, it's one of the
reasons I love them. They achieved so much on such
small budgets most of the time, and it's it's one
of the reasons why I really love PM is that
they have this sort of incredible ethos and the way
that Roger Corman did or Cannon did in a way,
yet they also managed to get so much of themselves

(01:14:57):
and so much of the stars in the film as well,
their their thoughts, their opinions, their emotions, even though they're
very often you know, cheap b movies to some extent,
although the way they were put together, so we don't
mind those little accidents. Sometimes they're very rare that that's
not often that PM kind of go ah, it doesn't matter.
They normally do sort of make sure, but you know,

(01:15:20):
occasionally you'll see that like the guy driving the getaway
car whatever is not the same guy as the you know,
the lead actor or whatever. I mean, when we were
used to watching films, you know, I mean I grew
up with Bond films, So you know, you could tell
when Roger more stunt double came in and Roger went
back to his trailer for a cigar. You know, you
you could tell the difference between the two. So we

(01:15:42):
got very used to growing up watching these films where
if a stunt performer is in there instead of the
lead actor, you just kind of suspend this belief and
keep going. But do you do you remember much about
that that like high speed boat chase at the end.
Was that exciting? If you heard you done? I'm trying
to remember all your Hong Kong movies. You've done a
lot of kind of ocean based or water based stunts

(01:16:03):
at that point.

Speaker 5 (01:16:04):
I did in Magic Crystal, right, Yes, Magic Crystal.

Speaker 4 (01:16:08):
We were in shooting.

Speaker 5 (01:16:09):
We had a boat chase too.

Speaker 4 (01:16:11):
Yeah.

Speaker 5 (01:16:11):
No, I love that.

Speaker 4 (01:16:12):
Anything you know that's adventurous, that's not martial arts I
love to do. So I remember I was like, oh,
this is so much fun on his boat. Yeah, you know,
it definitely adds, you know, to the look of the film,
you know, and it makes it look like it's like
a little more expensive than you know.

Speaker 5 (01:16:29):
Maybe what it was.

Speaker 1 (01:16:31):
Oh, of course. I mean whenever you can throw in
a great set piece with a often PM will use
like a school bus or a big oil tank, or
they'll use like some vehicle that you're not used to seeing,
just to give the action sequence or the car chase
or whatever a little visual flair, you know, something that
you don't. I think after Speed came out, everyone's like, oh, okay,

(01:16:53):
we have to do action on different vehicles, not just
not just cars like in the seventies, you know. So yeah,
they often do that. So it's great that you were
able to do the big boat scene because they don't
do a lot of boat stuff in their movies. So
doing a big action set piece on a boat, I
think sets Guardian Angel nicely apart. So you were also

(01:17:13):
saying earlier you loved the character, and obviously by this
point you've done several movies and your performance is fantastic
in Guardian Angel. But they also surround you with a
great cast. Daniel McVicker, you worked with Diddy, Dannier Marshall, Tigue,
Robert Miano, people like this who had been in Marshall
Teag had robbed Meanna had been in a bunch of
PM stuff as well, and we're just sort of well

(01:17:34):
known character actors talk a little bit about working with
the cast, and especially I guess the banter with you
and Daniel really sells that sort of burgeoning friendship relationship
in the film.

Speaker 4 (01:17:45):
Yeah, you know, that was kind of fun for me
because you know, there definitely is a love interest between
those two, you know, and that was something I really
didn't have too much in my past films. That was
more like no, you're the tough karate girl. So that
was like enjoyable for me. Like that was a different,
like different character for me to portray.

Speaker 5 (01:18:06):
And he was very easy to get along with.

Speaker 4 (01:18:08):
You know, we had a great chemistry on set, you know,
Lyddy was you know, I'm still friends with her today,
which is great, you know because sometimes when you do
films you talk to people like I haven't seen Daniel
like in so long, you know. Yeah, Lyddy, I still
keep in touch with Marshall Tigg, you know, and I
have remained friends. So it was a nice film where

(01:18:29):
we you know, we made lifelong friends in that and
it was just it was just a fun set.

Speaker 5 (01:18:34):
You know, I really love doing it.

Speaker 4 (01:18:35):
And I think when you have a great cast and
everybody's there putting out their best and there's no egos,
you know, everybody just just has a great time and
really appreciates each other. And that's how this film was.
And you know, I'm very spiritual person and Guardian Angel,
you know, feel like it was definitely a blessed movie.

Speaker 1 (01:18:55):
Oh yeah, definitely. And I love that wild like metal
scope thing that is sort of the Guardian Angel sculpture.
It's it's that's in Daniel's house in the movie, you know,
the one that's under the stairs. It's a great depiction.
It's it's actually like a really good bit of modern
sculpture art. It's rather than its sort of being a
you know, a cheap knockoff or something for the film,

(01:19:17):
it's actually like a really interesting piece. I wonder who
has that now, if it even exists, or whether they
just got rid of it. Lastly, then about PM sort
of well two questions to round out the bit on PM,
and then I'd love to talk about Black Creek quickly
as well. First of all, how did working on a
PM film differ for you from sort of some of
the other I know you've touched on it a little bit,

(01:19:38):
but obviously you were working in both America and Canada
at this point. You had done as we sort of
talked about, the Rage and Honor films, the Tiger Clause films,
First One Anyway, Undefeatable, and the Lady Dragon films. You
don't you've done, You've done a few, although Lady Dragon
that's in that's not in America, that's in Indonesia, Indonesia.

Speaker 3 (01:19:57):
Right.

Speaker 1 (01:19:58):
How did Guardian Angel different working with PM different and
how did you feel like it fit within your career
path at that point.

Speaker 5 (01:20:06):
Well, you know, first of all, it was local.

Speaker 4 (01:20:08):
I got to stay home, I traveled, you know, it
was all shot you know around my house.

Speaker 5 (01:20:14):
In La Area. So that was great.

Speaker 4 (01:20:17):
Yeah, and I just remember, you know, having a lot
of impact with the script, you know, in the character.

Speaker 5 (01:20:23):
They were very open.

Speaker 4 (01:20:26):
You know to like sometimes you go like like did
a movie like like passed and they were like trying
to not make me look so nice, you know, because
they're like, no, your character doesn't look like that. But
they were like, you know, they woul making sure I
was happy with the hair and the makeup. We did
tests prior, and that was something new for me, you
know that I haven't had before. Is like, oh wow,

(01:20:48):
someone really has a concern about lighting and making me
look good.

Speaker 1 (01:20:53):
You know.

Speaker 5 (01:20:53):
So I loved working with them.

Speaker 4 (01:20:56):
Yeah, I'm you know, would easily have done another movie
with them because it was such a great team to
work with.

Speaker 1 (01:21:03):
Yeah, And then sort of said something my last question
on Guardian Angel. Then you know, obviously a lot of
other people did at least two or three films with them,
and I was just interested as to why you didn't
go back. I know, obviously there was that stallone thing
that was hovering out there that I think kind of
hampered some of you taking other movies and things. I
think you talk about that on the Blu Ray. But

(01:21:25):
was that the reason you didn't do a second PM
film or did you just move on in your career naturally?
You know, I.

Speaker 4 (01:21:33):
Went through so many different phases in my career, Like
I was signed up with ICM, you know, with Lou Pitt,
who is the biggest talent agent.

Speaker 5 (01:21:40):
Around, and they were like turning down like all the.

Speaker 4 (01:21:44):
Small budget movies because you know, I was supposed to
do a movie with Sylvester salone called the executioner. You know,
so they I mean like they wanted to do another
Channel Brian three and four. But you know, I was like,
I was just listen to what they said, because here
I am, you know, here's me, this martial art actress
coming in and I have this big time agent lawyer,

(01:22:06):
all this and that, and they would they would turn
down a lot of stuff. So I don't know, you know,
specifically if they would have offered another movie or not.
You know, it never actually never really came to me.
It was always you know, the choice of the agents.

Speaker 1 (01:22:22):
You know that I was with right because you would
kind of do you know, you've done Fast Getaway one
and two that I've got to imagine just because of
Corey Haym's involvement, were sort of bigger movies or sort
of studio movies. It was just Staple Force you had
done for TV with Stacy Keach, which was obviously sort
of a bigger profile movie. Am I right in saying
that about those kind of three films were like bigger

(01:22:44):
profile somewhat.

Speaker 4 (01:22:45):
Yeah, And I think a lot of the things didn't
come to me, you know, and I think it was
you know, it's a shame because you know, they would
offer whatever they were offering, and you know, my agents
would go, no, no, you're not doing that anymore.

Speaker 5 (01:22:58):
You're not doing that anymore. Well I want to do that.
I want to do it. No you can't.

Speaker 3 (01:23:02):
You have to.

Speaker 4 (01:23:02):
You know, you're gonna do a movie with Sylvester Stallone,
you have to, you know, be up on this echelon
here and a back. That was probably a big mistake
is to me. You know, it was about the project,
you know, having fun. It wasn't about the money. But
to you know, the agents that you had back then,
it was all all about, well, okay, they're not going
to pay that much, you know, and probably got out

(01:23:23):
of the pay scale there at that time with my
you know agents.

Speaker 1 (01:23:28):
Yeah, which, yeah, I mean it is sad. I think
just because PM go on today, ninety four is sort
of there, although they've been going since the late eighties,
ninety four, ninety five, ninety six, these are like there,
we think because PM fans kind of their big senith years,
you know, their years where they're really churning out some
fantastic like bigger and bigger films, and it would have

(01:23:50):
been it would have been lovely to see you partnered
up with Don in a movie, or Gary Daniels in
a movie, or you know that they were. There was
so many opportunes, so it is sad, but I understand
obviously you were trying to take your career to the
next level. There was this promise from stallone. You know,
I'll never forgiven that it never that it never panned out,

(01:24:11):
because we would have loved to have loved to have
seen you in in bigger American movies in the way
that you had been in Hong Kong. But just to
let you know, these this is the other thing I
find about Hollywood. It's so shortsighted because these films, while okay,
may not have been big money makers in their day
or whatever, have stayed relevant and popular and have fans

(01:24:33):
around the world as well, you know, as you do
all these appearances, so I'm sure you know, and while
Guardian Angel might not be making any money anymore, it's
at least a thing that you know, people recognize you from.
And then when you're doing Black Greek, as you're doing,
you're you're moving into the world of writing and production
and setting up your own films, which I want to

(01:24:54):
get on to talk about. Obviously, it's those fans that
are going to be the ones that are that are
acting something like Black Creek and excited for it coming out.
So if you don't mind telling you, like, when where
did the idea to do Black Creek come from? And
when did you decide, oh, this is going to be
the one that I put all my involvement into.

Speaker 4 (01:25:15):
Well, you know, for years I've been saying I always
wanted to do my own film. I wanted to be
in control of everything, the casting, the fight scenes, you know,
but it's a big endeavor to do a film yourself.
And my partner Robert Clancy, said, let's just you know,
let's let's do your own movie. And he was like,
what do you want to do? And I said a Western?
And he's like a Western and I was like, yeah,

(01:25:37):
I want to do a Western. I want to be
this tough female gun slinger. And then it was like, well,
what's what is it? Is it a revenge? Yes, it's
a revenge. Well who gets killed? Well, my brother, my family.
So it kind of went on from there, and I think,
you know, ever since I was like a little girl,
I always love like the Annie Oakley, the tough Western woman,
you know, and if you google female gunslinger, you know,

(01:25:59):
like Somahya comes up or something like that, you know,
or Sharon Stone and it's like, no, but they can't
really fight. I said, I want to do a Western,
and Yellowstone was like my inspiration. I love the dark
grittiness of Yellowstone. I said, I want it to be
dark and gritty. I don't want any silly moves. I
want tough, brutal fight scenes.

Speaker 1 (01:26:20):
You know.

Speaker 5 (01:26:20):
I want to do a movie that I would like
to see, and that's what I like to see.

Speaker 4 (01:26:24):
And some people say, oh, well, like I was just
looking at Black Creek, you know, well it might not
be for every bid, buddy, because it's very brutal and
dark and every move makes sense.

Speaker 5 (01:26:35):
There's no like silly moves.

Speaker 4 (01:26:36):
You know. Oh yeah that looks that looks like very acrobat,
but it wouldn't work. You know. I just wanted everybody
to fight different. I wanted the biggest cast of action
stars that I could. I wanted every character to have
an importance. One thing that you know, bothers me when
I see films is is they're slow, and I get bored.

(01:26:56):
And I didn't want anything like I think on Black Creek.
If you get up and go get some popcorner, go
to the bathroom, you miss something. I wanted to keep
the pace, you know.

Speaker 5 (01:27:05):
Fast, and you know, it was a very small budget.

Speaker 4 (01:27:09):
We did it in fourteen days and we have a
two hour movie and it's it's insane when I look
at it and I just look like, you know. And
we raised the money on Kickstarter and Indie Go Go,
and a lot of my friends were saying, you know, oh,
don't do that because so and so this guy actor,
he did a Kickstarter program and he didn't make it.

Speaker 5 (01:27:30):
Why do you think you'd make it?

Speaker 4 (01:27:32):
He has five million followers, you know, And I'm like,
I started getting a little.

Speaker 5 (01:27:35):
Nervous, you know.

Speaker 4 (01:27:36):
And then someone said to me, but you're not him,
You're you. And I said let's go for it because
I was like, I don't want to feel. But we became,
you know, the second largest action picture funded on Kickstarter,
which is nominal.

Speaker 5 (01:27:50):
It's it's it's you know.

Speaker 4 (01:27:51):
And then just all I had so many fans in
this movie, uh, and they just came with so much
love and so much support.

Speaker 5 (01:27:59):
And I wanted this to be like very eerie looking.

Speaker 4 (01:28:02):
So we had a lot of night scenes, which which
is is tougher because you have to light the whole
town up right. A lot of productions that have small
budgets do day shoot because then they don't have to
use lights, you know, they're just using the cameras. But
you know, we we I just wanted that eerie glowing
candlelight fire look, you know, in in Arizona at the

(01:28:23):
Mescal Ranch, and it was it was like.

Speaker 5 (01:28:25):
Freezing, you know.

Speaker 4 (01:28:26):
I remember Richard Norton and I, you know, we were
doing this our fight scene, which is very tough, very strong,
and the reason you know, I want it, Richard, you know,
for this part, is because I knew we've done so
many movies before that our fight scenes are really down
and dirty and gritty, and.

Speaker 5 (01:28:43):
We're doing it like four o'clock in the morning, and
it's freezing. Your muscles are all tight and everything. So
it really was. It was a tough shoot.

Speaker 4 (01:28:51):
But you know, when you look at this movie, I'm
just so proud of it. You know, I really don't
think too many people could have pulled this off in
that short time with a small budget. And like even
now you know we're on we're going to be airing
on Apple TV on June seventeenth and pre orders.

Speaker 5 (01:29:10):
We're like like number five and like we're.

Speaker 4 (01:29:13):
Up against Mission Impossible, Sinner's Final Destination, you know, the kid,
you know, And I'm like, all these movies their budget
was like, you know, at least ninety million dollars and
here's this little film like our probably our budget wasn't
even probably their their caterings, you know.

Speaker 2 (01:29:32):
You know.

Speaker 4 (01:29:32):
So I was just so proud of it that, you know,
when I show, you know, I just really want to.
I've always been a trailblazer that women can do this.
Look at you can co write, you can produce, you
can do your own movie. You know, don't take no
for an answer. Do it the way you want to
do it, have your vision, you know, and that it
would inspire people to do it.

Speaker 5 (01:29:51):
And I just had the greatest team.

Speaker 3 (01:29:53):
You know.

Speaker 4 (01:29:53):
I had James Marlow who came in and helped with
all the editing, and I actually it's funny, I always
call him my guardian age, so I still term.

Speaker 5 (01:30:02):
You know, we have Jim Peterick, you know, who co
wrote Iya the Tiger.

Speaker 1 (01:30:07):
He wrote my ending song, Oh great, and.

Speaker 5 (01:30:10):
You know, and like just like Mark sheer and uh.

Speaker 4 (01:30:15):
You know, just our whole team just came together for
this little film and just out of love, just like saying, oh,
let me be part of it. I'll be an executive
producer and I'll do all your music score, you know,
for you.

Speaker 5 (01:30:27):
It just it just was really blessed.

Speaker 4 (01:30:29):
And I'm hoping, you know, people pre order it now
because on Apple TV, because that shows other studios that
were up there. You know, we're up there, like all
the platforms were up there with the major, major studios
that people want to see this movie. And you could
watch our trailer and I think, you know how most
people put the best movies. I mean the best scenes

(01:30:50):
in the trailer. I mean our best scenes are not
even in the trailer. You know, it's going to be
so so much more and so much more exciting, you know.
So I hope everybody out there can pre order it
and when it airs June seventeenth, you know that, you know,
we get a lot of people just you know, know
that so much love and so much hard work went

(01:31:12):
into this little film.

Speaker 1 (01:31:14):
Oh and it's fantastic. US fans are so excited for
you and so happy for you, Cynthia that that you've
been able to put this together. I mean, obviously the
cast alone excites us enough to come, but also the
fact that, you know, when you said you were making
your own movie. And then because obviously I see all
your Facebook posts and everything. I follow you on Facebook.

(01:31:35):
When I see you then say well it's going to
be a Western, I'm like, oh wow, okay, this is
yet again. It's something. It's something different, you know what
I mean. It's not what you would necessarily expect. It's
not I know that you've done some films with sort
of big ensembles, like the Alexander Nevsky movie and other
movies like that in other countries. It's so nice to

(01:31:57):
have something that I think is shot in them. America
has an American feel to it, you know, has this
great martial arts cost and act to you know, strong
acting cost as well. And just to see you Richard
and Don. And obviously it's incredibly sad that I guess
this is Richard's last movie started the last movie.

Speaker 5 (01:32:20):
With you, right, I think it was his last one
as well.

Speaker 1 (01:32:24):
Yeah, it's obviously very sad. That was very sudden, and
I'm you know, obviously we're still runing from it. But
obviously our hearts go out to you as his close friend,
and I would just exceptionally sorry for your lost.

Speaker 5 (01:32:35):
Yeah, it was, it was really it was such a
shock and just so traumatic for us.

Speaker 4 (01:32:40):
But you know that makes Black Creek even more special
because when we had our Beverly Hills screening, you know,
Richard came over for it, you know, and.

Speaker 5 (01:32:48):
He loved it.

Speaker 4 (01:32:50):
He loved you know, he just was so happy with it,
and so I'm so glad he got to see it.
And he actually called me and he said, can we
do another screening so some of my friends could see it?
Because sometimes you know, everything is so chaotic on set,
especially this one, you know, with two weeks and we
have there is so much fighting in it because I
want it.

Speaker 5 (01:33:08):
I didn't want it like too much guns.

Speaker 6 (01:33:10):
I want it.

Speaker 4 (01:33:10):
Everybody fights, everybody fights really good, everybody's strong, and you know,
I don't think he was sure how it was going
to come out, and he was just so surprised and
so happy, and that just is a good memory for
me that you know that you know, he really he
loved this film and he to me, I think it's
his best acting evers.

Speaker 5 (01:33:30):
He's brilliant in it great.

Speaker 1 (01:33:32):
Yeah, well we kin'd wait see it. So it's it's
on Apple TV now everyone listening needs to go and
pre order it. It'll be then going live on June
seventeenth to purchase or rent on Apple TV. What when
does it then go to all the other streaming rental
services of Amazon Prime and Bulu and things like that
when you can rent it, I.

Speaker 5 (01:33:53):
Believe the seventeenth that will go to a lot of
the major platforms.

Speaker 1 (01:33:57):
Okay, so it's available to rental purchase once Judente seventeens
comes around, but before then, you can pre order it
on Apple TV. We're obviously very very excited about that.
So I've already heard that you are planning, or I
don't know whether you've officially announced with planning a Black
Creek two, a sequel to the film. Do you have
any wish list cast members from your action community that

(01:34:21):
you would love to have in the film.

Speaker 5 (01:34:23):
Yes, I do.

Speaker 4 (01:34:26):
It's funny because even the second one that we're working on,
we have the script already, and you know, we're really
not going to go into really full pre production until
this comes out and I get the incentives out to
everybody that you know donated to our campaign because I
want to make sure they're all happy and they know, Okay,
this is good, before you know, we start focusing on

(01:34:48):
the second one. But I will definitely, yes, I definitely
have like a wish list. We're gonna depending on our budget,
which hopefully when people see this, it's going to be a.

Speaker 5 (01:35:00):
Much bigger and we have like a bigger shooting day.
So we're trying. We're looking at some names.

Speaker 4 (01:35:05):
Probably I shouldn't mention it right now, but some like
like action stars that weren't in it that are my
like my friends. I could love to have like Olivia
Groner in it, Kurt McKenny, you know, like some of
those people. But we might also have like on a
wishless we would love to get Steve Bishemy in it,
and uh.

Speaker 1 (01:35:23):
You know, I would love if. I would love it
if Steve Shemy was like a secret martial arts action
fan and to and agreed to do. Do you know
who Wadeley? Someone Wadeley who was cropped up in one
low budget film that I can think of that seems
to be a genre star and will occasionally it seems
to be like a genre fan and will occasionally do

(01:35:44):
little things like that is, uh, Paul Giamatti, he is.
I was listening to his podcast and he was talking
a lot about kind of B movies and rare movies
and and and little quirky movies and and action movies
and horror films and things like that. And I don't
know why, but I don't know, try and pull GM out.
I get the feeling that he would do it if

(01:36:06):
he if he you know, if he had like a
tasty pot like a you know, a rusty old sheriff
or something.

Speaker 4 (01:36:12):
Yeah, you know that, Yeah, that would be awesome, you know.
And we're also like, you know, like you know, for
this one goes into see the first first movie I did.
We did, you know, action in a Western, and we we,
like my partner and I, Robert, we researched everything like
you won't find like sometimes when we see westerns, were

(01:36:32):
like you could see the sneaker print, you could see the.

Speaker 5 (01:36:34):
Card track in that.

Speaker 4 (01:36:35):
We made sure that nothing was in there like oh wait,
we got a CGI that built buckle out because that
wasn't during that time. So we really try to keep
it as authentic as we could, you know, like even
up until like right before we had our screening, we
were still like, well waitbe wait, let's hit this.

Speaker 1 (01:36:53):
Let's hit that.

Speaker 4 (01:36:54):
And that's one thing that you know, I really just
want to keep doing my films because I love the
process of working with our editor and saying, no, this
isn't right, No, we got to have a better take here,
we need to speed this up, you know. No, I
don't like how Don Wilson's face looks in that, you know,
And I don't think anybody really cares that much. There
would have been if someone else would have edited this

(01:37:15):
without us doing it, it would have been.

Speaker 5 (01:37:17):
A completely different movie.

Speaker 4 (01:37:18):
But we painstaking, We made sure every frame looked the
best it could be.

Speaker 5 (01:37:23):
And I love that.

Speaker 4 (01:37:24):
Now I think it kind of spoiled me because like
I'm looking at movies, you know, and even a movie
of my own, I'm going on, why did they use
that they didn't do They should have used this scene,
they should have did this, you know, And and to me,
it's so such a creative process, you know, to be
able to have control and have the film come out
how you want it and how the best it can be.

(01:37:45):
You know, of course for your dollars, Like if we
would have had a budget, it would have been much
much bigger.

Speaker 5 (01:37:50):
But you know, I just love that process. I'm really
looking forward to doing, you know, Black Creek two.

Speaker 1 (01:37:58):
Well, it's interesting because you know you were saying earlier
about sort of women in the industry kind of you know,
producing their own stuff and doing their own stuff, and
that's becoming more and more the trend. I mean, everyone
from high profile actors all the way down have either
production companies themselves or second businesses or you know, things

(01:38:19):
like a lot of homegrown stuff that they're now doing.
And you know, every every action has an equal and
opposite reaction. And I think the the era of the
like big corporate money blowout, you know, one hundred one
hundred million dollar, three hundred million dollar movie, I don't
think it's ever going away, but I think it is dwindling.

(01:38:42):
I think there is a vacuum there for more interesting,
self funded, self made, diverse films to find an audience.
I really do. And I think that the corporate culture
is that people are sort of moving away from it
just societally, I think, and and so I think the
more independent stuff that can get out there with great

(01:39:03):
names and great action and great shooting and everything you're
talking about so much the better. So lastly, then, I
know that you both interviewed each other on your YouTube channels,
and there certainly seems to be a mutual appreciation society
between the two of you. But I know that you're
you've become friends with Scott Atkins over the years. Any
I know that at some point in one of those interviews,
and I forget if it was your interview or his interview,

(01:39:26):
you said about working together. Please tell us at some
point you guys are going to work together, because I
would absolutely adore that.

Speaker 4 (01:39:33):
I would too.

Speaker 5 (01:39:34):
I would love to have him in Black Creek too.
We'll see. But it's funny because we just did.

Speaker 4 (01:39:40):
The UK Martial Arts show, yes, and Scott and I
were talking and we were coming up ideas and we're going, oh,
this would be funny, this would be great.

Speaker 5 (01:39:48):
So I think it definitely would happen.

Speaker 4 (01:39:50):
And I know it's funny, you know, because Scott said
in that interview that China O'Brien was one of his,
you know, movies that he saw wanted to get involved
in film. So he's like, if you do another Chine O'Brien,
I'll be in it. I'm like, I'm going to hold
you to that, and you know, it's something we've been
talking about. I actually thought, after I do Black Creek too,
I would love to do Chine O'Brien. And now I'm like,

(01:40:12):
oh my gosh, we don't have Richard.

Speaker 1 (01:40:14):
You know, it's like, you know, but well, Scott Scott
could play Richard's son or something, you know what I mean,
Bring bring Scott.

Speaker 3 (01:40:22):
I don't know that that.

Speaker 1 (01:40:23):
I don't know that that's age appropriate. How old is
Richard compared to Scott. I don't know their ages off
the top of my head.

Speaker 5 (01:40:28):
So maybe it could work. It could work for sure.

Speaker 1 (01:40:30):
Okay Richard was Yeah, Richard was seventy five. Okay, old
enough to be Scott's Scott's that's that would work.

Speaker 4 (01:40:36):
But I would love to work with Scott, and I
do think I think in the future we probably will
will end up like doing something together.

Speaker 1 (01:40:44):
Yeah, Because when you talk about modern action stars who
have kind of gone the same route that yourself, Don Wilson,
Gary Daniels and others have gone, And when you talk
about modern films sort of being boring sometimes and needing
to keep the action on screen and needing to speed
them up and make them more entertaining. I think the
one guy out there who's still doing that is Scott Atkins.

(01:41:07):
I think for all the bang for your buck, whatever
you want to call it, for all the straight to
video action stuff out there, you know, and I'm not
just saying this because he's a fellow Britt, but you know,
it helps that he's a fellow Prit because we only
have We've only had three action stars at our entire
four We've had Gary Daniels, Darren Shell, Abby, Scott Atkins,

(01:41:28):
and Jason Stath. But it's really the only action stars
we've ever produced. So and Scott and I have talked
on occasions and he's a really good guy. So anyway,
we'd love to see that happen and hopefully in the future.
But I will urge everyone listening to support Black Creek
in absolutely every single way possible. If you love Cynthia

(01:41:49):
Rothrock's movies, if you love action movies, if you love
Western's and you just want to make independent film successful,
exciting and different again, pick something like Black Creek and
really back it, because I think that that would be
a really worthwhile thing to do, if nothing else, because
of just the phenomenal films career and everything that you've

(01:42:09):
given us. Cynthia, it's just it keeps just giving and
being exciting to watch your career evolve. And couldn't be
more excited and happy for everything you're doing. So thank
you and keep it going because we love it.

Speaker 3 (01:42:24):
Well.

Speaker 4 (01:42:24):
Thank you. Thank you so much for having me on,
and thank you for all the support for Black Creek.
And I want to thank everybody out there, especially all
my backers, because if it wasn't for them, I would
not have been able to do this movie.

Speaker 5 (01:42:36):
So thank you everybody with.

Speaker 4 (01:42:38):
All my heart.

Speaker 5 (01:42:39):
And I hope you love Black Creek as much as.

Speaker 2 (01:42:42):
We all do.

Speaker 1 (01:42:43):
All right, great, all right. Next up we're going to
hear from the director Richard Munchkin. So you would go
on to make Guardian Angel with Cynthia Rothrocks. I'm a big,
big Cynthia Rothruck fan. What was she like to work
with and was there any direction for me the Joseph A.
Rick about what they sort of wanted to see in
their Rothrock film. I presume they were aware of like

(01:43:05):
Hong Kong work and other stuff.

Speaker 6 (01:43:07):
So, first of all, again, she was great to work with.

Speaker 7 (01:43:11):
You know, I just found that working with martial artists
was just almost always really easy and good because they're
used to discipline, you know what I mean.

Speaker 6 (01:43:23):
They're so disciplined.

Speaker 7 (01:43:25):
Never any problems of showing up late or you know,
wanting to stay in the trailer, you know, just none
of that nonsense that sometimes happens with actors.

Speaker 1 (01:43:37):
Because respect is built in, right. There was like that
sort of respect and yeah, like you say, just sort
of work ethic is sort of built into their martial
arts training. Really, yes, you wouldn't get you wouldn't get
away with it in a dojo, so don't do it
on set kind of thing, right, right.

Speaker 7 (01:43:53):
And you know, and the fight choreographer for almost all
of those movies was our Macho, who went on to
do a lot of directing himself. And and it was
respect for him too, you know, because he's sort of
the sense.

Speaker 6 (01:44:08):
Of the set, right I mean. So yeah, so that
part was always great.

Speaker 7 (01:44:14):
So as far as instructions from Rick and Joe, they
came to me, Joe did and well, actually I think
it was George. George was George Shami was in charge
of the sales, right right, So George came and said,
there's a woman who is a famous cigarette boat racing

(01:44:39):
champion and she has a six hundred thousand dollars cigarette
boat and we want this in the movie, and so
you have to put her in the movie. And I said, okay, yeah, yeah,
I'm used to this from you know, Vegas type shows
where the producer has some girlfriend that you got to

(01:45:01):
stick in.

Speaker 6 (01:45:01):
The back of the line that you know. And he's like, oh, no, no, no, no,
she has to have a major part.

Speaker 7 (01:45:07):
And I'm like, there really aren't any major parts for
women other than you know, Cynthia's role in the main
bad woman Liddy Denier. And he's like, no, no, you
have to write her writer in, you know. So she
became the police captain and yeah, so and and she

(01:45:29):
is driving the boat there at the end, and she
I will say, she was a real trooper because you know,
she had to get in that freezing cold water to
swim to the boat, and you know, I think she
was doubling for Lyddy And yeah, anyway.

Speaker 6 (01:45:46):
Because yeah, you couldn't let somebody else drive this boat.

Speaker 1 (01:45:49):
I mean, I'm trying to look on the costume.

Speaker 6 (01:45:54):
Yeah yeah, yeah, I believe that was the name yet.

Speaker 1 (01:45:56):
Okay, yeah, she's she's like captain got out or something.

Speaker 6 (01:45:59):
Yeah.

Speaker 1 (01:46:00):
Yeah, oh yeah, so and that that sort of informs
that boat chase.

Speaker 6 (01:46:05):
At the end, right, yeah, yeah, that that's how end
it came about.

Speaker 1 (01:46:09):
Yeah, which is fantastic.

Speaker 6 (01:46:11):
It happens in the original script.

Speaker 1 (01:46:12):
But what was in the original script. I'm fascinated.

Speaker 6 (01:46:15):
I really don't remember what it was.

Speaker 1 (01:46:18):
Oh, I'm sorry, I thought you said I remember what
was in the I'm sorry, No.

Speaker 6 (01:46:21):
No, I'm saying I don't remember.

Speaker 7 (01:46:22):
But once we had this boat, we had to use it,
and actually I thought it was really cool to have
the helicopter too, and be able to do that whole start,
you know, chasing down the boat from the helicopter.

Speaker 1 (01:46:35):
But oh, definitely, and the explosion at the end. It's
always one of my favorites because, I mean, it hits
the rock, but it doesn't hit the rock necessarily hard
enough to blow up the entire boat. But the entire
boat has to blow up.

Speaker 6 (01:46:48):
That's well, yes, yes, this is the physics of a
PM movie. And any car that turns over must blow.

Speaker 1 (01:46:55):
Up, yes, right, yeah, So again, it's just it's a
fantastic ethic. I think it's just entertainment obviously. Cynthia Rothruck
sort of started off in Hong Kong films. As you said,
Art Camacho did a lot of the fight choreography. I
know that she has said in the past to some
of the other B movie that she was working on that,

(01:47:18):
you know, American films. Her one complaint was American films
always spent more time shooting the dialogue than they did
shooting the action, although I've heard her say that PM
Entertainment actually understood it and set more time aside for
the action than they did for the dialogue. So and
that's obviously evident in the thing. Just talk a little
bit about I guess shooting those fight scenes or working

(01:47:41):
with Cynthia on and Art on the action sequences that
are not like the big explosions or whatever, but that
are the fights and kicks and punches.

Speaker 7 (01:47:50):
You know, we developed shorthand and were able to shoot
those things very quickly, mainly because you know, on a
big film, when you do that, the director's histography, they
want to light every single shot, you know, beautifully, and
and our attitude was, we want more coverage and we

(01:48:16):
want it fast, so we're not going to waste a
lot of time on lighting and all.

Speaker 6 (01:48:21):
This kind of stuff, you know, And it really kind
of developed with Rick Peppin, who.

Speaker 7 (01:48:26):
Was shooting the first ring of fire, where he would
take the camera, put it on his shoulder and we
would just move boom boom boom boom boom, like okay,
shoot over this shoulder for this one punch. Okay, now
you know, Rick would get down on his knee this
one kick, you know, and just shot after shot after

(01:48:47):
shot under one sort of big lighting setup that would
accommodate that. So you know, we could get thirty forty
fifty setups, you know, on a fight in very short
amount of time.

Speaker 1 (01:49:02):
Yeah, and they were the fights were mainly shot like
that then sort of piecemeal when you've got someone like
Cynthia in. Was there ever an option to sort of
maybe shoot three or four whether it was a punch, kick,
and a flip or something sort of all in one
or was it always absolutely yeah?

Speaker 6 (01:49:18):
Yea, yeah, yeah, yeah.

Speaker 7 (01:49:19):
So we would shoot a master of the whole fight,
sometimes with three cameras, got it, okay, So we would
have a yeah, we would have a master from as
I say, maybe three different cameras and then go in
for the coverage of individual stuff.

Speaker 1 (01:49:33):
Nice and I think yeah, I'll come out. I think
I was looking earlier at obviously the fight choreographers and
stunt performers are sort of the the other maybe unsung heroes.
I don't know. I mean, I know that Prozatos, who
started off with PM, went on to you know, enormous
films and has become kind of Hollywood's go to guy.
But I also know that obviously they were shooting a

(01:49:55):
lot of PM Entertainment movies all at once, so very
often sort of there were different stunt crews you tend
to work with almost on all your films. I think
looking up, Art Camacho was the fight choreographer or Don
or Cynthia sort of working in that regard as well,
and then Cole s McKay seemed to be kind of
your key stunt coordinator. Can you can you talk about
working with with both those guys and and and yeah,

(01:50:18):
what it was like so and and how it came
to be that you were sort of always with those guys.

Speaker 7 (01:50:23):
I guess working with Art Camacho, he was just fantastic
on the very first kickboxing movie. Actually, Eric Lee was
the fight coordinator with Don, but Art was his assistant,
and Art kind of ended up taking over that role
on subsequent movies. Eric was a very creative guy. He

(01:50:46):
was the kind of little comedic relief in Ring of
Fire one, and and so he he was creating. He
was a creative guy, but he was not a sort
of organized guy. And Art kind of had that role.
Art would find the fighters, you know, get them to rehearse,

(01:51:08):
you know, he did all the kind of organizational stuff,
and so on subsequent movies, Art became the fight guy
and and really by I don't know, the second third
movie or so, once it came to a fight, Art
would just take over and I'd let.

Speaker 3 (01:51:25):
Him do it.

Speaker 6 (01:51:26):
Yeah. So he was great. And Cole, you know, Cole
was another one. He just really really a.

Speaker 7 (01:51:32):
Nice guy, great guy and did good work. And you know,
his people would show up and do what they were
supposed to do, you know.

Speaker 1 (01:51:42):
Yeah, did most don't coordinators kind of have their own team.
That was sort of the Cole team and then the
Spareaut team. Okay, yeah, all right. And lastly, then a
quick anecdote from Rick peppin, you did one film with
Cynthia Rothrock? Was there any of it? Was there ever
any talk about doing for the films with Cynthia. I
know that there was some deal with to Learn that

(01:52:04):
fell through that I think made her not do a
few movies for a while. But was there any talk
about doing a second film with her.

Speaker 3 (01:52:12):
There may have been some talk, but it wasn't. It
never really got anywhere. I know less about that that one.
I wasn't very involved in that. That one. Okay, you know,
we just okayed them.

Speaker 1 (01:52:22):
And it has a great boat explosion at the end.

Speaker 3 (01:52:27):
Boy, I forget, you know, we did so much action.
Somebody brings up somebody else. I forgot we did that.

Speaker 2 (01:52:34):
You know.

Speaker 1 (01:52:35):
Well, it's one of those great movie explosions. Whether I
think the boat barely grazes a rock, but the entire
thing explodes, which is always whenever something like that happens. Huge.

Speaker 3 (01:52:45):
Okay, was that a helicopter shot. It's all the boat
boat in.

Speaker 1 (01:52:50):
Yes, I believe.

Speaker 2 (01:52:51):
So.

Speaker 1 (01:52:52):
It's right at the end of Guardian Angel. It's it's
down at the rock because the guy she's protecting has
sort of one of those big Malibu homes or whatever.
And I think it's down on the rocks in the
in the ocean at the end, if I'm remembering it right.

Speaker 3 (01:53:02):
Now, there's an ocean chase there right, there is an
ocean chase. Yes, oh okay, so yeah, I shot all
that stuff from the helicopter, okay, And yeah, I remember
because I was asking the pilot because I wanted to
follow it in, and I said, follow it in and
I'll under crank it. But he followed right into the

(01:53:23):
cliff and he got pretty close to the cliff. Actually,
this is a little bit scary.

Speaker 1 (01:53:27):
Yeah, you see that. You know, you can see the
cliff in the shot when the when the boat explodes,
like it almost like the helicopter is almost right above
the explosion, or at least slightly to the left of it.
You're not very far away.

Speaker 3 (01:53:41):
And in those days you you'd have a mount with
the camera and you're actually hanging hanging off the side
of the helicopter. I mean today they have the jabbromounts
on the front and the back and the the cameraman
does not hang out of the helicopter like we did
in the old days. So that was that was actually

(01:54:01):
my brother rather law through that plane.

Speaker 1 (01:54:04):
And was there something about you yourself or you and
Joseph or just that had that thrill nature, that that
sort of thrill seeking nature. Or was it just like
We've gone so far now with these action films. If
we don't get to this point where I'm hanging off
a helicopter above an explosion, We're not gonna take our

(01:54:26):
films to the next level. So let's just suck it
up and get it done. Like what kind of mindset
brought stuff like that about in either you and Joseph
or it in your crew and cast.

Speaker 3 (01:54:37):
I think in general, you sort of have to utdo yourself,
you know, as you go forward. And I did enjoy
being involved in the action stuff. That was probably I
enjoyed it. I just like I said, you had the
best job in the world because you get a bunch
of toy cars and talk about the chase and how
it's gonna go and this car is going to flip over,

(01:54:58):
and then in a week I get to go out
and do it, you know, So it's it was fun.
I and I think that separated Joe a little bit
from me. I was more of the technical guy. Joe
was a little more the writing and directing, and I
kind of made sure the films got put together that
anything that we shot could end up being a film,

(01:55:21):
you know, which is a lot of reasons why I
shot for guest directors, just so I could be on
set all the time. Of course, make sure I'm covered,
make sure I'm covered.

Speaker 1 (01:55:47):
You know, it's interesting. I'm looking at nineteen ninety four
for PM, and it's fascinating because you have a complete mix.
You have you know, Direct Hit and Zero Tolerance, both
of which where they bring in a slightly bigger named
star to do kind of you know a PM film
where they've probably put a little more money in, a

(01:56:08):
little more time, a little more effort in. You have
some of their best family teen films. You've got a
Dangerous Place, which we've talked about before. You've got Magic
Kid two. You have a couple of their regulars who
are still trucking along. So you have Cyber Tracker with
Don Wilson, Is with Tracy Lord's and then t Force
and Lion Strike again with Don Wilson and Jack Scalia

(01:56:31):
and Guardian angel Is sort of the odd person out
because they don't treat it, you know, with Direct Hit
and Zero Tolerance, they go, well, shit, we've got these
bigger named actors and so we've got to like build
a bigger film around them, right. So Zero Tolerance has
slightly better production value as does Direct Hit, and they're

(01:56:52):
sort of more self contained films. And then you have,
you know, some very well done and I love Cyber Tracker,
of Ice, I love Tea Force, I love Lion Strike.
Like these are great. I mean, ninety four is a
great year. It really is. But Guardian Angel feels like,
you know, they bring Cynthia on, and I you know,
I've got to believe that Joseph and Rick wanted more

(01:57:15):
Cynthia Rothrock films. I've got to believe that because Guardian
Angel feels to me a little like they you know,
when we talk about the cinematography and then the production
value of the film and we should get onto that
and move on too, that it seems a little lesser
than now. Look, they are stacked. They are producing multiple

(01:57:36):
action movies. You know how many is that Lion Strike,
T Force, Guardian Angel, Dangerous Place, Deadly Target, Ice, Sirah Tolan,
Cyber Track, and Direct Hit, Magic Kid Do. That's ten
movies in a year, right, So they are stacked. And
we've already talked about this on other episodes, but T
Force is phenomenal, Lion Strike is wall to all action

(01:58:01):
a dangerous place you've heard us talked about. We really
really enjoyed it. Zero Tolerance again, great great titles. Guardian Angel.
Don't get me wrong, it's a fantastic PM film, But
it feels to me, with some of the set pieces
and with some of the set dressing, set decorating and

(01:58:22):
the cinematography, that it's a quicker, cheaper movie than some
of those others. You know what I mean, don't. I
don't get from Guardian Angel the same feeling that I
get from For example, they're three movies that follow it,
t Force, Line, Strike and Steel Frontier. These are all

(01:58:43):
movies that I feel like they gave a lot more energy,
time effort too. It's not to say that Guardian Angel
is not a great movie. It's a great movie. It's
a great PM film, and in terms of Cynthia Rothrock's
American output, it's top of the list. For me, I
think it's better than Sworn to Justice.

Speaker 2 (01:59:04):
I mean, I think for me it doesn't touch the
It's not as good as for me as I don't
enjoy as much as the China, O'Brien's and the Rage
and Honors. I think those are ones that no for me.

Speaker 1 (01:59:14):
It's better than the Lady Dragon franchise. It's better than
the Fast Getaway franchise. To be honest, it's definitely better
than the Tiger Clause franchise. It's probably about the same
as the Rage and Honor and Undefeatable movies just about.
But you know, in terms of like when you go
into roth Rocks American movies, China O'Brien. Obviously, Marshal Law

(01:59:41):
two fantastic, like I wish Marshal Law one didn't exist,
Like Marshal Law two is so good, well because Chad
McQueen just doesn't have the same impact as Win catt
in Marshal Law two. Marshall Law two is so much better.

Speaker 3 (01:59:57):
You know.

Speaker 1 (01:59:57):
And then Lady Lady Dragon and Honor and Glorian's Up.
These are ones that are kind of made overseas and
fairly cheap. Undefeedable the same kind of but Undefeatable has
a kind of kitch joy to it. Guardian Angel definitely
has to some extent better production values than these other
movies we're mentioning, And I do put it in and
watch it more than I watch some of these other movies.

(02:00:21):
Although I've seen all these other films that we're talking about.
I just think when you stack it up against a
lot of other PM films and even a lot of
the movies that they're making in ninety four, not the
action sequence is not Rothrock and not the plot, but
the cinematography, the set, decoration, set, what location, whatever you
want to call it, and just in general some of

(02:00:43):
the non action scenes not as good that they haven't
got the pacing worked out in quite the same way.
What do you film?

Speaker 2 (02:00:51):
Yeah, I mean, I I mean, isn't this isn't one
that I have like a top twenty PM flick, my
top twenty of those one letterbox. This hasn't cracked that
top twenty for me. But you know, there's things that
I enjoyed about it more now that I'm kind of
seeing more of them. So like, for example, the bar,
seen the fact that she beats up both Cole s
McKay and our Camacho.

Speaker 1 (02:01:11):
Guy going over the bar right with.

Speaker 2 (02:01:17):
God, I hope he And it has an opening sequence
right because she goes into the bar and she's like, Hey,
where is so and so and like, oh, we'll go
over there. You know that this guy knows him, you
know the guy that that who's crotch was set on
fire by Oh, I'm gonna say yes.

Speaker 1 (02:01:30):
It features a crouch being set on fire, which is phenomenal.
I think someone posted something about this more recently when
they said there should be more movies where men's crouches.

Speaker 2 (02:01:42):
Because because it was like the perfect combination of which
he does it right, because he's like, he's like, boy,
you just got out of prison. Imagine you you know,
you got fire you need to put out. He's like,
you know, and he's like yeah. She goes, well, want
we put out that fire? And she dumps like liquor
on his crotch and it's like, but actually, maybe if
you want the fire back, and she throws a couple
of lit matches on it. Suddenly he's like walking around.

Speaker 1 (02:02:02):
He's like, oh, well, while alcohol is flammable, if you
threw whiskey on some pants and sent fire to it,
it wouldn't lie on fire, right right?

Speaker 2 (02:02:12):
I mean you got to be drinking, like because I
think it's what is it, like the Bacardi one fifty
one or whatever, that's like at the warning that that
can be.

Speaker 1 (02:02:18):
You're gonna be drinking like moonshine. That's what you're gonna
be right exactly.

Speaker 2 (02:02:22):
Yeah, I mean it's gonna have a high high alcohol content,
right exactly. It's yeah, yeah, you know, it's just yeah,
it's such a great you know. So then she goes
and like beats that guy up, and she's beating everybody up,
and it's a great bar fight. It's fantastic.

Speaker 1 (02:02:36):
It's wonderful. Yea, and in fact setting it up for
Black Creek, which we also talk about in the interview.
I don't know, but I hope there's a Western style
barb bral that matches this barb Berl and Guardian Angel,
because it's a great Western style barbral and Guardian Angel.

(02:02:56):
I'm again, I'm a huge fan of the action set
pieces in Godian Angel, and I don't mind the rest
of the scenes. I just don't think that. I don't
know whether it's where they chose to film or how
they chose to film it, but I just feel that
the cinematography. Well that's why I look.

Speaker 2 (02:03:16):
At it, right, that it's a's a a guy, right,
it's not.

Speaker 1 (02:03:20):
Rick Peppin, it's Gart Griffin.

Speaker 2 (02:03:22):
Right, right, So Garrett Griffin, if you look at his
his bio, I think it's the first film he's dp on.
He's the second film. Second film, he's dp on for them,
But for the most part he's a camera operator, gaffer,
you know, all those kinds of things, and so he's
it's one of those PM situations right where somebody is
getting their shot to do something. And so maybe because
of the fact that they had so many movies that
year that you know, well, Blakie and Pepin need to

(02:03:44):
do these other ones. All right, Garrett Griffin, you know
this one doesn't look like it's got as many crazy
things in it. Let's let's give it a try. Of course,
he's doing a boat chase, which nobody had done a
boat chase before. But you know there's sequences like when
he goes in when they go to the mental institut
or the mental hospital for sear Miano, we get these
sort of these kind of these these looping shots that

(02:04:06):
kind of go or these sort of Dutch angles and
things like that that aren't really known for PM. You know,
like when when Dennier is being let out of the
prison to the court, she's going into the courthouse to
go to trial and she gets attacked by Rothrock, same thing.
We get these sort of these Dutch angle kind of
deals that they're not known for PM, and I was
trying to think of what DTV does use them. I mean,

(02:04:29):
erotic thrillers sometimes would use them to sort of get
this sense of make a surreal sense of things. But PM,
you know Blakey. You know, one of the things that
BLAKEI would do sometimes is he would like have like
a shot that would kind of bleed into another shot.
You know, so like maybe like oh I think it
was is rage or recoil where there's like a volleyball
that cuts into another you know, you kind of go

(02:04:49):
through the volleyball to the next scene.

Speaker 3 (02:04:51):
You know.

Speaker 2 (02:04:51):
He would do stuff like that, but they didn't get
you know, it wasn't like these kind of these MTV
cuts that Garrett Griffin does here, which again gives it
a very different feel.

Speaker 1 (02:04:59):
I think. Yeah, And it's weird because you know, he
does Lion Strike, and I think Lion Strike looks pretty decent.
But you're right before Guardian Angel. Apart from Private Wars,
which again I don't think is particularly visually exciting, he
is mainly a second unit director or a key grip

(02:05:21):
or an assistant camera or a camera operator or a gaffer,
not to take anything away from him, but I think
that when I you know, and look, I said, they
make ten movies in exact in ninety four. So like
Rick pepper and Ken Blakey, who are the two main
cinematographers who really define the PM look and feel, they

(02:05:41):
are not around because they are stretched fucking thin and
they're about to head into nineteen ninety five where they
do even more, you know. So this is the guy
who obviously they're like, well, we're you know, we're making
Guardian Angel at the same time as all this other stuff. Let's,
you know, get this guy up from Second Union gaffer
and make him the cinematographer. I just think it Ken

(02:06:04):
Blakey and Rick Peppin know how to go into a
low budget set, and I'm thinking more about like when
they burst in on the guy trying to do the
bong and he's got the bony money and they're satin
and it's meant to be a sleazy apartment and it's
so clearly a set on a sound stage. When they

(02:06:24):
go to Robert Miano when he's doing the money forging
and he's got that big polystyrene sculpture that's meant to
be like a stone sculpture or whatever. I feel like
Blakie or Peppin would know how to light that and
film it in a way that wouldn't make it look
like polystyrene. I wouldn't make it look like a set
on a sound stage. I wouldn't make it look as

(02:06:47):
cheap as it is. And I get look, I get
it again, They're making ten movies. It has some great
action sequences. I love the horse chase sequence where the
stunt woman's wig comes off. I love the boat chase
with you know, suddenly, all of a sudden, the beetlejuice
woman is, you know, riding a speedboat and you know,

(02:07:09):
suddenly in cahoots with roth Rock and away they go
or whatever. I love all that stuff. I love the
bar fight. You know, I'm a big fan of the
Bikini Babes. That There's plenty in this movie that I
absolutely love. But for some reason, and all I'm saying
is that anyone listening to this who has not seen
the movie before but has seen some PM films, I

(02:07:29):
guess I'm saying, cut this movie some slack. Is that?
Is that what I'm saying?

Speaker 3 (02:07:33):
Yeah?

Speaker 2 (02:07:34):
Yeah, And I think it's you know, I think there's
things to enjoy in this movie, like we've talked about.
I think it's it's a fun time. I think that's
and I think sometimes that's how you need. But these movies,
I think that's the thing is I think it's a
movie that's not gonna knock your socks off. Like it's
not like there's these moments in it that we were
talking we've been talking about some of the other movies, right,
I mean, it's not gonna it has nothing like The Sweeper,

(02:07:56):
you know. I mean there's probably two or three things
in The Sweeper that are you know that this movie
doesn't happen, or Zero Tolerance that you're talking about. You know,
there's like three three things in Zero Tolerance that are
probably better than anything that's in this movie. But that's
that's not this movie's fault, right, It's just you know,
it's right, we can't blame them because these other movies
are so good. Do I want to judge this against

(02:08:17):
Zero Tolerance or judge it against The Sweeper when it's
its own movie and it does some things.

Speaker 1 (02:08:22):
Really, it's much better to judge it against Cynthia's other
American output at the time, as a rough Rock film.
It's in my top ten as a PM film. As
you say, I don't know that it cracks my top fifteen.

Speaker 2 (02:08:37):
Yeah no, And I think that's when I first reviewed this,
that was kind of where I was. My mindset was
because I think I'd seen a lot of other stuff
before it, and I was just like, Wow, this is
this is what Rothrock PM is. And I don't think
I even was at that time was even thinking in
terms of PM. I was thinking more in terms of
you know, I knew Art Camacho, Okay, she's working with
Art Comancho. I had seen some of our other ones.
I mean, China O'Brien is just absolutely iconic. You know,

(02:09:01):
two movies set that she does, you know, Rage and Honor.
To your point, I think one of the things that
happened with region On, especially the second one, is they
become more Richard Norton movies than they are Rothrock was
definitely the second one for sure. So it's like it's
hard to judge those, But that don't mean like the
Tiger Clause movies. It's like, and you hear her tell
stories about doing the Tiger Clause movies, like when she
was on the set of the second one, and Bolo

(02:09:21):
Young is like storming around the set looking for Joel
Mehry because he hasn't been paid yet, and She's just like,
this is not how movies were made in Hong Kong.
You know, this is not how this happened. And you
know these pm had a slightly different vibe. I mean,
you know, both Spencon apparently didn't agree according to to
Jacobs and hard but but you know, but overall right,
this movie has a different quality. I mean, this is

(02:09:43):
not like a slap together Joel Mehrihy film.

Speaker 1 (02:09:46):
No no, no, no, no no. I mean, And that's
what I mean is that in terms of Rothrock's nineties output,
that is not Hong Kong. You know, Hong Kong films
are super, They're fantastic. The ninety percent of them are
absolutely great. Her nineties into the two thousands output is great.

(02:10:07):
If you're a fan of her. If you're a fan
of her, watch them all and love them all and
find things in them that you love. And I've done that.
I've done my Rock rothathon where I've gone through and
you know, years and years and years ago, when I
you know, twelve years ago, I went through and watched
damn near every movie she had done up until that point,

(02:10:29):
and then again recently where I picked up Lady Dragon
one and two on VHS, Fast get Away one and
two on DVD, Guardian Angel on Blu Ray, and Irresistible
Force on VHS and Undefeatable on DVD and so on.
I've rewatched a lot of these in the last few years,
and Guardian Angel, as far as Rothrock's nineties output, is

(02:10:52):
the better movie. The fact that this is as good
as it is is, you know, a testament to like
I say, really good script. I think the plot is
very strong, and then the performances of Rothrock and McVicar
that I think again a very strong. And then lastly
the sort of thing where they're like, well, it's Cynthia Rothrock,

(02:11:14):
Let's do a big variant of action scenes. So let's
not just do martial arts over and over and over
and over again. Let's let's do a whole bunch of
different things.

Speaker 3 (02:11:25):
Well.

Speaker 2 (02:11:25):
And the other thing I think too, that maybe we
keep in mind as well, I guess, is that you know,
you look at these other movies that came out in
ninety four, you know they're working either with people that
they worked with before, and so they were used to
them and they're you know, so it's like, okay, more Donald, Dragon,
Wilson More or whoever. But then it's like a Robert Patrick.
I mean, that's a bigger name of Terminator two. You know,
if we get Robert Patrick in something here, that's a

(02:11:47):
bigger deal. So I think it's the other thing is
that we think of Rothrock as Rothrock. You know, she's
the name, and I think PM looked at her as
a name that they could sell, you know, the movie with.
But I think they didn't see it the same way
as they hadn't established something with her, like they had
established a brand with some of these other names, so
they didn't think to give her the most resources.

Speaker 1 (02:12:06):
Unfortunately, great and I think that it's a really I
think when you hit her talk about the Stallone thing
and about the trying to get a Hollywood agent. As
much as we love Stallone and we love a lot
of Stallone films, I think they really and maybe Stallone didn't.
Maybe Stallone was just like, oh, I've tried to get

(02:12:28):
twenty movies off the ground and they haven't succeeded. So
the one that I tried to get off the ground
with Cynthia Rothrock in it. Why should I feel any
different than the other nineteen I tried to get made
that didn't get made, you know what I mean? But
for her coming from having been this big star in
Hong Kong doing legitimately phenomenal Hong Kong films, and there

(02:12:49):
really isn't another Western actor even the couple that Gary
Daniels is in. There isn't another Western actor that has
done Hong Kong films to the success that Cynthia Rothrock
has done Hong Kong films. There really isn't. She comes
back to America, she does these couple of movies for
Golden Harvest, China O'Brien one and two, which are fine
and great, but she suddenly realizes on China O'Brien one

(02:13:11):
and two, Oh, we don't have six months to make
this movie. We have four weeks, right, And from that
moment on, you know, she gets off of this thing.
By stallone, she gets a big Hollywood agent, She tries
to do the Hollywood thing and invariably finds herself, you know,

(02:13:31):
doing the Tiger Claus movies of the World with Jella
Murray and others, and I think that is it's a real,
It's a real. I would have loved to have seen
the roth Rock career if she went her own way
and didn't have this Hollywood interference, because I would get

(02:13:55):
rid of Fast get Away one and two and Irresistible
Force and what over other an Eye for an Eye
or whatever she does with Sally Field or whatever. Right, Yeah,
I would get rid of all of those for a
genuine run of independent American movies made by people who

(02:14:16):
know what Rothrock can do, you know what I mean.
And we don't get that, and it's very sad that
we don't get that. To wrap it up, let's do
the usual thing that we do here on the pm
Entertainment podcast, we talk about our overall impression of the movie.
I think I've sort of talked a lot about my
overall impression the movie. Matt, your your take on it?

Speaker 2 (02:14:37):
Yeah, Like I said, I don't you know, I don't
know if i'd have it. You know, some of my
top twenty, but maybe not top twenty five even pm Flix.
For roth Rock, I think it's maybe like it's definitely
top ten of hers if you don't count the Hong
Kong if you take the Hong Kong movies out and
it's just you know, I guess, yeah, I guess.

Speaker 1 (02:14:53):
Like the I think even with the Hong Kong films,
I put this in her top ten, even with like
writing wrongs and Yes Madam and others, I still put
this on that top ten because I think it's a
genuinely great rough rock movie.

Speaker 2 (02:15:07):
Yeah, I mean I think, you know, you at least
make the point that the the production values of this
are better than a lot of the stuff that we're
going to be seeing from her in the nineties. I mean,
it's you whether it's the Joel Mahry films or the
Leo Fong films, that kind of thing.

Speaker 1 (02:15:22):
Yeah, she sadly gets reduced to some of these movies where, god,
if they shot for ten days, I'd be surprised the way.

Speaker 2 (02:15:33):
And I mean the fact too that she was, you know,
are we going to get paid? You know, the Bolo
Young is stump storming off the set because he's not
getting paid, you know, Mayor he's trying to make him out,
And I guess her mom's on the set that day.
She was like, oh, Bozo's pissed.

Speaker 1 (02:15:49):
Favorite scenes then, So for you go ahead, sir Matt
some of your favorites.

Speaker 2 (02:15:53):
So yeah, it's definitely the bar fight. I think it's
just great because again, you know, to stunt legends, she'd
be the crap out of both of them. That that
that's really good stuff.

Speaker 1 (02:16:03):
There, you know.

Speaker 2 (02:16:04):
I think the there's the end sequence where she's beating
up Ken McLeod, that that's a good one as well,
where chemic Claud's like, oh, you know, I'm gonna I
don't know what she says, something along the lines he's
like I'm done playing nice or something like that, and
it's like, Okay, I'm just gonna beat the crap out
of you. And I did get a kick out of
Dale Jacobe get you getting ready to hit a bomb

(02:16:26):
and he gets shot in the head by Daddy A.
So that was that was a fun scene as well.
So those ones are off the top of my head
that I think of that I really Yeah.

Speaker 1 (02:16:34):
The opening half of the movie, the Tigue half of
the movie, is a different movie. It feels like it
feels like a very different movie to the second half
of the movie. I'm far more into the movie. Once
we're at the mansion with the bikini babes and the

(02:16:55):
and Rothrocks moved in and we're having a bit of
the and to back and forth with mcvicor, Like, I'm
far more into that movie. Like when I think Guardian Angel,
I think that half of the film, you know, that
the whole opening with the you know, the weird party
that she goes to that immediately she gets discovered as

(02:17:17):
a carp and all that stuff, and her partner gets
killed and the sort of car chase shoot out in
a park with two different rival gangs, all that kind
of stuff. Like that's it's fine, and you know, it's
how the movie begins, but I don't know, it's odd
to me. I think the second half is is much

(02:17:37):
much better in terms of favorite scenes, but fight is
definitely a standout. I love when the guy, the nerd,
nerdy guy comes to her winn a Bago to check
her out and instead she just like kicks him out
of the door onto the concrete. I think that's fantastic.

Speaker 3 (02:17:57):
I like the.

Speaker 1 (02:18:00):
Yeah, I like the storyline that the butler, you know,
like the way that they the way that they make
this millionaire bikini babe hanging out guy ping pong playing
guy relatable. Is that you know, that he had a

(02:18:20):
really rough life and the butler is the only thing
he has left in his life. You know, I find
that charming and touching in its own way. Listen, you
still have a butler, Like, let's not like I don't
have a butler and I'm fine, like get over it.

Speaker 2 (02:18:38):
Uh in the poor butler, like like Rothbark was giving
him shit, Like remember like she's like, well, who's supposed
to be watching these monitors? Oh, you know, the butler is.
And then the butler comes in and he's like, well
why are you watching? Oh I'm sorry.

Speaker 7 (02:18:51):
You know.

Speaker 2 (02:18:52):
It's like what else does the butler have to do?
And she's like, just do your job. You need to
just do your job. And it's like, do you know
what the butler does.

Speaker 1 (02:18:59):
Like he's thing around doing this whole mansion.

Speaker 2 (02:19:03):
Yeah, exactly, And you're giving him shift for not monitoring
the Maybe maybe they never talk with Hobbs about hiring
somebody on to watch them.

Speaker 1 (02:19:10):
Maybe if you're the security guard, you monitor the fucking
cameras exactly.

Speaker 2 (02:19:14):
Exactly, leave leave the butler alone. I thought that was
a little bit right, Like it didn't look good, you
know her, which he's like, you should just do your
job and I'm gonna butter this bagel here. You know,
you know, he's like, Okay, man, you're right, I should
you know.

Speaker 1 (02:19:30):
Shouldn't be in eight places at once, even though I'm
an over the hell British guy. I love the Boat Chase.
I really love The Boat Chase. I think it's it's
it's it's well done and a lot of fun, and
it blows the movie out to be a bit bigger
than it otherwise would feel if it didn't have it
in that.

Speaker 2 (02:19:49):
Yeah, yeah, I agree with that for sure. Yeah.

Speaker 1 (02:19:53):
And we've talked about our rankings. We've said that it's
sort of a you know, for me, it's in my
top twenty somewhere. For you, it's in your top thirty.
And we've talked about our ranking within sincere Rothrock Movies.
It's it's in my top ten sincere Rothrock Movies. Probably
the same for you as well. I did want to

(02:20:13):
ask Matt, because we do talk to since here about
it in the interview to kind of close out the episode.
Are you as excited as I am for Black Creek?
I mean, it looks really good. It's the first Rothrock
movie that she's done in a long time that I'm
really excited for Yeah.

Speaker 2 (02:20:31):
Yeah, And I mean she's been putting a lot into it.
I mean she's posting all the time. So it's like
I think, you know, it's one of those ones that like, yeah,
I'm excited for it. I want to be good, but
I'm also kind of excited to support it. Like it's like,
you know, like we want to see it do well,
see it succeeds. So I was one of the pre
pre buys on Apple too. Yeah, I know, I haven't

(02:20:54):
bought it yet, so i'll probably once it's out, I'll
probably rent it once it's on primary, you know.

Speaker 1 (02:20:58):
Yeah, I mean it's pre order on Apple for like
twelve ninety nine. It's very reasonable, Like it's not like
I've seen pre orders go up for like thirty bucks
for some movies. So like twelve ninety nine, Okay, if
I own it, twelve ninety nine, brilliant, boom done, no
problem at all. And I urge everyone listening to go
pre order it on Apple if you're like, well where,

(02:21:19):
Not only will the link be in the show notes
of this very episode, but just fine. Cynthia Rothrock on Facebook,
she's been posting about it five times a day for
the last and what I love about this is this
is the first movie that she has you know, co written, produced,
start in and mounted herself. They were the I think

(02:21:43):
the second highest second largest action movie funded on GoFundMe,
and it is still holding its own. It is within
the top ten of Apple movie purchases this week, the
number five, which is phenomenal considering it's up against Cinner
and some other like really big movies. So listen. I

(02:22:04):
hope Black Creek is you know, makes you know, triple
its money back. I hope that she's able to invest.
I know she wants to make a sequel. I know
they are making a sequel. I have to say, I'm
really excited by the Black Creek trailer. I think it
looks really good. Ralph Cynthia was telling me when we
were talking that she has overseen every little bit of this,

(02:22:28):
that she handpicked almost everyone, and that when she would
watch the dailies, if they didn't like look the way
she wanted them to look, She's like, we I forced
a lot of night shoots because I wanted that like flaming,
like I wanted fire in the desert at night, and
that whole like light everything by fire, stuff like that

(02:22:50):
was all her idea. And when you look at the trailer, yeah,
you look at it and you go, all right, this
was made you know, over two three weeks and some
Western set in Arizona. But it looks like someone paid
attention to the cinematography. It looks the trailer weird enough,

(02:23:13):
like doesn't give away a lot of action at all.
It gives a lot away, a lot of the Western
elements and the cinematography, which excite me enough to see it.

Speaker 2 (02:23:24):
Yeah, I'm excited for this too. I mean, you know,
it's been kind of you know, sort of inching forward here.
You know, she's been trying to get more money for
shooting days and things like that.

Speaker 1 (02:23:34):
You know.

Speaker 2 (02:23:35):
Obviously, you know, we unfortunately we lost Richard Norton before
it came out.

Speaker 1 (02:23:38):
It'll be his second to last movie, I think, Yeah,
certainly his last movie is a big star of the movie.
I think the other film he's done is just a
little stunt thing.

Speaker 2 (02:23:50):
Yeah, because he has.

Speaker 3 (02:23:51):
Some of those.

Speaker 2 (02:23:52):
He has these like small little parts and things like
the Mad Max movies, the Furiosa and things like that
be small parts. So it'll be a little bittersweet there,
But I think too it does sound like like you said,
you know, she's like she said, she put a lot
of work into this. It's her baby, and I think
and away a lot of them. Those are the ones, right,
It's not like these vanity projects that you get with

(02:24:13):
the Nevsky's right, where Nevsky's like, I need to make
a movie where I'm the best guy ever, you know,
and I need all the characters around me to tell
me I'm the greatest guy ever.

Speaker 1 (02:24:22):
You know.

Speaker 2 (02:24:23):
This is a passion project. I think there's something about
that that you can really dig into and appreciate, which
I'm excited for.

Speaker 1 (02:24:30):
Well, she wanted good cinematography, she wanted brutal fights, like
she wants the fights to be really violent, and she
wanted to do a Western, and it sounds like she's
done it. I said to her in the interview, I
said that she should get Adkins to play Norton's kid,
because obviously Norton's the big bad in the first one,

(02:24:53):
so I've got to assume that at the end of it,
she either beats him up to the point where he
might as well die or kills him. And Atkins and
I was talking to her, and I was suddenly like, shit,
how old is Norton and how old is Adkins? Like
would that even work? And she was the one. Yeah,
she was like, oh no, no, that would work. Like

(02:25:15):
Atkins could be his son. I'm like, because Norton's not American,
He's Australian, so Atkins could do a slight Australian accent
or whatever, like you know what I mean. And yeah,
I was like, get Atkins in Black Creek too. Come on, Scott,
come on, Scott.

Speaker 2 (02:25:31):
I agree. Then think about Atkins. The thing about Adkins
is that you get the sense that he grew up
with the movies we grew up with. I mean he's
born and he's born in seventy six, so he grew
up with the movies we grew up with. And he's
like doing it now, you know. So it's like when
he acts opposite Van Damn or acts opposite Dolf or
whoever he's you know, it's like a dream come true
for him. And so it's like, hey, you know, keep

(02:25:53):
living the dream and you know, and do this movie
with with Brothrocking. You know.

Speaker 1 (02:25:58):
All right, man, Well look I've kept too long enough.
Thanks ever so much, back.

Speaker 2 (02:26:01):
On Absolutely, thank you as well. This was a lot
of fun and I can't wait for this episode to
come out.

Speaker 1 (02:26:09):
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Episode 12 - Guardian Angel

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 12 - Guardian Angel