| JHT: And the hit television series, 24? What did you do there?
PR: I was doubling for Francesco Quinn, whose character was being tortured by Jack
Bauer.
JHT: Why did you retire from stunt work?
PR: How many times does a person have to get beat up by Jack Bauer before the message
sinks in? Seriously, stunt works takes its toll on you physically, so when the
opportunity came up to write and direct, I jumped at the chance.
JHT: What hooked you on directing?
PR: I always wanted to direct. When you direct, you're in control of something that's
alive. The film is your canvas and the story is your vision...your art. Even
when I write, I write visually. I'm a visual person, so directing was and is a
natural outlet.
JHT: "Widowmaker" was a fabulous piece of filmmaking and in many ways
resembled Michael Mann's "Collateral," which captured the pulse and mood of the
night. How difficult is it to make the night "come alive" like that?
PR: It takes research and experience and a knowledge of your equipment. And good
people. You must have good people who not only know the technical aspects of filming
but understand your vision and how to achieve it. I had good people working with me
when I filmed "Widowmaker."
JHT: What attracted you to The Second Thirteen?
PR: I like political intrigue and books by authors like Robert Ludlum and John le
Carre. This book was every bit as comparable but wasn't your typical secret agent
kind of story. Instead, it featured a former KGB agent who was a good guy haunted by
shadows of his past. He was also married and I liked that. But his past was
causing problems and the book's theme of not appreciating what you have until it's almost
too late is a great theme that instantly grabbed me. Directing it will be awesome. |
