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Interview de Thomas McKelvey Cleaver

Si nous aimons rire d'un certain cinéma déviant, nous sommes très loin de mépriser les hommes et les femmes qui s'y sont impliqués ou compromis. Il nous a ainsi paru enrichissant de faire raconter le nanar et son univers par les gens qui l'ont vécu de l'intérieur. La diversité des intervenants et de leurs réponses nous a rendu encore plus proches du cinéma que nous aimons : vous découvrirez, au fil des entretiens que ces différentes vedettes ont bien voulu nous accorder, des informations précieuses pour le cinéphile et le cinéphage, des anecdotes cocasses et, en esquisse, le portrait attachant de personnages souvent hauts en couleur.
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Thomas McKelvey Cleaver

Not an actor, not a director nor a producer: Thomas McKelvey Cleaver is a screenwriter. In this interview he kindly granted Nanarland, Thomas tells us about the vagaries of his profession in the Hollywood industry. When the personal stories he develops don't get produced, a screenwriter has no choice but to accept any kind of "script for hire" to pay the bills. Thus, Thomas notably wrote a few B-movies' scripts produced by Roger Corman and directed in the Philippines by the late Cirio H. Santiago.

Interview menée par John Nada

Hello Thomas, and thank you for being kind enough to accept answering our questions. To start with, could you please briefly introduce yourself? How did you get into writing scripts for the film industry?

I originally got into the movie business in the early 1980s as a production still photographer on a movie titled "Gypsy Angels." One week on production, they had a scene that wasn't working, which threw them completely off the schedule. That night, reading over the script, I said to myself "You can't say any of this!" So I rewrote it and gave it to my friend, the director. Before he could kill me, the actor doing the scene grabbed the pages, looked them over and said "this works." So they shot it and it did work. They got so enthusiastic they caught up on all the scenes they had missed. When I apologized to the director, he suggested I look at a couple of other scenes and offered what I later discovered was a pittance to fix them. Which in the end I didn't get paid, since the producers stole too much money. Given it was a bad movie other than the flying scenes, it was no loss. It starred Vanna White before she became "Vanna White", and she couldn't act then, either. I later met some screenwriters and drifted into it.

I never started out with a burning desire to make movies. I grew up loving movies, but no one in Denver, Colorado, thought about doing such things. I fell into it by accident after a career in politics working as an operative for Willie Brown in the California State Legislature, which I had to leave before it killed me (literally - when I went in for my physical in 1980, the doctor told me I was a candidate for an ulcer in a year and a heart attack by 40, neither of which has happened). I've always been a good writer and had worked as a writer - a journalist, a speechwriter, etc. - and I had an "eye" as a photographer, so I could write stories where people could see pictures. I really think the fact I was a photographer as well as a writer has a lot to do with my ability in the field, since I can "see" a picture in my mind and describe it in words, which is what a screenplay is supposed to do.

Most of the scripts you wrote have been made into films produced by Roger Corman and directed in the Philippines by director Cirio H. Santiago. How did you get to write scripts for Roger Corman and, basically, how was the making of a script for Corman going at that time?

A fellow writer friend of mine was asked by some friends who worked for Roger to write a movie for them, but he had just gotten into the Guild and couldn't work for them, so he recommended me. That was "Saigon Commandos," which was made in 1986 and was released through Roger's company. Later that year, I got a call from Roger's head of production, who asked if I was interested in doing a movie for them. I met Roger and he told me the "Saigon Commandos" was the most intelligent script he'd seen that year. So I ended up writing a few scripts for him. All the projects you are interested in are scripts I was hired to write, where Roger told me the idea he wanted to deal with and I went out and created it. It was all "work for hire." The things I do on my own - which have all been optioned though not produced (though that may soon change) - are very different from these movies.

Scripts for post-Vietnam war/Rambo rip-offs or post-nuke/Mad Max rip-offs are quite interchangeable in the B-movie industry, whether the films are American, Italian or Filipino. Was there any place for new ideas or imagination in those formatted flicks?

They wanted my take on the idea. Like when I did "The Terror Within," Roger called me and said he wanted a story that was "post-apocalypse and I am tired of nuclear war," so I came up with a biological apocalypse, where some genetically engineered organism got out of a lab and decimated humanity. I often tried to play with some of the classic themes of old science fiction stories. There was a lot of "post-apocalypse" science fiction written in the 1950s in the shadow of the Atomic bomb that I read as a young kid, that I remembered. There is a certain "set" to the genres - they're modern westerns, if you think about it.

About how much money would you get paid for writing a script for Roger Corman, and how long would it take to write one?

The money was enough to keep one alive if you wrote fast. Fortunately I write fast. I once bet Roger double or nothing that I could write an acceptable First Draft in 72 hours and won the bet. It eventually never got made, but Roger always thought that was pretty funny. It wasn't much of a pay check but it was a lot more than a writer would get today in similar circumstances.

Have you seen some of the films that were made from your scripts? If yes, was it consistent with what you have had written?

I've seen them all. The only one where what you see on the screen was on the page is "The Terror Within," which is why it's the only one I ever plead guilty to having done. It was also the best of the bunch, now recognized in some circles as a 'cult classic' and it still works 20 years later.

What happened was that Roger called me up out of the blue one day, while I was between drafts of a good script that became a very bad movie known as "Immortal Sins." He told me he had a house set that could be turned into an underground lab, that he wanted to call it "The Terror Within," and he wanted it post-apocalypse but no nuclear war. In the end, they didn't use a bit of the house set, and this little movie that began life as a way to amortize the cost of a set over two movies turned into the biggest commercial hit he ever had. Proof that William Goldman was right when he said the three rules of Hollywood are "Nobody. Knows. Anything."

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