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Sylvester Stallone, Jason Statham and Dolph Lundgren go old-school for The Expendables • Page 2 of 2
At the press conference: Stallone, Lundgren and Statham
Stallone and Lundgren
face off in Rocky IV
Below: no shirts required
12 Sep 1972, London
3 Nov 1957, Stockholm
THE EXPENDABLES (2010)
UNIVERSAL SOLDIER (1992)
THE PUNISHER (1989)
RED SCORPION (1989)
MASTERS OF THE UNIVERSE (1987)
ROCKY IV (1985)
A VIEW TO A KILL (1985)
|B Y R I C H C L I N E|
Do you feel the need to justify the violence in your films?|
Stallone: The one thing in my films: I only kill people who need to be killed — killers killing each other. The ones that deserve to get it, they get it good, and the ones that go after women really get it. They say, "Oh, isn't that overkill?" But I'm not going to have a man really having his way with a woman, tearing her apart and wrecking her life and then just shoot him with a bullet. That's too civilised. He's going to feel real pain. And I think the audience has a cathartic feeling. Now if you did that in every scene then it's a horror film. I don't feel guilty about it at all — but if you want me to, I will.
What about the women being victims?
Is the paternal connection between you and Jason intentional? It echoes a similar theme in Rocky Balboa.
Stallone: It's very intentional. I think you have to be age-appropriate and he would be the protege, that fellow I confide in who will eventually take over. And I tease him about his love life and taking things too seriously — stuff that a father and son would do. That's not by accident. I try to always deal with redemption. I think everyone has a regret — that one moment when they made the wrong decision, which sometimes just never gets your life back on course. That theme, from Rocky Balboa to Rambo, just haunts me; maybe I'm just mono-minded or limited, but it's just inextinguishable. So this thing with Mickey Rourke — "We used to be something" — how do I get this back? By doing something "charitable", giving something for nothing, paying for it. So that's the theme and, with Jason and the girl, that drew it full-circle without overburdening the film and turning it into a talk-fest. And you couldn't understand what I say anyway!
How do you approach acting and directing at the same time?
Dolph, you've done quite a bit of directing too. Do you prefer being behind the camera?
Do you think people fell out of love with the action hero?
Lundgren: Well I don't think they fell out of love; it just changed a little bit.
Stallone: He's right. Every generation, including mine. I didn't identify with John Wayne — way too early. I was with James Dean. You have to find your own heroes, and this generation has defined superheroes as their heroes. That's why we're kind of a novelty. It's just the way it is. Films change. Only Jason's current, which is really lucky for us.
So how could you afford to assemble a cast like this? You'd never have been able to make this movie in the '80s.
THE DORCHESTER, LONDON • 9.AUG.10
© 2010 by Rich Cline, Shadows on the Wall|
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