As his supernatural thriller about murder and corruption in the Bible belt hits screens after three decades in limbo, the director talks about smash hits and on-set anarchy
‘If you make films that don’t fit into a particular slot, distributors and publicity people just don’t know what to do with them,” muses Mike Hodges from his Dorset farm. It’s the story of his career. Hodges, who turns 88 this month, made two of the best-known British movies ever: definitive gangster thriller Get Carter and sci-fi romp Flash Gordon. But many of his other films, through no fault of his own, barely saw the light of day. His 1974 sci-fi thriller The Terminal Man never got a UK release; he was fired from Damien: Omen II; Mickey Rourke Ira thriller A Prayer for the Dying was re-edited behind his back.
And then there’s supernatural thriller Black Rainbow, that Hodges...
‘If you make films that don’t fit into a particular slot, distributors and publicity people just don’t know what to do with them,” muses Mike Hodges from his Dorset farm. It’s the story of his career. Hodges, who turns 88 this month, made two of the best-known British movies ever: definitive gangster thriller Get Carter and sci-fi romp Flash Gordon. But many of his other films, through no fault of his own, barely saw the light of day. His 1974 sci-fi thriller The Terminal Man never got a UK release; he was fired from Damien: Omen II; Mickey Rourke Ira thriller A Prayer for the Dying was re-edited behind his back.
And then there’s supernatural thriller Black Rainbow, that Hodges...
- 7/15/2020
- by Steve Rose
- The Guardian - Film News
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