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Explosions, Intrigue and Intensity: Inside President Down · Cinema Yūgen

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G'day. That's right, it's that time again. Time for Cinema Yugen!
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G'day, welcome back Cinema Yugen. Every time they've presented me with a Nick
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Lion picture, it's been a classy affair from wholesome family fair with the boy,
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the dog and the clown to intense and intimate
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disaster dramas on fire now
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nick lyon turns his talents with the
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help of the asylum to explosive action and
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espionage with president down get down
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to the links in the description for the rest of my
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review of this incredible little action spectacular
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get over to tv right now it's a
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tv original you don't have to wait to watch it get over to tv now
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and before you do before you go
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to check out the links and check out the movie for
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you now here on Cinema Yugen my little
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Yugenites we have Mr Classy Nick Lyon and the star a very integral piece of
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this action puzzle G Anthony Joe Scum to Cinema Yugen G'day gents oh thank you
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thank you so much Nick Kent it's an honour it's an honour to be on here and
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to have Nick on here too is amazing.
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We had a fun time on the longest scene ever which went up that was like an hour
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two hours because we have to
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block shoot because we had 218 scenes to shoot in 12 days so yeah this is,
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i i admit when i saw the press materials i was thinking what
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this is going to be like those two competing you know
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white house movies like white house down and you know
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or the president in peril sort of thing and it is but
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what i liked about it is it had more of a speed meets
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air force one kind of yeah with
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the bomb not being on the bus but the bomb is ostensibly or metaphorically in
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the president's chess yeah and that's what i think is something that's pretty
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cool because i never thought about that you know it's like if you if you had
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a pacemaker and it could be hacked which
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they do make them so you can control them from outside.
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Just like there's all sorts of devices where you can control it from outside.
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So I thought it was a pretty unique concept.
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As a way to extort a president. Yes.
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And as I've said in my review, which will be coming to FilmThreat.com,
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this movie, the asylum gets a lot of, I won't say they get a lot of hate,
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but they have a reputation for a certain kind of film.
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This really went over and above that. I thought this was a very classy piece
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of action. And it really felt like those mid-range pictures that they used to make a lot of.
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Way back when in the 90s like films like did
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you ever see that one um desperate measures and it was with
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uh michael keaton anthony garcia and no
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yeah he has to get like his son's
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dying and he's got to get this transplant and the
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only one who can give him the transplant is michael keaton who happens serial
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killer and yeah well films like
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that uh the morgan freeman keanu reeves
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picture chain reaction i just don't make and this feels like president down
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felt like one of those movies like if this was a different time in a different
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place this would be one of those mid-range action pictures right and we would
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probably have like 30 or 40 million dollars yeah yeah,
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and a lot more time to get in those scenes too nicky i know wouldn't that be great yeah i mean.
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You must have this planned right down to the last second
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did you just squeeze all that in well no we
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had i mean literally 218 scenes in the
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script luckily you know
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there's a bunch of like exteriors of planes and
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car chases through washington dc and
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stuff like that that we were able to
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use a lot of vfx with to
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to basically create but you know
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it's it's one of those just like you're just pushing pushing pushing to try
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to get everything you can out of every minute of every day and you have to you
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know luckily we we were able to buy a couple decent sets you know rather than
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trying to put it together in typical,
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you know, in low-budget, we got to rent some sets that, you know,
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a plane and all that, that helped.
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But the visual effects team, I mean, at Asylum, they did a pretty good job, I think.
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And the actors you know
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a G and you know Jesse and all of them everybody Gil or Grady they they made
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everything they were on point the whole film so it wasn't like a lot of missed
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lines or anything like that everybody was really on point which makes it a lot
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easier to do I would say yeah.
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Talking of the cast, the big surprise, uh, which I didn't see in the list because
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I'm a huge renegade and snake eater fan.
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How cool is it that you got Lorenzo Llamas?
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Yep. In this movie. Uh, how cool is Lorenzo Llamas? You know what? He's really a cool guy.
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And the thing is he had just come off of knee surgery.
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Oh, really? What I, what I didn't know about Lorenzo that I thought was really
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fascinating that he hadn't really acted for 14 years because he,
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he went and became a helicopter pilot. Oh, sweet ass. There you go.
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He was doing, and now he's back in acting and he doesn't have long,
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he doesn't have long hair anymore. And he.
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But he's got a good look now. He's kind of reminded me like of James Brolin
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as James Brolin got older. Yeah. Right. Yeah.
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Like when James Brolin was in that, uh, Soderbergh movie, uh,
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traffic is like the, the, the, the dude in the white house, the military guy who was like.
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Yeah. You know, that nice smooth with silver hair and yeah.
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So Anthony, your character is, it's hard. I don't want to spoil the plot too
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much because I want people to see it.
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But Anthony, your character has a very interesting journey in this movie. Yes, at least.
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And I won't say that you're the MacGuffin, but you're one of them.
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I mean nick nick and i spoke about this and emailed about this you know a lot
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because you know the the way that it's it he was presented and the things that
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nick did to make it even more interesting like some people wouldn't even realize
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and i can give away this little part you know that i was actually there,
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in the room, in the beginning, in the opening. One person who watched it,
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who texted me, said, gee, I saw that. I saw that. You know? Yeah.
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That was something that Nick thought of after I wrapped. You know, I wrapped.
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Nick thought of it that day, and they didn't even know I was coming back on
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another day until Nick said, no, he'll be back.
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I know. I just wanted him to sit in the audience there.
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And I thought it was great how at one point, like they did with the A-Team,
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big movie they did you went through the same thing that Liam Neeson did like
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fake that he was dead and then you get the injection,
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the resurrection injection.
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As a matter of fact when I saw the way Nick and Mark Mark David is just a fantastic
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DP so good when I saw the way they shot it I didn't even realize I said I wonder
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if that's a CGI vein they have raised in my neck i was really well done nick,
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yeah i i you know you mean with
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the injection yeah with the injection yeah i know
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and you know what the problem was that the it kept
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getting injected straight in so we cut it short so that it didn't show it because
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that always bothers me when people inject people into a vein and they just push
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it straight in right right right i'm like no i'll just cut away a little bit
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early it worked, you know. Right, it would definitely work.
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The real strength of this movie is stuff that we can't really talk about to
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divulge too much of the plot, but I think that both of you would agree that
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the twists and turns and the unexpected twists and turns in this movie is part of its
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strength that sets it apart, yeah, from just a run of the mill action thriller.
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Wow. Because you're not really sure who.
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You know, who's on his team, you know what I mean? Yeah. Yeah.
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And I can't really reveal too much, although people will, it'll come out quick.
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There's some reviews out there where they've said everything,
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but not everything, you know?
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So, you know, but between G and David Chokichi and, you know,
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who's very cool as well. Yeah.
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And even Lorenzo's character is kind of duplicitous there.
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Yeah. You don't know who's really could be behind it, you know?
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Yeah. yeah or you feel like you do know and
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then g is like hidden his character dr walsh
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is basically the mastermind you know
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yeah well you think you think for the longest time
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that he's not really in it particularly when the when
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the secondary sort of operation were right and
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he's dead yeah it's like and jesse's
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out there trying to you know with his team trying to track
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you know down the the source of the interference and
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all that's right well one thing i think that
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i like about the script is it just stays a little bit ahead of
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the audience yeah i think that's
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what you're trying to say right is it like you don't really
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know what's going to happen next yeah which is
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which is good because it's not like i mean it on the
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surface it feels like you're going to go down a certain path but those um the
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the way it bends when it bends unexpectedly is is part of its is part of its
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allure I think and definitely keeps you like just when you think you know you
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don't know and then something else happens and you don't know you realize how much you don't know.
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Yeah yes no no I I
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I I wanted to say that you know and Nick was just very um he was very focused
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on that too I remember clearly the day that we had to shoot a lot of those pages
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inside of the um the mock-up soundstage of air force one and it would always
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stay with me forever you know he got,
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all of the actors together while they were still building stuff and he sat us
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down we had to sit on like plane seats and couches and i went through everything
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you know bit by bit by bit it was it's just something that would stay with me
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for for a long time it just it reminded me a lot of being you know,
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Shakespeare play. He was just that way, you know?
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Yeah, because, I mean, all of the surrounding cast all acquit themselves fantastically.
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And Jesse Cove gives off great Reacher vibes.
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He's the, you know, the square-jawed, you know, action hero who's also good on computers too.
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Yes. Which is different. Normally those guys are like, you know,
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they're a military tactician, but he's also good at computers.
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That working on right well it's funny because
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he said it's like a theater piece that's what
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that's because we're doing you know with block shooting that
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means you know like we're putting 10 scenes or seven
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scenes together back to back and you i've done
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it a lot and the only way to do it
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is to because like a lot of times you get like some actors will
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be like what the you know what
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am i doing this is like insane why are we doing you
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know a 10 minute you know monologue or
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10 minute long scene yeah and i really
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like working that way but it's like it throws people off at
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first and they go oh boy i don't know if i can do this
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some people some people the but after you've
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done a couple a couple takes or even
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just rehearsing through each scene individually and then
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i just erase i usually just cut out all the stuff in the
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middle because it balances back and forth just to
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make it one flowing big long scene and it's
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funny because like actors after rehearsing
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through it once yes all of a sudden it just flows naturally yes yes it's really
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it's really cool it's like no it definitely is cool nick in fact i i was surprised
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when you started shooting that way because i felt at home i mean being on stage
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a lot with shakespeare it was like wow you know Finally,
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you get to flow a scene from beginning to end.
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And wherever you want to cut in editing is up to you, but at least you have...
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An emotional flow without the cutting you know
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what i mean cut yeah you know and then you can decide
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what you want to do close-up song but it was i just
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loved the way you did that well it brings enough
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and the thing is you might be editing to other storylines in between but the
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fact is it keeps everything it adds a little bit of chaos to it too which just
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makes in my opinion makes it more energetic usually because it is a flow and
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it's a lot of fun to shoot that way Yeah.
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And, and it's interesting too, because there are a lot of what you'd call ensemble
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scenes in this where you have, you know,
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quite a group of people in the room, especially once the president gets laid
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up and she's, you know, in the hospital bed, oh, let's transfer her here.
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Let's transfer her here. Let's transfer her here.
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You know, and they're running around trying to solve, you know,
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trying to solve the element in the room problem.
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Yeah. How to keep her from getting hacked into. yeah they're
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trying hard to get her hacked into and they go you know what we're
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gonna take on air force one which on this
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budget i'm like going okay how are we supposed to do that okay we're gonna need
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to so i had to do some good cheating on it you know yeah when you guys did i
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mean when you both read the script and and saw all this like wow can we but
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was that was it that way for the whole film where you read all those.
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Oh, well, can we, well, it's pretty expensive.
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The scariest part is I had called David Latt at asylum and I said,
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David, how are we going to get a air force one?
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I mean, we, we really need, it needs to look legit, you know, it can't be.
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Can't be and they have this little old dilapidated you
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know airplane set it's kind of fallen apart i think they've taken it down in
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the meantime and so just to add a couple scenes there's a couple scenes that
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were shot in there just little ones of like lorenzo llama speaking and after
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he saw it on the dailies he's like no we can't use this and i was like i was
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telling you that all along.
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When he first talked to me he's like i don't know will jimmy rig
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together the set and i'm like no we can't do that can't
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jimmy rig the the falling apart set to
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sell as air force air force one in this so
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they they ended up saying okay well let's
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go to aero mock-ups and we ended up spending like three days in
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aero mock-ups because they have big airplane sets
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that are that are in good condition and
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then we ended up having to modify it and had to build walls and
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stuff like that and create the different rooms and it
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actually surprisingly worked out okay you
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know i mean i'm sure if i was on a real air force one i'd
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be running through the place a lot differently but you
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know we ended up getting the the legit jets and the
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legit everything you know so that that was very nice
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and i don't think you can that's where money spent
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is just worth it you know yeah la and la has those types of sets it's like because
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getting on a real plane would be really almost i mean it would be so difficult
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so yeah well i mean you don't you don't have the luxury of you know your breakaway
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walls and such as you can you know get into those angles that you want because inside.
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Fuselage you'd be you'd be pretty cramped especially when trying to get like
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the i don't know if the real air force one actually has like a medical bay in
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it does it yeah oh it does yeah it does. Wow.
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Oh yeah. It's a little bit less. There's a lot on that plane. Holy hell.
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Yeah. They have a medical, a medical sick bay on the real Air Force ones. Wow. There you go.
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So, but it's not, I mean, well, your audience gets to see a different,
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a different part of the Air Force One because there's been Air Force One in so many films.
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We've never seen the, uh, right.
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The medical, or, or usually it's the, you know, the boardrooms or the president's
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private quarters and stuff like that, or the cargo bay or something like that.
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And it's really, do we see the, you know, the hot tub in the medical room and
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the bowling alley and whatever else is on there.
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Bowling early in the water. I know. Well, we stretched it with,
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with our resources to get as much as we could, you know?
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Well, look, you did, you did really well, especially the, the big,
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beautiful control room too.
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That's that features from, you know what? That one is actually not on the airplane. Oh, okay.
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That was, that was a, that was a, the studio and it's been, you know,
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but it's kind of funny because it's like, it has, you know, but it works. It feels like it works.
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Yeah, yeah. No, it didn't feel like it was a different thing.
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It felt like it was part, because it's supposed to be part of the same.
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Right. And they're a lot smaller on real Air Force One.
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So it is a little bit of stretch of, I mean, it's not 100% realistic or anything,
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but, you know. But no, no, it doesn't take you out of it and it flows well with
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the rest of it. Like you don't question it.
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Yeah. At that point, because at that point we're heading into the –,
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we're heading into the climax and everything is just, you know,
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getting worse and worse and worse for our heroes.
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That scene that takes place in there was a doozy.
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And that was like a big moment for, for G Anthony, for his character.
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I remember, do you remember what happened though? The first time we,
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Kent, the first, they organized. They had all the monitors.
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Yeah. Yeah. All the monitors went down and they had to cancel that entire day after.
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Everything yeah yeah yeah because
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we were shooting on a sunday and the the person that puts
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them together was not there and he
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said okay i'm gonna leave but don't let anything happen and
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all of a sudden the lights the the monitors all went out
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and so we're like well looks like we're not going to be shooting this
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today but but ken
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back to your original thing about how long
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to shoot when i read it yes i was like wow
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i'm glad this director probably has about four or five weeks
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that's what i said 12 days
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yeah no we ended up having like six hours or something so were your days longer
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or did you still know no we don't really do very much over time maybe maybe
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i mean like 12-13 hours around there,
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and that was like we did have a half day once that was like maybe 6 hours but otherwise.
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On these low budget you can't really do it and it's really important to and
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that's where it's like if the cast is so good and they all know their lines
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and stuff it makes life much easier because they can just like you just set
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it up and okay let's do all 10 scenes together and well anthony wouldn't uh,
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You wouldn't have a problem with that, mate, doing Shakespeare as you have.
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Learning your lines, hey? Oh, no, no, no. In Shakespeare, it's all about the lines, isn't it?
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It's not just that. I don't even like to have a script.
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I don't even notice that, but I don't even like to have a script in my hand when I show up.
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To me, it just adds to the realism of why I'm going there.
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So whenever they hand me one of those small scripts, no, no,
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no, I don't need it. It's fine.
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Yeah yeah the sides yeah yeah but you
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know after after listening to some stories of friends
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of mine that have done like Beauty and Black with Tyler Perry
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right it makes me go okay this
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isn't so bad because they do like 50 to 100
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pages a day oh my goodness wow yeah
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he holds he sent me a photo of him holding a
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script and and it it like literally
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it was on day one and it was like a double
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it was probably like 125 pages at least
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and he's like these are
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my sides for the day wow and i
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was like holy camoly but that's like a different style of shooting that where
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it is like i mean i do multiple takes but i i'm interested in that because i
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think it is possible to get good stuff if the lighting and everything's good
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if you if you if you have the actors that are there that can deliver.
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And that's really the important part, you know?
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Anthony, when you're doing film as opposed to the stage, do you still, do you still bring that?
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You still feel the need to bring that same intensity, even though the level
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of it, I mean, you're not playing to the back row, obviously,
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but that same intensity you bring. Oh, yeah, absolutely.
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Yeah, especially because when you're doing Shakespeare's, the one thing you
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learn about Shakespeare early on, Shakespeare's characters do not saunter.
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Yes. You know, they don't wadger or just kind of lackadaisical,
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you know uh they're very much a purpose yes they've they all have a purpose so that's kind of.
22:23
Definitely bleeded over to when i
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get a an offer for a role and i and i have to study and break it down that definitely
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bleeds into it you know from the moment you from the moment nick says action
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to until he says cut you know there's there's no there's no sauntering you know
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yeah you you have your central desire fixed,
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and so you've always got a sounding board within yourself, true?
22:50
Definitely. And the thing that I do the most when I am preparing to portray
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anyone on screen is I have to get to the point where by the time I get on the
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set, they forget they're in a movie.
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Right. You know, so that, you know, when I'm just ready to pounce the moment Nick says, let's go.
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You know yeah and you uh i know
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you have incredible intensity in this mate very much that's
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why i said uh air force one in my review because
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you reminded me very much of gary oldman in the picture who
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has just incredible very much
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caged intensity like he's really good at like that
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menacing like you're very good at that menacing
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sort of stare where you don't really have to do
23:38
too much physically because it's
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all in the eyes yeah and and i and
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i want to i want to give credit to i think i have to
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give credit that to my mother you
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know when i was 10 years old she took myself
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and my two sisters away from the caribbean divorced to
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baltimore to live in the baltimore city right and
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having been bullied she put me in a martial arts system
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that i'm still practice into this day and that just turned
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my life around and you need to have that
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switch it's to turn off and on immediately
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you know so it has a lot to do with that so it's like when i came first time
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i came to hollywood and i picked up a script and i was able to do that that
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was one of the first things somebody said about me that the urine and i knew
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it came from that yeah yeah there's also that incredible physique of yours.
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I know we're sitting there looking at it on the phone i know i'm like i feel
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like i have to go and work yet now she gets but he does have that he had that
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when he in the audition tapes too it's just this quiet,
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very quiet but sophisticated and and
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like you described just the look and
24:53
a calmness and inner calmness it's very i don't
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know and i told him i said look you remind me of like giancarlo esposito yeah
25:01
yeah yeah you know from from breaking bad and and from star wars and or you
25:07
know mandarin mandalorian he has like a similar vibe like just like could still
25:14
eyes just the penetrating look,
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And a quiet sophistication, but danger.
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Well, as James Lipton on the Actors Studio once said, some actors find it very
25:30
difficult to do silence or stillness.
25:33
De Niro is one of them that can do it. Morgan Freeman and Anthony G.
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Yeah, I think one of the things, one of my first, well, first and only two,
25:44
I had two acting coaches and you used to hear this over and over again.
25:51
Can you just do nothing? Right.
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And some actors really take that as literally doing nothing.
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And you just do nothing. And it took years to figure out what that meant. Right, right, right.
26:07
Some actors, you can tell they're trying to be natural by doing nothing,
26:10
but they're not doing anything. Right.
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That's good. No, they're always like, yeah, or, or, you know,
26:17
yeah, doing nothing, you're right.
26:20
Or there's the ones that are always looking to nudge themselves in,
26:23
even though they're doing nothing to get in closer, to get the close up,
26:27
you know, or, you know, it's.
26:30
Yeah, that's another thing that you bring that up, Nick, about the close up,
26:34
because I've always seen, I've seen it firsthand. Of course, I've heard it.
26:39
You know, look, save your intensity for the close up. And I'm thinking to myself.
26:44
You don't know what the director is going to use. You have to be,
26:47
to me, I have to be at 150% all the time, you know?
26:54
And that's why I was so happy. I told a director friend of mine a couple of days ago, I said,
27:00
when Nick shot that scene inside of the medical facility in Air Force One,
27:07
It was so, it was so a breath of fresh air when you,
27:11
you just had the cameras way back and you shot the entire master in one,
27:17
you know, it's amazing. I, I, I can't get over it to this day.
27:21
Well, as you say, it's a great luxury for, from an actor's point of view,
27:25
not, not just economical from a filmmaking point of view, but from an actor's
27:28
point of view, because you get to play it, as you said, the whole scene without,
27:32
okay, now we'll do, come and do the reverse on you.
27:35
And then, okay, come and do your close-up and come and do this and that and
27:38
all the different shots.
27:40
If they can just play the scene out, you can play the emotions and the intensity
27:45
for all it's worth, Drew.
27:46
Yeah, yeah. And I don't know if this is an issue or not, but I think we may
27:55
be getting less and less of that, and Nick can correct me if I'm wrong,
27:59
because it's all digital now, so people feel the need. Well,
28:02
I don't have to know it all.
28:03
They can just cut. Let me stand there. Okay, let me see.
28:06
Right, there's no film or tape. Right, right. It's just a hard drive. Yeah.
28:12
I mean, it has its advantages too, though, because you can run an entire scene,
28:17
and then let's just say somebody's overacting, they're giving full intensity
28:23
and it's because they're meant to give intensity, but you're like going,
28:27
okay, now they're already at a certain level.
28:30
And then say, okay, now take it back to the beginning and I want you to whisper everything. Yeah.
28:36
And all of a sudden, they still have that intensity. Right.
28:40
And, you know, we did a little bit of that where, you know, you did a bigger
28:44
take at the beginning and then I, like, said, let's do another one and have
28:49
you, you know, be more up and down, you know?
28:53
Like Nick Meyer said to Riccardo Maltabon on The Wrath of Khan,
29:00
you know, a madman is more terrifying when he whispers.
29:04
I think so. And then loud. And then was, you know, to vary it,
29:09
to not be the same the whole time.
29:11
No, up and down like El Pacino. Ooh, ah!
29:16
But to get to the level, you know, I think it's great to get the intensity and
29:21
the level there and then to like...
29:23
Sporadically pull it back a little bit and to change it up a bit,
29:27
it makes it a little scarier, I think, or more intense, actually.
29:31
And that's actually one of the things, Kent, that Nick told me during that massive
29:35
scene, you know, he said, okay, now I want you to try this and do this.
29:40
You know, he, he knew that was, that was the one thing about Nick.
29:43
He knew, he, he knew exactly what to say, just knew exactly what to say.
29:51
And I thought, okay, Nick, got it, got it, got it.
29:53
It's called don't say too much yes don't throw all the baby out with the bath water.
30:01
But uh yeah mate look look fellas you've
30:04
done it again this is a fantastic movie it's on fox and tubie originals right
30:09
now president down there's no excuse for anyone listening not to get over to
30:14
shoot me right now and check out all the awesomeness provided by the great nick
30:20
lion and the great G. Anthony.
30:23
All right. Thanks, Kent. It's an honor and a more than you would ever know.
30:28
And Nick, thank you so much for it. Yeah, thank you too. Great.
30:31
Little action spectacular waiting for you now. Check the links in the description.
30:36
And as always, my little Eugenites, thank you for listening to us on Spotify
30:42
or wherever you choose to listen to your favorite podcasts. I'm Kent Hill.
30:46
And until next time, you've been listening to Cinema.
30:50
Zero game!
30:53
Music.