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Hair at The Cutting Room (photo by Jeff Smith)

HAIR AGAIN AT THE CUTTING ROOM — Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot. The work reflects the creators’ observations of the hippie counterculture and sexual revolution of the late 1960’s, and several of its songs became anthems of the anti-Vietnam War peace movement. The musical’s profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy. The musical broke new ground in musical theater by defining the genre of “rock musical”, using a racially integrated cast, and inviting the audience onstage for a “Be-In” finale.

James Rado and Gerome Ragni

Hair tells the story of the “tribe”, a group of politically active, long-haired hippies of the “Age of Aquarius” living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude, his good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves, and the sexual revolution with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to succumb to the pressures of his parents (and conservative America) to serve in Vietnam, compromising his pacifist principles and risking his life.

After an off-Broadway debut on October 17, 1967, at Joseph Papp’s Public Theater and a subsequent run at the Cheetah nightclub from December 1967 through January 1968, the show opened on Broadway in April 1968 and ran for 1,750 performances. Simultaneous productions in cities across the United States and Europe followed shortly thereafter, including a successful London production that ran for 1,997 performances. Since then, numerous productions have been staged around the world, spawning dozens of recordings of the musical, including the 3 million-selling original Broadway cast recording. Some of the songs from its score became Top 10 hits, and a feature film adaptation was released in 1979.

A Broadway revival opened in 2009, earning strong reviews and winning the Tony Award and Drama Desk Award for Best Revival of a Musical. In 2008, Time wrote, “Today Hair seems, if anything, more daring than ever.”

A few addendum to the above notes: The Fifth Dimension had a hit with “The Age of Aquarius”; as did Oliver with “Good Morning Sunshine” and Three Dog Night with “Easy To Be Hard.”; the movie-adaption (1979) had Treat William starring as Berger (with a left-on-the-cutting room floor cameo by celeb author Mark Bego; John Savage and Beverly D’Aneglo and the revival in 2009 was pretty good.

Last week, at Steve Walter’s Cutting Room, there was a musical revival onstage under the tutelage of Mike Visceglia (and a crackerjack band) and it was simply terrific re-living those glory days. “Easy To Be Hard” was just outstanding; reminding this writer that they just don’t write them like that anymore and “The Age of Aquarius” which opened the show. “Good Morning Sunshine” was terrific as well.

Between the singers and band, there were as many as 24 people onstage and it looked great. Most were attired in 60’s-themed wear, as was the Room’s Walter. Just a phenomenal evening which was intro-d by Q1043’s Ken Dashow. Also seen were the China Club’s Danny Fried; PR-pasha David Salidor and photographer Jeff Smith. 

Sure the SRO crowd was of a certain age; but it was great fun. I do hope there’s a repeat performance soon.

BTW: Congrats to Walter and the club for nabbing an excluisve appearance by Cindy Blackman-Santana for October 13. I’ve seen her work with Lenny Kravitz and it is sensational. I’ll be there for sure. BTW: both Walter and Santana attended Boston’s Berklee School of Music..

SHORT TAKES — What’s going on over at Jeopardy? It’s been nine months since the tragic passing of Alex Trebek and the show is now enduring its own sense of jeopardy for sure. Executive producer Mike Richards, who I never even heard of before Jeopardy, was poised to take over as permanent host of the show, when comments made on a podcast years ago surfaced; defaming women; Jewish people and short people. Almost immediately he was jettisoned from the host position, but interestingly it was reported he will remain as producer of the show. But, believe me folks, that will never stick …

Robert Miller’s Project Grand Slam (photo by John Wisdom) 

Robert Miller and his Project Grand Slam ensemble headlined a benefit last week in Lenox, Massachusetts (at The Tina Packer Playhouse) for Shakespeare & Company. According to Miller, “I adore the Berkshires, and as a longtime resident I’ve always wanted to have the band play a major concert in the area,” said Miller. “This benefit concert is a great event in a terrific setting for a wonderful cause” …

David Salidor and Micky Dolenz

Just a sensational and accurate piece on the Vanity Fair web this week on The Monkees; who begin their tour September 10 in Spokane, Washington. Check it out here: …

Sean Penn

Boy, has there ever been a more mysterious persona than Sean Penn? Speed The Plow; Madonna; Mystic RiverFast Times at Ridgemont High; Haiti … he’s literally been a whirlwind of mixed messages. Sunday’s interview with NBC’s Willie Geist  (at Gallagher’s no less) was pretty good, though they didn’t touch on Madonna or his Broadway work, Fast Times or his recent marriage to Vincent D’Onofrio’s daughter. His new movie, which has gotten pretty mixed reviews Flag Day (which stars his daughter Dylan) is out now … Happy Bday Lora Evans; Van Dean; and David Salidor and RIP Don Everly and Chuck Close!

Chuck Close 

NAMES IN THE NEWS — Adriana Kaegi; Coati Mundi ; Deb Caponetta; Andy Furman; Donnie Kehr; Cori Gardner; Jacqueline Boyd; Andy Rosen; Mark Alpert; Alan Rothstein; Bryan Wells; Joel Diamond; Samantha Ryan; Lush Ice; Tom& Lisa Cuddy; William Schill; Danny Fried; and, BELLA!

G. H. Harding is a four decades insider to the entertainment world. He’s worked for record companies; movie companies; video-production He’s worked for record companies; movie companies; video-production companies and several cable outlets. His anonymity is essential in bringing an unbiased view to his writings on pop culture. He is based in NYC.

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The Glorious Corner



G.H. Harding

McCALLUM’S FAREWELL — Last night was the NCIS show dedicated to David McCallum (The Stories We Leave Behind) and it was simply terrific. Written by Brian Dietzen, who essays Dr. Jimmy Palmer on the show, it was extremely touching and featured some great clips from past shows.

The vibrant opening theme for the show was re-cast in a memorial-type tone and worked perfectly. There was also a reference to his cat named ‘Solo’ – a fitting nod to his Man From U.N.C.L.E. costar Robert Vaughn.

McCallum was just a tremendous actor. I one met him once in Bloomingdale’s of all places and he couldn’t have been nicer. There was also last-minute cameo from Michael Weatherly, who left the show several years ago. It was just a brilliant moment and though pundits are already saying he’ll return, I don’t think it will come to pass.

There was also a letter from Gibbs (Mark Harmon) whose shadow always lingers.

A touching tribute well done on every level. McCallum will be missed tremendously; an icon for sure. 7 million viewers thought so too.

Kelly Rowland

SHORT TAKES — Last week’s kerfuffle with Kelly Rowland abruptly leaving the Today Show, where she was pegged to co-host the fourth hour with Hoda, is much ado about nothing. Gossip pundits claimed it was because her dressing room was too small and Hoda herself sort of copped to it on Monday’s show. I predict she’ll be banned from the entire show for quite some time. It was probably more of a stunt pulled by her PR-people, as she generated a heap of press. For those who don’t know: most all of their dressing rooms are small …

Kjersti Long

17-old wunderkind Kjersti Long (her “Sad Song” was just released) looks to have her Relative Space-play begin in the West End, pegged for later this year  …

Vanessa Williams will have for the role of Miranda Priestly in the upcoming musical adaption of The Devil Wears Prada by Elton John, It’ll debut in the West End shortly … SiriusXM’s Evan Levy left the station for Amazon, but has now officially surfaced at Jason Spiewak’s Noble Steed Music.

Congrats … Micky Dolenz speaks to Goldmine’s Tone Scott today about his I’m Told I Had A Good Timebook and upcoming appearance at LA’s Troubadour on April 5 … The media was ablaze Tuesday with news that director Sam Mendes would make 4 movies featuring each of The Beatles. Astonishing. Mendez is a great director and this looms as a challenge for sure. As a group they were invincible, but it’ll be interesting to see how Mendes handles each of their post-Beatles work; which had their ups and downs. Stay tuned, this is a big one …

Rod Stewart sells his catalog for $100 million? … We started watching Feud: Capote vs. The Swans -featuring a bravura performance by Tom Hollander as Truman Capote- and am loving it tremendously. Hollander’s performance is one of the best I’ve seen in years on the small-screen. Absolutely stunning with the direction by none other than the stellar Gus Van Sant. More on this brilliant series next time …

Yoko Ono

Happy 90th Bday Yoko Ono.NAMES IN THE NEWS — Steve Leeds; Tom & Lisa Cuddy; Adam Sandler; Jennifer Aniston; Curt Smith; Bob Small; Andy Forrester; Rob Dickens; Daryl Estrea; Jane Blunkell; Jane Berk; Eloise Keene; Eppy; June Pointre; Ken Kragen; Kent Denmark; Mark Bego; Jake Malooley; Graydon Carter; and ZIGGY!

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The Glorious Corner



G.H. Harding

WE ARE THE WORLD DOC ON NETFLIX — I just watched the Netflix doc on the 1985’s We Are The World record and session and enjoyed it immensely. It’s hard to believe it was so long ago and the participants that appeared on it and are no longer with us. I interacted with manager Ken Kragen who brought the idea to Lionel Richie and Michael Jackson after being approached by Harry Belafonte. Kragen was a savvy manager back then and even managed the Smothers Brothers for a while.

Recorded after Dick Clark’s AMA Awards, it was simply a stellar turnout. Every article on the record said that at the last-minute Quincy Jones took a blank piece of paper and scribbled Leave Your Egos At The Door – inspired for sure. Today, it’d be Leave Yor Egos At The Door With Your Glam Squad.

I don’t know if a session like that could even happen today with so much natural unrest – even in the music  business. Even A&M Studios where the session took place has changed to Henson Studios.

Its a funny doc as we start with insider-comments from two women who worked for Kragen and producer Larry Klein – who was involved with Dick Clark back then. Then, the three of them sort of disappear and Richie takes over as narrator; engineer Humberto Gatica has some nice memories too; as doe Tom Bahler, an associate of Jones who worked with him for years.

There were some funny reminiscences, mostly from Huey Lewis, who found himself amazed to be with the likes of Paul Simon and Willie Nelson. At one point Wonder starts playing Belafonte’s “Day-O (The Banana Boat Song)” and then the entire ensemble continues to sing it.

Wonder, definitely a musical genius, even coaches Bob Dylan by mimicking his voice. Diane Ross ambles over to Daryl Hall and asks for his autograph. Funny stuff for sure.

It’d be nice if something like this happened today, but I fear it’s near impossible. JLO doing a charity record with Selena Gomez, Arianna Grande and Beyonce? Never.

Micky Dolenz

DOLENZ ON AMERICAN POP FLASHBACK — Over a dozen of the most successful singing artists in the history of American music including Glen Campbell, Lesley Gore, Bill Medley and many more are presented live-on-stage with thrilling concert performances in the new Public Television special AMERICAN POP FLASHBACK! GREAT HITS OF THE ‘60s & ‘70s premiering nationwide beginning the weekend of February 23 (please check local listings for air-dates/times).

Join program host, legendary singer Micky Dolenz of The Monkees, as he salutes the groundbreaking musicians, teen idols, TV stars and vocal greats from rock, pop and country whose hits make us sing along, tap our feet, shed a tear, fall in love and recall the great memory-filled times of our lives.

Appearing exclusively on American Public Television stations, the all-star concert features performances by late legends Glen Campbell (“Rhinestone Cowboy,” “Wichita Lineman”) and Lesley Gore (“It’s My Party”) in addition to a cavalcade of timeless classics and Number One Hits by Bill Medley of The Righteous Brothers (“You’ve Lost That Lovin’ Feelin’,” “(You’re My) Soul & Inspiration),” The Chiffons (“One Fine Day”), Bobby Vinton (“Blue Velvet”), Ray Stevens (“Everything Is Beautiful”), Debby Boone (“You Light Up My Life”), Chris Montez (“Let’s Dance”),Tony Orlando (“Candida”/”Knock Three Times”) The Osmond Brothers (“One Bad Apple,” “He Ain’t Heavy…He’s My Brother)”, Crystal Gayle “Don’t It Make My Brown Eyes Blue”) and other chart-topping favorites.

Additionally, the programs legendary host Micky Dolenz thrills fans with a performance of The Monkees’ signature hit I’m a Believer. AMERICAN POP FLASHBACK! GREAT HITS OF THE ‘60s & ‘70s presented by American Public Television is a production of DEB Entertainment and Emmy-nominated producer Jim Pierson (“California Dreamin’” – The Songs of The Mamas & The Papas, Fever The Music of Peggy Lee) in association with Emmy Award-winning producers Rene Reyes and Shane Rosamond

SHORT TAKES — We’ve written about how similar TV’s Yellowstone is to Dallas; a huge hit back-in-the-day. Sure, the language is a bit more torrid, but the similarities are indeed many.

Taylor Sheridan

Now Roger Friedman reports that Yellowstone-creator Taylor Sheridan is creating a show (With Jon Hamm; Demi Moore; and Billy Bob Thornton attached) closer to Dallas than ever before. Of course, Kevin Costner starred in Yellowstone and is being written out. Check it out here:

David Salidor; Scott Shannon and Steve Leeds

… Happy Bday Steve Leeds & Mitch Kanner!NAMES IN THE NEWS — Michelle Grant; Art Rutter; Jimmy Fallon; Vinny Napolitano; Jodi Ritzen; Dan Zelinski; Tom & Lisa Cuddy; Anthony Noto; Robert Funaro; Steve Klein; Steve Leeds; Mark Bego; Sophie Ellis-Bextor; Brad Pitt; and CHIP!

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G.H. Harding

FANTASTIC FOUR SETMarvel announced Wednesday morning the cast for their coming Fantastic Four movie. Actually, there were three before, but not 100% Marvel. As a fan of the comic from the start, the first movie, with Ioan Gruffeud, Michael Chiklis, Jessica Alba and Chris Evans was just great. Julian McMahon as the bad guy Dr. Doom was great too. The second one was pretty good too as it introduced the Silver Surfer; one of my personal Marvel faves.

silver Surfer

Each did not make a zillion-dollars and when the rights reverted back to Marvel, they went with it.

Pedro Pascal was great in his cable series Narcos and the current Last of Us, but not as Reed Richards. Ioan was excellent and even John Krasinki who made a brief cameo in Dr. Strange, would have been a much, much better choice. Marvel even issued a Valentine Day’s announcement of sorts that made the Fab Four look like something out of The Jetsons … and, clearly, they’re not.

Hey, this is just one opinion … Pascal is the flavor of the moment! Read SHOWBIZ 411’s take on it:

Flash Forward

SHORT TAKESNBC’s LaBrea wound up their abbreviated third and final season Tuesday with an episode wherein all of the major characters resolved their issues and successfully got back home. Honestly, the show started out with a band (who can’t resist a giant-sinkhole in LA?), but then with COVID and the strikes, it began to fall apart. LaBrea joins the hallowed ranks of other sci-fi shows Flash Forward, The Event; Salvation; First Wave; Solos; Another Life; Millennium; and Brave New World – all great shows that slowly-but-surely died on the vine … Check out Joe Cocker-biographer Mark Bego on Leon Russell’s relationship with Joe:

17-year-old Kjersti Long was interviewed by SKOPE in conjunction with her new single “Sad Song” –

I’m Told I Had A Good Time/Micky Dolenz

Micky Dolenz spoke to Billboard’s Gary Graff this week about his book, I’m Told I Had A Good Time

Jennifer Lopez

JLO was the special guest on NBC’s Today Thursday and really dazzled me. Her new album has gotten very mixed reviews, but what a total professional, she looked great; her kids are now each 16; and she answered every question Hoda Kotb had with pizzazz. She announced a tour later this year and posters for it were already displayed in their plaza immediately after the interview. She’s been a star for years and she still is …

Lana Del Rey covering John Denver’s “Tale Me Home Country Roads?” Yes. here it is:
I love it! …

Whatever happened to our guilty-jazz pleasure, Robert Miller’s Project Grand Slam.

NAMES IN THE NEWS — Gary Graff; Tone Scott; Tony King; Tom & Lisa Cuddy; Morgan White; Jim Kerr; Graydon Carter; James Clash; Jeremy Long; Van Dean; Dean Scene; Pete Bennett; Chris Cuomo; Dan Zelinski; Barry Fisch; Gary Gershoff; Eppy; Kent & Laura Denmark; Don Wardell; William Schill; and ZIGGY!

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Master Mash-up Movie Maker Matthew Vaughn Kicks Out His Latest Wacky Comic Adventure, “Argylle” – Starring Bryce Dallas Howard and Alfie the Cat



No matter what, British director Matthew Vaughn is having a good time making movies. Besides being married to former supermodel Claudia Schiffer, he’s just seen his mega-wacky, big-budget comic spy thriller, “Argylle,” get released. It’s appeared in theaters through Universal and soon will find its way online through Apple Original Films.

Starring Bryce Dallas Howard [the “Jurassic World” franchise] as author Elly Conway and Oscar-winning actor Sam Rockwell as agent Aidan, the film folds fictional characters created by the writer into a real-world scenario led by a battalion of killer arch-spies chasing them.

The plots of Elly’s fictional books — centered on the adventures of secret agent Argylle (Henry Cavill) and his efforts to unravel a global spy syndicate — prompt a real-life spy organization to try killing Elly through deadly covert actions. That’s when the quiet life of evenings at home with her cat Alfie ends. Though the evil agency is rebuffed by Aidan, the two fall into rabbit holes of wild train rides and a global mission in order to pass on illicit secrets to a CIA underboss (Samuel L. Jackson) who can save the day.

Now this isn’t the 52-year-old creator’s first rodeo. He’s established quite a list of credits, some by adding to established franchises such as the “X-Men” or creating new ones such as “Kick-Ass” and “Kingsman.” But whatever Vaughn does, he does it with a certain flash and panache.

T2C: Meet the man who directed all these incredible movies: “Layer Cake,” “Stardust,” “Kick-Ass,” “X-Men: First Class,” “Kingsman: The Secret Service,” “Kingsman: The Golden Circle” and now, “Argylle.”

Matthew Vaughn: With “Snatch,” they wanted subtitles. I’m not joking. Seriously, the studio didn’t understand that Brad Pitt was meant to not be understood at all.

T2C: Anyway, you fought the good fight and won. That was back in the days when you were a producer alongside Guy Ritchie. Were you always keeping an eye on directing? Did you always plan to direct ultimately?

Matthew Vaughn: Directors can be a pain in the arse and are incredibly egotistical. As a producer, it was exhausting and I thought it couldn’t be that hard. So I gave it a go.

T2C: Fair enough. That led you to “Layer Cake.” Was it always the intention that you direct it?

Matthew Vaughn: Guy Ritchie was meant to direct “Layer Cake” and decided not to. So [J. J. Connolly], the author of the book, said, “Why don’t you have a go?” Then my wife [Claudia Schiffer] –thank God for her – said, “You really should have a go.” Thank God I did because I feel like I’m playing and am going to get caught out very soon. But so far, so good.

T2C: Here’s the terrifying thing. Next year marks the 20th anniversary of “Layer Cake.”

Matthew Vaughn: Yeah, it’s terrifying getting old.

T2C: What was that experience on Layer Cake” switching from producing to directing?

Matthew Vaughn: Terrifying. On the first day, I made a big mistake. I looked through the camera and saw Daniel Craig and casually went, “My God, this is the first time I’ve ever done this, looking through a film camera.” I went back down and all I saw was horror on Daniel’s face. But we got through it. It’s ultimately filmmaking. I don’t want to sound like I’m belittling it, but at the end of the day it’s a camera, a script and actors. If you do it and have passion about telling a story, it sort of looks after you.

T2C: What were the films that got you into filmmaking in the first place?

Matthew Vaughn: I could list them — talk about getting old. But the first three films in the cinema — I was like, “Oh shit, I’ve got to continue watching. They were “Star Wars,” “Superman” and “Raiders of the Lost Ark.” I saw them in the cinema not knowing what any of them going to be!

T2C: “Layer Cake” is an amazing film, but it’s also a bit of an outlier on your directorial CV. After that, you started moving into geek cinema, pursuing fantasy with “Stardust.” And before that, you made a couple of comic book movies: “X-Men: First Class” — and “Kick-Ass.”

Matthew Vaughn: I basically directed [“X-Men: First Class”], but the good stuff didn’t make the cut. It was bizarre because I went from “Layer Cake,” a tiny £3 million movie and suddenly Hollywood was calling up saying, “Would you like to make an X-Men movie?” I was like, “Yes.” I thought “X2” was a masterpiece. I was worried [about] stepping into Bryan Singer’s shoes. But it was a dream come true and I storyboarded the movie.

The movie ended up not being what I was going to make. I was naive and used to working in the way I produce films. “Here’s a budget, here’s a schedule, stick to it.” Hollywood doesn’t work that way at all. They go, “Here’s a budget, here’s the schedule. We pretend we’re going to do it and then we make it all up as we go along.” I didn’t know that back then. I was naïve. I was given the speech, “You’ll never work in this town again.” Yeah, and I sort of believed in that. If that’s not how Hollywood works, then I didn’t want “Stardust” to go that way. I read the book and met Neil Gaiman [its author]. I’d rather do it [my way] so I did that; [I didn’t want to disappoint Neil].

T2C: You ended up making a very successful “X-Men” movie. But what’s amazing is that, by and large, you’ve worked independently. You finance your movies yourself, as well. Is that something that developed over time?

Matthew Vaughn: Well, no, it was a habit that half came out of [producing] “Lock, Stock and Two Smoking Barrels,” this little movie that we made here. We knew nothing and were sort of naive, but in a good way of not realizing anything that should scare us. We made it with £900,000 which we begged, borrowed and literally stole to get the film made, but it made money. Then you get a reputation that you can make people money.

What I learned is that when you raise money, if somebody says, “Well, if it’s so good, why are you not putting in?” I was like, “Yeah, fair enough.” With “Kick-Ass,” I literally bet the house. When we broke [out] “Kick-Ass,” nobody in Hollywood wanted to make it so I took out a mortgage on the house and financed the movie. It was scary because we couldn’t get any distribution. Then, when it was finished my agent at the time said, “It’s not really intelligent.” If everybody in Hollywood says, “No, don’t make it,” that’s because it doesn’t mean they’re going to buy it — and he was right.

They all said no. Well, they [were then] showed clips of the movie after “Avatar.” I really thought I was screwed but the fans went so crazy, Hollywood decided that maybe there was something in there that the fans might like. Then they went for it.

T2C: Was “Kick-Ass” a reaction, in a way, to the trend of comic book movies?

Matthew Vaughn: It was Mark Millar [the graphic story creator of “Kick-Ass.”] He came to the premiere of “Stardust” and he pitched “Kick-Ass” to me over a martini. I’ll never forget it. He said, I’ve written a comic about a superhero with no powers. I thought, “Oh wow, that sounds cool.” And then, off we went and did it and I like the story.

T2C: It was the first time that you properly harnessed your action leanings. There’s some great action sequences. Everything that Hit Girl [Chloë Grace Moretz] does was pretty amazing. Was that a great opportunity for you to prove what you could do, as well?

Matthew Vaughn: I had no idea, but I was a big Jackie Chan fan. I was thinking action would be very gritty and thought, “No, let’s do something a little bit more fun.” It’s not easy but it’s rewarding.

T2C: That movie has got this really glorious, punky, rebellious attitude. Was that something that was a part of you that wanted to express?

Matthew Vaughn: That wasn’t in the script to be very clear.  It wasn’t in the comic. But it wasn’t an ad-lib either. Then little Chloe, read the comic at the time, and her mother came up and said, “Can we do one more take? She wants to try something?” Oh, no, but it happened. Thank God And it was in focus, one take.

T2C: One take. Amazing. With Chloe Moretz, and Aaron Taylor Johnson in that film, as well. Daniel Craig and Sienna Miller are in “Layer Cake;” Charlie Cox is in “Stardust” and Taron Egerton is in pretty much everything you’ve done. You have this incredible eye for talent, for responding to someone just as they’re about to go into the stratosphere. Tom Hardy’s in “X-Men: First Class.” Where does that come from?

Matthew Vaughn: I just use my eyes when an actor comes in and starts reading the lines. You forget that they’re auditioning, you just watch. Then I cast, simple as that. There’s a lot of actors that can’t act. They come in and then you say, “Next” and then someone brilliant comes in and you say, “You got the job.”

T2C: Sometimes that happens and sometimes it takes a while for them to come around again. Take Bryce Dallas Howard. We’ll talk about “Argylle” but Bryce Dallas Howard is in “Argylle” and she was nearly in “Stardust.” Is that right?

Matthew Vaughn: Bryce was the first actress to audition for “Stardust.” She did the best audition. I wanted to cast her immediately but the studio said “No, she’s not famous enough. She’s never going to pop.” Then a month later, she was cast in “Spider-Man 3.” But Bryce is a statement! When an actor is great, I appreciate the art, [though] I have no interest in being an acting coach. I just like to watch great actors do their stuff and just tweak it a little bit.

T2C: Moving on from “Kick-Ass” to “X-Men: First Class.” How did that come about?

Matthew Vaughn: Well, the man who said you’ll never work in this town again, watched “Kick-Ass” and, to his credit, rang me up and said, “You know what, I didn’t mean it when I said that. What I meant was that you will work in this town again.” Yeah, but one of the main reasons that I actually quit “X-Men 3” —  this is a true story and I don’t care if I’m not meant to say it —  [is that] Hollywood is really political and odd. I went into one of the executive’s offices and saw an “X-3” script and I immediately knew it was a lot fatter. I was like, “What the hell is this draft?”

“But don’t worry about it.”

I was like, “No, I’m the director and I’m worrying about this draft. Tell me what it is, please.”

I grabbed the script. It was like a crazy moment, but I opened the first page and it said, “Africa. Storm. Kids dying of no water. She creates a thunderstorm and saves all these children.”

That’s a pretty cool idea. What is this? They went, “Oh, it’s the Halle Berry script.” I went, “OK. She hasn’t signed up yet.” But this is what she wants it to be and once she signs up, we’ll throw it in the bin.

I was like, “Wow, are you going to do that to an Oscar-winning actress who plays Storm? I’m out of here.” I quit at that point. I thought, minced meat. That stayed with me and made me think Hollywood does some stuff well, but not in my style. But “First Class” was interesting because Singer wasn’t involved at first. He rang me up, “Well, Fox isn’t going to work with me,” and he went, “Don’t worry about that. They’ve changed their minds.”

I knew that they threw money at problems, so I thought maybe it would be nice to make a movie where I can think of some stuff and it can actually happen. And we only had 10 months and there was no script. Singer had come up with the idea of the ’60s and the Cuban missile crisis. I thought, “This is pretty cool. I always wanted to do a Bond.” Another story didn’t do it; it nearly got fucked. So I thought, “I’ll do it.” And it was fun, it was good. It was a challenge. I like challenges.

T2C: You had this amazing cast and got Michael Fassbender as Magneto. You had the sense that you were making your own Bond movie essentially with him.

Matthew Vaughn: Yeah. He thought so as well.

T2C: Precisely. What about your memories of shooting “X-Men: First Class” that stands out to you?

Matthew Vaughn: I think making blue people feel real and giving that emotion. It’s not easy. You’re on set and it’s dripping and you are definitely taking fantasy and trying to make it a story that you believe and relate to. That’s the thing I think about for all superheroes or fantasy: it’s got to still have humanity in it. Then you can enjoy it. That’s why I think sometimes people get it wrong because it goes so out there that you just can’t relate to it.

T2C: Weren’t you going to direct “X-Men: Days of Future Past” which was going to be a follow-up to your prequel?”

Matthew Vaughn: I was but Hollywood forgot to tell me after I wrote the damn thing that legally Bryan had directed it first. So I wasn’t mucking around Hollywood anymore. [I decided that] I’m going to go and do “Kingsman.”

T2C: Was “Kingsman” always bubbling away in the background? Where did it come from?

Matthew Vaughn: “Kingsman” literally came with Mark Millar and I in a pub and – I love you, Daniel Craig – but we were just thinking. Bond’s gotten a bit too serious. And, literally, over a few pints of Guinness in a pub called the Windsor Castle, we just came up with it and plotted the whole thing out.

We were talking about how Ian Fleming didn’t want to cast Sean Connery. So the director of “Doctor No” was like, “Fleming, give me two weeks and I will transform the Scottish big bloke into an English gentleman.” He took him to Saville Road and converted Connery into Bond. And we thought, “Well, let’s take that idea and do our own version.” So that was the kernel of the idea.

T2C: You mounted your own search for your Connery equivalent. You had Colin Firth? Did you always see Colin Firth as an action hero? He didn’t.

Matthew Vaughn: Then you didn’t see “Bridget Jones?” I thought, “He rocks that sweater and that fight with Hugh.” I’ve always really liked Colin Firth. He’s one of the sweetest men and I needed someone to play that character with warmth and a non-snobbery attitude, which I knew he could do. You could turn to the wrong actor; then you’d think “Kingsman” was out of touch. But I think Colin was pitch perfect.

T2C: How did you discover Taron Egerton? That was his first film?

Matthew Vaughn: He just walked through the door. Two other actors that I wanted to cast were Daniel Kaluuya and John Wade, they were both unknown as well. They did incredible auditions but then Taron came in and I knew he had it. All three of them actually did. But Taron was amazing and that’s why I keep working with him. He’d never been on a movie set before. It was a pretty big risk. Literally, his first day on a movie set was his first day in “Kingsman.” I had to explain to him what a boom was. But his audition was so good; he’s an effortless actor, intelligent as well.

T2C: With the insanity of “Kick-Ass” and then “Kingsman” you go for broke. You don’t hold back. You want exploding heads, you have exploding heads. You want a church massacre, you have a church massacre. Was that something that you wanted to pursue?

Matthew Vaughn: Obviously Yes! I don’t know how my mind got the idea but I remember ringing up Jane Goldman, my writing partner. We were writing the third act. So I said, “I’ve got a crazy idea. It would be really amazing if their heads exploded, but not in a ‘Scanners’ style. I’ll make it look like a beautiful sort of fireworks.” She said, “I don’t know about this.” But then I got it pre-visualized and showed it to her. She’s like, “OK, let’s go!”

T2C: What did you want to do with the sequel, “Kingsman: The Golden Circle?”

Matthew Vaughn: Well, for some people, it’s an acquired taste. For “Golden Circle,” I wante— to dial up the fun, which I did. I think my teenage son may have influenced me a bit too much. But I was watching movies again, getting too serious and I really enjoyed working with Colin and Taron. I’ve always loved America and Americana. I grew up with ’70s culture, which was coming from America, whether it was “Magnum,” “A-Team,” “Dukes of Hazzard” or “Miami Vice.”

I thought I’d love to do a “Kingsman” version of that and that’s where “The Statesman” came from – just to have a bit of fun. I don’t like boring, serious films. I like entertaining escapism, so I only make what I want to watch. Sadly, I’m making big home videos in a weird way. Home movies are probably a better way of saying it now.

T2C: There’s a lot of ongoing debate about the greatest shots in cinema history. To nominate a possible contender, it’s that scene with Elton John kicking someone in the face in slow motion in the “Kingsman 2″ [“Kingsman: The Golden Circle”] film. How the hell did that come about?

Matthew Vaughn: If you eat sausages and your guys like hot dogs, do you continue enjoying them and not know how they’re actually made?

T2C: That’s why you’re saying Elton John didn’t actually kick someone in the face?

Matthew Vaughn: I think Elton’s kicked many people in the face…

T2C: Which led to “Rocketman” [the film based on Elton John’s life starring Taron Edgerton] of course.

Matthew Vaughn: “Rocketman” was surreal because it was literally one of the greatest days of my life, with Elton playing a piano in between takes. He didn’t need any of me, or of everyone [but he asked], “What do you want to hear?” It was like having an Elton John jukebox and he was so sweet to the crew; it was pretty surreal. I mean, my whole life has been surreal, but that was one of those moments.

At the end of the day, he said to me, “I have a screenplay about my life and my music, but nobody wants to make it. Would you read it?” I was like, “Oh fuck, this has to be the world’s worst if nobody wants to make an Elton John film with his music and he’s been trying to make it for 15 years. Yeah, this is going to be a dogshit of a script.”

Welcome to Hollywood, by the way, that sums up Hollywood in all its glory, not universally of course. Everyone said “no” to it and then I read the script – literally going from the set to back home and couldn’t put it down. I was like, “What am I missing?”

Then I did some digging and [found out that] no one in Hollywood wanted to make it because they thought there was too much homosexuality and I’m like, “Whatever.” Too much drugs and, it should be a PG 13? I was like, “You can’t make an Elton John PG 13 movie.” But we did it.

T2C: You made it, but you didn’t direct it because you were going to direct “Kingman 3” at one point?

Matthew Vaughn: I actually will be doing a musical next year. I can’t talk about it. It’s taking me so long to find a musical to do because, a musical…. It’s like an action movie is only as good as the action. Or a comedy is only as good as the humor. A musical is only as good as the music. And Elton John’s catalog is pretty hard to beat. So I’m trying to mash it, at least. And I think we’ve nearly got that.

T2C: A Matthew Vaughn musical might be one hell of a thing! You were going to direct “Kingsman 3” as well. But then you ended up directing “The King’s Man,” which of course is the prequel. Why the switch?

Matthew Vaughn: I think “The King’s Man” was meant to be a TV series with the anniversary of World War One and what was going on in the world. We found what “The Kingsman” was about — the sort of aristocratic, rich people losing their children and then founding The Kingsman and giving the money to an agency to make sure war would never happen again.

I always thought that was fascinating. I think history is really important. I wanted to do something where historical events go back to the masses, making people look up characters and learn that we’ve made mistakes in the past. Let’s try and learn from them and not repeat them.

T2C: There was a change of tone as well.

Matthew Vaughn: It’s kind of a World War 1 action comedy. But the whole thing is, if you do a prequel, like you’re going to do a prequel to “Bond” or “Superman,” you don’t start with Bond being 007 or Superman flying with a cape on. They have to start somewhere different for the journey to begin. As I said, the death of Conrad is the birth of “Kingsman.” That’s why the first half was a bit more serious.

T2C: Is the “Kingsman” journey done?

Matthew Vaughn: No, we’ve got to get on it. We are working on that [“Kingsman: The Blue Blood”] at the moment but it’s a weird time to be in the movie business; we’re not making movies. Well, we are, and I am, but that’s another story. It’s a tough time but next year we will be rebooting “Kick-Ass.”

T2C: You can’t just drop something like that and expect you not to follow it up.

Matthew Vaughn: The clues are the words “reboot” and “Kick-Ass.” Imagine those two terms. “Kick-Ass” sort of changed people’s perceptions of what a superhero film was at that time. So we’re doing it again. It’s none of the characters from the other “Kick-Ass.” We’re going off on a tangent but I can’t really talk about that.

T2C: “Argylle” started off as your little lockdown movie and then grew so much.

Matthew Vaughn: It was a combination of things. There was the lock down. I was with my daughters and showed them “Romancing The Stone.” They loved it. I was like, “Oh God, I really enjoyed it again, I forgot how much I liked it.”

Then I also remembered my first successful date as a teenager was because of “Romancing the Stone.” I wanted to make a movie where that might spawn many more successful dates for an audience which, I hope, this will do. I wish you all luck when you see it. It was an odd time because when the book of “Argylle” arrived in manuscript, all this weird shit was going online saying it’s not real but underneath, it’s a real book. I couldn’t get book #1 breaking as new Intellectual Property but there aren’t many people bothering to do it at the studios. They’re learning now. This has taught me that maybe the audience does want original films.

Anyway, I asked them to only do a trailer for the first 28 minutes of the footage in the film and they did. You’ll see that even what you saw in the film isn’t quite the same as in the trailer. But we wanted to do something sort of very meta because you can’t just remake “Romancing the Stone.” You’ve got to do things differently.

I just so love the idea of what would happen if a wizard went to JK Rowling after book #3 and said, “You know what? Wizards are real. Hogwarts is real. I’m real and I’ll show you what it’s really like going on an adventure.” We thought we’d do that with spies. Elly Conway, in real life, will become the JK Rowling of spy novels. But in the film, we sort of fast-forwarded into the future.

T2C: In the film, you have Henry Cavill who plays Argylle with an amazing hairdo. But then there’s a real world component as well with Bryce Dallas Howard and Sam Rockwell. Bryce Dallas Howard plays Elly Conway.

Matthew Vaughn: I haven’t met Elly Conway. I would be emailed by her, because she actually doesn’t know what to say. I love that. She speaks for herself but she actually doesn’t like traveling and she’s playing an Elly Conway that won’t fly. She’s having to go on a train. We took her love of cats just a little bit further.

T2C: She takes a cat wherever she goes. So for a very eventful train journey, indeed.

Matthew Vaughn: That’s just the beginning. That’s the tip of the iceberg. A real spy comes into her world and she’s trying to understand why, how she thinks spies are. Sam Rockwell is not what she can imagine as what spies are. So she has to go and learn the hard way what real life spies do, compared to the cliche spies I was guilty of making up.

T2C: Was it tricky to shoot, matching up the action sequences – cutting between say, Cavill as the super agent and Rockwell, the “real” agent?

Matthew Vaughn: We actually did the whole thing twice. There’s a lot of scenes where we had to shoot everything twice and make sure it all matched so you just have to have patience.

T2C:  There’s more mad, insane stuff. Where does that come from?

Matthew Vaughn: Well, yeah, as I said, when you see the trailer, we don’t show that the whole movie is about switching off. You’re going to go on a roller coaster ride. Hang on and by the end of what you went through, you’ll actually feel good.

T2C: Talk about the cat. Matthew, who is the cat?

Matthew Vaughn: We had a cat on the first day of filming but I fired the cat because it was very expensive. A pain in the arse. I went into my daughter’s bedroom and said I’m borrowing your cat. I didn’t quite think it through. I’d have to drive to work with the cat every day. With this film, I’m now a director and a cat handler. I didn’t like cats to be very clear. I’m a dog person. but I’m a cat person for a while. The cat won me over. Chip is the real name of the cat, but he plays Alfie in the film.

T2C: He was a natural, he took to it immediately.

Matthew Vaughn: He was a good cat. He behaved and, maybe, that’s the trick — to put your own animals in because they’re relaxed and know you. They say don’t work with kids and animals. If they’re your own kid or animal, that might be the way to do it.

T2C: Is it true that Bryce Dallas Howard now has a cat just like Chip?

Matthew Vaughn: He’s got Chip’s color. As a wrap gift, I got Chip’s cousin who was just born and I gave it to her. I think the cat’s called Moose. And yeah, maybe Moose and Chip will be in the sequel.

T2C: We have this real book, “Argylle,” by Elly Conway not being read by anyone apart from the crew. And we haven’t even scratched the surface. Matthew, this film has the cat. But also, you’ve got an amazing cast. You’ve got Brian Cranston, who else is in there?

Matthew Vaughn: And Catherine O’Hara. We touched upon Henry Carville and Dua Lipa as well. Then there’s John Cena, Ariana Dubose. They’re all in there. Sam Jackson. I was like, who’s on, who’s off? Where’s the great cast? And they all did bring it to me. They’re all different. And yes, indeed. Chip is in “Argylle.” The cat steals the show!

Film: “Argylle”

Director: Matthew Vaughn

Cast: Bryce Dallas Howard, Sam Rockwell, Henry Cavill, John Cena, Dua Lipa, Bryan Cranston, Sofia Boutella, Ariana DeBose, Catherine O’Hara, Samuel L. Jackson.

This Q&A is based on a discussion held at New York Comic Con last October. On stage in the Javits Center.

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The Glorious Corner



G.H. Harding

LULU’S BOWIE — (Via Ultimate Classic Rock) Scottish singer Lulu recalled the time David Bowie said they’d make a hit single together – and proved himself right.

But she also admitted that running away from Bowie in the ’70s has left her wondering what might have happened if he hadn’t scared her during hi Young Americas era.

Lulu, known for her powerful, soulful voice, rose to fame in 1964 with her version of “Shout!” It was chosen by the Beatles as one of their favorite tracks of that year, and helped her become a household name in the U.K. during the decade.

In a new interview with The Guardian, she said: “I first met [Bowie] in a studio in the U.S. with Iggy Pop. Later, he walked over to me in the foyer of a hotel in Sheffield, invited me to his show that night and said: ‘I wanna make a hit record with you.’ Which is exactly what happened.”

Lulu’s version of “The Man Who Sold the World” reached No. 3, featuring Bowie’s backing vocals. “The record company wanted me to be a little pop diva but he said: ‘They don’t get your voice,'” she remembered.

“I loved Hunky Dory and he looked as if he hadn’t wiped his makeup off from the day before. His hair was orange, his skin was alabaster. Once we’d had something to drink, we were head-to-head, nose-to-nose for the rest of the evening.”

She said she might have recorded a fourth Bowie cover, along with versions of “Dodo” and “Can You Hear Me,” but she couldn’t be certain. “It was quite a difficult time,” she explained. “He was doing Young Americans and involved in a lot of dark things. I was a little bit frightened and kinda ran.

“I don’t have many regrets, but there is a part of me that thinks: ‘What if the relationship would have continued?’ I’m a very private person, and most people only know a piece of me, but Bowie got me.”

Lulu was asked about the night Bowie performed as Ziggy Stardust for the final time, after which she accompanied him to a hotel with Mick Jagger and Lou Reed. “They say if you can remember it, you weren’t having fun,” she said. “And I don’t remember much of it!”

“I remember Mick being happy I was working with Bowie. I’d first met him when I was 15 and we were both on Decca. The Stones would pat me on the head, like I was a little sister, which always annoyed me because I wanted to be their equal.”

In 1969, Jimi Hendrix  infamously abandoned the arrangements around his appearance on Lulu’s TV show, breaking into a cover of Cream’s “Sunshine of Your Love” and overrunning beyond the end of the live broadcast. “I was in disbelief,” she recalled.

“He’d just heard that Cream had split up, so broke off his song to launch into ‘Sunshine of Your Love’ in tribute. The floor manager’s face went crimson, because in his earpiece he had the director screaming: ‘What’s going on?!'”

She went on to address a long-standing rumor that she’d taken the Who to her parents’ small apartment in Glasgow, after they’d supported her in the city under their earlier name, the Hugh Numbers.

“It was at least Pete (Townshend) and Roger (Daltry). It may even have been the whole band,” Lulu explained. “It wasn’t tea and biscuits. My dad was a big drinker, so he sent out for half a bottle of whisky and six cans of lager.”

She added: “I still bump into Roger. Nothing can replicate the history you’ve got with people from when you were young.”

Here’s “The Man Who Sold The World”:

SHORT TAKES — The Super Bowl flu? Crazy. Massive reviews, both pro and con for Usher’s performance at the game, but none more spot-on than Dominic Patten’s in Deadline: “Usher felt very 20 years ago and flat – almost as flat as the first half of grinding play between reigning champs the Kansas City Chiefs and the San Francisco 49ers.” Ouch! … A speed-dating game on NBC’s Today? Wow! Talk about being dated. I miss Matt Lauer more than ever; not his alleged off-air antics, but his straight-forward news reporting! …

We hear that Micky Dolenz was such a hit at the Mark Lapidos’ weekend Beatlefest; he’ll be invited to the next one in Chicago in August. Stay tuned …

Sammi Jo/Penny Lane

Still loving Nashville’s Penny Lane from the Beatlefest; with Sammi Jo on bass. Check them out: www.pennylanenashville.comParamount Global begins to let go 800 employees … Yes, Sunday’s Super Bowl was the biggest ever with an estimated 123.4 million viewers. Virtually unheard-of numbers these days …

That extended play (EP) Dunkin’ commercial via Ben Affleck; Matt Damon; and Tom Brady, is hilarious, but Affleck shilling for Dunkin’ seems a bit overdone. I’ll give him props, at least it’s not another cologne or car commercial …

Micky Dolenz (Jodi Ritzen)

Great story in Rock Cellar (by Frank Mastropolo) on Micky Dolenz’s new book, I’m Told I Had A Good Time. Check it out here:

Here’s what Decider thought of the Run DMC doc (Kings From Queens) on Peacock: Run-DMC’s towering hip-hop legacy is not in dispute. But this docuseries feels like the most complete way to establish it for posterity, with the group’s founders involved (they’re also producers) and an impressive slate of special guests’ commentary. Whether you’re cold chillin’ at a party in a b-boy stance, or rocking the mic and making girls dance, Run-DMC will help you do it. Kings From Queens: The RUN DMC Story is an efficiently told, visually rich docuseries that provides a full history, but there’s insight into the group’s legacy here, too, as well as their tragedies. Per David Salidor, who was the PR-person for their label Profile Records: “The boys were the producers, but to not have the two men who ran the label interviewed -who made it all happen- is a critical mistake. Sure, they had a vision … but I can tell you first hand it was a lot more erratic and complex than shown on screen. Profile’s Manny Bella, who did the promo for the label, deserves a huge thank you from them. They did use a photo of mine, which was great, but I’m still waiting for a copy of all three episodes. It was great to see, but not the whole story, by a very long-shot” …

Sophie Ellis-Bextor

Sophie Ellis-Bextor was great on Tuesday’s Fallon’s Tonight Show. Great song and for me the highlight of an otherwise awful movie: Saltburn… RIP Hank Cicalo … Happy Bday Anthony Hayden Guest and David John Oliver.

NAMES IN THE NEWS — Kent Kotal; Jodi Ritzen; Tony King; May Pang; Steve Walter; Chuck Pulin; Elaine Kauffman; Randy Alexander; Roger Clark; Ralph Nader; George Clinton; Alan Miller; Bruce Spizer; Barry Fisch; Eppy; Victor Kastel; Gary Gershoff; and SADIE!

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