Original subtitles

(tense music)

(dramatic music)

- [Director] Quiet, we're rolling!

- Hi, Joe.

I was waiting for a time of my life for this moment.

Stop the error in this world, this universe.

(actors chattering)

- The dialogue is a little- - Yeah.

- Insane. - Camera set, action!

(dramatic music) (crew chattering)

- Bam, wonderful.

(sticks clattering) (dramatic music)

(actor grunting) (sets crashing)

(actors grunting)

- Matt, come out! (dramatic music)

(actor moaning) (dramatic music)

- Not being a crying little bitch at work.

- [Caller] Walking onto other people's stages,

that should not happen.

- [Director] Make sure the cell phones are off!

(actors chattering)

(sirens wailing)

- [Speaker] Hey, Rich, someone getting arrested?

- Either someone's gonna get hurt

or we're gonna burn this place down,

but we should really leave now

before something really horrible happens.

- [Matt] I have no idea what we're doing tomorrow.

I don't know my lines.

- [Mark] They're changing the script.

You know, I really don't know exactly what's going on, so..

- Whatever it takes to make a great story

go from page to the screen, I'll be happy with,

because then I know I can do the best that I can do there.

- [Mark] Really looking forward to start shooting.

I've been here few days now.

(dramatic music)

(dramatic music continues)

- The way that I got the part in the movie

for "Samurai Cop," I had a friend

that was a bodyguard with me, with Stallone.

- You were Sylvester Stallone's bodyguard

for a while in the late '80s, around the "Rambo" era.

- Yeah, when I first moved to LA, obviously I was too big.

I was probably 270 pounds

and I obviously wasn't gonna wait tables

and knock everything over.

So I got into the security field.

I had some background in executive protection

and I actually went to the gym where Sly worked out

and he had just come back from filming "Rambo III."

And I started talking with his bodyguards

while he was in the gym working out,

and they asked me if I wanted to come on board.

Boyle Gork, who was in "Rambo II,"

he's the big Russian that Sly fights and throws off.

He said, "Go meet this guy Amir Shervan.

He does low budget movies, let him give you a small part.

You can start to build a reel."

(both grunting)

(guns firing) (suspenseful music)

- Don't be stupid.

- Don't you be stupid. Gimme the gun.

- I can't do that. The sheriff's right downstairs.

- Fuck the sheriff.

The only thing he's gonna give you is funeral.

Gimme the gun. - Give him the gun,

I'll blow your balls off!

- At the time I had a manager.

So one day I got a call from,

I think it was Amir Shervan's secretary

saying that, "We like your picture.

Come on down, audition."

And like again, I had, I didn't know who Amir was.

I didn't know anything about him.

I just said, "Okay, well, I'll try it.

Let's see what happens."

- I got his number, went in and met Amir

at his office in Silver Lake.

- I said, "Where's the script?"

He said, "Well, I'll give it to you."

So I said, "Am I gonna read?"

This is after about 10, 15 minutes.

He said, "No, you don't have to read.

You got the part." (laughs)

And the minute I walked in, he was just like,

"This is it. You're perfect for my movie."

I didn't even know what the movie was.

- Yeah, he called me later on, he says,

"Yeah, we're shooting tomorrow."

So that's how it started. (laughs)

(upbeat music)

(gun firing) - I understood

we're supposed to be a buddy cop,

kind of like "Lethal Weapon," so that was fine,

'cause I thought, "Oh, that's good.

There'll be action and I can pull that off."

- I liked about the script is that

is I was gonna be all the way through it.

So, and that was the first time I'd ever been in a film

where I'm all the way through the film.

For those who didn't see the first one,

go see the first one.

(gun firing) (actor grunting)

(record scratching)

- But yeah, I did have some concerns with Amir's writing.

- Dialogue was just really odd.

But that's what he wanted us to say, so we said it.

- Look out, Joe.

- Don't worry.

- Who the hell is you?

What do you want? - We want information.

- What kind of information?

What, information about my butt?

- Sit down.

- Who's gonna answer to Captain Romo on this?

- You. - Shit, man.

He'll burn my.

- You don't have to worry about that, it's already..

- Yeah, yeah, yeah. I know, it's already Black, huh?

This time, he'll probably cut my dick too, huh?

- You better come to my house

before you report to the captain.

- [Frank] For what?

- Let's use it before you lose it.

(Frank laughing)

- I enjoyed the fighting and the cheesy comments.

(both grunting) (suspenseful music)

- Why did you come under?

- 'Cause I'm an undercover cop.

- You just keep it warm.

- It's warm and ready.

- Telling a woman to keep her genital area warm 'til I come.

I mean, it's just so ridiculous.

♪ Happy birthday, dear Jennifer ♪

♪ Happy birthday to you ♪

- You thought of everything.

- Well, you can't have a birthday without a cake.

- Thank you. - You're welcome.

(audience laughing)

- It's like Amir was just,

he just wanted to throw some sex into it.

- Would you like to touch what you see?

- And basically I was just reacting to the dialogue.

- Would you like to go out with me?

- Uh, yes I would. - Would you like to fuck me?

- The dialogue was just so bad.

- I told Amir, "Do I get a girl?" And he said yes.

And that's how that scene got made.

- And then of course the bikini shots

are always hilarious to watch.

You know, Amir is like, I need you to get a very

skimpy bikini to match Janice

and then you guys will be on the beach.

And at the time, I'm just doing it.

And again, I wasn't a fat sloppy guy.

That's what they wore in the '80s and '90s, you know.

Nowadays to kids with the board shorts,

it's like ridiculous, but those are funny to look back on.

I'm coming outta the pool

and just having this stupid bikini.

It's like, "What were you thinking?"

(explosion booming)

- It's like the kind of movies I grew up on,

only like the worst one.

- [Thomas] But fun.

It's one of those movies that's just,

it's special.

- [Frank] Hey, man watch it! Watch it!

Oh, man.

(person screaming) (extinguisher spraying)

Put the blanket on him.

That's it.

Are you Fujiyama?

- Yes, I am.

- I was walking down Little Tokyo

and Amir said, "You want to be in movie?"

And I said, "No."

And then he kept calling me and I said, "Okay."

- Here comes the boss.

- That was 25 years ago.

You know, I had hair.

And he says, when I'm reading the lines,

it says, "Sound Japanese."

I said, "This is what Japanese sounds like."

"No, talk like this."

So I gotta talk like this

through this whole thing, that's tiring.

- All right, Samurai, drop your gun

or your sweetheart will be dead.

I guess the budget was really, he didn't have any money

because I don't think anybody actually got paid

for that first movie.

- Very nice guy. He seemed to be very well organized.

I had no idea our concept on budgets and so on.

I knew what we were getting paid, Mark and I,

which wasn't a lot, but we didn't really care.

- Maybe you get paid today, maybe you don't kind of deal.

- Oh, brother. (both laughing)

- Amir was kind of crazy.

- Permit ran out, so we had to run around, sneak,

you know, hide from the police.

Had to, you know, sometimes they would be coming

and then we had to cover up the camera and run.

I mean, it was just, sometimes it was just complete chaos.

Sometimes.

- But in the beginning, you know,

there was a whole sound team, a lighting crew.

As things progressed, it did slowly,

his money started running out

and people started disappearing.

'Cause I'd say, "Well, where's the script girl?"

Or "How come Scott's not here doing lights today?"

And it eventually just ended up to be almost like Mark,

myself, Amir, and Peter Palian the cinematographer,

running around LA, just picking up shots here and there.

- With Amir, there was no second take.

- In "Samurai Cop I," because of definitely lack of funds,

we only took one take and whatever came out came out.

- Just one take.

If the one take is not good, that's your responsibility.

(gun firing)

- If the whole project was crappy, okay fine.

But when I was doing my scenes, it was fighting.

And I enjoyed that.

- We finished principle photography August,

November was come back and do all those loop lines

where you hear Amir half the time.

(audience laughing)

And then he says, "We're done."

And then that's when I cut my hair short

and then three months went by.

- You know, when we're filming again,

Matt had to go get this wig, 'cause he had cut his hair.

- I didn't really think it was gonna be that much footage

that we would need to be doing,

but it turns out it was just a huge amount.

I mean the fight scenes is just ridiculous.

That one shot there when we're fighting,

you can see he knocks the wig off.

(audience laughing)

Looking at the footage I have,

we need to have you guys coming down to the police station.

So that scene, actually, he stole that shot.

We had no permit.

He's out on the curb and the cop that comes out

and talks to Mark and I with Amir dubbing the voices,

"Hello, how are you?" isn't real.

- [Interviewer] That's Amir dubbing.

- Yeah, and he approached us.

He says, "What are you guys doing?

Do you have a permit to film here?"

And Amir, "Yeah, we're with TV show 'Hunter'

around the corner with the second unit."

The guy's like, "Okay."

He goes, "Aren't you the cop

that's supposed to be in the scene?"

He's like, "Well, you're handsome enough. How about.."

And Amir just sucked him right into doing,

coming over and "Hello, guys."

Even to this day, it was a very amazing opportunity,

'cause most people never have.

- So I'm really appreciative of it.

And it's somewhat like putting me on the map somewhat.

I never expected anything. I didn't expect this at all.

- An opportunity to be in a film,

let alone star in it or have the whole thing,

you know, based around your character that you're playing.

(swords slashing) (both grunting)

- I would see like really funny montages of like my dad,

like fighting people with like a samurai sword.

And I'm like, "What the fuck is this?"

- I would check in every once in a while with that IMDB

and just Google "Samurai Cop,"

'cause I really enjoyed reading the comments

that people would make about my horrible acting

or how I looked and this and that.

I just thought it was funny.

- And then more recently is when like the whole drama

happened with him being dead.

And that was just like crazy.

- There was just another actor apparently that,

or another guy that worked in the movie industry

as a carpenter.

And they must have thought Matt Hannon, movie, carpenter.

Oh, that must be him.

Apparently, there was no pictures of the guy.

He was close to my age.

So when he passed away, unfortunately,

they just assumed that it was me.

- But I confronted my dad

and my dad was like, "Yeah, they think I'm dead. Ha ha."

Like he was kind of happy about it.

- I don't care, 'cause you know,

I was never gonna come out from behind the shadows.

- And I was like,

"No, you can't let them think you're dead."

So he made the YouTube video,

telling everyone that he was alive.

- Because I could see a lot of people were upset.

We never got to get the full story.

You know, Amir's dead.

I wish we could have known him,

known a little bit more about him.

So that's when I started saying,

"Well, maybe I shouldn't just let me be dead,

maybe I should come forward," so..

- He was like kind of hesitant towards it.

And then he like randomly sent me a video

like out of nowhere.

- All right, all right, here's the video.

Everybody needs to see a video.

Is the Samurai Cop still alive? Yes, I am.

This must suffice to let you know that the Samurai Cop

still lives.

What a fucking retarded film.

It was almost 25 years ago.

I'm 50 years old.

Unfortunately, I haven't changed my looks at all.

Just in case somebody wants to do like "Samurai Cop 2,"

I guess I'll be ready.

- Whatever.

So I just put it on his YouTube account

and like my dad was like, "Oh my God,

like people are calling me from like all over the world

or messaging me and commenting."

- It went out and that's where it was kind of like,

"Oh my God."

- We didn't know he had such a big following,

and everyone was so happy that like he wasn't dead.

So I was like, "Okay, this is a good thing."

Like, "I'm glad we did this."

- I'm a huge fan of this movie

and I'm super thrilled that Matt Hannon is alive.

- Posted that video online that you were actually alive.

That was amazing.

- Came back from the dead. - Yeah.

- So Matt, how are you doing today?

- I'm very well, thank you. Thank you for having me.

Since I had changed my name legally in '94,

they kept Googling or looking for Matt Hannon.

And the only thing that popped up was a carpenter

that worked on the movie sets.

During my time here in Madrid-

I know somebody really went to the extent

of going to the grave or that the state

with the actual guy was buried,

tried to find his parents, which is odd.

Hey, everybody wanted to let you know this is an iconic spot

where Amir turned me onto many years ago.

So we're gonna go in and look for some wigs.

Then when my video comes up

and everybody finds out I'm alive, Greg thinks,

"Oh my God, this is perfect now.

I can get the original two duo back together again."

- And so I immediately contacted him

through his YouTube video channel.

I says, "Listen, we want you for the sequel."

And he says, "Why are you making a sequel?

What's the reason to be a part of it?"

And I says, "Well, look,"

and I showed him some clips on YouTube.

There was a video game, there were all these fanmade

videos about "Samurai Cop."

And I says, "Listen, look what's going on.

There's a big fan base going on.

It keeps building up, building up."

The first meeting didn't go so well.

We sat down and I pitched him the whole idea of the movie

and I think he was still sort of freaked out, like,

you know, 'cause like here, you know,

I was this director obsessed with him.

And it sort of freaked him out.

He says, "Well listen, let me sort of digest this.

Let me think about it, you know,

and I'll get back to you."

And then pretty soon, once I sent him the script

and the scenario, what was going on,

he talked to Mark Frazier,

I think he saw what was going on and the rest of the cast.

And he sort of, you know, then he went along,

he sort of committed himself, you know.

- Gregory Hatanaka wrote a really kick ass treatment

for the sequel of this movie.

I've been just, I was waiting for the call.

I was waiting and waiting, I knew it was gonna come,

and eventually, it did.

And he asked me to write a screenplay

based on his treatment.

- They were talking about doing a sequel,

because Mark Frazier had been on IMDB

and they talked about being at some screening a year earlier

and they were talking about doing a sequel.

He was gonna be the star.

And then all of a sudden I come back to life

and Greg had called him and go, "Hey, have you seen this?

Is this really Matt?"

And then Mark's like, "Yeah, that's him."

- Well, I mean, originally Mark was gonna,

Mark was gonna produce the sequel to the film

and we had no idea that Matt was still alive at that time.

So we had a script and it was gonna be about

Mark finding out who killed Joe Marshall,

you know, was teaming up with Joe Marshall's

daughter, Jennifer.

- Which kind of hurt me,

'cause I didn't want him to feel

I ever was trying to steal any thunder

of whatever he had going on.

But the first time we did finally speak after 20 years,

it wasn't like, "Oh my God, thank God you're alive."

It was like, "Yeah, you know, you fucked up my movie."

So it was funny to hear that from him.

And we joke about it now.

- I was gonna be the main character in this stuff.

So you probably would've known more about Frank

than you're gonna find out in "Samurai Cop 2."

- [Interviewer] He just ruined the script, man.

- Gonna be the main man. Now I'm the second man.

- When Mark and Greg had first met,

Mark had some pretty big financial

windfalls coming through at the time

and he had told Greg,

"I'll throw in a couple hundred thousand."

Which I think sparked Greg thinking,

"Yeah, you know, maybe we could do a sequel

and if you have that much money, I'll throw in a little

and we'll put something together for the fans

and we'll get it out there."

The ball's already rolling,

now all of a sudden, Mark's big chunk of money's not there.

What we've got on a page, in a script,

or what Greg had thought completely goes out the window

because you cannot afford now,

you're compromising what you really artistically

wanted to do because of money constraints.

That's kind of been the hardest thing for me is to deal with

is what's been going on behind the scenes.

- You told me from the first conversation we had,

it's a multimillion dollar payoff coming September.

I gotta wait for my money in September.

Okay, but believing it's not (bleep) reality

is what I'm saying.

You told me you would have money,

you told Greg in September, now it's not September.

What the (bleep) are we supposed to believe?

That you gave a date to Greg and that's why he thought,

"All right, let me wait one more, a little bit longer.

This is the third time he's changed the date. Let's see."

And again, I told him, "Don't wait, it's not coming.

Let's move on." That's all I said.

And you got pissed about it.

Mark's investments seemed to me to be

maybe not coming through as we thought they would.

And I started seeing that productions were being held up

or decisions, because it was based on,

predicated on Mark's money.

So once I said, "You know what,

I don't think this is gonna happen,"

and Mark and I had some words about it

and I wasn't trying to be rude,

but I did want to make it sound like, you know,

we maybe should slow down here,

but we are under that timeframe of getting this out by,

you know, June of 2015, the 25 year anniversary.

- And that's when the Kickstarter thing started.

(energetic rock music)

- We're doing it all for you guys.

This movie is just for the fans.

Just can't wait to show you the crazy things

that are in our heads.

And how we're gonna pull it off is from your help.

- It's important in that the fans can speak for the film.

And allowing your additional donations and pledges

for the film will allow us to enhance

the special effects for the movie.

(sticks clattering) (group laughing)

And to enhance the general production value of the film,

including the characters itself.

- I have to be nice because I died,

but I want to be in "Samurai Cop 2."

(audience laughing)

- So if we're gonna blow up everything we wanna blow up,

we definitely need your help.

- There you go.

- Basically I wanted to do something

to help promote the Kickstarter campaign

for "Samurai Cop 2"

because it's a project that is close to my heart.

(sticks clattering)

- Would you like to go out with me?

Yes, I would. (camera shuttering)

- What's happening, man? - Hello, how are you?

- Good, good. How are you?

- Good to see you.

- Where you been? - I've been around.

I just, I've been looking for you for a quarter century.

- I've been dodging you, man.

I've been dodging you. (camera shuttering)

- Start this Kickstarter campaign

and we want everyone to contribute.

We're gonna have a blast,

and we're gonna do this just for the fans.

(camera shuttering)

- [Audience Member] If we donate enough,

can we be in "Samurai Cop 2?"

- Ralph Garmin, he had talked about our movie

for three days in a row before I even came on

and talked as a guest

and that opened up a whole 'nother window

of people to come and get involved.

(energetic music)

- Well, hello friends and lovers.

I am Laurene Landon and I am so excited

to be a part of "Samurai Cop 2."

- This is the perfect movie for all things men,

because it's going to be full of explosives

and chases and fights.

- I am delighted to be a part of this exciting team

of "Samurai Cop 2" and ask your support

for our fundraising campaign.

(Lexi grunting)

- And help support the "Samurai Cop 2" campaign,

'cause I really need to kick ass and we need your help,

so please help. (smooches)

- I look forward to seeing you all at the premiere.

- Please support our fundraising campaign

for "Samurai Cop 2."

- And to have this fan base that this film is driven by

where we were looking for 50 grand, ended up with 64.

That's amazing to get in such a small timeframe,

I think we had three weeks to raise it.

- [Audience Member] You guys start shooting

"Samurai Cop 2" yet or is it still..

- No, they're just,

the scripts basically getting wrapped up now

and they'll shoot it right in the middle of November.

It should be done by January.

And then they were talking about sending it

to some festivals. (audience laughing)

(audience member shouting indistinctly)

- I know, I mean, you know, I'm just like,

just put it out real quick and (indistinct).

(hands slapping)

- Right on, right on.

We said that 25 years ago. (laughs)

- Yeah, it still plays.

- [Interviewer] So you guys ready for your first big day?

- Back in action.

If I can keep my fucking pants up.

- [Interviewer] So you think Greg has everything together?

(Mark laughing)

- Yes. (indistinct)

Yeah, yeah, yeah, yeah, yeah.

I don't think we're gonna have as many problems.

I don't think so. But you never, never know.

We'll see what happens.

- When we turn around and we get close,

look at that and turn around and look at that,

as a backdrop (indistinct).

- And when you do a jump cut, don't go from head to head,

you go from a one head to a two head to a three.

- Sebastian Case. - Who?

- Remember Alfonso Raphael Federico Sebastian?

- I'm so happy to be here.

I'm really glad I sent that YouTube video out.

- Hey, see you in the bar, you two love birds.

Hey, don't get into any trouble!

But if you do, you name it after me. (chuckles)

(gentle music)

- Are you excited? - Yeah, very excited.

- [Interviewer] What's your role gonna be?

- I don't wanna say too much about the role,

'cause I don't know how much I can say.

- Oh no, it's okay.

This is gonna be like behind the scenes stuff.

- I get to kill the main character's wife, Joe Marshall.

And so yeah that's pretty cool.

- Officer, my sister's missing, you gotta help!

I went to go get her ice cream

and when I came back, she was gone.

- All right kid, calm down.

(gun firing)

No, no, no!

Holy shit.

But what he wanted was that same look that I had

when I chopped the arm off in the first movie.

(person screaming)

When I said no, 'cause he wants to freeze on it.

He wanted me to do that, say no crazy fucking retarded.

- The difference between the sequel

and the first movie is that this movie is set in space

partially, with no explanation.

- My first day on set for "Samurai Cop 2,"

and we pretty much are doing our

big talk at our board table, I guess, in our spaceship.

Yeah.

(crew chattering)

(dramatic music)

- What I'm looking forward to do the film

is my contribution.

I give her all the subtle nuances

and also real emotion behind,

because you have to have real emotion

for people to believe you, to vote for you,

and also give this very deadly, deadly passionate

like forceful kind of powerous character.

So you'll vote for her, you'll be scared of her.

Never felt before.

The honor is mine.

- The shot Creston Camaro.

The first "Samurai Cop."

It's basically his first role in 25 years.

- Greg is a nice calm director,

and it's a pleasure to do it.

With Amir, it was like you just did it.

I said move on.

He's really good. It's gonna be funny.

- I am doing my love scene.

We're rehearsing my love scene,

and anyone that knows me has known

that I've done many love scenes

and kind of know what I'm doing,

but he felt the need to show me physically.

So he climbed up on top of my co-star on the bed

in a missionary position and demonstrated it for me.

So Greg is pretty awesome.

- But we still are under the constraints of a tight budget,

which sometimes you can't get rehearsals, you can't get,

you know, multiple takes.

- Return action!

(Matt grunting)

Cut.

That's a cut!

- Everywhere you go, do you always bring

three girls with you to do your hair and makeup?

I mean, you're just the whole entourage of hair and makeup.

(Mark speaking indistinctly)

- There's one point at which

we're shooting on the spaceship set,

which we've already gone back and forth

about how like it's just randomly in space.

There's no real explanation for it.

How do they get to space? Where in space are they?

We don't know.

But before the footage that we have of,

they're in a comfortable place.

Greg comes up to me like right before we're about to shoot.

So the idea of this one is to show that

maybe we're in space, maybe we're not in space.

That's how I'd like it lit.

I said "Greg, what are you talking about?"

And he giggled. He does that.

- It's never according to how you envision it,

it's always very, very different.

You know, sometimes good, sometimes bad,

but it's never exactly how you envision it.

I like, yeah, I really like what we're getting.

- Some scenes are just gonna be shit.

Nothing I can do about it.

And some scenes maybe someone will look and go,

"Hey, you know what, maybe that Matt guy

might have something."

I just don't why we have to do the turkey

or the chicken thing.

It's a waste of film just for a stupid..

Where this should just be a scene between you and I

and I'm falling in love or I'm just giddy over you.

So here I am making breakfast for you like a,

you know, goofball.

But we could have some type of dialogue stall

but I don't know if the chicken story.

That isn't even that much fucking dialogue.

- Master used like the first 10 seconds.

- But I mean we got K seems to chill, you know,

I mean with Frank and I, but I mean we can get that,

but I never realized.

See, that's what the other problem is

the dumbest fucking dialogue, I don't even wanna say it.

So I'm not into, it's not what I would say.

And that's where you try to personalize more

or work with the writer.

It's like, what the fuck does, I have no motivation

to even talk about this stupid fucking chicken story.

It's like, you want me to come up with something else.

It's more, I don't know,

I remember I wrote something completely different

to get rid of this whole thing.

I personalized it and I made it (indistinct).

(bleep) hard is it to know six (bleep) lines.

Jesus Christ.

- [Interviewer] So what is he most pissed off

about right now?

- That he would never say it.

- He says the dialogue sucks.

- Making magic here, kids.

- Continuity. - That's how

great films are made.

- You know, I grew up on a farm when I was a kid in Tokyo.

Chickens run around the place all over the place.

- Back to one, sorry.

Robbie, you're still in the frame.

You gotta, yeah, gotta step in.

You gotta hide.

- My suits are custom made.

I'm using my own clothes,

which would be good for production value.

and he wants me with sunglasses,

so I got like 16 pair of sunglasses.

He's gonna pick one for each each day that I'm shooting.

And like he did today,

we're gonna start shooting some scenes now.

And even a matchstick that has different colors

to match the suit.

And that's, he liked my character in "Game of Death,"

which was called Stick the Assassin.

So it's gonna be like a takeoff on that.

- [Director] Bam!

Bam bam!

(actors grunting)

- [Interviewer] Hey, just so we know

or does this other actor that's here

know that we're filming documentary footage?

- What other actor? - Tommy.

Has he said anything?

- No, I haven't seen him.

I'm just saying if I walk up to him..

- No, it's fine.

(crew chattering)

- [Interviewer] I understand, but is he-

- Nick was shooting him before.

- Tell me your name

and what character you're playing on "Samurai Cop."

- So this is my assistant Raul. So what do I play?

- Lenton Catano. - That's it. Lenton Catano.

My name is Tommy Wiseau. I play a character, Lenton Catano.

Very cool character, we do a lot physical thing.

I did some training.

Sword training and was fun.

Move on, next question,

- Can you tell me a little bit about your character?

- Well, he's very powerful man.

He want to rule the world.

He's part of a group, they're called (indistinct) Group.

It would take the world or will destroy katana.

That's another group. And it's fun project, I really enjoy.

I think everybody's very professional, very courteous.

And I think it's, I support this project

because I think that it's something different.

I want people enjoy themselves.

Bottom line is I want to help them a little bit here, so.

And hopefully I will contribute to certain art,

which is sometimes difficult to put in screens.

- [Interviewer] Can you tell me how you landed your role?

- Well, they contact me, say, "Hey, do you want to do it?"

And I reviewed the script

and I think directors (indistinct) we are here.

You never say no as an actor.

You want something original, something-

- Well, this is original. - No, it's not.

- Yeah, it is. This is an original design from my friend.

This is not original, this is from a movie.

- Oh, it is?

- Yes. - It's already done.

- So why don't you do something like this?

This is- - Well, yeah,

that's what we were saying,

but then you said you wanted something different.

So I tried to come up with something different for you.

- Yeah, but you copied somebody.

- No, this-

These are ideas that were-

- This is idea.

So do it like this the way I'll be happy with this.

- Something like, okay.

- You can incorporate it, something.

- Yeah, yeah, it'll be..

Well, that's what the idea is, is that we take this design

and we make it our own and we make it original,

because there are no original-

(crew chattering)

There are no original ideas.

- I have no idea. I'm not in charge, talk to Greg.

- In the world. It's not original ideas.

- Talk to Greg.

- And then he tells me to talk to you.

- And I say- - What am I doing here?

- This is pretty good. That's pretty good.

- Yeah, that's good. We like that, yeah.

- That's the winner. - All right.

- But you should have all this element here

and just try it already.

What are you doing here?

You should already working already, get it.

- I'm on, goodbye. I'm on it.

See ya. - I'm just teasing, hello.

(crew laughing)

- Yeah, we should do sizing.

- Just do it now. (both chattering)

All right, I will do that.

- [Interviewer] She's fine. She's fine.

- Always gonna (indistinct). He's recording.

- Have you, so you haven't read the script yet?

- No, because they didn't give me anything.

- What's happening in the very opening of the movie,

there's a young version of you that kills my girlfriend,

which sets off the whole me disappearing from-

- Oh, okay. - Side.

So I'm just spawned blah, blah, blah.

Then at the end of the movie, we'll have this battle.

- Okay. - And then at the very end

is when you reveal about that you killed my girl.

It's a cool moment. I don't know how it plays.

- I say that?

- Yeah, it's almost like a

you've known all along and it's a regretful

like let me know, "I just wanna let you know

that I'm the one that took your girl from you."

But I don't know how he's playing that up.

But it's a cool scene.

Bruce Lee, "Enter the Dragon?" - I'm familiar.

Tell me what you do. - I don't know.

I'm just saying to him,

I think it would be cool if you get it.

- I will, I will.

So remember when I go back right,

go towards you, and you go backwards.

- Right. (Tommy grunting)

(both chattering)

- Where is he?

- He just went to go look at

where we're gonna film this tomorrow.

- Oh, goddammit. (indistinct)

Stop. Please cut this off.

(Interviewer laughing)

- Listen to him, listen to him.

If he says turn it off, please turn it off.

- [Tommy] Turn it off. Can you turn it off, man? Hey.

- His real name is Joe Marshall.

They call him Samurai. And he's burned bad, real bad.

- [Interviewer] Mid-shooting right now.

Where is Robert Z'dar?

I know that he was very eager to be a part of this.

- Robert Z'dar, unfortunately.

'cause we just finished our first phase of the shooting.

So we're now in January, right?

And in December, there was a snowstorm.

We flew up, you know, we bought a ticket for Z'dar.

He's in Iowa. And twice he was snowed in.

- Twice? - I have this

great role for him.

It's sort of like Marlon Brando (indistinct).

Like he's teaching his two sons,

guys fighting each other, choking each other.

They're his two sons. They're gonna set the plan.

They're going take over, right?

So we have the set, the science fiction space set.

And he's snowed in and I got these messages on my phone.

He's stuck at the airport. He can't make it.

So okay, well, come the next day.

Next day he's snowed in. Third day he's snowed in.

So we said, "Okay, forget it.

We're gonna get you back in March."

So that's the plan right now. I love him, he's great.

He's great. He's gonna be great in this movie.

And you know, that's what we're gonna do.

I understand, thank you, thank you.

Fuck. Fuck, man.

- [Interviewer] What's up?

- We lost Z'dar.

- Oh, what, he didn't get on his flight or..

- No, no, no, no, no, no, no.

No, I mean, there was a call from his manager

and he passed away last night.

He was at a convention in Florida

and I guess he had some pains or something.

And I was just talking to him like last week.

And he was, you know, he was talking about how he,

you know, he could make it up to the stairs now.

He was feeling better, he had more energy.

Like, what the fuck? You know, like, my god.

I mean it's, you know, absolutely horrible.

It hasn't quite registered with me yet that he's passed.

But, you know, there's no question that there's a big loss

to the film as a result of what you know, him moving on.

But there's no question that I think of all of the

cast members of the last film, he's the only one.

He's the only lead of the first movie

that is not a part of the second one now.

And we needed his blessing greatly

for what we're doing now.

- Put the money in the suitcase and bring it back to me.

(mellow music)

(mellow music continues)

(crew chattering)

- So this needs to be a diner.

They're gonna swap- - They changed the door,

but I guess they didn't have the wall.

- [Greg] They're going to swap this to diner, right?

(crew member speaking indistinctly)

- Okay. - We said fuck it.

Keep it, right? - Oh, fine.

Yeah, we just need, if we have two walls,

one there, one there, then we're pretty golden.

(helicopter whirring)

Okay, Joe, keep it up.

- [Interviewer] Did you ever expect a sequel would be made?

- No, I never expected a sequel.

I had forgot about this film, actually.

'Cause I've done probably 25, 30 films

when I lived in Los Angeles.

And this was not one of the films

that I ever thought would ever be seen by anybody,

'cause it was terrible when we made it.

So it was huge shock when I got a call in June

that they were gonna make a sequel to it.

- Day four. (crew chattering)

- I've been up since 9:00 PM last night.

- Really? - I slept all day yesterday

for some reason from 9:00 AM to 9:00 PM,

got up, made food, went to the gym at 2:30 in the morning,

went back home, gathered all my stuff.

So I'm gonna be up for fucking 24 hours.

- Normally, you're thrown into that situation

with the leading man that you don't know.

And so knowing Matt, it was probably more comfortable

in a way. - Is that why you're

the dominant one in that scene then?

Like you're on top of him. - That's right.

(Greg laughing)

- [Interviewer] So tell me, when you're watching

"Samurai Cop 2," are you gonna fast forward through the

love scenes with your dad or..

- Well, during the making, I'll see him.

He's not gonna be showing anything.

And then depending on the conditional, then yeah,

I probably won't watch those parts.

I'll cover my eyes during.

- That's where Amir placed me.

(Greg laughing)

- [Greg] And you're wearing your thong still, right?

- [Interviewer] Are you nervous at all

about jumping back into your role?

- No. No. I don't even remember my role that much.

I had to watch the movie to see what I was,

and I, no, I wasn't nervous.

It was just kind of fun and adventurous.

- Let's roll camera, fuck it.

- You wanna just roll?

(crew chattering)

- We've been here four and a half hours (indistinct).

(crew chattering)

- I give the fuck up.

Like we're lighting this, we're turning around here.

(crew chattering)

I can't do this.

I can't magically make walls appear.

You know.

No, but you can go get on and find out

what's going on with the site rep.

What's going on with like anything that's happening.

(crew chattering)

I'm not pissed, I'm just blown away.

- As long as we pay an extra cost.

- He didn't tell me that, no.

The extra cost was for that wall.

If we didn't- - You guys are confusing

the fuck outta me, I'm sorry.

Like, I'm sorry. I'm about to, back it up.

So we have a wall, but we have an unpainted wall.

So whatever needs to happen, let's just make it happen.

(crew chattering)

So let's just get some kind of wall in here

and fucking shoot something.

(gentle music) (crew chattering)

(gentle music) (crew chattering)

- Oh my God. Joe!

- Peggy, how are you?

- Oh God. Hannah, get out here.

- Are you my daddy?

- Uh..

- [Interviewer] So it's the end of the week here.

- It is.

Sort of beginning of the new week.

- [Interviewer] Friday. Still got your faculties?

- Living. Alive.

(dramatic music)

- Do you want the cameras here for this?

It's up to you, Greg.

I mean, I just, I'm gonna be..

- We can just edit it out.

Yeah, let's do it.

- So basically we're about to do a big green screen.

Now we don't have them VFX (indistinct).

This needs to be more mapped out than it is,

and more mapped out than we've mapped out

anything up until this point.

And we have fights and we have things

and I hear from them, it's fight, it's kind of tough.

And they're gonna know a couple moves

and then it's gonna have to devolve into improv.

This needs to be, and the Samurai armor

is gonna take a long time for Matt to get in and out of,

and he's playing two characters in this.

Now, if we don't map this out in 3D space,

we are handing a bunch of gobbledygook to, you know,

this team will either not be in the movie

or it will look absolutely terrible, trashy,

fucking horrific and awful.

And if that is what you want to go for for the movie,

then we can just shoot it however the hell you want.

But if you want this to continue to look like a good movie,

you know what I mean, like a good looking bad movie

like we've talked about here,

then we need to really sit down and in 3D space,

we need to know that this shot happens here.

We like need to basically map out the entire sequence

blocking wise on a piece of paper

so that we know where to put our sun

and where to put our camera

and which angles to shoot Joe from

and the exact things so that we can hand that off

to a VFX person and that the lighting will match.

And that we're not just completely being weird

and random with this environment.

It's a very, very technical thing that we need to do.

So we need to map everything out.

And I think we need to keep it down to like,

if we're trying to do more than 10 shots like this,

it's just not gonna fucking happen.

- Business as usual.

- [Interviewer] Any other problems or..

- Nothing at all, no. Nothing out of the ordinary.

- Is this a wet dream sequence?

- I don't like that he didn't have someone here

to put it on.

She shouldn't be having to try to figure it out.

And I shouldn't have to sit here for five (bleep) hours.

(Matt speaking indistinctly)

So we're just gonna have to duct tape the shit together

and look fucking ridiculous.

I mean, you got a great art piece here.

You should have someone here that knows

exactly how it goes on.

- [Interviewer] So what world

does this dream sequence exist in?

- On Earth.

- [Interviewer] On Earth?

(dramatic music)

- It was a little fun. It's..

We had great choreographer.

We used the real swords from the "Kill Bill" movie,

which was pretty sweet.

- The time that they had to work with the intensity

that they had and scrutiny, they actually did pretty good.

- [Interviewer] And high heels, one of 'em.

- Yeah, on top of that, being in high heels.

They did very well. - Yeah.

- Very proud of it. - Yes.

And it's gonna look good once edited, for sure.

- I finally watched some stuff on YouTube.

It's similar to that, but that just looks like

the guy's having a fucking epileptic seizure.

I don't know what the fucking point is.

Not the shit that I fucking signed up for,

to dress like a clown.

- [Interviewer] That's not a clown. That's a samurai.

That's a samurai, dude.

- I am not you!

I will never be you!

I am Joe Marshall!

(mellow music)

- If we have Vi lying down so she never moves

and the two girls are working stuff around her.

So we were talking in a tighter situation on this level.

Or we flip it.

Can we get what we need that way?

I mean, could you just sort of hovering this way, you know?

- All right. All right, guys, quiet!

Mike, yo, let's do it.

(crew chattering)

- [Interviewer] So she's laying down, Lexi?

(crew chattering)

- [Director] That's a cut!

- I don't know what we're doing here.

- [Interviewer] Well he said, "Do you have any suggestions?"

I'm all, "I have a billion suggestions."

- How about she gets on all fours, you know?

Spreads them, you know.

I could think of a few things I would do.

Triple stack.

- I'm in the bathroom and I heard gunshots going off.

I am not coming outta there.

- So Chris, so apart from that,

we just gotta figure out why are we shooting so slow?

I don't know why we're shooting so slow. Why?

- What do you mean why are we shooting-

- Well, we are, why are we shooting so slow?

And now we got a fight scene that it is,

you know, it's complicated.

Well, it's not the most complicated scene to mark.

- Well, there's a lot of preplanning.

- The rushed pace because Greg has to either hurry up

'cause the sun's going down,

or we gotta get off the stage by a certain time,

as I'm running through a scene, as an actor,

not trying to be too thespian,

but I can see that I'm missing notes.

(crew chattering)

- Oh, yeah, is that right? No, not yet, right?

- We got a lot going on here.

- Because I'm being rushed, I'm not in a calm place

where I could really get into the scene,

because I'm just thinking, "Oh, we gotta get outta here."

And we're also missing opportunities

to film some great stuff.

When we were trying to do that little last trick scene

with the samurai and the fight scene.

- We'll eventually probably have to move a wall

to go over there, but, you know, in that corner,

but we'll just save all those shots for last.

But you know, I know there's action

that happens in this booth, so it's really, it's up to you.

I just..

So much that can be done.

- [Interviewer] Are we short on walls?

- Yeah, can you give us some walls?

We need one more wall. - One more wall for there.

- That's what we spent in the first seven days.

- Lemme see that number.

Is that a million? That's a million.

- THat's what we've spent on the first seven days.

- But because of time, we just ended up

throwing something really quick together sloppy.

- We're filming these action scenes.

If you do not need to be on set,

please do not be on set.

- It's about getting it in that camera and that camera alone

and making sure that everybody, crew and cast,

and everybody are safe.

- Action!

All right. You guys feel good?

(crew chattering)

- You know I can't do that.

(gun firing)

Cut. Cut. - Oh, shit.

- Cut. - All clear!

- Cut. - Are we all clear?

(crew chattering)

- Where was Courtney sitting?

- Over there. (crew chattering)

- [Interviewer] What's going on? Why are people upset?

- I've heard a rumor that Courtney got hit in the face

with a projectile or something.

(gun firing)

Because it is a safety issue, if someone gets hurt.

So he's like livid.

But you know, I don't know how many times you tell people

to get off set.

If they don't get off set, they don't get off set.

You know? If you get hurt, it's like your own fucking fault.

- Today, we knew it was gonna be a little slower

because of- - But even yesterday, we did-

We barely got everything knocked out by two o'clock.

(both grunting and yelling)

- [Rich] Greg, we can't open that door.

- We had, we shut that. (crew chattering)

- You said go wide on the two-shot, you said go close.

What you all wanna do?

It's okay. (crew chattering)

- Anyone in black?

We need everyone in black on set!

Dead bodies on the ground.

(crew chattering)

- So at the end of the day, I'm just exhausted.

(suspenseful music) (crew chattering)

(crew applauding) (crew chattering)

- I've been excited about doing the fight choreography.

I practiced, I think, three days now.

You know, just coming to set

and really wanting it to look real.

You know, I've never gotten a chance to do that.

And I want to, I don't wanna blow it, you know?

I mean, I don't always wanna be, you know,

the bimbo or the cheerleader or something like that.

I wanna do something where I'm a little bit more evil

and kind of a badass.

(crew chattering)

- The glass and the bottle.

- Yeah, that's bottle. - And you can break this.

- You don't want it there? Okay.

- I think it'll be better just here.

- [Interviewer] How'd you get involved

being Tommy's assistant?

- I just auditioned for "The Neighbors"

and then I got the role and then one thing led to another

and I just became his assistant.

(crew chattering)

- [Interviewer] How you think his performance

is going so far?

- So far?

Well, based off what I'm seeing from Greg,

you know, I see Greg, the director's enjoying it.

So from based off of that, I think it's going good.

- Rolling, rolling!

(crew chattering)

- You know, he's been rehearsing,

he rehearsed and he showed up and seems (indistinct).

(Tommy laughing)

- Care for some kale chips?

Fresh from the well-paid employees

at our factories in Portland, Washington.

- Some kale chips.

(dramatic music)

- How about some kale chips, Mister?

(chip crunching)

(Tommy yelling)

(Tommy yelling) (glass shattering)

(Tommy yelling)

(crew applauding)

(Chris sighing)

- Yeah, yeah, yeah.

- Did anything hit the camera?

(crew chattering)

- My fucking toe got smashed real good, though,

by the fucking bench.

- [Interviewer] How about you, man?

- I was far enough back.

Still, it was a little crazy,

and they should have told us that was all happening.

- [Interviewer] No shrapnel?

- No, I mean like, I knew he was gonna

quote unquote go crazy,

but I thought it was-

- When the camera got taken away, I look around, I'm like,

"Holy fuck."

- Yeah, I mean, well he doesn't-

- Is the script fine?

- No, he doesn't feel he's getting enough out of it.

(crew chattering)

He says he's not able to, you know,

he's not able to challenge himself.

You know, it's just a breeze.

He's not advancing, you know, stuff like that.

- I think he's advanced.

I think it's more, I think his dialogue is fun.

I think it's fun for him.

- I think so too. - Again, in this film-

And I'm adding more, yeah.

- What we're dealing with, this isn't a time for deep care.

Maybe in three when it's, I don't know, but I'm just saying

and that's what I keep telling 'em.

Let's just get through this as written and then we'll see,

'cause three, it'll be a much more time.

Rehearsals really develop a script.

Again, we're under. - He'll be part of the team.

- We're coming up 1,000% better than what we dealt with

with Amir.

Again, we're restricted by financing,

and we're compromising story great things because of that.

But I said that's, you have to be in that now

and know we're just gonna have fun with it.

We're gonna do the best we can under the pretense

that we're just trying to work towards three.

Hopefully everybody goes, "You know what, that was fun."

And they know, "Man, wouldn't it be amazing

if we gave them exactly what they wanted?"

That's kind of my point view.

- They're gonna get a lot. - With fans,

I think they're gonna love this.

And where we came with,

'cause they don't expect this at all.

- Okay. Have a good night.

- Give you some information about this, Tommy.

'Cause what we're trying to do is

fill in the gaps in the story.

So that's what you're doing,

which is a key part of- - Fill gaps.

- You know- (both laughing)

- Freeze, you motherfuckers!

(person screaming)

April 10th, 1987, as bodyguards with Stallone.

Same day, never met each other before.

Similar looks, obviously.

He kind of resembles Sly back in the day, too.

He's 6'5, I'm 6'4.

But we just stayed in touch all through.

And then when I was filming the original "Samurai Cop,"

"Hey Tom, I'm doing this crazy movie.

You wanna come down and watch? Or maybe I'll get something.

You can do something in it."

The day he showed up, Amir's like,

"Tom will be the guy, you cut his arm off."

So he's like, "Oh, great."

- We were just talking logistics about

how we're gonna finish this movie under budget

and without killing each other.

We're trying to figure out ways to simplify any kind

of merged locations and kind of really figure that out.

- Whenever I get it in one take, I keep saying,

"Yes, I got it," but Chris and two guys bully me

and they say, "Oh, we want it-"

- You're the director. - I know, I know.

So you're gonna have to back me.

- I got- - Did you hear the shit

just like now?

I said, "We got it."

"I want another, I want another."

- No, it's your call, you're the director.

- I'm just saying that's it.

We say no. So I'm gonna say "No, that's it."

But you have to say, "We're moving on."

- Okay. - When I say

we're moving on, we're moving on.

- When you say we're moving on, we're moving on.

- We're not doing this because we're moving on.

- When you say it, we move on.

But you gotta say it.

'Cause I haven't heard you. - I am.

- Okay. This is the first time I've heard you say it.

You're telling them what to do and then they're sitting down

and it's like, "What are we doing again?"

- How would that affect the katana's stature?

(actor speaking indistinctly)

- Have Mark and I already seen Peggy in the diner

at this point in the script?

- I don't have any fucking-

Fuck.

- Gimme the line immediately, man.

- "And now there's no more room for words."

- Very excited. But there's a lot of stress going on.

In case you don't know or don't see.

(crew chattering)

- They seem to know what they're doing.

(crew chattering)

- Let's just have them seated across from each other.

Okay, we'll just go two shot and we'll go single, single.

- They seem, you know, the schedules and everything,

they're just so focused and they know exactly

what they're doing. - Is this the next shot here?

- Yes.

- So it's not the candles?

- [Greg] The candles at the table, at the dinner table.

- Okay.

But food too and everything.

- Because time is money and everybody seems to have

their place. - Just have 'em here

here, here and here.

(crew chattering)

- It's great to have somebody that really

felt something for the film originally

and to come in and try to make it better.

So I think that's really cool

that he has such a passion for it.

- I think Greg's vision, what he's got going on,

because again, like with Amir, I just totally surrendered

even though he's changed the script completely midstream,

which I've never heard of before.

- Overall, no, I'm not nervous. I'm having fun.

- I'm pulling some pretty rad focus right now.

(mellow music)

(crew laughing) - That's awesome.

- The first time they

Part two, after 25 years, I'm rubbing ass. (laughs)

- Just trying to come up with

some stupid thing to talk about.

So that's why I say the dust story.

If he's got it in his head and he knows what's in the can

and what he's gonna put out there, I trust him.

- [Crew Member] Bang!

Oh, hey, man down! Officer down!

- On the bed?

On her breast?

That's it? (Greg laughing)

- You're making this interview hard, child.

You're messing up our interview. Just chill.

I mean, what can you be nervous about?

I mean, this movie is the sort of movie

that you quite literally can't fail at.

So no, I'm not nervous.

- [Rich] Camera cut.

- [Interviewer] What's your character feeling in this scene?

- (indistinct) I ain't feeling nothing.

- [Interviewer] Just staying in the moment?

- In the moment, yeah.

Who's writing your questions, man?

- Hey, hey, hey, hey, hey!

You mind knocking it off, huh? You retarded clowns.

- Yeah, it's a lot of fun.

You know, I think all the screaming's

giving me a little bit of headache,

but outside of that, I'm enjoying it.

"Samurai Cop 1" was such a terrific hit.

I'm surprised, you know, if there's anybody out there

that hasn't seen it yet.

So it's kind of an honor, you bet, to be a part of part two.

- [Interviewer] So you saw the first one?

- (laughs) I did not.

- 2013. It was either 2013, 2012.

We were filming here on the set.

We had some art stuff stored up here.

My dressing room was up here and I was digging around

because I'm kind of nosy. (crew laughing)

(crew chattering)

- [Matt] The shelves were just full of reels?

Oh, this shit. That's film, right there.

- Yeah, film stock.

We were like, "What is all this stuff? Oh my God."

Like "The Magic Frog," "Princess and Frog,"

and we were like, "Samurai Cop," dusted it off.

"What the hell is that?" - They changed some stuff.

- It's amazing.

- There was a print of "Samurai Cop"

and it was found in a castle.

This may be lore, but-

- That's what I heard, too.

Or I had read that, that it was found in a,

and then I asked Greg Hatanaka, who owns the rights

of the film now, I guess it was found in a vault,

a storage facility that stored films.

I think Amir might have just taken all of his old stuff

and thrown it in a storage locker.

Where are we, in the middle of the San Fernando Valley.

Home of the pornographic film.

And here it was.

'Cause this studio, when we filmed, was in Hollywood.

So he must have moved all this stuff over.

Why would he keep all of that?

- Samurai, not samura.

- Honorificabilitudinatatibus!

Do you understand?

Honorificabilitudinatatibus.

I don't understand what you're talking about!

(crew laughing)

- [Interviewer] We have fires, wind.

- It took an hour and a half to get one shot.

We can't hear a goddamn thing.

It's windstorm out there, apparently.

There's tornadoes in the parking lot,

and we almost burned this place down for the third time.

But everything's good now.

I have my pecan pie and I'm happy.

- Gentleman, you have our gratitude.

Are you with me, maybe before or after, I'm not sure yet.

How would the momentum go? Is it like, "Yeah!"

- And then fall down. - Yeah, and then like this.

- Okay, okay.

I'm a big fan of "The Room" for 10 years right now, so,

so, you know, Tommy to me is like working with,

oh, I don't know, is like working with Tom Cruise.

I don't know. Well, you know, so you know,

he's my A-lister.

You know, he is to me, George Clooney.

- I hope you will not be disappointed!

We will win!

- We actually were seriously looking to get Ralph Macchio.

That's right.

But there was an issue of flying him from New York,

but to have him in a Samurai movie

and you got the Karate Kid, that could be awesome, too.

But maybe that we saved that for Samurai 5 or 4

or something like that, so..

(crew chattering)

- [Interviewer] Hey Rich, someone getting arrested?

You are? (laughs)

Oh, nice to meet you, man.

Who's that guy?

- Who, Douglas? - Yeah, yeah.

- I'm not really sure where he came from.

- I, the witness, was trying to move a chair

and in the process of moving a chair, I see Douglas,

eye the wallet like crazy, so crazy.

At this point, Douglas sits down

and puts it in his jacket and then I run back and I say,

"Mike, Douglas just stole your wallet."

And he's like, "I have my wallet right here."

And I'm like, "Well, Douglas stole some wallet."

And then I was like, "You need to go get it.

Like you need to go do something."

He's like, "Calm down, calm down."

And I'm like, "Well, he just stole a wallet.

Like I seen it."

And so then I go inside

and I see Douglas go to the bathroom,

he goes to the back of the wardrobe, all this stuff.

And I'm over here, paranoid.

So paranoid.

And so then I'm watching him

and then at one point I go into set

and I see Chris approach Douglas

and ask if he took the wallet

and Douglas denied it in my face.

A million people started asking Douglas,

"Did you take the wallet?"

And then Greg heard, and Greg was furious.

He was so furious.

Well Greg said, "Douglas, did you take the wallet?"

And Douglas said, "No."

Greg approached me and asked me,

"Did you really see him do it?" and I said yes.

And I told him everything I just told you.

And then he said, "I'm pulling the plug."

And I'm like, "What does this mean?"

And that meant calling LAPD.

LAPD was called and I had to give

the same testimony to them.

As I gave them my testimony,

Douglas denied everything.

Then Chris approached Douglas with two police behind him

and Douglas denied everything.

Everything.

So then I watched from afar

and then he admitted it

and he threw the wallet in some wood next to the stage.

And now the wallet was found and now I have to go to court.

- Let's work.

- I miss the free nipples movement.

Actually not, I started, my nipple is very famous now.

- Really? - Because I used to,

it's not me, the nipple just come out

because they want see the sunlight.

- Right. - Actually (indistinct).

- [Interviewer] Do they want see it now? The sunlight?

- Now you can only see here.

- No? - So-

- [Interviewer] If they're famous, I wanna meet 'em.

- They're just all over the place.

But when I'm dressed elegant, you don't see the picture.

But every time I'm like unzipped, something like that,

people like it, I don't know why.

What I'm doing is getting into trouble about nipples.

I'm showing nipple, one, two, three!

- [Interviewer] Can you tell me what you're looking

forward to in "Samurai Cop 2?"

- I'm looking forward to actually acting as an actor,

as a performer in the acting of the scenes of the actor

that I was told I'd be acting.

- [Interviewer] So tell me a little bit about

your character in this one.

- I got no fucking clue about my character,

because apparently today my character is now the opposites

team member or on the opposite team.

Also, my first big fight day was cut out

or moved or cut out or both.

And then my second big fight day was cut out

or moved or both.

So I don't really know what to say about my character.

- [Crew Member] That looks good, Gerald.

- One of them is part of this clan.

So I mean, they're just slaughtering everybody.

- At that time, I already was kind of

not really to give it a 100%.

- Okamura Gerald came up to me a week before

we were shooting and says,

"I got this major heart condition."

My doctor tells tells me if I shoot the film,

I'm gonna die."

So we told Okamura, "No, listen, listen.

Your health is more important.

Just, you know, maybe we'll get you in a scene

we will throw a green screen behind.

You just sit and you narrate something."

- You call me honey there. Here, you call me sir.

My signature tiger paw.

- [Interviewer] Tiger paw?

- This is come and get me, fucker.

- Like, I just think it's a bad idea.

If we green screen every shot with all these moving shots

during a fight scene that open.

So they have to kind of like, you know, come in.

(Chris speaking indistinctly)

(crew chattering)

(crew chattering)

- What happened is that we were about to meet Thursday.

Change to something, the schedule.

Why not meet Sunday?

- For Greg to ask if you could meet?

- Yes.

- Were you thinking it's utterly crazy?

Like you gotta be kidding me.

- I like cops. My cousin's a cop.

- Oh really? Where? - In Costa Rica.

- Great, I really appreciate it. What's your name?

- (indistinct) This is my first name.

- What's your, you know what? Nevermind.

I appreciate all your help, thank you very much.

- Bye! I'll tell my cousin I know you.

Oh my God! Mr. Washington. Mr. Marshall.

- [Interviewer] Whoo. It's tough, huh?

Is it harder than the first time?

- The thing is that they changed the script.

I just got the script just earlier.

- Yeah. - The other script,

you know, I already,

I don't know whether that would be the one again, something.

But every is fine, I love it.

(crew chattering)

- I asked Greg about that. And I do not.

And I mean, I was gonna try to get that,

but he said don't, because he just green screen

or CGI now, that sounds really expensive.

- I love you Greg.

But I don't know how to make magic of the movies.

- [Speaker] You know what I had to do this morning?

I had to like actually plug my tear ducts.

(crew chattering)

- Didn't I text you and tell you bring your ties?

- Yeah, I don't listen to you. - Sure you did.

Greg's like that little kid who has a magnifying glass

and like burns the ants and watches them scatter.

That's what he does.

- I'll let you pick which area to put this scene in.

- Now it's up to me. No, no, I don't want that.

I'm watching the footage that I've seen so far.

There's like scenes where I know

that I've put him in the right wardrobe,

but the way that he edited it was not

what it was set up in the script.

So it was like, you know, he's like,

"Oh, this is what it's a continuation of,"

and so I put him in that outfit

but then they put the scene in a different part

of the movie, so it doesn't even match up.

And I'm like, "What the fuck?"

Now I look like a fucking asshole.

My name's on this picture.

Oh, and Craig C. Chen, wardrobe.

Craig C. Chen.

- [Interviewer] But you think the camera's going to be fine?

No, no worries? Alright, good.

- I don't love that we're basically stealing these shots,

but you know, they've done it with-

- [Interviewer] Guerilla style, bro.

- As long as you know, we don't get pulled over

or we don't crash the car, in which case.

(engine revving) (crew chattering)

Oh, here they come. Got you.

- [Interviewer] My media is just about to be full.

(crew chattering)

(horn honking)

Ah, everyone's like..

- I told him we shooting a little something

and we have a permit for LA.

And then they asked me, "Well, from Glendale?"

I said no, but we are driving to LA right now.

Greg doesn't have the LA permit on him right now,

so we're not allowed to do anything.

- So good job. - But if they come back,

I'll run away.

- And action. (actors grunting)

- [Interview] How could you not?

- Tommy says he's gonna get an Academy Award

for his performance.

(Tommy grunting)

- I own 25 planets. - I own 25 planets.

And I eat them for breakfast, Joe!

(crew laughing)

(crew applauding)

(Greg laughing)

- There's no CGI, there's no actual music that we're-

(crew chattering)

- You guys excited? - Oh, yeah.

- [Interviewer] Are you excited?

Lemme see excitement.

(crew chattering)

- It's funny because you don't know what-

(people chattering)

(people chattering)

- [Interviewer] How do you think Greg

is doing as the director?

You think he is..

- I think he doing pretty well.

I don't know him that well,

but I think he's good director.

He knows what he's doing.

The cast is (indistinct) so again, it's not easy to do movie

with 50 people or have, as you probably noticed

and people will see it, all the stuff.

So be sure, give them a credit if you can.

I don't know, you decide.

Don't bash him too much and don't bash me too much.

But you can express yourself.

Always say you can laugh, you can cry,

you can express yourself, but please support each other.

- The one blessing that I would take from this

as opposed to the first movie was working with Greg.

He's such a sweet guy.

He was very collaborative, very inviting

as far as me to input my own personal thoughts and ideas.

Even though, you know, I mean the director,

usually it's his vision.

And once I got past what I thought we should be doing

and then just released it to Greg

and just kind of went with whatever he came up with,

I think I was just, I was very fortunate to be able

to work collaboratively with Greg

because a lot of the stuff he had me doing,

I just didn't understand what the hell was going on.

We've later come to find that there was a lot

of stuff going on behind the scenes

where scripts were actually being changed daily

because he didn't know if certain people

were gonna be coming in

or some people were threatening to quit

because they weren't doing what they were promised

that they could do.

I didn't know all this and Greg was very good

at keeping me out of that and just, you know,

having me worry about, you know,

just like go, "Oh Matt, you go over here

and work on your fight choreography real quick,"

while he'd be dealing with the drama.

So, but you know, I just, I think in the end, it was him

and as I started to realize this thing's kind of getting

derailed even after the fifth day,

that we both had this desire to not let the fans down.

So, you know, it was very easy to throw your hands up

and go, "I'm done, this isn't gonna work.

We can't afford to do this. Let's quit."

And that's where my admiration for him really just blossomed

because I just thought, here's a guy

and he's more financially invested than myself

and he's not given up,"

and he's putting on whatever hat needs to be put on

to get through this day.

And so I just tried to mirror that and help him with that,

as far as dealing with egos of other cast members, you know,

especially Mark and I.

There was a lot of problems going on,

you know, behind the scenes and just trying

to wrangle Mark in and have him keep focused

and just to get whatever we needed on that screen

for us to just finish this journey, to finish the film

and get something down there of a story of beginning,

middle, and end that the fans would like

and we didn't waste everybody's time.

(upbeat music)

(camera shuttering)

So excited to be coming to Cutrecon V.

Live here in Burbank, California.

Amazing as always. We are very honored.

I have a lot of the cast members here with me.

- So thank you for remind myself I should keep going,

kicking ass, thank you.

"Samurai Cop 2" on the way.

- Let's give a very warm London welcome

to the Samurai Cop himself, Mr. Mathew Karedas!

(audience cheering)

- Everybody across the country has had a fun time.

If you didn't guess it the first time,

there will be an encore couple days, so keep it warm.

♪ Telling lies, don't tell 'em when you meant ♪

♪ Oh my God, relieve our sins ♪

♪ The broken (indistinct) ♪

(energetic rock music)

♪ I wanna help you believe ♪

♪ I wanna help you believe ♪

♪ To believe in me, I wanna help you believe ♪

♪ I wanna help you believe ♪

♪ I wanna help you believe ♪

♪ To believe in me ♪

♪ To believe in me, to believe in me ♪

♪ To believe in me ♪

(dramatic music)