Philippe Mora Interview
Interviewed on the 18th July, 2009
   
Philippe Mora is an acclaimed director, writer, and producer, but is most notable for directing the film Mad Dog Morgan, the
1976 cult film starring a young Dennis Hopper, for which he was nominated by the Australian Film Institute for Best Director in
1977 for, about the life of the notorious bush-ranger Dan Morgan. Mora has also directed The Howling 2 and 3, Communion, The
Beast Within, Snide and Prejudice, and The Return of Captain Invincible which was nominated the Grand Prize at the Avoriaz
Fantastic Film Festival. His nominations do not give this extremely talented director justice nor reflect just how much he has
contributed to the world of film.

Only just recently has Philippe Mora's films truly been acknowledged for what they really are: near masterpieces. On May 21st,
Mora's Mad Dog Morgan was able to be seen on the big screen once again at the Institute of Contemporary Arts in London this
past May, the Philippe Mora Collection was admitted into the National Archives Collection of the United States, and Swastika
(1973) was included in the Biberach Film Festival in Germany in October (2009) followed by screenings in Berlin and London.
   
In the film, Mad Dog Morgan, you made a very grim and dramatic
movie based on one of Australia’s most infamous characters in its
history. As stated by the Australian Dictionary of Biography, Daniel
Morgan was never referred to as Mad Dog Morgan in real-life, only
Mad Dan. When the film came out in Australia, did you or anyone
working on the movie get any negative feedback or criticism
regarding the title of the film and Morgan’s character?

The film was originally called simply MAD DOG, The distributor Greater
Union thought MAD DOG MORGAN was a better title and I took their
advice for better or for worse. There was no comment about it when
the film came out. Reviews were generally very good, especially in
Melbourne, Sydney, LA and London.


Dennis Hopper is known for being a very unique method actor and,
at times, quite a character and intense to work with. How was the
director-actor relationship while filming Mad Dog Morgan?

Directing Dennis was piloting a plane in stormy weather. But we got to
our key destination and I think his performance is brilliant in the film. I
believe our relationship was one of mutual respect as artists. I find that
any actor who has directed is easier to direct because they understand
the directors role.
In your BIO, it states that you have directed 5
documentaries, and directed and/or written almost 20
films. Do you find greater pleasure in directing feature
films or directing documentaries?

I have directed two major theatrical documentaries
SWASTIKA and BROTHER CAN YOU SPARE A DIME and
co-written one DOUBLE HEADED EAGLE (SEE:
http://www.
thebusinessoffilmdaily.com/Cannes2009/D21_S4.html. I
like both genres. It really depends on the story as to
which style of film making is appropriate.


While making The Howling 2 and 3, did you feel that
you had a lot of pressure to make these sequels live up
to their names with the success of the original The
Howling?

No pressure at all because with sequels, a bastard genre
anyway, you are damned if you do and damned if you don’t. That is if you copy an original you are criticised and if you don’t
copy the original you are also criticised. I opted to go and make unrelated films. More fun! They were very successful and still
sell around the world.
Brion James was cast in a fair amount of your films.
Aside from the fact that he was a good actor, why is
that?

He was a good mate and died too young.


Having grown up in Melbourne, do you feel that a lot of
your films’ that are shot in Australia are seen as a
reflection of your upbringing and the culture you were
exposed to in earlier years?

Yes I think we are all a result of our upbringing to a great
degree..I was lucky enough to have very interesting
parents and quite a creative environment growing up in
Melbourne. Living at 9 Collins Street in the city I saw
every movie that came out when I was a kid.
I loved Spartacus, Gunfight at the OK Corral, Robbery
Under Arms, etc.
Did the fact that your mother was an artist and your father founded the Australia’s Museum of Modern Art influence you
as a director and filmmaker?

It must have influenced me but it is hard to articulate. My dad wanted to make films when he was a kid. Interestingly his
landladies in 1933 in Berlin when he was at University were Erich Von Stroheims sisters. My parents connections helped, for
example, I was introduced to Joseph Von Sternberg in Melbourne in 1967 and I showed him my 8MM epics, He was patient!


Have you ever thought about giving up making films to solely focus on painting, or do you love films to much to leave
making them?

Intellectually I don’t really separate the activities. Its all an expression of ideas. Just different mediums.


From viewing your films, Mad Dog Morgan, Communion, The Howling 2 and 3, you seem to go about directing films in a
somewhat unconventional manner that is truly unique. Do you feel that breaking the traditional conventions and unspoken
rules of filmmaking doesn’t work for you or simply doesn’t work- period?

I have not really analysed this too much. Every film is a different set of circumstances and many times one is driven by the
constraints of the reality of shooting. Midway through most films you feel you are in the Foreign Legion and you can’t wait to
get to Casablanca and have cold drinks. Having said that, I certainly enjoy breaking rules and re-inventing gen res. I agree with
Picasso that good taste is the enemy of creativity.
   
Your films cross into many genres. Which genre of filmmaking do you enjoy working in the most?

I honestly enjoy working in all genres. I never wanted to be typecast as a director.


If you could go back and change one of the films you made and make it a different way, which one would it be and what
would you do differently?

That’s an interesting question but it’s a bit philosophical: one cannot go back. I guess more time and money would always help
every picture. But as a realist I have no regrets about any picture, except when they were later hacked by incompetents which
happened a few times.


Mad Dog Morgan and The Return of Captain Invincible were both nominated for prestigious film awards. In your opinion,
were these your two best pieces of work that were recognised?

Not really. I think they are good but I also like the documentaries and Snide and Prejudice I particularly like and DEATH OF A
SOLDIER. But Mad Dog certainly has passed the test of time.


What do you think of remake craze Hollywood is in midst of right now? Would you ever remake a film regarded as a
classic by your peers and critics worldwide?

I find remakes are really boring. They are endemic in Hollywood and reflect the shocking lack of imagination prevalent there.


What are some upcoming projects or films that you are working on?

I am working on a life of Salvador Dali, a musical on Brendan Behan and a documentary series about the 20 Century.


How was it working with Christopher Walken on Communion?

One of the finest actors I have worked with. I learned a lot from him.


What genre of film do you find the most rewarding experiences while directing in?

I greatly enjoy the process of shooting and editing, so really I like all genres. But I find more and more that the story has to be
really interesting to me personally in some way.


Of all the actors and actresses you have worked with, which did you find challenged you the most and pushed you the
farthest as a director?

I learn something from every actor I work with. I really liked Sir Christopher Lee, Kathleen Turner, Alan Arkin, Dennis Hopper,
David Gulpilil, Donald Pleasance, Bill Hunter, Jack Thompson, Rutger Hauer, Graham Kennedy, Michael Pate and Chris Walken.


How did you feel about the Troma release of Mad Dog Morgan, one of the greatest cult films, and regarded as your finest
piece of work? (I have seen the Troma release of the film and had not seen the original film in any capacity and could tell
that it was butchered severely, but I have the Umbrella version of Mad Dog Morgan on its way and am looking forward to
viewing it.)

The original Troma release was a mess and a mistake , but they are releasing the proper version this year, but the existing
UMBRELLA VERSION is great—they did a careful and terrific job in my opinion.


Are there any films you have seen of late that you thought were remarkable and done very well?

In terms of mainstream junk food I thought THE HANGOVER was hilarious. I enjoyed DEAD SNOW for horror . I just saw TOUCH
OF EVIL again which is a masterpiece, ditto the Lubitsch TO BE OR NOT TO BE, Hitchcock’s VERTIGO and WAKE IN FRIGHT,
which I believe is one of the greatest Australian films ever made, it's simply a masterpiece. But the list goes on….


Do you ever see yourself getting tired of directing and working with films to pursue other activities, like your artwork?

No I enjoy myself working too much and I paint all the time anyway, and there is so much bloody stuff to do!