Psst! Wanna buy an ex-movie star?
Step right in. We have recognizable has-beens to suit your every entertainment need. Looking for the leading-man type? We have great deals on Eric Roberts, Patrick Muldoon, Kiefer Sutherland and Dean Cain. In the market for a tough guy? Take your pick of Ray Liotta, Roy Scheider, Michael Ironside and other fine choices. We have leading ladies, too — Morgan Fairchild, Jennifer Beals and Ally Sheedy.
What’s that? You say these guys are box-office poison? Guess again. Even though they were scratched off the Hollywood A-list a while ago, these names still mean something in places such as Australia, Germany, Italy, Spain and Japan. And if you’d dropped in here at the weeklong American Film Market, or AFM, wrapping up today, you’d realize that being big in the Netherlands might not be glamorous, but it’s nothing to sneeze at.
Case in point: Jeff Fahey.
You might remember Fahey from his supporting roles in movies such as “Silverado” and “Wyatt Earp,” or maybe even “The Lawnmower Man.” But you might not know that Fahey is a certifiable movie star overseas, top-billed in dozens of thrillers and action films (search the Net and you’ll find numerous Web sites paying homage to the hard-working actor). Strolling through the hallways of the Loews Hotel, where distributors at the AFM hawk their wares, you’d have seen posters for some of his latest: “The Sculptress,” “Blind Heat” (co-starring the venerable Maria Conchita Alonso) and “Epicenter.”
“Jeff’s got a lot of movies out there right now,” says Anthony J. Lyons, vice president of IFM Film Associates, an Aussie company based in Los Angeles that makes movies for $1 million to $3 million. “He’s an internationally known actor, and he’s not too expensive to get. Rather than charge $200,000 for one movie, he might charge you $50,000, but he’ll get 20 movies instead of two. These days you need known actors to sell your films overseas, and Jeff is a good value.”
How many times have you heard an actor praised as a “good value?” Money talks at the AFM, and Fahey is a favorite son here because his films fall into those tried-and-true genres (action movies, thrillers, lowbrow comedy, T-and-A, horror/sci-fi) that cross cultural and language barriers. These kinds of movies appeal to the dozens of international distributors who come here each year looking for stuff to buy. Films that will go straight to video or cable TV in the United States (that is, if they are released here at all) but can pull in a nice chunk of change in overseas markets.
The foreign rights to about 350 movies were up for grabs at this year’s AFM, and an estimated $400 million in deals were made. Not all the films represented were of the low-budget, guns-and-car-crashes, monsters-and-scantily-clad-babes variety. TFI International was peddling foreign rights to “The Golden Bowl,” the forthcoming Merchant-Ivory production starring Uma Thurman and Anjelica Huston; the new Roland Joffe movie “Vatel,” with Thurman, Gerard Depardieu and Tim Roth, was also advertised, as was “Brother,” the new movie from Japanese director “Beat” Takeshi Kitano.
But it was loads more fun to troll the market for the wreckage of once-thriving acting careers. There was Judge Reinhold from the “Beverly Hills Cop” movies, heading up a slam-bang actioner called “Crackerjack 2: Hostage Train,” from North American Releasing. Reinhold plays Jack Wild — no, not the guy from H.R. Pufnstuf — a “rogue cop with a mission … obsessed with capturing the notorious Hans Becker, a ’60s-style Red Brigade type who has transformed himself into a ’90s-style terrorist for hire,” or so says publicity materials from the production. The film co-stars Michael Sarrazin as the bad guy. (Curiously, Reinhold did not appear in “Crackerjack 1,” nor is he in the forthcoming “Crackerjack 3.” Really.)
Other blasts from the past who have become AFM stalwarts include Steve Guttenberg, who gets the Most Interesting Title award for his directorial debut, “P.S. Your Cat is Dead!” Guttenberg is billed by the film’s backers as the “acclaimed star of several billion dollars worth of top box-office and critical winners.” Elsewhere, another company was dealing a different Guttenberg film, “Second Chance,” a comedy with an all-star lineup of Pauly Shore, Robert Wagner and Tim Conway (no word, however, if Conway did the film in his ever-popular “Dorf” disguise).
If the definition of celebrity is skewed a bit in the films paraded here, the same can be said for the event itself. The American Film Market isn’t a film festival — there are no awards ceremonies, no paparazzi stampedes, and although there are premieres, they don’t include big red-carpet entrances for celebrities.
It’s not unusual for workaday actors such as Eric Roberts or Gary Busey to show up and do a little press for one of their films here, and they can walk through the hotel without being hassled. And you don’t hear about wild antics on the after-hours party scene here. This is about as racy as it gets: One night last week, Jamie Kennedy (the film geek from the “Scream” films) got lost while walking around in search of the buyers’ party for “The Specials,” his new low-budget superhero comedy — and he had to ask a bystander for directions.
“I’ve been to a few festivals before, but I’ve never been to something quite like this, which is pure marketing,” said “Star Trek” actor George Takei, who was here promoting an as-yet unmade sci-fi film, “Overload,” made by and starring a crew of former child actors including Tony Dow (“Leave It To Beaver”) and Bill Mumy (“Lost in Space“). “But I know what the rules of the game are. I’m here to help sell the movie, which is something I never did with ‘Star Trek.'”
If they ever hand out a lifetime achievement award to an actor at the AFM, it should probably go to Karen Black, the veteran of “Five Easy Pieces,” “Nashville,” “Airport 1975” and other 1970s classics who still works constantly, albeit in the relative obscurity of low-budget offerings, including many titles up for grabs at the market in recent years.
Black does it all — from children’s films (“Malaika,” a movie about an elephant), to boring dramas about people over 40 (“The Donor,” with David Carradine) and soft-core stuff (such as “Dinosaur Valley Girls,” a movie from a few years back, in which she wore a loincloth) — which makes her a fine role model for some of the other actresses such as Jasmine Guy, Carol Alt and Tahnee Welch following in her footsteps at the market.
“Karen is making a comeback, believe it or not,” said Eric Louzil, president of RHG/Lions Share Pictures, which is peddling an independent film called “Oliver Twisted,” in which Black stars. “… I’ve seen her name in quite a few films lately. She’s quite a talent.”
And at the AFM, a little talent goes a long way.
