Analysis of information sources in references of the Wikipedia article "John Milius" in English language version.
After selling his screenplay The Life and Times of Judge Roy Bean for $300,000 (an almost unprecedented amount in 1971, especially for a writer whose asking price was $85,000), Milius told Esquire, "I make terrific deals. My hole card on this one was I didn't particularly want to sell Roy Bean anyway. I had written it for my own pleasure." But more interesting than the amount of money this script sold for was the emerging writer's voice within it.
After selling his screenplay The Life and Times of Judge Roy Bean for $300,000 (an almost unprecedented amount in 1971, especially for a writer whose asking price was $85,000), Milius told Esquire, "I make terrific deals. My hole card on this one was I didn't particularly want to sell Roy Bean anyway. I had written it for my own pleasure." But more interesting than the amount of money this script sold for was the emerging writer's voice within it.
By the time Milius made his sprawling, tortured surf epic...the skies had darkened considerably...
{{cite news}}: CS1 maint: location (link)A box office dud, it finally resonated a decade later (when it reached VHS)...Milius's own life as a surfer and the real surf experience of Jan-Michael Vincent, William Katt, and Gary Busey gave the film is authenticity. Riding Giants writer Sam George said in a phone interview we quoted Speilberg as saying "Milius let his eccentric love of surfing...get in the way of ...storytelling."
{{cite news}}: CS1 maint: location (link)Milius told the NYT in 1977 that he had based the Marlon Brando character...the Green Beret colonel...on both...Kurtz from Joseph Conrad's Heart of Darkness and Col Rheault.
{{cite news}}: CS1 maint: location (link)"from an Oliver Stone screenplay that Milius retooled, opens with a quote from Nietzsche and grows more lugubriously overblown from there...
{{cite news}}: CS1 maint: location (link)Red Dawn was a summertime success, kicking Ghostbusters from the No. 1 spot at the box office and going on to gross more than $35 million. Its youthful cast seems familiar today, but back then its members were virtual unknowns: Patrick Swayze had top billing, joined by Jennifer Grey, Charlie Sheen, and Lea Thompson. They played teenagers who head to the hills following the Soviet attack, forming a resistance group that wages guerrilla warfare against Communist aggressors.
To John Milius, the kinds of stories we tell about ourselves, our own ongoing legends of ourselves, are actually how we measure the greatness of our aspirations. That's what Learoyd does for the tribe, he says. He takes them, he gives them a legend - all of them. He gives them a history; he makes them a strong people. Even though he's gone, they have the legend.
Mr. Milius's source material is a novel by Pierre Schoendoerffer, France's incurably right-wing romantic who, in 1977, wrote and directed the memorable Crabe Tambour, adapted from his own novel. Unlike some of Mr. Milius's earlier films (including Red Dawn), Farewell to the King cannot be faulted for its politics - it hasn't any.
{{cite news}}: CS1 maint: location (link)ProQuest Central document ID 267381536
ProQuest Central document ID 267466689
In the 1980s, when filmies seemed more troubled by Ronald Reagan describing the Soviet Union as an "evil empire" than by actual Soviet expansionism, dovish propaganda movies like The Day After and Testament were being churned out by most of the industry. John Milius, however, was busy making Red Dawn, a picture about how a Soviet invasion and occupation of the U.S. plays out in the heartland.
Homefront conveys a chilling, gripping, not entirely ludicrous version of America's fall...as a provocative, emotionally involving and politically relevant creative experience, it is vital. Were it a film, it might already be a topic of national discussion
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