Here I am working on my feature film called DRAGONS in 1974. It starred Jim Emmerson. This shoot was done in secret at Loyola Marymount using there equipment. I can't remember who took this picture.

I made the film with Jim's older brother, Bill Emmersn, who was my fellow filmmaker, Bill Emmerson. he's on the far left on the dolly. Unfortunately, he lost faith in my ability to put the film that eventually became the Sword and the Sorcerer and left our effort (although 4 years is kinda long time to work everyday with no real progress). That's next, dressed as a young martial arts fanatic. The next person in the picture is my long-time producer, Tom Karnowski, Tom is a really amazing line producer, absolutely tremendously skilled unit production manager. We both learned a lot together and first started collaborating in 1971. Tom left the project called Cold Steel. But returned after 8 months (yes I was still trying to get the film

Off the ground). I welcomed him back to the effort and he's become probably one of the best and most respected line producer in the world. He does huge Studio films now. And I glad he's got the recognition that I saw in him way back when we were just two knuckle heads in Hawaii without a clue how we were going to make movies. We had several false starts but we stuck together and achieved a lot, much more than we ever imagined. Believe or not, Cannon wouldn't hire him to line produce my films. So I did Dangerously Close and that gave me some leverage, but the new head if production, a jerk named Marc Fisher who was a nasty foul mouth guy said no to hiring Tom. So I went to the executive VP, Chris...something. I can't remember his name. Anyway the executive listens to my plea for cannon to hire Tom. He listened sort of. Then he says if you want him that bad why don't you pay for him. I said. We settled on $10,000. And sure enough the docked $10k out of my check. But it was the best $10k I ever spent.

Finally that is on the far right, is me. I'm like that great line in Field of Dreams, "He had his future ahead of him..." But in this moment it didn't seem possible. We had just screened for Linda Lee, Bruce Lee's widow. We ran the worn, torn work print, hoping it would make through the KEM edit machine. In a old building near Hollywood and vine. She came with her attorney. We needed Linda's permission to use Bruce Lee's photographs because the film was about a scrawny kid who idolized Bruce Lee. What was weird was how In the 3 years it took to finish the film he actually built himself up so he looked dramatically different in the end scenes . You know, I think we snuck into a theatre and filmed Jimmy's POV of the movie watching. Like I said, we didn't have a clue. The mix for the screening was done for free by the now multiple Oscar winning mixer. But back then he was starting out at his father's Hollywood recording studio. A mono mix. As these early years gave way to the concerted effort to get The Sword and the Sorcerers made we had other set backs, but we were enthusiastic. The one person who stood by me though all thick and the thin, was John Stuckmeyer. John was responsible for giving the films I made terrific musical sound tracks.


- Albert. 

I got an invite from an upcoming film festival. It's their first year and it has the "New Generation" in the title of the festival. I'm noth sure if part of the new generation but it make realize am in my fourth decade of filmmaking feature films. The inquired about THE INTERROGATION OF CHERYL COOPER, guess I better hurry and shot the pick up shots I wanted to put in the film! The film stars Tommie Vegas, Shane Ryan and Brittany Bochart and all give amazing performances. Once again, the tense film score was by Tony Riparetti and he did the 7.1 sound design and mix. Shot beautifuly in one hour long unbroken shot by Michael Su with the camera always prowling. Kudos to our sound recordist, Michael Tushaus in getting the sound with actors moving and fighting in that one long hour. And great job on the very cold and chilling set which creates the claustrophobic feeling by Michael Tushaus. It makes the audience feel they to are trapped in the room and getting interrogated. Thanks to the Indie Film Factory for their kind support in enabling the film to happen. - Albert.

We begin casting Las Vegas actors for the GALACTIC RANGERS and the CYBORG WITCH of ENDOR. The film will be a 45 minute "Proof of Concept" film to be screened specifically to studios and buyers as proof that my health doesn't prevent me from making the film and proves that the unusual concepts in the film are commercial and dynamically translated to the screen.

Though a Proof of Concept film for buyers to see, we are approaching the shoot the way we would for a full film, which means shooting in 6K and creating a 239:1 and 1:91 image the two formats on DCP for the studios and buyers. We would have a 7.1 and maybe Dolby Atmos soundtrack. Some of the action will be shoot in Guanghou China.

The film will likely have it's initial screening during the American Film Market in Santa Monica in November of this year. Private screenings with various studios to follow.

I hope to secure several stars for this but there are 4 female roles and 4 males roles to be cast in the Las Vegas acting community. We are looking for those who can create believable military characters. There will be an orientation and training by real Navy Seals and Delta Force to get the actors into the correct frame of mind and understand the training the special operations types have to go through and the discipline the need to have. 
So as they say, "we are looking for a few good men and women",

We expect to need as many as 30 extras for the film. They will receive pay according to role and type.

All roles are for SAG pay though not SAG modified as its not a film to be released. However most of the 45 minutes will be used in the full Feature and everyone's compensation will rise according to SAG guidelines.

Shooting begins Sept 12 and ends Sept 18. The China segment occurs, in the first week of October.

Besides showing how the concept works , the film is a test of whether I can direct effectively even with my deteroirating health.

There are certain adjustments we are making like short shoot days (no more than 8 hours) and the need to shoot early so call times will be 5 am. But we'd wrap by Noon or 1 pm. This will prove we can still make a cost effective film in this truncated schedule. That I can shoot 10 to 15 pages a day of both action and dialogue and have the results show beautifully realized frames and terrific performances. Obviously in casting the film, I will tend to lean on those I've worked with before. The script by Cynthia and myself is only 59 pages long. The third act will be written at a later time.

Las Vegas based actors and those willing to be hired as locals should send their head shots with resume to curnanpictures@gmail.com. We haven't schedule auditions yet.

My fantastic creative team consists of Michael Su, Mike Leeder, Tony Riparetti, my wife and creative partner, Cynthia Curnan and Chris Kaniela Curnan.

- Albert.

Very kind post by my dear friend and partner on current and future projects. I listen to his well informed voice and savvy opinions. He's simply a wonderful and good human (at least I think he's human). Thank you Glenn for everything. - Albert.