Iconic Ozploitation royalty Roger Ward has been gracing our televisions and silver screens since the early 1960's. He has starred in films such as Mad Max, Turkey Shoot, The Man from Hong Kong and Mad Dog Morgan. He is the quintessential cinematic Australian rogue, embodying the Ozploitation genre in the eyes of everyone from local Australian independent film makers to Hollywood nobility such as Quentin Tarantino. Destiny West had the honour of chatting to Roger Ward about his career, film and his current projects.
Welcome to the Australian Film Network Journal Roger Ward.
RW
Hi Destiny, lovely to meet you. And for whatever reason you wanted to chat to me, fire away. I’m braced and ready.
What would you consider the status of Australian cinema? Have we reached our peak, or do you think we are always evolving?
RW
No! On both counts. How can an industry evolve when you have University graduates and so-called film buffs, who have never stepped on a stage, or stood before a camera, running the show?
Their knowledge of film, of drama, of what makes a great one, of how to put bums on seats is negligible and certainly not hard earned, they are not hands on and their skills should be used running a company, perhaps a paper manufacturing company because, by God, they’d build stock on the amount of paperwork one has to go through to even have an interview with these egotistical know it all’s.
As for reaching a peak. No peak will ever be reached if the powers that be keep cutting the base away so as what has been built, crumbles to the ground.
I’m sorry, but it is a sore point with me, the devastation of the so-called film industry is self- made. It could have been so wonderful, so lucrative, but these ‘wanna be’s’ destroy every opportunity, every great film, is cut down, humiliated, as if it’s some kindergarten kid trying to read War and Peace.
I’ve been around film making since the 60’s and seen the highs and the lows and sat on the wrong side of many desks with projects that could have been so wonderful only to have them thrown back in my face.
I have stuck to my guns though, and refused funding when crew and cast of projects ready to go, have been rejected because some 25 year- old kid, fresh from university, has offered funding on the proviso, she/he would choose the Director.
(so painstakenly already chosen by myself)
I have been sent to Paris (by the government, thank you very much) to write a film for a so called AustroFranco co production, have met with French Producers and raised a million dollars, (when a million $ meant something) on the proviso I raised a similar figure here. Upon return with this exciting news I was cut down with. “Oh, we didn’t expect you to succeed, we’re not ready to go ahead with the collaboration.”
Another film I wrote, in the late 70’s was based on the Vietnam war and the script was thrown out of so many production offices, until….Francis Ford Coppola, in his wisdom chose to make Apocalypse now, then my phone rang. Would I return the script, “We’ve had second thoughts.” Crap! I refused on principal. Took the script to London and was credited with, ‘Mr Ward, this is the best script I have ever read. What are you going to do with it?’ MGM optioned it. For what reason should anyone be faithful to this cutthroat, cut his legs from under him, tall poppy syndrome?
Do you think that there is enough Government support for the Australian film industry?
RW
What is the point of so-called Government support when the crap mentioned above goes on? There are certain ‘do gooders’, ‘Yes men’ and ‘favourite sons’ who continue to get the Government grants, but what do they produce? Not even a handkerchief when they’ve got a running nose. I’ve known film makers to make a reasonable film in the early 70’s then live on Government grants without ever producing another film.
What is your favourite Australia film and why?
RW
I don’t think I have one.
They’re a weird mob, way back in the 60’s was entertaining but it was a caricature of the Australian way of life. Wake in fright was getting there. My own film The Set would have been a ground breaker if the powers that be, in this case the producer, didn’t frig with the script in the two-year hiatus between me selling, and the film being made. (Why, if a producer buys your film, do they need to mess around with the script, they bought it because of what was on the page, leave it alone, don’t mess with it.)
My major films, as an actor, despite making millions at the box office; Man From Hong Kong, Turkey Shoot, Stone, Mad Max, all had weakness within. This weakness over ridden by their strengths, but the weakness was still there, we have to make films WITHOUT A MOMENT OF WEAKNESS.
What advice would you give to anyone setting out for a career in film?
RW
Be prepared for failure. It was bad enough in my day, I’ve been an actor since 1948, I’ve survived, I’ve had world trips, bought homes and land and been married twice and have enjoyed a fantastic life. I have so called ‘Fans’ communicating with me from every corner of the world, a unique experience and one I never expected when I first stepped onto the stage at South Australia’s Prospect Town Hall as a kid. But I’ve been kicked in the nuts, vilified. Traitored. Undercut. Abused. Robbed and admired and congratulated. I have had great successes and stumbling degrading fails. But I never gave up. I have a resilience and determination that you will need. You will also need talent. When I first started as a professional, the National Institute of Drama, had just commenced. There were nine graduates. All came out to a job of some form. The next year there were probably 12 graduates and eight jobs offered. Those, that missed out, were crying. Now, there are thousands of actors being churned out of myriad so called Acting Academy’s Australia wide. None have a job to go to.
When I started as a full time pro, every actor worth his salt congregated in the Gladstone Hotel on William Street Kings Cross. It was our casting couch. Our meeting place! We were the industry. We were hard players and the core of all films being made in the late 60’s and early 70’s. It was halcyon, memorable, and can never be repeated.
My advice? Go for it. But it is not fun and games. It is a career. Treat it as such.
Wait for Cut and wrap, before high jinks and laughs. Concentrate. Be filming ready when you walk on set. But do not be put down. Underscored. Belittled by a fellow actor. Or bullied by a director who thinks that title allows him to do so. Know your lines. Be professional until cut and wrap.
You have had an extensive career in film and television, what was your favourite to work on and why?
RW
I’ve enjoyed them all in some manner. Be it a great location. I.E Turkey Shoot, Cairns North Queensland.
Brothers, The Phillipines and New Zealand.
The Tourist, Jordan in the Middle east.
Nude Oddysee, Mutiny on the Bounty, Tahiti.
Quigley Down Under, the Northern Territory.
As for pleasure in seeing the play back, perhaps some of my performance in Mad Max, certainly aspects of Turkey Shoot. The same with Man from Hong Kong and Stone.
Personal experiences while shooting spring to mind as well, riding horses in the barren out back of the Northern Territory in Quigley Down Under.
Swimming over the barrier Reef while making Turkey Shoot.
Roaming the tourist spots of New Zealand during Brothers.
There are so many films and so many reasons to remember them.
But realistically, as a performer, there is not one film that I think is my best. There is always something within it, be it my performance or other aspects that prevent me from making it my ultimate experience.
What is next for Roger Ward?
RW
I have recently participated in two films written and directed by two very talented young men in the form of Noel Vinson and Abel Robinson. Both prolific writer/directors and a force to be reckoned with.
They have major projects lined up of which I have been invited to participate.
Also, James di Martino, the writer/director of The Faceless Man has already sent me a script to consider for his next outing.
And in the New Year, John Jarrett, the actor, is flexing his writing and directing skills with a drama and a comedy, projects I have been closely involved with over the past couple of years.
I’m a work in progress. I’ll never retire. The industry will have to make that decision. Or death.
What was the last show that you binged?
RW
For an actor, I am not a movie buff, nor do I watch regular drama. I hardly ever see my own work, let alone others. So, I haven’t watched anything. I’m a prolific writer and reader, that is where my spare moments go.
Do you have a favourite genre of film?
RW
I do love an action adventure if its well done but not the crap that is being put out now with all of the special effects and male models posing as actors. (Seen, I may verify, in promo’s, I would never pay) I will, out of curiosity, have a look at the new James Bond when it is released.
In my youth I was a softie for a love story. But now, nothing grabs me.
If you could work with any film maker or actor who would it be and why?
RW
I have no choices. I love to work and I attend the set with my own interpretation of the character. I am seldom asked to change. So, a favourite director does not come to mind. None of it is easy. But I look upon every film as a day at the office and have the conscientiousness and work ethic of any Managing Director of a big conglomerate.
But, having said that, there is the aforementioned Noel Vinson, Abel Robinson, James di Martino. There is also Chris Sun, of ‘Boar’ fame. Richard Wollstonecroft, ‘The Debt Collector’. Dane Millerd,’ Deaths Waiting Room’. These are Directors with whom I have an affinity and admiration and we will always work together. There is an unwritten bond between us.
There is also David Black, with whom I have never worked, but have an admiration for his prolific and excellent work. We almost made it this year but circumstances prevented it. David is a force to be reckoned with. He is prolific, determined and creative. All of the aspects needed for success.
As for actors, I’ve worked with the most inexperienced to the highest of Hollywood stars, none have altered the performance I intended and delivered.
I could work with a cardboard box or Marlon Brando opposite me and if it was a close up, no one would be any the wiser.
So, no actor gets my juices going, although….. I did love the later work of Anthony Quinn.
How has COVID affected your work?
RW
I must admit, Covid almost put a stop to me. Not health-wise, but professionally. I had eight film projects lined up as of New Year’s Day 2020.
I’ve done two of them, and two more are scheduled for early next year.
BUT I am a writer and editor and work on re-writing and editing other people’s scripts so I was fortunate to have a slew of that.
What are you currently working on?
RW
In the writing world, I am working with a novelist from Florida, USA, James Hendee, adapting his novel ‘Covid 0’ into a streaming television series. James published his novel in 2012 and thought it would be an ideal time to dramatize so reached out for my help.
Same with young Australian writer Daniel Ritchie who came to me with his projected series Arndell Reach, it is a lovely, simple, but extremely entertaining series based in an Australian town with all of the charm of the 1980’s. He asked me to come on board and help out, which I have.
Apart from that I have my own novel I’m writing, (my third) and discussing all of the above projected work.
Thank you for your time.
RW
My pleasure, sorry for thumping the table. Why I bother, I don’t know, I’ve been doing it for years without results. Maybe this time.
Thanks for letting me ramble.
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