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Grégoire Canlorbe

Grégoire Canlorbe

A conversation with David Salucci, for BulletProof Action

A conversation with David Salucci, for BulletProof Action

by Grégoire Canlorbe · Déc 19, 2025

David Salucci is a French martial artist, strength coach, actor, and writer.
A 6th-dan black belt in Shotokan karate and a World and European Champion in semi-contact kickboxing, he has spent more than four decades pursuing a path where the body becomes an extension of the mind. Holder of eighteen federal certifications in coaching, martial arts, and physical conditioning, he also trained in Mexico with the Tepic Federal Police, where he obtained his international APR licence.

  His artistic journey follows the same inner discipline: he appears in The Shepherd Code: Lapierre (IMDb), the final chapter of Alan Delabie’s trilogy, bringing to the screen the same intensity he has long cultivated on the tatami.

  Author of Philosophical Treatise, The Path of Integrity (Amazon), David Salucci explores in his writings the bond between strength and righteousness, the dialogue between physical rigor and the clarity of the soul. On his personal blog (davidsalucci.blogspot.com), he extends this reflection, weaving together spirituality, introspection, and a lucid perspective on the contemporary world.

  Grégoire Canlorbe: Please tell us about your collaboration with Alan Delabie.

  David Salucci: Alan and I have known each other for about six years. He is a former martial artist, shaped by the stage and by the art of the nunchaku, his trademark discipline, but also by everything the martial path demands: mastery, rigor, and humility. As for me, I am a pure product of karate. Naturally, that gave us common ground from the very beginning.

  At that time, Alan was steadily gaining momentum, project after project, climbing the ranks of a field as demanding as it is fascinating. Through our conversations, we discovered a shared set of values, a similar relationship to discipline, loyalty, and effort. The bond formed without calculation. What began as simple exchanges turned into daily conversations, and from those conversations emerged a genuine friendship. Something strong, almost fraternal.

  The Lapierre project brought us together without premeditation. At first, neither of us imagined we would ever collaborate in a cinematic context. What connected us above all were the martial arts. I come from that world body and soul, and he too trained alongside prominent French karate masters. Those bridges, invisible at first, eventually shaped a common path.

  What amuses me today is the parallel between our trajectories. Alan threw himself into cinema with absolute passion, his inner fire, his calling. I spent many years navigating the media world, but always through the lens of martial arts: magazine covers, reports, interviews… Two different roads, yet fueled by the same driving force. And it is undoubtedly this convergence of energy that led us to Lapierre, filmed recently, a project now “in the can,” but above all, a profoundly meaningful human adventure.

  Grégoire Canlorbe: Perhaps a word about the character you portray in The Shepherd Code: Lapierre?

  David Salucci: In Lapierre, I play a mercenary still in active service, a killer much like Alex Lapierre himself. My character moves in the shadows, in that zone where decisions are made without spectacle, far from the light. He is the one summoned when everything begins to collapse, when a mission drags on, when the boundary between order and chaos grows thin and unstable.

  I appear at several pivotal moments in the film with a presence that is discreet, almost spectral, yet undeniably decisive. My character is named Joey “Cobra” Silver, a choice weighted with symbolism. The serpent does not act in turmoil; it watches, waits, then strikes with surgical precision. That is the very essence of Joey, a silent threat, an unpredictable ally, a raw instinct concealed beneath an eerily serene exterior.

  Grégoire Canlorbe: Are you satisfied with your performance?

  David Salucci: To be completely honest, Lapierre is for me a first immersion, a kind of initiation. My role remains discreet; I appear for perhaps ten minutes in a film that runs just over an hour and twenty. The editing is complete, but the film has not yet been released, so I have only seen a handful of excerpts, fragments, flashes of scenes. And yet, for a first experience, I was genuinely satisfied with the result.

  I see this experience as a first step, a way of setting things in motion, of testing my footing in a new world. I needed to feel what it was like, not from the outside but from within: the rhythm, the camera, the silence between takes. And above all, the strange sensation of watching your own performance projected on a screen.

  The entire shoot was done in English, which is not insignificant. Even though I speak the language, acting in an idiom that is not your own creates a subtle shift. It is as if you become another version of yourself, one with a slightly different sensibility. Words in a foreign language do not rise from the same place; they impose a distance, a form of restraint. It makes the acting more technical, but also more deliberate.

  In the end, I experienced it as an exercise in style, demanding yet profoundly instructive. I know there are a thousand things to refine, but for a first attempt, I believe I managed rather well. What mattered most was having the courage to step through the door.

  Grégoire Canlorbe: You studied Claude Goetz’s method in the training of the young Jean-Claude Van Damme: there was even talk, if I am not mistaken, of a book on that subject.

  David Salucci: In truth, Goetz is more than an acquaintance; he is a friend. We spent many years in each other’s orbit. I entered his world after writing a biography devoted to Jean-Claude Van Damme, a one-hundred-sixty-five-page manuscript that he himself read and approved. I remained in contact with JCVD for a little over two years. He is a fascinating man, but also extraordinarily complex. What the public sees on television is a softened version. In reality, he is even more intense, more unpredictable. Working with him is a unique experience, at times exhilarating, and at times exhausting. He is a man difficult to contain, a free spirit, elusive and mercurial.

  Even before that period, I was already passionate about the biomechanics of the full side split. I began karate in 1986, and I have never stopped practicing. This meticulous work, the technique of the split, the subtle muscular tension—became my true calling card. It was precisely this point of convergence that drew me closer to Claude Goetz, who also attached tremendous importance to that dimension of the body.

  I have led countless seminars, trained numerous students, always around stretching, physical preparation, and the pursuit of precise, intelligent movement. It was on this shared ground that our friendship took root. Beyond the tatami, we shared many meals, long conversations, often in the company of his wife, who became very close to mine. The human bond grew naturally from the martial one.

  As for JCVD, everything began because Claude dreamed of publishing a book that would reveal him from a different angle, that of the true martial artist. Since I had already authored several works, he entrusted me with the writing. The aim was ambitious: to unveil a lesser-known Van Damme, far from the glitter, more introspective, more authentic. The book was nearly complete: more than two hundred and thirty unpublished photographs waiting to be included, gathered with meticulous care, training sessions, behind-the-scenes moments, suspended instants. JCVD himself had approved them. The project was part archival document, part intimate portrait.

  But at the last moment, everything stalled. The family intervened. His mother, his sister… old tensions resurfaced. JCVD found himself caught in the crossfire, torn between loyalty and affection. We chose to pause everything. That familial duality is well-known, an open secret in the milieu. The project ended there, without drama and without resentment. I simply decided not to force fate. Sometimes, one must accept that certain things are meant to remain in the shadows.

  Grégoire Canlorbe: A book that seems far closer to a thesis on martial arts, or even psychomotor science, than to a simple biography.

  David Salucci: Yes, it was an immense amount of work, ultimately for nothing. Writing a book is an undertaking that devours time, hours of research, cross-checking, interviews. For this one, I was in contact with people who had known JCVD since his youth. It was a plunge into the origins of a myth, but also a craftsman’s labour.

  With hindsight, I believe the project belonged more to the realm of the thesis than to that of the biography. It is my natural terrain. I have always had a strong inclination toward philosophy, and the construction of a thesis, with its rigor, its architecture, its demonstration, has become my way of thinking the world. Between 1999 and 2012, I must have written nearly two thousand of them at the federal level. I revisited every advanced kata, re-explained each kick through its intimate mechanics, its muscular insertions, its levers. The aim was to render movement intelligible, to translate into words the invisible logic of the martial gesture.

  I also undertook to rewrite traditional karate, to reorganise it, to purify it of what time had eroded. It is fundamental work, almost a quest. I write constantly, sometimes for myself, often for others.

  But I harbour no regret. In this milieu, that is simply how things are. In return, other doors opened, other opportunities emerged. I am not ungrateful, I simply acknowledge the customs of a world in which everyone strives to exist.

  When you rise in any field, whether sport, cinema, or business, you quickly understand that merit alone is not enough. You must work, certainly, but also strategise, because positions are few and fiercely contested. Some will not hesitate to step on you, to abandon what I call the fundamentals. To survive at that level, you must be armed, technically, mentally, morally. Without that, you do not last.

  Grégoire Canlorbe: In a way, you crossed to the other side of the mirror, into the reality of show business beyond the glitter and the bling.

  David Salucci: On paper, show business makes you dream, it is a world of light, of promises, of brilliance. But once you step through the mirror, the reality is entirely different. Since 2007, I have moved among what I call the stars up close, that gilded circle which shines from afar yet, seen from within, has nothing celestial about it. I spent many years in that environment, surrounded by actors and public figures, evenings, appearances, smiles, photographs, and behind it all, an immense void.

  Because this milieu, despite its seductive veneer, runs on a machinery of pretence. People greet you with open arms, shower you with promises, assure you of wonders, and then, nothing. When the curtain falls, only your work and your integrity remain. In that world, true help never comes from those you expect; it is almost never an actor or a star who opens a door for you. It is sometimes a stranger, an unexpected encounter, a look that believes in you, a gesture offered without interest, rare, almost anachronistic.

  Today, the world has sunk into a vortex where values dissolve. Ethics, loyalty, a given word, all of that seems to belong to another age. People have traded integrity for opportunism. And for someone like me, shaped in a world where a word was a vow, the shock is violent.

  In the 1980s, in the dojos I knew, there were no borders, no differences. We were two hundred and fifty per club, from every origin, every colour. No one looked at another with suspicion. We trained together, we fell together, we rose together. If someone needed help, everyone rushed in. It was a time when fraternity was not a slogan but a practice, when friendship carried weight and nobility.

  Today, everything has fractured. You are judged, classified, labelled. People betray each other for a trivial advantage, for a moment of attention. Some would sell their loyalty for the promise of immediacy. It is a moral ugliness that revolts me, because it denies what makes a man worthy, constancy, integrity, a hand extended when needed.

  I have also seen this world from another angle, the vantage point of close protection. I have accompanied important individuals, sometimes in delicate situations, and those experiences opened my eyes. They taught me to read faces, to sense intentions behind smiles. Cinema, seen from the outside, is a dream; from the inside, it is an elegant jungle. It fascinates, yet it devours. It is one of the toughest, cruellest worlds, and also one of the most vibrant. A perfect paradox, like light itself, dazzling, yet blinding.

  Grégoire Canlorbe: Many are those who will always prefer remaining in denial to giving up the comfort false promises: those who will always choose the illusion of the easy path rather than face the shock of reality.

  David Salucci: Many still live with that hope of effortless glory, that stubborn illusion that believing hard enough is all it takes to succeed. Yet there is a fundamental truth: talent cannot be bought. It is forged slowly, in contact with rigor, doubt, and time.

  It is the same in martial arts and in everything that gravitates around them. In the past, some would say: I love karate, I’m a green belt, I’m going to do magazines, covers. In theory, everyone has the right to try. But the moment you choose to enter that world, you become a product. And a product, if it is to be visible, must be identifiable. Your image, your physique, your attitude, everything matters. Behind that façade lies a true process of construction.

  If you want to appear in magazines, you need substance, something concrete, a real trajectory. Even a black belt is not enough. To appear on a cover, you must justify your presence. When I found myself in DOJO FIGHT Mag, next to figures like Jon Jones, I knew I had to belong there, that I needed something to say, to embody, to defend. At that level, there is no cheating.

  With time, you learn not to confuse dreams with mirages. You cannot promise the impossible to everyone. Among novices, illusion still works; you can make them believe they’ve struck gold. But among insiders, it no longer holds. Maturity is understanding that a film, a career, a project, all of it rests on reality. And reality is that everything has a cost.

  When you embark on a first project, even with talent, you must stay lucid. This environment is open to all, certainly, but once you enter it, you too become a product. And that product must be coherent. The image you present must match your means, your world, your identity.

  If, for instance, you want to shoot a futuristic movie, a hostage situation in a spaceship with zero budget, you will inevitably fall into kitsch. The final result will never hold up. It is far wiser to build a solid story, human and embodied, without special effects, but with depth, tension, and truth. A clever script, even a modest one, will always have more impact than a blockbuster fantasy without resources.

  That is the most common mistake: trying to compete with Hollywood with an empty bank account. Cinema, like life, demands realism. Believing you can build cathedrals out of matchsticks is the surest way to watch everything burn.

  Grégoire Canlorbe: How do you present your philosophical treatise and its purpose?

  David Salucci: The Philosophical Treatise was not originally conceived as a major work but rather as a booklet, a small, simple format in which I laid down a few essential markers, a kind of philosophical compass meant to recall fundamentals and outline a few paths of reflection. I touched on many themes, without any claim to exhaustiveness; it was intentionally concise, almost stripped down. The format required a certain restraint, it was impossible to delve too deeply without unsettling the balance.

  I therefore limited myself to sketching the main lines, the central ideas, without weighing down the writing. It was a first approach, an outline, a way to transmit anchor points to those who, like myself, seek to understand the link between thought and action.

  Today, my approach has evolved. With the blog I recently launched, I have found a freer, more dynamic space. There, I develop my reflections without constraint, I expand on the subjects, I dig more deeply into the philosophical roots that underpin the martial gesture. What I appreciate is the possibility of following an idea to its end, of pushing it, of confronting it with reality.

  And what is fascinating is that, regardless of the theme I explore, everything eventually converges. Philosophy, discipline, spirituality, martial arts, all obey the same logic, that of the closing circle, the perpetual movement in which every reflection, every experience, leads back to the essential: self-knowledge.

  Grégoire Canlorbe: A chapter of your treatise is dedicated to platonic love. How do you summarize your analysis on that topic?

  David Salucci: When I revisit the notion of platonic love today, I do so in the light of my own journey. Nothing replaces experience, it alone shapes and refines our certainties. With time, you realise that your stance shifts, that maturity is this slow transition toward the choices that truly matter, especially in love.

  In this realm, I believe one should attach oneself only to what is real. Everything else is illusion. When two people meet, man, woman, it makes no difference, everything almost always begins with the physical, a raw, instinctive, animal attraction. We let ourselves be captured by the form while forgetting the substance. But sooner or later, you understand that the body, however perfect, cannot sustain anything over the long term. If there is no soul behind it, no conversation, no depth, beauty crumbles and the bond empties of meaning.

  You can walk beside the most beautiful woman in the neighbourhood, feel the glances turning, enjoy the social flattery, but in the end, beauty alone does not hold. If she has nothing to offer beyond her reflection, you eventually lose yourself in it. Love is not a trophy, nor a display window, it is a daily construction, an endurance carried by two.

  This is why I distrust purely fantasised love, the kind that exists only on the surface of an image. Everything that is overdone or artificial eventually cracks. In life as in love, you must build on something solid, not on glitter. The person who shares your existence must become your refuge, your mirror, your truth. When you are fortunate enough to meet that person, the one who understands you, helps you, accompanies you without conditions, love takes on another dimension, it becomes sacred.

  Look at the world of celebrities, how many parade partners chosen for appearance, for the façade? It is a perpetual performance. Take Schwarzenegger, for example. He embodied absolute success, the body, the cinema, power, glory. His wife came from the Kennedy family, beautiful, tall, brilliant, almost aristocratic. Yet his most sincere love story, his most authentic one, he lived with a woman entirely different, an employee, Mexican, simple, slightly round, with whom he had a child. She was the one who, without knowing it, resembled him the most.

  That example says everything. Even at the summit, surrounded by spotlights and pretence, humans end up seeking what is real. You can lie to yourself for a time, display success, play the role of perfection, but you never deceive your own heart. What you run from always catches up with you. And often, it is in simplicity that you rediscover what you had lost, the truth of love, the kind that does not show itself but is lived.

  Grégoire Canlorbe: How do you assess Plato’s remark that “the art of gymnastics” pertains to “the body,” and “the art of music,” for its part, to “the soul”?

  David Salucci: It is fundamentally true, and even more true than true.

  When we reread the great philosophers, we have to picture what they truly were, men seated face to face, in silence, capable of conversing for hours, far from the modern noise, far from screens, notifications, the constant distractions that today erode our attention. They were whole minds, beings who had turned reflection into a way of life. Some quite literally signed their lives with their ideas, to the point of becoming universal landmarks, torches in the history of humanity.

  So yes, criticising Plato today would be an absurd form of recklessness. These men were giants of thought, craftsmen of truth, builders of ideas. They had neither the tools nor the technological means we possess, but they had what we have lost, inner availability.

  Look around you, minds scatter, consciousness frays. Few people read anymore, few linger over a deep analysis. Information is consumed rather than assimilated. People no longer seek to understand, only to appear. The world has grown accustomed to ease, to the comfort of intellectual laziness, and this drift saddens me.

  I no longer recognise myself in it. This world no longer resembles me. My finest years are behind me, and I say it without bitterness. I had the immense privilege of living ten lives in one, of knowing passion, sweat, loyalty, the slowness of things done well. Today everything moves too fast. Young people no longer take the time to live, they scroll through their existence the way one flips through an advertisement.

  In the past, seduction came through words, through a glance, through a handwritten letter. One took the time to choose each phrase, to place a feeling on paper, to wait for the reply. There was in all that a gentle gravity, a modesty, a depth. Today everything is instantaneous and therefore everything is replaceable. Perhaps that is the greatest tragedy of our age, having confused speed with life.

  Grégoire Canlorbe: The virtual world, while it can help meaningful interactions and meetings to happen, has also erected a barrier between individuals.

  David Salucci: We have been completely desocialised, and it was no accident. It was intended, planned, orchestrated. And they have executed it perfectly.

  Step into any waiting room and you will see it instantly: no glances, no words. Twenty people seated side by side, each locked inside a digital bubble. Perhaps a timid “hello,” torn from the politeness of another era, but nothing more. Faces have closed, gazes have dimmed. Humanity has dissolved into distraction.

  Everywhere, the spectacle is identical. On a terrace under the sun, no one contemplates the horizon, no one savours the moment. People sit motionless, eyes fixed on their phones, scrolling through lives that are not their own. We no longer speak, we no longer listen, we no longer observe.

  It is not only sad, it is tragic. Because behind this illusion of connection, there is no true bond. We have traded the warmth of voices for the coldness of screens. And this collective silence, this vast modern muteness, is perhaps the greatest victory of emptiness over speech.

  Grégoire Canlorbe: Another remark by Plato to which I believe it is worth returning: submitting oneself to “gymnastics” and “regimens” is a way to intensify “moral ardor,” and not merely “physical strength.”

  David Salucci: It is undeniable that training with regularity and intensity elevates you, physically of course, but above all inwardly.

  When you truly commit yourself, with a clear objective, almost an existential one, you begin a metamorphosis. You change skin, change gaze, change nature. The person I was at seventeen could never have imagined the man I would become. Everything was built through will, discipline, work, and resilience. Nothing came by chance, I shaped myself, quite literally, through sweat and effort.

  The stronger your mind becomes, the more you rise above ambient comfort. Someone who sits across from you without ever having faced effort, without having tasted rigor or the solitude of pushing beyond one’s limits, cannot understand. Courage is not a gift, it is a conquest.

  I remember the 2010 kickboxing world championships. I would go running at night, in the suburbs, around two in the morning. Hood pulled tight over my head, “karate contact” sweater on my back, I slipped into the empty streets. I was even stopped by the police once or twice, puzzled to see someone running at that hour. What they could not imagine was that this run was not just training, it was a ritual, a way of forging my mind, hardening myself, reaching for the version of me that did not yet exist.

  Very few people know what it is to run alone, in the cold, through silent neighbourhoods, under weary streetlights. Those are the moments that carve your mind, that make you into someone different. Elevation never springs from comfort, it is born from friction with difficulty, from the confrontation with pain.

  Because life does not wait for you. You can train, give everything you have, but you must also manage your work, your family, your responsibilities. It is within that constant tension between all the things you carry that true strength is forged.

  And by repeatedly stepping out of your comfort zone, voluntarily placing yourself in danger, crossing fatigue and doubt, something within you sharpens. You become more solid, more lucid, more grounded. In the end, what remains is not the performance, but the being. And it is that being, forged in night and sweat, who keeps moving forward when everything else collapses.

  Grégoire Canlorbe: There is a difference between being and playing at being: confusion on this point is characteristic of children and of those who refuse to grow up.

  David Salucci: Let me tell you something, the one who pretends to be tough never lasts. In life as elsewhere, you cannot cheat for long. When you invent a persona, when you try to make others believe you are someone you are not, sooner or later reality catches up with you.

  Social media, at the beginning, had meaning. It was a window into who you truly were, a way to share your work, to pass on experience, perhaps to inspire. When I opened my Facebook account, my intention was simple: to spread a martial message, a philosophy of life, a certain vision of discipline.

  Today, all of that has been corrupted. The game has taken over.

  In 2004, in Lorraine, I was the first fitness coach. At the time, the very word “coach” made people smile; it was an American term, unfamiliar here. I trained dozens of people over eighteen years, people from all walks of life, lawyers, entrepreneurs, athletes from every horizon. If it lasted that long, it was because the work was real, because the results were there.

  Then the word became fashionable. Coaching became a label, a consumer product. Everyone proclaimed themselves a fitness coach without background, without training, without experience. Zero expertise, zero legitimacy, but an Instagram account and a retouched photo. And today the same drift is happening in the world of cinema: everyone is an actor, a stuntman, a screenwriter. Nothing is checked anymore, nothing is validated.

  On platforms like YouTube or Facebook, anyone can invent a career, give themselves titles, list achievements, without anyone verifying anything. It has become alarming. The line between truth and illusion has vanished.

  As for me, everything I say is traceable, verifiable. I have eighteen federal certifications, each with its official registration number. I am 3rd dan in contact karate with the FFKDA, 6th dan Shotokan with the UNVS, these are facts, not marketing tricks.

  What disturbs me is not other people’s success, it is the imposture that has become the norm. The fact that people can fabricate a past, award themselves titles, and everyone simply accepts it. We have normalised deceit. And when falsehood becomes the rule, when legitimacy no longer counts, we condemn an entire generation to illusion.

  Grégoire Canlorbe: Thank you for your time. How would you describe the respective ways in which Asia and Europe approach the body and the martial arts, particularly karate?

  David Salucci: Today, I condemn a Europe that has profoundly forgotten where karate comes from. Its roots are above all traditional, spiritual, almost sacred. When I began, we drew kihon lines across entire halls. We repeated, again and again, until the movement became truth. It was a pure karate, rough, demanding, a martial art in its strictest sense.

  In the 1980s, karate was hard, at times brutal. Knockouts were allowed, gi jackets often ended stained with red. But it was a school of life. You emerged stronger, more dignified. You learned to shape yourself through pain, respect, and the search for balance. It was an art in the deepest sense of the word, a discipline that forged men before producing athletes.

  Today, karate has been européanisé. It has become a sport, a spectacle, a showcase. And that saddens me. Karate was never designed to flatter crowds, but to elevate the spirit. It has lost its philosophical dimension, its nobility, its essence. The body still moves, but the soul has grown silent.

  That is why many masters, like Roland Habersetzer, chose to step aside, to turn away from the noise of sport-karate and return to the original path, the path of tradition, silence, and inner quest. And I understand them. Because that return is a return to the source, to the truth of movement and of heart.

  For me, modern karate has faded, weakened, emptied of meaning. It has turned into a product, when it was once a school of life. And perhaps that is the greatest struggle of our era, to learn again to be martial before being visible, to become true before being seen.

“What I have learned over the years is that you do not triumph by seeking the light, but by learning to walk in the shadows without ever betraying your own path.”


That conversation was originally published on BulletProof Action, in November 2025

Filed Under: Uncategorized Tagged With: Alan Delabie, David Salucci, Grégoire Canlorbe, Philosophical Treatise: The Path of Integrity, Plato, The Shepherd Code: Lapierre

A conversation with Drieu Godefridi, for Gatestone Institute

A conversation with Drieu Godefridi, for Gatestone Institute

by Grégoire Canlorbe · Déc 19, 2025

Drieu Godefridi is a jurist (University Saint-Louis, University of Louvain), philosopher (University Saint-Louis, University of Louvain) and PhD in legal theory (Paris IV-Sorbonne). He is an entrepreneur, CEO of a European private education group and director of PAN Medias Group. The author of The Green Reich (2020), he is a fellow traveler of the N-VA [Nieuw-Vlaamse Alliantie—New Flemish Alliance], a conservative, nationalist party.

  Grégoire Canlorbe: You were a list leader for the conservative party N-VA in 2024 Belgian federal election. How do you sum up what this party can bring to the Belgians and, in particular, the Walloons?

  Drieu Godefridi: The N-VA’s primary strength lies in its seriousness. This is what convinced me to carry its colors in Wallonia, despite the priority objective set out in its statutes—the independence of Flanders—which actually does not evoke much enthusiasm from the Walloons. This is seriousness in the best sense of the term: the leaders of the N-VA have a perfect grasp of the workings of the Belgian system, in all its layers and details. When they propose reforms, they are not empty words.

  Belgium operates under a proportional system that requires the formation of multi-party coalitions, in the tradition of Italy, the Netherlands, or Israel, and the electoral landscape is structured into two blocs—Francophone and Dutch-speaking. Nevertheless, their program systematically addresses the major ills of Belgian political life, starting with the abyssal debt that threatens our financial balance.

  Next comes the issue of creeping Islamization, fueled by powerful Islamist networks, particularly in Brussels, and to a lesser extent in Antwerp. In my view, no Francophone party has until now offered such determination or clarity of analysis on the Islamisation of our societies and the crushing tax burden on citizens. The Reform Movement, MR, seems today to be embarking on a similar path, being a major partner of the N-VA at the federal level. The N-VA takes its inspiration from the Irish philosopher Edmund Burke and defends the market economy. 

  Belgium is virtually bankrupt; its debt and budget deficit are out of control. This is mission No. 1 for the N-VA: to get public finances back on track. The success of this mission determines everything else. 

  Canlorbe: The N-VA is reproached for lumping all Muslims together and thereby justifying all sorts of alleged persecutions against Muslims, both domestically (such as to prohibit the veil) and in foreign policy (such as supporting supposedly indiscriminate bombings in Gaza). What do you reply to those criticisms?

  Godefridi: The N-VA claims to have an inclusive nationalism, as opposed to Vlaams Belang, whose nationalism is still strongly tinged with references to the white race. There are Muslims among the members, staff and voters of the N-VA. The N-VA has never—in word, writing or deed—adopted a position of rejecting Muslims, even if the party does claim the right to criticize and reject Islam as a political doctrine—which is my position on the subject.

  Some parties that unreservedly welcome Islamists do not hesitate to accuse us of lumping Islamists together with the whole Muslim community. I am particularly thinking of the Communist Party (PTB), and Écolo—which are on the far left—and, more unfortunately, the Brussels Socialist Party (PS). For them, any criticism of Islam—which, please recall, is not a race, but a political doctrine—automatically falls into the categories of Islamophobia and racism.  Islam, as a political ideology, refers to the use of the principles, values or texts of Islam—in particular the Koran, the Sunnah and the Hadith—to structure a system of governance, laws and public policies.

  Having closely worked with the N-VA and regularly exchanged views with numerous party representatives, I have never encountered a single person who could be described as racist. This even includes controversial figures such as Theo Francken, whom Écolo had the audacity to caricature as a SS officer, which is profoundly disgraceful.

  The N-VA wants to ban the veil in public administration, and in schools—that is all. For the rest, freedom remains the order of the day. Regarding Gaza, on October 8, 2023 Bart De Wever clearly expressed his solidarity with Israel, but since then, has continued to deplore the supposed heavy-handedness of the Israelis in Gaza, even though Israel has reportedly done « more than any other military in history to minimize civilian casualties » in a place where every inch above ground  appears to have been booby-trapped for violence—including schools, UN facilities and mosques. 

  The representatives of the N-VA seem distinguished by their intelligence and their sense of state, far removed from the crude racism on the far left, where individuals are judged by the color of their skin. That is a perverse form of racism, allied with a new anti-Semitism, unfortunately, re-emerging on the left with a worrying severity. When a far-left “comedian”, Herman Brusselmans, writes that he wants to slit the throats of every Jew he meets in the street, what is funny? Is that humour or a call to murder?

  Canlorbe: Please tell us about Prime Minister Bart de Wever. What distinguishes him from—or makes him similar to—his counterparts such as Georgia Meloni in Italy, or Emmanuel Macron in France?

  Godefridi: In today’s current political landscape in Europe, one finds mostly grand speeches; Wever, coming from a small country, a small region—Flanders—embodies exceptional stature. He possesses a depth of thought. “Philosopher-king, » in his case, takes on its full meaning: a historian by training, he analyzes the field of possibilities based on a solid historical perspective, a fine knowledge of the Flemish political landscape, and a sharp sense of strategy.

  Since he became the Prime Minister of Belgium, his interventions—both in the Chamber and in the media—testify to a rare quality, both in form and substance. His moderation and sense of measure stand in contrast to the constant exaggeration observed in many parties, especially on the left. He seems to be a personality of exceptional stature at the Belgian level. 

  On the European scene, he is like Meloni. She has been criticized as “Mussolinian, » condemned for her supposed lack of competence, but she has proven to be one of the best Italian political figures of the post-war era, and is achieving remarkable results. Today, she is the preferred interlocutor of the United States in Europe. She never shows any animosity toward Ursula von der Leyen. Simply put, she is more effective. 

  The comparison with Emmanuel Macron is, alas, the opposite: welcomed with open arms by the French press and the state apparatus, which had sidelined François Fillon, his main competitor, his term has only exacerbated a decline that was already underway before he came to power. This decline, present in economic, social, and technological terms, affects all domains; France, once embodied by General de Gaulle as a visionary power at the forefront of modernity, can no longer regain its former stature. The political quagmire in which the country has been mired since the last dissolution is a sad illustration of this. Having written my thesis at the Sorbonne, it is even more painful seeing a great country sink like that.

  Canlorbe: A few days prior to Trump’s reelection, you released a Facebook video [https://www.facebook.com/drieu.philippe/videos/420568421103166] in which, along with Alain Destexhe, you confided your opinion that Trump’s return would be some good news for the Europeans. Is your hope satisfied?

  Godefridi: The good news with Trump’s return, for us Europeans, is that Trump’s return forces us finally to take on our responsibilities, whether in military, geopolitical, or economic terms. It signifies the end of a Europe that spends its time legislating for the world, creating countless regulatory cathedrals meant to govern the entire world: General Data Protection Regulation (GDPR), competition, carbon tax, GAFAs, freedom of expression (not), REACH, … All this under a constant infusion of money, directly or indirectly American, which is now obviously over. For 20 years, Europe has been under-investing in its military capabilities and relying on the American umbrella. For the past 20 years, America’s taxpayers have been funding European defense on a massive scale.

 From this perspective, Europe is sent back to its geopolitical reality—lesser than what, until recently, some European politicians may have fantasized. Europe is also sent back and to its financial and economic reality, which, unfortunately, is that of an aging continent bearing the yoke of an ideology that is a mix of extreme environmentalism and socialism, with wide-open doors to millions of Islamist newcomers. Today the main problem of Europe appears to be the European Union—apart from the Common Market, a practical necessity. European law, sadly, has become an instrument that prevents economic development.

 The cost of energy, for instance, is today three to five times higher in Europe than in most countries of the world, especially the United States. No industry can withstand such a differential for very long. The cost of this energy, however, is entirely the result of policies decided at the level of the European Union. 

  So yes, the resurgence of Trump is good news for Europe, but only in the sense that it forces Europeans finally to take their economic and military responsibilities seriously, especially now in Ukraine.

  Canlorbe: You regularly travel to Paris, Brussels, or Amsterdam for your activities as an entrepreneur. How do you assess the “business climate” there?

  Godefridi: Paris, Brussels, Amsterdam—these are cities in distress, often for the same reasons: a migratory surge and a management that is primarily socialist. Paris and Brussels are dirty, saturated with aggression, and everywhere you go you encounter asylum seekers who have been denied asylum and have no right to reside in the country but remain there nonetheless because they are supposedly “undeportable”. The police try to do their job but are constantly sabotaged by left- and far-left judges who, under various pretexts, release the worst rapists, thugs, and criminals and rapists. of all kinds, under various pretexts.  

  Admittedly, Dutch management far surpasses that of Belgium or France. In the Netherlands, public debt represents 50% of GDP, compared to 106% and 114% in Belgium and France. A country can ensure budgetary rigor and prosperity if it wants to.

  Our cities, nevertheless, like the rest of Western Europe, are buckling under the yoke of all sorts of regulations, the source of which is the European Union. There is no longer a real business climate and European law acts as an instrument of economic castration. Take energy: its cost is five to seven times higher in Europe than in the United States—no industry can sustainably withstand such a differential.

  By contrast, Switzerland remains a paradise: for the last decade, its industrial production has grown by about 40%, while that of Germany has fallen. Despite significant migration and a few small Islamist enclaves, Switzerland offers light taxation, a higher standard of living, and a commitment to the civil tradition that encourages entrepreneurship without bombarding it with countless regulations or resorting to arbitrary administrative interventions.

  My American entrepreneurs friends peer at us Western Europeans as once West Germans looked at East Germans: cousins, brothers, but on a totally opposed trajectory. With the exception of Switzerland, Western Europe is mired in economic, financial, and civilizational backwardness.   It is high time to draw inspiration from this model, without copying it servilely, to put our continent back on the path of growth, creativity, and well-being. Our challenge, of truly civilizational scope, is to restore hope—the possibility for every European family to build a better future for their children—one commensurate with Europe’s great, historical contribution to civilization.


That conversation was originally published on Gatestone Institute, in October 2025

Filed Under: Uncategorized Tagged With: Alain Destexhe, Bart De Wever, Drieu Godefridi, Emmanuel Macron, Georgia Meloni, Grégoire Canlorbe, New Flemish Alliance, Wallonia

A conversation with Sean David Lowe, for BulletProof Action

A conversation with Sean David Lowe, for BulletProof Action

by Grégoire Canlorbe · Oct 4, 2025

Active as a music producer and songwriter in the 2000s, Sean David Lowe performed with Mariah Carey, Beyoncé, and Rihanna during his musical career. In 2023, Lowe produced The Last Kumite with Wayne Graves, an old school martial arts movie that features eminent names in the genre — Mohammed “Michel” Qissi, Abdelkrim Qissi, Matthias Hues, Cynthia Rothrock, Kurt McKinney, and Billy Blanks. In 2025, he produced a documentary on No Retreat, No Surrender; he is currently pre-producing Lion Fist.

Grégoire Canlorbe: As a former music producer who switched to movie production, do you believe the art of visualizing, producing action sequences stands as a logical continuation to the art of imagining, setting up videoclips?

  Sean David Lowe: I think it helps if you are a creative person, but not every music producer can make the transition to film and vice versa. It was a big step for me, and even though I have a couple of films under my belt, I am sure I will retire soon from feature films.

  Grégoire Canlorbe: While the world of independent movie is full of projects that, sooner or later, end up collapsing, The Last Kumite is a rarity: an independent movie that actually managed to be funded, completed, and distributed. To what do you attribute that success?

  Sean David Lowe: It was a lot of hard work. But I honestly have to say that me and my co-producer Wayne Graves didn’t listen to our health at that time. It was a hard lesson. On the one side we wanted to make the fans happy, and create something special for them, but we also have families that need healthy parents. However, without the fans who had supported the film we never would have been able to finish this project.

  Grégoire Canlorbe: No valuable achievement, it seems, comes without occasioning some enmity or jealousy. Did you experience it yourself?

  Sean David Lowe: Yes, unfortunately the movie industry is a very selfish industry. Jealousy, egos, lies etc. However, I am grateful that I have also met good people that I now consider friends. But it’s a tough world in this game…

  Grégoire Canlorbe: The iconic, hipped fight between Matthias Hues & Billy Blanks is, certainly, a climactic moment in The Last Kumite. What can you let us know about the wings of that scene?

  Sean David Lowe: It was such a pleasure an honor to see both going at it. It was so hot outside, and we did not have a lot of time to shoot it. But both guys gave their all. It was just awesome to know that they would have the end fight. I can only say good things about both of them.

  Grégoire Canlorbe: You had the Qissi brothers act as opposite characters—a detective versus an associate to the rogue fight promoter. How did it feel to collaborate with those two legends?

  Sean David Lowe: Again, this was a true pleasure. Both of them are so kind hearted. I still talk to them to this day, and even see them every once in a while. They are a good family. I loved Abdel’s performance. He really impressed me.

  Grégoire Canlorbe: You’ve been having a fruitful, regular collaboration with Kurt McKinney, whom, after The Last Kumite, you’re collaborating with again on The Untold Story of No Retreat, No Surrender, as well as on Lion Fist. Can one speak of it as an authentic professional bromance?

  Sean David Lowe: Kurt and I became close friends over the years, and I truly enjoy working with him. He is a great actor and because he had disappeared out of the public eye I felt that there are more stories to be told. The documentary The Untold story of No retreat No surrender will be out 2026. It turned out beautiful.

  Grégoire Canlorbe: Thank you for your time. Would you like to add a few words?

Sean Davis Lowe: Thanks for having me.


That conversation was originally published on BulletProof Action, in September 2025

Filed Under: Uncategorized Tagged With: Abdelkrim Qissi, Billy Blanks, Cynthia Rothrock, Grégoire Canlorbe, Kurt McKinney, Matthias Hues, Mohamed Qissi, Sean David Lowe, The Last Kumite

A conversation with Jose Luis Torres II, for BulletProof Action

A conversation with Jose Luis Torres II, for BulletProof Action

by Grégoire Canlorbe · Juil 11, 2025

Jose Luis Torres II is an American martial artist, actor, producer, and entrepreneur, holder of the 9th Dan in World Tang Soo Do and founder of NAFMA, promoting martial arts worldwide. Since 1982, he has taught Tang Soo Do at his karate school in New Jersey, which he has led for over twenty-five years. As an actor-producer, he is best known for his roles in the martial-arts thriller Killer Ex (2024), as well as in City of Honor and the upcoming Rise of the Dragon (2026).

  Grégoire Canlorbe: How do you move from kinesiology to martial arts—and, in turn, from martial arts to action movie?

  Jose Luis Torres II: I’ve practiced martial arts since I was five, competing and training throughout my childhood. Over the past forty years, martial arts have been my lifelong passion. When I went to Penn State University, I majored in kinesiology—the study of human movement—with the intention of becoming a chiropractor or physical therapist. 

  Despite my dedication to martial arts and kinesiology, I’d always harbored a dream of acting. In grade school and high school I performed in theater productions, and in college I even took two drama classes. Friends encouraged me to move to Los Angeles, but at the time I was focused on finishing my degree. Then life intervened: I married my college sweetheart, became a father, and built a career to support my family. 

  Over the next twenty-five years I stayed connected to the martial-arts world—making friends with its celebrities at seminars and expos. When the pandemic hit, I launched the Martial Arts Xperience podcast. With everyone stuck at home, I was able to book top martial artists for video interviews and quickly grew an audience of over 10,000 followers. Through the podcast I met my good friend William Christopher Ford (who played Dennis in The Karate Kid and reprised the role in Cobra Kai Season 6). He invited me onto his show 52 Masters and encouraged me to explore on-camera work. I submitted audition tapes and, though most went nowhere, one led to a role in Willie Johnson’s independent film 1 Out of 100. Filming in Maryland, I discovered how much I loved being on set. 

  Director Robert Parham saw potential in me and suggested we collaborate again. Later, at a fundraiser for the Martial Arts History Museum in Los Angeles, I pitched myself to indie filmmaker Jim Towns. I explained that modern action heroes don’t have to be bodybuilder–types but should feel real—like a “Puerto Rican Liam Neeson.” He agreed, sent me the script for Killer Ex, and cast me as a retired assassin drawn back into the field. The grassroots premiere in nearby Burlington, New Jersey, sold 514 tickets on opening night. 

  Now I’m developing my second project, City of Honor—a TV series whose pilot has been picked up by six streaming platforms. We’re currently finalizing investment to produce the entire first season. Martial arts taught me discipline; podcasting taught me persistence; and now, acting is teaching me that it’s never too late to chase a lifelong dream.

  Grégoire Canlorbe: How does your training in kinesiology shape your eye as a martial artist?

  Jose Luis Torres II: I’ve found that my background in kinesiology—understanding muscles, tendons, ranges of motion, and the fluid mechanics of movement—gives me, indeed, a sharper eye when performing. Some actors step in front of the camera and effortlessly look the part; I’m the kind who has to work for it. Knowing exactly how to execute a kick, open the hips, or coordinate a punch lets me elevate my martial-arts routines from mere imitation to authentic, camera-ready action. 

  By combining childhood passion with scientific insight, I’m not just an actor “trying” to fight—I’m a martial artist who knows instinctively how the body moves. That authenticity shows on screen: it doesn’t look like staged choreography, but real, dynamic combat. And while I’m still on my journey toward star-level roles, I’ve already seen audiences respond positively to that genuine fluidity and precision in my first projects—and it’s only the beginning.

  Grégoire Canlorbe: When it comes to the way bodies are being hurt and shaken, how do you assess the fight scene in David Cronenberg’s Eastern Promises?

  Jose Luis Torres II: I haven’t watched Eastern Promises in years, but its premise still grips me: a desperate race to rescue an infant from London’s Russian mafia underworld. You’re asking my take on the sauna fight scene featuring a naked Viggo Mortensen, right? I love how they shot it—raw, brutal, and unflinching. I don’t recall who was the stunt or fight coordinator, but the realism of that sequence is astounding. There are no 360° hook kicks or flashy flying sidekicks—instead you see instinctive, animalistic reactions, driven purely by emotion. Mortensen’s character fights with desperation and fury, using every instinct to save that girl.

  Contrast that with Bloodsport’s highly choreographed displays of Jean-Claude Van Damme’s incredible kicking ability. In Bloodsport, the spectacle and precision of each move serve the tournament’s honor-bound stakes. In Eastern Promises, however, the violence feels organic: every punch and grapple reveals Mortensen’s character’s fear and determination. It’s a perfect example of how a fighter’s motivation—honor versus survival—shapes the way they move on screen.

  Grégoire Canlorbe: Your character in Killer Ex is a retired professional killer who built a family. How did you get in his shoes so convincingly?

  Jose Luis Torres II: It was actually my first time leading a film, so I didn’t shape the character as much as Jim Towns, our writer–director, did. Still, I found a lot to connect with. As a father of three boys myself, I understood the stakes of a dad doing whatever it takes to protect his family. And at nearly fifty, I knew what it felt like to move like I did in my twenties—stiffer, heavier, a little slower. Rather than hiding that, I leaned into it: my character in Killer Ex is past his prime, worn down by retirement and regret.

  That weariness brought authenticity to the fight scenes. Early on, you’ll see him take worse hits—he’s rusty, out of shape, fighting on instinct rather than precision. But as the story unfolds and his mission sharpens (his son’s life is on the line), he locks in. By the final battles, his technique and focus have returned, driven by pure determination. In Killer Ex, the fights aren’t just choreography; they’re emotional milestones charting his journey from reluctant retiree to fierce protector.

  Grégoire Canlorbe: The movie’s conclusion, which sees a dialog between Gerald Okamura and you precede a voiceover, is full of tension.

  Jose Luis Torres II: It was funny, because in the original edit—and the February screening—we didn’t have Victor’s voiceover at either the beginning or the end of the film. As a producer, I talked to Jim and said, “I really think we need to open and close the movie with Victor reflecting in voiceover.” I felt it was important—like putting a cover on the book, then the back of the book. Jim loved the idea, so we added it in post-production. 

  We’ll be doing the same thing for Killer Ex 2, which we start filming later this summer. Although we’ve already shot the restaurant scene where the family celebrates and comes together, the voiceover dialogue will be recorded afterward and woven in—way, way after the fact.

  Grégoire Canlorbe: Killer Ex is built upon the duo that the male protagonist—your character—is forming with a femme fatale—Elena Churinova’s character. How did you get your complicity as co-actors?

  Jose Luis Torres II: So, Elena was cast—as I said, I didn’t have full control over Killer Ex’s casting. That was handled by our writer–director, Jim Towns. Jim had worked with Elena Churinova on another project and thought she’d be a great fit for this film, so he tapped her for the role.

  How was acting with her? It was really good. You know, I’ve heard horror stories and I’ve heard great stories—Elena is the latter. She’s a consummate professional and a genuinely wonderful person. To be honest, this was the first time I’d ever acted on screen opposite a leading lady. Elena had already done twenty or thirty films and loads of stunts, so she was completely at ease.

  We did Zoom reads and table reads together to build rapport. I was nervous—very insecure about how I’d look and sound on camera—but Elena’s warmth and encouragement put me right at ease. She’s a phenomenal actress and an even more phenomenal human being.

  Grégoire Canlorbe: One of the best fights in Killer Ex opposes Elena Churinova to Lawrence Walther. Please tell us about the filming and choreographing of this great confrontation, which violently ends in the toilet.

  Jose Luis Torres II: We shot that fight scene in a single day at a rented roadside motel, which presented tight walls, narrow corridors, and awkwardly placed dressers. Lawrence Walther handled his assassin role; he’s a stunt performer with whom I’ve since formed such a strong bond that I cast him as the police chief in my series City of Honor. Although I served as fight coordinator, we brought in Manny Ayala—who’s worked on blockbusters like The Amazing Spider-Man 2—to consult and fine-tune the choreography.

  A couple of days before shooting, Manny, Elena, and Lawrence rehearsed in my karate school using mats and mock-up dressers to nail the spacing and timing. Once we moved into the actual motel room, Manny’s expertise guided every punch, wall-bounce, and camera angle—Jim Towns shot it all handheld on a Blackmagic to capture that claustrophobic intensity. Manny also designed the dramatic glass break and the final, tongue-in-cheek moment when the toilet seat clocks the assassin, giving the scene a bit of comic relief at the end.

  Grégoire Canlorbe: Just as epic, the fight opposing you to Mohammed “Michel” Qissi ends with you diving a knife into him. Please tell us about the backstage of this scene.

  Jose Luis Torres II: I was such a fanboy to work with Mohammed Qissi. I’d met him on social media, and we started forming a friendship—he even appeared on my podcast, where I shared my dreams and aspirations. Later, he flew in as a special guest at my tournament, and that’s when our bond really grew. When I told him about my movie, he didn’t hesitate to help. I was truly honored—everyone knows Qissi’s story with Jean-Claude Van Damme, so working alongside someone of his experience and talent was incredibly humbling.

  Despite my admiration, I refused to embarrass myself. With Elena I was nervous, but with Qissi I went all in: I tapped into my martial-arts confidence, discipline, and focus so I’d look good for both of us. And he matched that energy—he’s the ultimate professional.

  Originally, we planned to shoot his fight scene that summer, but a scheduling conflict meant he couldn’t fly in from Germany until months later from Morocco. When he finally arrived, we had to choreograph everything on the spot. He wanted a heavier boxing element; I wanted to showcase a spinning hook kick—his height made that move especially striking—and we had a blast building it together.

  During the stabbing scene, someone forgot to swap the metal blade for a rubber prop. Mohammed never broke character; he delivered full-force swings until the director finally called “cut.” When they realized the real weapon was still on set, I glanced at him, half panicked—but he just smiled and said, “When the director says action, it’s action. When he says cut, it’s cut.” I couldn’t stop laughing.

  That knife-dive effect was shot tight on a corner, cutting between a rubber knife thrust and a close-up of a machete prop with practical blood drips. For a small-budget film, the result drew great praise, and I’m proud of what we achieved with limited resources.

  Grégoire Canlorbe: You really had a blast working with Mohammed.

  Jose Luis Torres II: Working with Mohammed was a dream come true—and I can’t wait to collaborate with him again on future projects.

  Mohammed really opened doors for me—he introduced me to his contacts, including his cousin, Said Hamdaoui, who did an excellent job in his short scene in the club in The Last Kumite. Since then, I’ve been building those relationships and expanding my network.

  I think The Last Kumite had some of its own difficulties, but it was a great film that truly paid homage to that ’80s-style flick. Obviously we would have loved to see more fighting—a bigger throwback to the original Bloodsport—but they did a very, very good job. It’s so difficult to make movies with tight budgets, time pressures, and all the constraints involved, so I commend everyone who managed to pull it together. I’m really happy for them.

  Grégoire Canlorbe: The platonic, respectful relationship between Victor and Ayana is somewhat reminiscent of that between Ethan Hunt and Ilsa Faust in Mission Impossible: Rogue Nation.

  Jose Luis Torres II: Mission Impossible taking inspiration from Killer Ex’s ideas? Ha, I wish!

  Seriously, though, what really drives the film is the history between Elena’s character and Victor. They were once inseparable—a team on secret missions, jetting around the globe, and very much in love. But Victor longed for a home and a family, while Elena couldn’t imagine giving up the thrill of the field. That difference pulled them apart, yet their bond never truly broke.

  In the story, you see Victor risk everything—even his own family’s safety—to rescue her. And critically, we never crossed the cliché of him betraying his wife. We wanted to walk that fine line: showing Elena and Victor’s deep, lingering affection without slipping into adultery. It was essential to keep their connection honorable, honoring both their past passion and Victor’s commitment to his family.

  Grégoire Canlorbe: Speaking of Mission Impossible, did you get to watch the just released, eighth installment?

  Jose Luis Torres II: I haven’t had a chance to see it yet—I’ve been completely tied up with filming, production, and marketing my current project, so it’s on my to-do list. I did, however, catch Michael B. Jordan’s film Sinners (the vampire movie), and I thought he did a fantastic job. It’s incredible what you can achieve with that kind of backing—and that’s exactly the level I’m working toward, so I can bring even more ambitious, magical moments to the screen.

  Grégoire Canlorbe: Thank you for your time. Would you like to add a few words?

  Jose Luis Torres II: I’m juggling three major projects right now. We’ve just finished filming City of Honor, a six-episode crime drama in which I play Detective Sergeant Dante Perez of the West End Task Force. The pilot lands June 27 on Prime, Tubi, Uplift TV, Filmzie, Fawesome TV, and TVEI, with additional platforms still signing on. Financiers and production companies are already lining up to continue the series—seasons 2 and 3 synopses are complete, and all of season 1’s scripts are locked. It’s an emotional ensemble piece about a single dad battling grief, alcoholism, and rising city crime, and I believe its layered storytelling will resonate both here and abroad.

  This summer—August into September—I’ll be back in front of the camera for Killer Ex 2 with writer–director Jim Towns. We’re bringing back familiar faces and introducing two new villains: Silvio Simac (of Transporter and Unleashed) as Nikolai, and martial-arts legend Casanova Wong as a powerful Triad boss. Expect bigger characters, sharper choreography, and higher stakes as our hero faces a fresh wave of adversaries.   Looking further ahead, I’m developing Rise of the Dragon, a feature film set to begin shooting in late 2025/early 2026. It’s a passion project—a love letter to classic martial-arts cinema that will deliver authentic fight sequences, gritty atmosphere, and the spirit of ’70s and ’80s kung-fu epics. It’s been an amazing year of building new worlds and characters, and I can’t wait to share these stories with audiences everywhere.


That conversation was originally published on BulletProof Action, in July 2025

Filed Under: Uncategorized Tagged With: Bloodsport, Casanova Wong, City of Honor, David Cronenberg, Eastern Promises, Elena Churinova, Grégoire Canlorbe, Jean-Claude Van Damme, Jim Towns, Jose Luis Torres II, Killer Ex, Lawrence Walther, Manny Ayala, Michael B. Jordan, Mission Impossible: Rogue Nation, Mohamed Qissi, Rise of the Dragon, Silvio Simac, Sinners, The Amazing Spider-Man 2, The Last Kumite

A conversation with Bat Ye’or, for Gatestone Institute

A conversation with Bat Ye’or, for Gatestone Institute

by Grégoire Canlorbe · Juil 10, 2025

Bat Ye’or is an Egyptian-born British author and historian, who has focused on the history of religious minorities in the Muslim world and on the geopolitics of the European Union. She is known for introducing the West to the concept of dhimmitude, and forging the concept of Eurabia.

  Grégoire Canlorbe: Could you start by reminding us of the motivations of the networks that orchestrate the EU’s migration policy and its anti-Israeli stance?

  Bat Ye’or: The motivations of the networks in these two areas—the EU’s migration policy and anti-Zionism—are different but converge in their cumulative harmful effectiveness. This cumulative effect results from the deliberate policy of the Arab League and the Organization of Islamic Cooperation to link their relations with EU countries at every level to a European anti-Israeli policy.

  The surrender of the European Community to these demands in November 1973, was obtained through the intolerable pressures of jihadist terrorism, particularly aircraft hijacking by the PLO in Europe, and the economic strangulation of Europe at the time through a severe Arab oil boycott. This linkage, however, is also part of the historical Christian tide that obstructed by all possible means—even through the genocide of Jews throughout Europe (1941-45)—the restoration of a Jewish state in its homeland. This current—allied with jihadism from the very beginning of Zionism[i] and in collaboration with the Muslim Brotherhood, particularly in the 1930s-40s and up to the present—can be seen by Europe’s support for the PLO, Hamas, Hezbollah, and all anti-Israeli forces.

  The networks organizing the EU’s migration policy wrap themselves in a humanitarian ambiguity that conceals their financial sources. During the 1970-80 period of developing the EU’s Mediterranean policy, these motivations encompassed the entire range of Euro-Arab relations, as was officially stated later in the Barcelona Declaration (1994). Other declarations and dialogues among peoples, cultures, civilizations, and demographic hybridization—along with an important Muslim-Christian theological dialogue—aimed to create a homogeneous Euro-Arab strategic framework around the Mediterranean. This area—without Israel, if possible, and free from American influence—would supposedly gain from a strong Muslim immigration to Europe, and provide a civilizational and, above all, ethical source for the West, according to a globalist perspective of a Euro-Muslim hybridization, which would be created by a massive presence of Muslims in the West.

  This perspective was, for example, articulated by Javier Solana, High Representative for the EU’s Common Foreign and Security Policy (1999-2009). In his presentation at Helsinki (Feb. 25, 2004) Solana declared, “Closer engagement with the Arab world must also be a priority for us. Without resolution of the Arab-Israeli conflict, there will be little chance of dealing with other problems in a region beset by economic stagnation and social unrest.” He then explained that future security would depend on a more effective multilateral system.[ii] Europe would become stronger in building a stronger United Nations, and in being firmly committed to effective multilateralism.

  All these motivations were integrated into the soft jihad strategy in the West, and sponsored by the OCI.

  Canlorbe: How does the Eurabia plan influence the EU’s foreign policy toward China and Russia?

  Bat Ye’or: I cannot answer for China, but regarding Russia, it is clear that a fractured and weak Christianity has always been an easy prey to jihadist invasions. It must be noted that the collapse of those empires was due more to internal enemies connected to those outside the empire than to military battles. This was particularly the case with the Islamization of the Byzantine Empire, especially after the schism in 1054, which divided Christianity into two hostile entities, Western and Eastern.

  In the Eurabian context, the hatred and delegitimization of Israel provide a spiritual and theological weapon for the European trends of Islamophilia and anti-Semitism to abandon Judeo-Christianity and rally to Islam. The current war aims to replace Israel with Palestine, an entity that has never had historical existence and a creature forged by Christian anti-Semitism from the 1970s[iii]. Palestine had a special connotation in early Christianity regarding Jews. The destruction of the ancient kingdom of Judea by the Roman army in 135 CE and its renaming as Palestine, was interpreted by Church theologians as a divine punishment against a supposedly deicidal people. The Christian prohibition to Jews to return or live in their homeland is rooted in this belief, as well as the traditional Christian anti-Jewish antagonism. As for the Muslims, the word and notion of Palestine is absent from the Quran; their war against Israel is based on the jihadi ideology which requires that Islamic law rule the planet. Islamic belief, however, destroys the historical foundations of Judaism and Christianity to replace them with the Islamic vision of biblical history, in which Islam preceded the other two religions. Palestinianism, the common Muslim-Christian fight against the Hebrew state, can only hasten the de-Christianization of the West. The case of Lebanese Christianity, destroyed by the PLO—an organization supported by Europe to eradicate Israel—is an illustration.

  Canlorbe: Will the new Trump administration have a positive impact on issues such as the situation in Gaza and in Ukraine, in your opinion?

  Bat Ye’or: I had high hopes that this administration would succeed in bringing peace to Europe, but too many forces and interests wish to weaken the European continent through the deterioration of the war in Ukraine, and I fear that we are heading in that direction.

  As for Gaza, as long as Europe continues to collaborate with all the military-terrorist organizations that clearly display their extermination policy against the Jewish people, we will see no improvement. The first condition for a positive issue is to free the pseudo-Palestinian people from their eternal refugee status, imposed and instrumentalized against Israel by the EU as a weapon of destruction to replace the Jewish State. After all, the so-called Palestinians—mainly Arab and Muslims immigrants from the 19th century who had fled from Israel during the Arab 1948 war which they provoked hoping to exterminate the Jews—proclaim that they belong to the Arab Ummah [Muslim community]. Until the 1970s, they had campaigned under the banner of Arab nationalism with their leader, the Grand Mufti of Jerusalem Amin al-Husseini, Hitler’s admirer, ally and collaborator. Many could return to their homelands: to Jordan, Egypt, Iraq, and Syria. None of the sacred Arab and Muslim texts mentions a geographical location in the biblical Hebrew territories, nor any historical episode that would justify a connection with land in today’s Israel.

  Europe could let them go to the 56 Muslim states or the 22 Arab countries, all of which were formed through the expulsion of millions of non-Muslim natives who, for their part, never benefited from any universal and providential aid like that provided by UNRWA. As a former refugee from Egypt striped of all possessions, I can attest to this, as do millions of Jewish and Christian refugees from Arab countries over the centuries, particularly after the failed 1948 Arab war of invasion against Israel. Europe never condemned the military invasions by five Arab States that seized and colonized Jewish lands according to both the Balfour and San Remo Declarations. There, their millenary old Jewish population were killed or expelled, their houses pillaged, their synagogues burned. Europe felt no need to provide help. It is true that just three years before, it was busy to deport Jews to the extermination camps spread over its territory. It was not prepared to help them against its former ally.

  Canlorbe: In the Middle Ages, Rabbi Maimonides (who was appointed the head of the Jewish community in Egypt) saw Islam as rooted, albeit imperfectly, in Biblical teachings; and as intended—within the divine plan—to civilize the pagan Arabs and prepare them for the universal reign of the Torah in future messianic times.

  Bat Ye’or: I share Maimonides’ opinion. One must understand the primitive and cruel living conditions of the inhabitants of Arabia before Muhammad to appreciate the value of the elements of humanity and spirituality brought by the Quran. The Arabs themselves, witnessing the example of the Jews and Christians in Arabia, hoped to obtain from Muhammad a similar religion. Muhammad responds to their request and tells them that he has brought them a religion in Arabic for Arabs. It is up to Muslims to undergo bringing their religion up to date, as other religions around the globe have done, to uphold values free from the prejudices of the past. As for messianic times, I would not even dare to imagine them.

  Canlorbe: May the harmonious relationship between Israel and Sunni states raise hopes for the fulfillment of Maimonides’ hope?

  Bat Ye’or: Perhaps… on the condition that they accept the people of Israel, their redemptive mission within humanity, their liberation from the ignominy into which the Christian accusation of deicide has confined them—a charge abrogated by Vatican II but still factually present in the Western refusal to recognize Jewish sovereignty in Judea, Samaria and Jerusalem. A second condition needs to be the abolition of the inhumane status of dhimmitude[iv], enshrined in the jihad ideology that aims at destroying all non-Muslim faith in order to impose the shariah laws over the planet. We are still far from this move … However, the definitive abrogation of dhimmitude, which would occur through the recognition of the legitimacy of the State of Israel in its historical homeland, is a principle that would benefit all of humanity and promote peace among everyone.

  The tsunami wave of hatred against Israel and Jews that submerged the West since the 7/10/2023 embodies precisely this nazi-jihadism exuded by Christian-Muslim alliance against Zionism, so pregnant since the 1923 Lausanne Treaty. This Treaty legitimized a sovereign State for the Jewish people in their historic homeland with secure borders from Gaza to the Jordan River. Simultaneously, the same Treaty created on 70% of a Palestinian territory delineated for the first time since the Roman conquest (135 CE), the establishment of an Arab state for Muslims and Christians. Those decisions ratified by the League of Nations are endorsed by its successor, the UN and cannot be nullified.   This modern anti-Israeli exterminatory wave is the prolongation of the Euro-Arab anti-Zionist Nazi alliance that produced from the 1920s the anti-Jewish hatred that generated the Shoah. It continues today, carried over by the Eurabian ideology. However as the European states support for murderous anti-Israeli jihadist ideology grows stronger, the more these states are destroyed by it. In Islam, Jews and Christians are cut from the same cloth. What is done to Jews is done to Christians as well and vice-versa as they have exactly the same legal statute. This is the great lesson given to us by the knowledge of dhimmitude and for this reason, forbidden. Yet we can see by our own eyes Europe collapsing under a self-injected poisonous Jewish-hating Eurabian venom.


[i] See Bat Ye’or, Le Dhimmi documents avec une étude de Rémi Brague, Les Provinciales, 2025, p.42.

[ii] Speech of Javier Solana at Helsinki, 2/25/2004, “The European Security Strategy—The Next Step?” in Cahier de Chaillot, Vol. V, n° 75, Sécurité et Défense de l’UE, Textes fondamentaux, 2004. Institut d’Etudes de Sécurité, Union européenne, February 2005, Paris.

[iii] In January 2004 in the course of an European investigation on EU misdirected funds by the Palestinian Authority, Javier Solana, the EU commissar for foreign policy and security, declared that Europe’s duty was to help the Palestinian Authority, adding, “If it didn’t exist we would have to invent it!”, in Le Temps, Geneva, February 4, 2004. See Bat Ye’or, Eurabia, The Euro-Arab Axis, 2005.

  See also: “After a fixed deadline, a UN Security Council resolution should proclaim the adoption of the two-state solution. It would accept the Palestinian state as a full member of the UN and set a calendar for implementation. It would mandate the resolution of other remaining territorial disputes and legitimize the end of claims. If the parties are not able to stick to [the timetable], then a solution backed by the international community should be put on the table.” – EU Foreign Policy Chief Javier Solana, during a lecture in London, asserting that if Israel cannot arrive at a final-status agreement with the Palestinians, the UN should enforce its own. (Jerusalem Post, July 12, 2009)

[iv] Dhimmitude is the name given to the comprehensive political, social, juridical, religious Islamic system governing the non-Muslim populations that were defeated by the Jihad war. It has, therefore, its roots in the jihad ideology and military legal rules. From the 8th to the 12th century, as the Muslim jurisdiction developed, it integrated in the shariah jurisdiction built on Muslim sacred Scriptures the system of dhimmitude. A great number of Christian anti-Jewish laws from the fifth and six centuries were absorbed into dhimmitude. This common anti-Jewish ground led sometimes to a Christian-Muslim alliance for persecuting Jews in Muslim countries. In the 20th century, this trend achieved its peak in the Shoah and is now renascent after fifty years on anti-Israeli indoctrination.


That conversation was originally published on Gatestone Institute, in June 2025

Filed Under: Uncategorized Tagged With: Bat Ye Or, Dhimmitude, Donald Trump, Eurabia, Grégoire Canlorbe, Islam, Israeli-Palestinian conflict, Israelis, Maimonides, Palestinians

A conversation with Claude Desama, for The Postil Magazine

A conversation with Claude Desama, for The Postil Magazine

by Grégoire Canlorbe · Juin 1, 2025

Born to a father who was a railway official and to a mother who was a textile worker, Claude Desama spent his youth in Ensival, a municipality that would merge with Verviers. His long career is both academic and political: a professor at the University of Liège, he has also served as the burgomaster of Verviers and a member of the European Parliament, as well as the president of the Commission on Energy, Research, and Technology. He is an Officer of the Legion of Honor.

  Grégoire Canlorbe: How do you transition from university teaching to European politics?

  Claude Desama: Well, in reality, my trajectory began at the university, where I became involved in scientific research in economic history. I followed the classic academic path: first assistant, then head of studies, then lecturer, and finally full professor.
  But in parallel, I have always been active in politics. From my entry into university in 1961, I enrolled in the Socialist Party, in which I immediately became involved.
  In the early 1970s, I became president of the Verviers Federation of the Socialist Party. I was then not yet 30 years old—I was born in 1942. In 1979, the first elections for the European Parliament took place. At that time, the president of the Socialist Party, André Cools, with whom I was in regular contact—I was part of the party’s think tanks—offered me the chance to be a substitute candidate. He said to me: “You are known in academic circles, it’s an interesting electorate for the left.” I accepted, and I became the second substitute. So I did not sit in 1979.
In the following elections, in 1984, I became the first substitute. The party president then was Guy Spitaels, with whom I had a very friendly and close relationship. I was one of his close advisors. That said, I had no intention of holding a political mandate at all. I wanted above all to dedicate myself to my academic career. For me, politics was a passion, almost a hobby.
  But in 1988, shortly before the end of the European legislature, a socialist MP, Anne-Marie Lizin, was appointed minister in the Belgian government. As the first substitute, I was then called to replace her in the European Parliament to complete the legislature.
  Then, in the 1989 elections, the party president asked me to be the socialist candidate. I was ranked fourth on the list, so I didn’t have much hope. But the Socialist Party achieved great success, and I got a good personal score. I therefore found myself again in the European Parliament.
 At that time, I had just been appointed full professor. I had to adjust my academic career to be able to take on this European mandate. It was certainly the one that attracted me the most, both intellectually and politically. I could have entered Belgian politics earlier, become an MP, senator, or others, but it was really Europe that fascinated me. I have always been deeply pro-European.
That’s how I chose to combine these two vocations—university and European politics—which has not always been simple or easy. But that’s how I took my first steps in the European Parliament.

  Grégoire Canlorbe: Today [April 17, 2025], Mr. Trump meets with Mrs. Meloni to discuss, among other topics, the trade relations between America and the EU. Do you think Mrs. Meloni is the most qualified to speak on behalf of the EU?

 Claude Desama: Oh! It is surely not Mrs. Meloni. She is the head of government of one of the 27 countries of the European Union, indeed, but her political party is not part of the majority in the European Parliament. This majority is composed of the European People’s Party, the socialists, and the liberals. Mrs. Meloni, on the other hand, is positioned more on the far right.
The most legitimate person—not the only one, but the best placed—to speak on behalf of Europe is obviously the president of the European Commission: Ursula von der Leyen. This is certainly one of the problems of the European Union: it is not always clear who actually represents Europe. There has been a certain rivalry in the past between Ursula von der Leyen and Charles Michel, the president of the European Council. But according to the treaties, it is indeed the president of the Commission who is the most authorized figure to speak on behalf of Europe. And today, that is Ursula von der Leyen.

  Grégoire Canlorbe: What do you think of the speech given by Mr. Vance, the American vice president, on the occasion of the Munich Security Conference? The main threat to the EU, he stated, is neither China nor Russia, but within the EU itself, the decline of certain freedoms—including free speech.

  Claude Desama: Well, I think Mr. Vance’s speech is typically populist and clearly leans toward the far right. Unlike, perhaps, Donald Trump, who seems more like a performer on the political stage—a showman, without very deep ideological convictions—the people who currently surround him, like Mr. Vance, belong to a much more pronounced populist movement.
  They are figures marked by strong nationalism, and that’s what I mean when I talk about populism: a clear orientation toward the far right. Vance’s speech was entirely in that direction.
  It is also evident that he feels more sympathy for authoritarian regimes like Russia or even China – despite the trade war that opposes them to the United States – than for democratic regimes. This affinity speaks volumes about his worldview.

  Grégoire Canlorbe: Do you approve of the Green Deal? Or do you see it as a factor in the decline of European economies?

  Claude Desama: The Green Deal represents, in my view, an important moment in European policy. The direction is good, without a doubt. But in my opinion, it has erred on the side of radicalism – and especially haste. The European economy, like most global economies, was not ready to endure an ecological transition conducted at breakneck speed.
 What was lacking was simply giving time to time. This transition should have been framed in a long-term perspective, planning efforts realistically, instead of setting rigid time-bound objectives—such as, for example, “a 50% reduction by 2030.” This is too technocratic an approach, a theoretical vision that does not sufficiently take into account economic and social realities.
We must not forget that the European economy has already been deeply shaken by the Covid-19 pandemic. It could not, in addition, abruptly absorb such a profound change in the economic paradigm.
As an economic historian, I have worked a lot on the industrial revolution. It took nearly a century for it to truly take root and become the dominant model in Europe. Indeed, there were early hotspots, like the Verviers region, but the entire process took time. I am not saying it will take a century to achieve the ecological transition, but it is certain that technological progress cannot be decreed with a mere wave of a magic wand.
  Therefore, we must accept that this transformation will take time, while preparing for the inevitable consequences of climate disruption. In short, the Green Deal is a beautiful intellectual exercise, a necessary initiative, but it lacks pragmatism. We have underestimated the time an economy needs to evolve deeply.

  Grégoire Canlorbe: Are you in favor of simultaneous denuclearization alongside abandoning fossil fuels?

  Claude Desama: I have always been in favor of nuclear energy. I think that, on this subject, we have been victims—at least in part—of a certain ideological harassment from environmentalists. Since the 1980s, they have made the fight against nuclear power the core, even the founding pillar, of their political commitment. To be honest, that was what united the different environmental sensitivities.
I can understand that, in the context of the time, their position had some rationale. Nuclear energy is indeed a so-called “dual” technology: it can be used to produce energy peacefully, but it is also related to nuclear weapons. Pacifism, which is very strong among environmentalists, naturally extended to a global opposition to any form of nuclear power. But I think that was a mistake.
Nuclear energy offers a form of energy autonomy, or at least greater independence. The fact that we renounced it, under the ideological pressure from environmentalists—and with the complacency of many media outlets that widely relayed their discourse—has been, in my opinion, a strategic error.
Europe, for its part, has also retreated on this issue, largely under the influence of Germany. After the disasters at Chernobyl and, especially, Fukushima, the Germans decided to abandon nuclear energy. They exerted significant pressure for the European Union to follow them in this direction.
Today, I believe that almost everyone recognizes that this orientation was a dead end. We lost precious years.

  Grégoire Canlorbe: If we reason in Marxist terms, what “class interest” would the petite bourgeoisie have in promoting environmentalism?

  Claude Desama: I’m not sure that it is truly in their interest to promote certain affinities observed in bourgeois or “bobo” circles—a form of adherence to power, a rigid environmentalism, or the dismantling of nuclear energy.
Since the 1980s, with the rise of neoliberal thought, we have seen a more pronounced individualism emerge, particularly within the petite bourgeoisie. Collective reflections have gradually lost their appeal, in favor of a quest for personal happiness. This social class has slowly integrated into an intellectual elite that viewed major social and industrial debates as issues of the past.
This milieu has been sensitive to questions of nature, biodiversity, and the “little birds,” as they say—a discourse that is still very frequently found in the media. Moreover, the media have amplified this trend. Who reads in-depth articles in newspapers today? It is no longer predominantly the working class or the lower classes, but rather this educated petite bourgeoisie, which has largely benefited from the democratization of higher education.
  Many have been intellectually seduced by the environmentalist message. Not necessarily out of economic interest, but rather because it was fashionable – almost a form of intellectual snobbery. At the university, I saw this up close: most of my young colleagues were environmentalists. It was in the air of the time, as it was fashionable, right after the war, to be a little left-wing, even Marxist. These are effects of intellectual trends, and I believe that environmentalism is one of them too.
That said, the environmental message contains important elements, of course. The excessive exploitation of natural resources is an undeniable fact. But today, many realize that the environmentalist ideology—its militant and dogmatic side—is sometimes disconnected from realities. It can even, in some cases, contribute to Europe’s economic stagnation.
  Take China, for example: it is one of the countries investing the most in renewable energies. But it does not stop there. It continues to develop nuclear energy; it continues to produce on a large scale. It does not let itself be guided by a utopian or overly idealized vision. And perhaps that is where the difference lies.



Grégoire Canlorbe: How do you untangle the processes that led to Verviers becoming a flagship of the industrial revolution?

  Claude Desama: Ah, you know, it is actually a conjunction of factors—a bit of chance, but also very specific contexts—that enabled Verviers to play a key role at the beginning of the industrial revolution.
As early as the 17th and 18th centuries, well before mechanization, Verviers already had a tradition in the wool industry. There were workshops of weavers, wool washers, carders… At that time, the city was an important center for the production of woven cloth.
  The Verviers manufacturers sold their products throughout Europe, and some, such as the Simonis, Peltzer, or de Biolley families, amassed significant fortunes. Thanks to their international contacts, notably in England, they discovered the first technological advances related to spinning and mechanical carding. They quickly realized that their own system, still artisanal and fragmented, had become archaic.
At the time, the model was as follows: wool was bought, often in England, washed in Verviers, then sent to the surrounding countryside where it was spun on a wheel in the farms. Then, the manufacturers would retrieve it, have it woven in small workshops, and resell the cloth. At each stage, they captured the added value, but the process remained slow, unproductive, and dependent on many uncertainties.
The discovery of spinning and carding machines opened up a new perspective for them: by installing these machines in their own workshops, they could do without rural labor, produce in much greater quantities, and industrialize the entire chain. This is how figures like Simonis and de Biolley decided to invest. They even went so far as to bring the English engineer William Cockerill to Verviers, whom they lured at great expense to set up the first modern machines. As soon as he arrived, competition followed, and a real ‘industrial market’ was established.
Very quickly, Verviers thus became a major industrial hub, supported by cutting-edge technology and the presence of significant private capital, ready to invest in innovation. This allowed the city to stay at the forefront throughout the 19th century.
Another essential factor, to which I dedicated my doctoral thesis, is the contribution of the rural population. With mechanization, the surrounding countryside lost a source of income: spinners were no longer needed. So, many young people left the land of Franchimont, the land of Herve, etc., to seek work in Verviers. This is how, from 1800-1825 onwards, large factories capable of absorbing this abundant and cheap labor were built. Young, unskilled, these workers were “available for work at all times,” as they used to say. And since Verviers had the technology, the capital, and a low-cost workforce, it became very competitive in the international market.
For a long time, Verviers’s specialization in cloth was explained by the exceptional quality of the water of the Vesdre, especially for washing wool. In reality, it was not so much the quality of the water that made the difference, but its abundance. The center of Verviers, now urbanized, was once crossed by several branches of the Vesdre. Some are still present, underground. The industrialists even built a “factory canal” that ran through the Place des Martyrs, the Rue du Collège, etc., to join the Vesdre at Hodimont. It was around this canal that the main laundries and workshops were established.
Aware of the strategic importance of water, the Verviers industrialists even pressured for the construction of the Gileppe dam at the end of the 19th century. They feared both a lack of water and increasing pollution from washing wool. This dam, which they actively supported, guaranteed them quality water, directly supplied through a piping system—a visionary project for the time.

  Grégoire Canlorbe: A writer and politician, Victor Arnould recommended that the struggle between Capital and Labor take a negotiated and harmonized form, which propels capitalism instead of leading to its overthrow. Thus, this companion of the Verviers unions wrote in 1892, in La Nation: “Yes, there is a necessity for the struggle of these two classes; but while the struggle is inevitably imposed, it must be regulated, so as not to be harmful and destructive to one of those two classes or the other. And it is for this reason that, through the representation of interests, we ask, instead of pushing for the fusion and confusion of classes, interests, and trends, that they be legally and regularly constituted facing each other, to ensure that their competition serves the common good.” Is this, in your opinion, a viable conception?

Claude Desama: This image certainly deserves to be nuanced. It is true that, compared to other industrial regions of Belgium—such as Hainaut, coal mining, or the Liège steel industry—Verviers experienced less violent social conflicts. This is largely due to the particular nature of Verviers’ trade unionism.
This unionism was first and foremost extremely powerful: it was estimated that nearly 90% of textile workers were affiliated with the union, which at the time was a single union. This near-unanimous representation gave the labor movement considerable strength—and the employers were perfectly aware of it.
But this strength was framed by union figures like Jean Roggeman, who favored dialogue and negotiation rather than direct confrontation. This does not mean that there were no conflicts. There were, sometimes severe. But the approach was different, more focused on seeking compromise.
This culture of negotiation led to a historic moment: in 1906, Verviers saw the birth of what is probably the first collective labor agreement in the world. We searched for equivalents elsewhere, notably in Europe, and there were none at that time.
  This agreement was a major social advancement. It drastically limited child and women’s labor, established a weekly day off—which was not the norm—and reduced the working day to eight hours. A remarkable success for that era.
This agreement remained in effect until 1934, at which time, in the context of the great global economic crisis triggered by the 1929 depression, employers somewhat regained control and questioned several of these gains.
In summary, one cannot speak of perfect understanding between unions and employers, but there has always been, in Verviers, a common will from both sides to favor the path of negotiation. This is what profoundly distinguishes the social history of Verviers from that of other industrial centers in the country.

  Grégoire Canlorbe: After its industrial and cultural golden age, which included prominent figures such as the poet Albert Bonjean and the painter Maurice Pirenne, what processes led to the decline of dynamism in Verviers?

  Claude Desama: The decline of Verviers began after World War II. In the immediate post-war period, there was a resurgence of activity in the textile sector, partly due to the Korean War. However, by the mid-1950s—around 1955-1960—signs of a clear economic decline had begun to appear. This decline intensified during the 1970s, which marked a true debacle for the Verviers industry: between 1970 and 1980, over 15,000 jobs were lost.
But the causes of this decline actually date back much further, to the end of the 19th century—paradoxically, a time when Verviers was still experiencing great prosperity. It was at that point that some Verviers industrialists began to prioritize the sale of yarns instead of finished cloth, believing that yarn was more profitable. They progressively shifted their production towards semi-finished products.
This strategy continued during the interwar period and then after 1945. However, by that time, the context had radically changed. Verviers producers found themselves confronted with competition that they had not previously known, particularly from synthetic fibers, often produced in Italy, which were cheaper, more varied, and better suited to modern textile uses.
  This progressive loss of competitiveness can largely be explained by two major strategic errors.
  The first: they failed to adapt. They remained focused on yarn production without redirecting their model towards higher value-added products or textile innovation.
  The second: they ceased to invest. This relates to an idea developed by the Austrian economist Joseph Schumpeter, with his theory of three generations: the first is that of pioneers, the second of developers, and the third—those who cause companies to fail—is that of heirs who spend without reinvesting. In Verviers, this third generation seems to have dominated: from the interwar period, and even more so after World War II, investments dried up. The equipment remained outdated and technologically obsolete.
 Verviers industrialists continued to spend—in other areas sometimes—but without renewing their production tools. And since the majority were family businesses, often limited financially, they failed to make the leap or respond to international competition. As a result: they disappeared one after the other.
 
  Grégoire Canlorbe: Émile Verhaeren did not lack sharp words regarding the Belgian elites, he who wrote in 1891 in La Nation that “the brains are narrowing,” “expedients replace ideas,” “skills are taken for strength,” “petty and minuscule means are touted as the only ones capable,” while “one smooths and insinuates, and arranges and mixes and everything is done halfway, three-quarters, fearfully, parsimoniously, with advances followed by retreats, with energies only in words.” Was this deleterious state of mind indeed characteristic of a certain capitalism?

Claude Desama: Verhaeren pointed out an essential issue: the predominance of family capitalism at the end of the 19th century. In his critiques, he primarily targeted the masters of forges and the industrialists in the coal sector, who relied on a model of small family businesses often inward-looking.
The situation in Verviers was somewhat different. The manufacturers from Verviers developed a specific strategy: social endogamy. In other words, they married within families of the same industrial background to consolidate and increase family capital. These marriage alliances reinforced industrial dynasties, giving rise to powerful clans—such as the Simonis, the Peltzers, or the Biolleys—with greater financial resources than coal entrepreneurs.
  This may explain why Verviers, in the long term, withstood better than other basins like the coal one. A comparable dynamic is also found in the Liège steel industry, where William Cockerill’s son was able, thanks to the capital accumulated by his family, to invest in metallurgical production.
However, by the end of the 19th century, this model of family capitalism was clearly beginning to fade. This is undoubtedly what Verhaeren sensed. At that time, a new type of capitalism was emerging, driven by banks. The creation of the Société Générale de Belgique marked a turning point: it gradually took control of the coal sector, the most fragile, and invested massively in the steel industry.
Yet, notably, this banking capitalism barely penetrated the textile sector. Why? Because the large textile industrialists—referred to as textile owners—were fiercely opposed to opening their capital. It was a distinct social class, both in Verviers and Ghent, in fact. Their refusal to associate banks with their activities isolated them and progressively weakened them. By retreating into themselves, they lost the ability to invest massively at a time when modernization became indispensable.
Therefore, one could think that if these industrialists had accepted the entry of banking capital into their sector earlier, the history of Belgian textiles would likely have been different.

  Grégoire Canlorbe: Earlier we mentioned an Austrian economist, Joseph Schumpeter. What do you think of the theory of economic cycles developed by one of his compatriots, Ludwig von Mises, a theory that locates the source of economic instability in the artificial increase of credit made possible for commercial banks by the right to lend a fraction of their deposits?

  Claude Desama: I am not sure that this is a fully developed analysis, but there is undeniably some truth in this economic reasoning. What is at stake here is the gradual financialization of capitalism. In other words, power has slowly shifted from the hands of business leaders to those of financiers, shareholders, and investors.
Today, business leaders are often themselves employees, subject to strict profitability targets. Their main mission is to generate economic performances sufficiently high to satisfy the demands of shareholders – who expect returns of 10, 12, or even 13% on their initial investment.
  It is this logic of financialization that underlies the globalization of exchanges. Not to improve the remuneration of labor, but to guarantee a better remuneration of capital. The constant pursuit of lower production costs has been to the benefit of capital, not labor.
  Is this financialization the source of economic crises? It is difficult to assert this categorically. We naturally think of the 1929 crisis, which was primarily a financial crisis, but it was not the first: stock market crashes had already occurred before. In reality, these financial crises are often the consequences of overproduction crises. And it is precisely this observation that gave rise to Keynesian thought, with its theory of investment regulation to prevent structural imbalances—particularly production excesses—that could lead to financial collapses.
Since then, the world has changed. And as the need for capital has increased, another logic has prevailed: a logic of financial profitability, increasingly disconnected from traditional productive economic logic.

  Grégoire Canlorbe: What should be done in Verviers to achieve what Donald Trump is undertaking in America: make Verviers great again?

  Claude Desama: This is a question I asked myself throughout my twelve years as mayor of Verviers: can we really revitalize this city? And I believe the answer is complex. We cannot rewrite history. Verviers certainly has some assets, but it also suffers from a major handicap: its proximity to several large metropolises.
It is too close to Liège, too close to Maastricht, too close to Aachen – all cities that are more important, which have rebuilt themselves around a modern urban fabric, essentially focused on the tertiary sector. Verviers, on the other hand, has never truly mourned its industrial past. For years, people continued to hope for a return of the textile industry. It was an illusion.
In the 1970s and 1980s, the city failed in its transition to a service economy. Many remained trapped in a paralyzing sense of nostalgia, preventing them from considering a different future. When I became mayor in 2000, I realized how much this industrial past still weighed on mindsets and hindered initiatives for tertiary development.
  Another major obstacle is precisely this proximity to Liège. The relationships between Liège and Verviers have always been tinged with rivalry, sometimes implicit, sometimes open. And since Liège had a much greater political weight, it attracted the majority of public investments and major projects. A tram was built in Liège, not in Verviers. The Calatrava train station was installed in Liège. It is symbolic but revealing.
  In twenty to thirty minutes, residents of the Verviers district can reach Liège, which offers a denser, more attractive commercial infrastructure. This makes it even more difficult for an autonomous economic hub to emerge in Verviers.
Yet, I believe there is potential in Verviers. But it is also necessary for the people of Verviers themselves to realize this and to show a bit more local pride, a certain Verviers patriotism.
  I launched a major project for a shopping center in the city center, which ultimately did not materialize. I faced virulent opposition, albeit minor but very active. Part of the population still clung to the idea of a city of small shops, without realizing that these shops once thrived thanks to the textile industry. Since its disappearance, the shopping streets—Spintay, Crapaurue, and others—have gradually emptied. The workers who frequented them, their families, have vanished with the industrial economy. That world no longer exists.
 And today, the difficulty is twofold: not only do mindsets struggle to evolve, but there is also no longer a class of Verviers investors willing to bet on the city. Those who still have the means invest elsewhere—in Liège, in Brussels, sometimes even abroad. The local economic fabric has become devitalized, and we now depend on investors from other regions, even other countries.

  Grégoire Canlorbe: What do you reply to this criticism sometimes directed at social democracy, which argues that it has the unintended effect of suspending social mobility? In other words, it would prevent the renewal of financial and business elites and close off all possibilities for today’s proletarians to become tomorrow’s powerful. Among other examples, corporate tax, above a certain threshold, would work against entrepreneurs who are starting out, who cannot afford such a tax threshold if they intend to develop, or even simply maintain, their company; conversely, established businesses would generate revenue sufficient to continue to grow (and avoid bankruptcy) despite the threshold in question.

  Claude Desama: I think this phenomenon is somewhat exaggerated. The idea that the renewal of elites would be blocked by a certain socialism – which, paradoxically, would serve the interests of an already established dominant economic class to prevent its replacement by a new one—seems questionable to me.
This refers to the so-called theory of “creative destruction,” according to which one must destroy an existing industrial fabric to rebuild a new one. But for my part, I do not really subscribe to this view. I do not see how social democracy would be responsible for any blockage.
  On the contrary, social democracy has been, in my eyes, an extremely effective model. Between 1945 and 1980, Europe—and other regions of the world—experienced exceptional economic growth, based precisely on this model. There was a balanced articulation between private capital, investors, and a strategic state, according to a logic inspired by Keynesian thought.
  It was within this framework that the foundations of what we call the welfare state were laid: social security, public services, redistribution, protection of workers. And this period was also marked by a significant reduction in social inequalities.
This model was undermined starting in the 1970s, with the two oil shocks, the breakdown of the international monetary system, but also – and above all – the ideological emergence of neoliberalism, championed by thinkers like Milton Friedman and Friedrich von Hayek. This turning point was politically embodied by Reagan in the United States and Thatcher in the United Kingdom, whose aim was clearly to dismantle the welfare state to give total freedom back to capital, hoping thus to revive the economy.
It is this shift that profoundly transformed the economic and social balances. But I do not see how social democracy, in this context, could bear any responsibility for the disappearance or stagnation of elites. On the contrary, it allowed for the rise of new social layers and an economic mobility that we struggle to find today.

Grégoire Canlorbe: How do you explain that a Belgian-style Fascism or Nazism failed to rise to power, and that Léon Degrelle did not become the homolog of Mussolini or Hitler?

  Claude Desama: In Belgium, there indeed existed a significant fascist threat. Fascism was firmly established in Flanders, particularly through the VNV (Vlaamsch Nationaal Verbond), a very influential far-right movement. In Wallonia too, the danger manifested itself, notably with the rise of the Rexist movement in certain elections.
  That said, Belgium has, it seems to me, better resisted Fascism than other European countries. This resilience can be largely explained by a peculiarity of Belgian society at the time: pillarization. This was a structuring of social life around major ideological and institutional “pillars.”
First, there was the socialist pillar, organized around the Belgian Workers’ Party, with its network of trade unions, mutual insurance societies, insurance companies, provident funds, etc. Next, the Christian (Catholic) pillar had a similar system: political parties, trade unions, youth organizations, mutual societies, schools… Finally, the Liberal Party, although somewhat more isolated, played a balancing role, sometimes allied with socialists, sometimes with Christians.
This pillar structure—although sometimes criticized—had the effect of strengthening social cohesion and providing the population with solid frameworks of support, both socially and economically or culturally. It is this dense organizational fabric that, in my opinion, allowed Belgium to better resist the seductions of fascism, as it has also been able to contain the influence of communism.

Grégoire Canlorbe: The N-VA claims to be the solution to what it describes as a Belgium caught between Wokism and Islamism. What do you respond to this political argument?

  Claude Desama: Listen, there are, in my opinion, two myths that need to be deconstructed. The first concerns this vague and overused notion of “Wokism.” Honestly, I’m not quite sure what that means. I know the theories of deconstruction, postmodern thought, the work surrounding the promotion of the subject and the critique of the limits of modernity—particularly with regard to considering the rights and realities of minorities.
  In my view, we need to distinguish this intellectual effort, which can be profound and necessary, from certain forms of excessive, even pathological activism that give a distorted image of this movement. I think, for example, of some excesses of movements like MeToo, where we slip into a form of media hysteria that ultimately undermines the cause. But reducing all of this to a singular “woke ideology” is an abusive simplification. There is not, strictly speaking, a coherent or structured woke ideology. There is a plurality of critical currents and a variety of activist struggles in favor of minorities.
The second myth concerns Islamist terrorism. We should not exaggerate. It is true that Verviers was the scene of a police operation in 2015 in a building on Rue de la Colline, where individuals linked to a terrorist cell had taken position. But there has never been a structured Islamist network in Verviers. This event was isolated and does not reflect the local reality.
What we do observe, and this is true in many European countries—in the Netherlands, Germany, France—is a growing presence of Muslim communities in the population. This is the result of immigration, but also of a more significant demographic dynamism within these communities. Some trends may lean towards a more traditional Islam, sometimes a bit rigid or closed, that is true. But to speak of an Islamist threat or a generalized risk is going much too far.
In Belgium, the vast majority of Muslims are perfectly integrated. During the twelve years I was mayor of Verviers, I had the opportunity to regularly meet with representatives of the various mosques. The exchanges were always respectful, open, and constructive. There is no structural problem in Belgium with citizens of the Muslim faith.

  Grégoire Canlorbe: During the Belgian federal elections on June 9, 2024, Mr. Godefridi represented the N-VA as the head of the list in Walloon Brabant. Do you think the N-VA has any chance of breaking through in Wallonia?

  Claude Desama: The N-VA embodies a well-known Flemish nationalism. Nationalism, it must be said, has always been present in Flanders, and the N-VA has positioned itself as its main standard-bearer. However, it is in competition with Vlaams Belang, which adopts a much more radical, even openly extremist line.
That said, the N-VA does not represent a model in any way. It is a right-wing, conservative, and strongly nationalist party. Certainly, it does not go as far as Vlaams Belang, whose tones can be described as fascist, but the N-VA remains an ideologically tough formation. However, it is representative of a significant portion of Flemish public opinion. In Wallonia, on the other hand, it has absolutely no impact, and this is for a simple reason: political traditions there are radically different.
From a cultural point of view, Wallonia and Flanders are not comparable. In Wallonia, there is no significant nationalist movement. The Walloons do not really cultivate a strong Walloon identity. In a way, this is one of their weaknesses: this lack of a strong attachment to their own collective identity. The Flemish, on the contrary, have a very developed identity consciousness.
  I remember meetings with Flemish colleagues at a time when everyone was still perfectly bilingual. Some categorically refused to hold discussions in French, even at the highest academic level. They accepted English but rejected French—which, for us, was quite surprising. This is a concrete illustration of this Flemish nationalism, which sometimes has a rigid or even domineering quality.
But it must be acknowledged that this nationalism has also had a mobilizing effect. It is partly this identity affirmation that has carried the economic conversion of Flanders after World War II. A political energy and will to succeed that the Walloons have not always been able to match, or that they did not perceive with sufficient lucidity at the time.
  That said, the N-VA has no chance of establishing itself in Wallonia. Belgium, in reality, is two worlds, two political cultures, two parallel democracies. Flemish socialists are not the same as Walloon socialists; Flemish Christian democrats are different from their Francophone counterparts. It is just as unlikely to see a party like the Walloon PS succeed in Flanders as to see the N-VA establish itself sustainably in Wallonia.

  Grégoire Canlorbe: Would you say that the people of Verviers have shown resilience in the face of the bad weather they have had to endure?

  Claude Desama: If you are referring to the floods of 2021, then yes, I can say that the people of Verviers reacted with remarkable dignity and solidarity. They showed extraordinary courage in the face of such a brutal ordeal.
What particularly struck me was the calm and resilience they demonstrated. Several people, remembering me as a former mayor, contacted me for advice or help. And each time, I was touched by their attitude: they understood what had happened, they were not looking for a scapegoat, they did not let themselves fall into anger against the political leaders—who, in this particular case, were obviously not responsible for the disaster.
  They could have been bitter or overwhelmed, but instead, they were incredibly patient and engaged in the reconstruction efforts. Their reaction inspired a lot of admiration in me.
  This shows, in my view, a true strength of character that belongs to the people of Verviers. A capacity to withstand hard knocks without losing their cool, to stick together, to keep moving forward.
Today, the city is gradually beginning to emerge from this difficult period. Even if many problems remain to be solved, one can feel that things are moving. But what I particularly remember is this collective reaction, dignified and supportive, in the face of a dramatic situation. And for that, I remain admiring.

Grégoire Canlorbe: Thank you for your time. Would you like to add a word or two for the younger generation among politicians?

 Claude Desama: I must say that I am deeply concerned about the crisis that the European left is currently experiencing, a crisis that also affects Belgium and, more specifically, Wallonia.
  It is imperative that the left finds a true “software,” a coherent thought, and a voice that can speak not only to the small intellectual bourgeoisie—its usual audience—but also, and especially, to the working classes. We must restore this essential link with those whom the socialist movement has historically defended.
This requires a genuine intellectual effort. The socialist movement must regain a doctrinal breath, a renewed vision, and a way to make a progressive project come alive today that resonates with contemporary realities. Too often in recent years, socialist parties have seemed short of reflection. I am struck by how, in the 19th and early 20th centuries, socialists—the Vandervelde, and many others—constantly nourished the doctrine, engaged in debates, and developed ideas. They thought about the world.
As for me, I have known a generation of socialists more concerned with the conquest and management of power. But the left is not just a method of management. It is above all a project for society. Once you abandon this project to settle for governing “like the right, but differently,” the left loses its soul, its identity—and its electorate.
Another problem is the growing focus on the concerns of the urban petit bourgeoisie, to the detriment of the link with the working classes. This sociological shift, combined with the loss of ideological benchmarks, largely contributes to the weakening of the left.
What I say today to socialist leaders—and I say this even more because I am still active in certain instances—is that the world has profoundly changed. The responses of the 1950s or 1960s are no longer suited to today’s challenges. We need to think of concrete solutions, propose clear alternatives, consistent with the fundamental values of socialism.   And then, there is another essential requirement: that of exemplarity. Politicians must be beyond reproach. The Romans already said: “Caesar’s wife must not be suspected.” This remains true. Exemplarity is a condition for credibility. And we must admit that in Wallonia, especially within the Socialist Party, this requirement has not always been respected. It is regrettable. And it has a real political cost.


That conversation was originally published in The Postil Magazine, in June 2025

Filed Under: Uncategorized Tagged With: Belgium, Claude Desama, Green Deal, Grégoire Canlorbe, Verviers, Wallonia

A short conversation with Stephen Graziano, for BulletProof Action

A short conversation with Stephen Graziano, for BulletProof Action

by Grégoire Canlorbe · Mai 13, 2025

Stephen Graziano’s career as a composer features credits that span an eclectic cross section of TV series and movies as well as commercials, trailers, and promos.

  His composing credits for film and television series notably include Highlander Endgame (Miramax), on which the tracks were shared between he and others like Nick Glennie-Smith. His work also includes: The Outer Limits (Fox), Party of Five (Fox), Dawson’s Creek (Fox), Sliders (Fox), Ed (NBC), The Client (CBS), and The Adventures of Brisco County, Jr. (Fox).

  In addition to a long list of film and TV credits, he has scored over a hundred film trailers including such blockbusters as: Dances With Wolves, Silence of the Lambs, Bram Stoker’s Dracula, A River Runs Through It, and A League of Their Own.

  For commercials and promos, his music has been heard on national spots for Heineken, General Mills, Toyota, Verizon, U.S. Air Force, Florida Orange Juice, Starz and HBO.

  Mr Graziano splits his time between L.A. and New York City.

  Grégoire Canlorbe: You arranged two Scottish traditional songs for Highlander: Endgame’s soundtrack—namely The Song of the Pooka & Bonny Portmore. The latter song was already reprised in Highlander: The Sorcerer. How did you make your own arrangements so unique?

  Stephen Graziano: Making them unique was not my intention, I just tried to arrange them in a way they would fit the picture best. The fact that there are Scottish overtones throughout the film, I decided to ring up Eric Rigler who plays the Uilleann pipes. He’s the go-to guy in Hollywood for all things Scottish. You can hear him all over Titanic score.

  Grégoire Canlorbe: Both in the theatrical cut and producers’ cut, Highlander: Endgame’s last third successively features the supper during which Jacob Kell seemingly kills all his recruits, Connor MacLeod’s sacrifice, and the fight between Duncan MacLeod and Jacob Kell. Your tracks on the supper scene, and on the final standoff, are remarkably consistent, answering each other and reinforcing each other’s climactic intensity. How did you deliver those pieces?

  Stephen Graziano: I tried to match the energy of those scenes. To be honest, I don’t remember the second scene as well and would have to go back and look at it. But, my general rule is to, at the very least, match the energy of the scene or sometimes even enhance the energy of a scene whenever possible. For the Last Supper scene, it was the end of the centuries old lives of these recruits so the music needed to be very significant and powerful.  I hope I accomplished that. That’s actually my favorite cue in the movie!

  Grégoire Canlorbe: If given the opportunity, would you have considered integrating in your work on Highlander: Endgame some elements of Queen’s tracks on the original Highlander?

  Stephen Graziano: I’m actually not familiar with the original Highlander film so don’t know how Queen’s tracks work in that movie.

  Grégoire Canlorbe: You were a composer on two documentaries in the field of military history—namely Kaigun: The Imperial Japanese Navy & An Unknown Country: The Jewish Exiles of Ecuador. Please tell us about that experience.

  Stephen Graziano: Both were great experiences. Kaigun: The Imperial Japanese Navy showed the progress the Japanese navy made over the past 300 years, and how that progress accelerated once they were exposed to the West in the 1850s. I was given the opportunity to compose using traditional Japanese instruments as well as (midi) orchestral music.

  Regarding An Unknown Country, I don’t believe I actually did any composing to picture.  The filmmakers, who were on a very tight budget, sent me the movie and asked if I could supply them with some pre-existing music that I thought might work in their film. I sent them a few dozen pieces from my own library, which they placed into their movie. So, my interaction was pretty minimal. But, I was very happy with their usage of my music and the end result. I doubt I could’ve done a better job had I composed original music.

  Grégoire Canlorbe: Thank you for your time. One of your projects in development is Battle Mountain, which you wrote. Would you like to tell us a few words about it?

  Stephen Graziano: Battle Mountain is a screenplay I wrote during my down time from composing. Although my day job is scoring movies & TV, I enjoy writing, and had a real-life experience when I was young that sparked that story idea. Through time and many different drafts, I’ve made so many changes to it, no aspects of the actual events survived so aren’t in the screenplay. So, though it started out somewhat autobiographical, at this point, it’s purely fiction. From what I’ve heard, that’s not uncommon. Writing screenplays is 20% writing and 80% re-writing. A producer has expressed an interest in it and, from what I’ve heard, he’s ’shopping it around’ trying to raise money to make it. Fingers crossed!

Thanks for taking an interest in my work!


That conversation was originally published on BulletProof Action, in May 2025.

Filed Under: Uncategorized Tagged With: An Unknown Country: The Jewish Exiles of Ecuador, Battle Mountain, Bonny Portmore, Eric Rigler, Grégoire Canlorbe, Highlander, Highlander: Endgame, Kaigun: The Imperial Japanese Navy, Queen, Stephen Graziano, The Song of the Pooka

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