• Skip to content

Grégoire Canlorbe

Grégoire Canlorbe

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

A conversation with Igal Hecht, for Gatestone Institute

A conversation with Igal Hecht, for Gatestone Institute

by Grégoire Canlorbe · Mai 5, 2025

In 1999, Igal Hecht created Chutzpa Productions Inc. His award winning films have been described as controversial and thought provoking. His films have dealt with human rights issues to pop culture. Throughout his twenty-year career, Igal Hecht has been involved in the production of over fifty documentary films and over twenty television series. Igal’s films and television series have been screened nationally and internationally on Netflix, Prime, BBC, Documentary Channel, CBC, YES-TV (Canada), HBO Europe and many others.

  Grégoire Canlorbe: The Killing Roads investigate the pogrom perpetrated across the Gaza envelope on October 7, 2023, with special attention paid to the attacks launched on the roads in southern Israel. How did you proceed with gathering, and crafting, the introduced testimonies and audiovisual material?

  Igal Hecht: When October 7th unfolded, I began collecting and archiving every piece of footage that emerged—raw, unfiltered, and often horrifying. As the days passed and the scale of the atrocities became undeniable, I knew I had to make a film. But with so much devastation, I needed to focus on a specific, often overlooked aspect of the attack.

  In November, Haaretz and The New York Times published articles about the massacres on the roads. That became my focal point. I began researching, speaking to survivors, and quickly realized that aside from Israeli TV, no one was truly exposing what happened, particularly on Route 232 and Route 34. On those roads alone, Palestinian terrorists, Hamas, Islamic Jihad, and civilians from Gaza (as if there’s any real distinction between them) murdered around 250 innocent people.

  A few months in, I started reaching out to survivors, and with my trusted collaborator, Lior Cohen, who I’ve made over 25 films with, we set off to Israel. In early 2024, I spent a month filming in and around Route 232, Route 34, Sderot, the Nova festival grounds, kibbutzim, and cities like Sderot and Ofakim. We conducted over 20 interviews and shot nearly 40 hours of footage. Ultimately, we focused on seven stories. They were each distinct, each offering a different angle of the carnage that unfolded on those roads.

  The visual evidence was crucial. We incorporated footage from survivors, Hamas propaganda videos, security footage, and, thanks to Hatzalah, we obtained 50 hours of raw material from ambulance teams. These first responders documented everything. Every horror, every burned-out car, every bullet-ridden body, from the moment the attack began.

  This wasn’t just a massacre; it was a Nazi-style atrocity committed by Palestinian terrorists. The Killing Roads doesn’t rely on rhetoric, rather, it presents the truth, unfiltered and undeniable. The horror is laid bare, and it must be seen to ensure that no one can ever deny or rewrite what happened.

  On October 7th, Palestinian terrorists and civilians from Gaza committed a mini-Shoah against Jews in Israel. They didn’t just murder—they raped, burned, and mutilated women, children, and men because they were Jewish. And if that wasn’t enough, their woke progressive and Islamist sympathizers in Europe, the U.S., Canada, and Australia celebrated the bloodshed. That is the grotesque reality Jews around the world are facing today.

  Grégoire Canlorbe: Genocide is a reality you had already covered—through documentaries on the Holocaust, as well as on Rwandan, Bangladeshi, Cambodian, and Yezidi genocides. How did it feel, this time?

  Igal Hecht: This time, it was personal. My family lives in that region. I had family members in Sderot fighting off terrorists. I lost brave colleagues. The victims weren’t nameless figures from history books; they were my people.

  And what made it worse was the reaction in Canada. People I thought were friends, colleagues I had worked with, openly supported or excused the butchery. October 7th stripped away the masks. It revealed a deep-seated antisemitism that had always been there, lurking just beneath the surface.

  For me, making this film wasn’t just about documenting history, rather it was a mission. It was my way of saying fuck you to every person who tried to justify, minimize, or celebrate this slaughter. That’s why I made The Killing Roads freely available online. Unlike many filmmakers who compromise to appease broadcasters—who bend to absurd rules like not calling Hamas “terrorists”—I refused to sanitize the truth.

  This film doesn’t offer excuses or euphemisms. It shows, in brutal clarity, what Israelis endured that day. And it does so without concern for political correctness or the fragile sensibilities of those who sympathize with murderers.

  Grégoire Canlorbe: In Canada, what is the average perception of Israel, the Hamas (and similar organizations like the Popular Front for the Liberation of Palestine), and Donald Trump’s Middle-East policy?

  Igal Hecht: Under Justin Trudeau, Canada has become the leading hub for Islamist terrorism support in North America. That’s not hyperbole. This is a fact.

  The very day of the October 7th massacre, Muslim activists and their woke, antisemitic allies flooded the streets of Toronto and Montreal, chanting in Arabic for the extermination of Jews. I filmed it. I published it. Nothing happened. Apparently, Canadian police can’t find a single Arabic translator.

  From the start, the Trudeau government’s priority wasn’t justice—it was appeasement. Canada, like the UK and much of Europe, has chosen to bend the knee to Islamic fundamentalism.

  The average Canadian gets their information from a publicly funded broadcaster that pumps out anti-Israel propaganda daily, much like the BBC. These journalists take Hamas press releases as gospel and only issue weak retractions after the damage is done. We’ve seen it repeatedly, from The New York Times parroting Hamas casualty figures to the BBC recently producing outright propaganda films.

  And the result? A 630% rise in antisemitic attacks in Canada. Synagogues vandalized. Jews beaten in the streets. Jewish students in Toronto, Montreal, and Vancouver physically blocked from attending school—just like in Nazi Germany. Yet, the media downplays it, and politicians look the other way.

  If this unchecked immigration and tolerance for Islamist extremism continue, Canada will follow the path of the UK, France, and the Netherlands. In 10 to 15 years, we’ll see the same no-go zones, the same normalization of antisemitism, and the same erosion of Western values. That’s the trajectory unless people wake up.

  Grégoire Canlorbe: Do you see some impact of the Abraham Accords with respect to the partnership between Israeli filmmaking and the movie industry in Saudi Arabia, Morocco, and other Sunni states?

  Igal Hecht: To be honest, I don’t know. It’s not my world.

  What I do know is that the Abraham Accords were a game-changer, and President Trump deserves a Nobel Peace Prize for them. Of course, he won’t get one—Obama got his for good intentions, while Trump actually delivered peace. That tells you everything.

  The Sunni states are waking up to a simple truth: the main obstacle to peace isn’t Israel. Rather, it’s the so-called Palestinians and their genocidal fantasies. Remove that factor from the equation, and Israel and the Arab world can thrive together.

  The Palestinian issue has been the Middle East’s perpetual cancer. More Arab leaders are starting to see that. Hopefully, the rest of the world will, too.

  Grégoire Canlorbe: You wrote, produced, and shot Streets of Jerusalem and several other documentaries set in the holy town. How do you sum up the sort of cinematographic aesthetics the light and architecture in Jerusalem allow for?

  Igal Hecht: Jerusalem is visually unparalleled. It’s not just a setting, it’s a character.  I’ve filmed there for 25 years, and there isn’t a corner of the city my team and I haven’t explored. The aesthetic contrast is breathtaking. The ancient architecture interwoven with the modern, the energy of the people, the ever-present layers of history. You can set up a camera in the Old City or Mahane Yehuda market and capture something cinematic without even trying. Every frame tells a story. It’s why I keep going back and hopefully will again for my next project with Lior Cohen.

  Grégoire Canlorbe: Please tell us about Easter in the Holy Land, which covers Christian pilgrimages in the Land of Israel in the Easter season. When it comes to conveying mystical experience, is movie as eloquent a medium as are literature and painting?

  Igal Hecht: Easter in the Holy Land is a feature-length documentary (or a three-part series) that I’m incredibly proud of. I had the privilege of working alongside cinematographers Lior Cohen and Gabriel Volcovich, as well as filming myself. Every frame is meticulously crafted—each shot looks like a painting.

  We filmed across some of the most sacred Christian sites, Bethlehem, Nazareth, the shores of the Sea of Galilee, and, of course, Jerusalem, particularly the Old City. The film is a visual and spiritual celebration of Easter, offering audiences an intimate view of the deep significance of this holy season in the very land where it all began. More than that, it highlights a truth that is often ignored or distorted: Christian pilgrims in Israel experience absolute religious freedom.

  Despite the lies spread by far-right Christian antisemites and Arab nationalist propagandists, Israel is the only country in the Middle East where Christians can freely and safely celebrate their faith. In contrast, throughout the surrounding region, Lebanon, Egypt, Jordan, Iraq, and the Palestinian Authority-controlled areas, Christians face persecution, intimidation, and even violence. Yes, there have been isolated incidents in Israel, and they are regrettable. But unlike in many other places, here, those who commit crimes against Christians are arrested and held accountable.

  Ultimately, Easter and Christmas in Israel serve as testaments to the reality that Christian minorities here can observe their holiest days without fear. This is something that is virtually impossible anywhere else in the Middle East.

  Grégoire Canlorbe: Do you plan to direct an equivalent documentary on Jewish and Muslim pilgrimages in the Holy Land?

  Igal Hecht: I haven’t given that much thought, but it would be fascinating to create a trilogy covering all three Abrahamic faiths. The challenge, as always, is funding and securing a broadcaster willing to take it on.  People don’t realize how difficult it is to produce content that explores faith and religion, especially for mainstream television. It’s not impossible, but there’s a definite bias against it. I’ve been fortunate to work with broadcasters who see the value in faith-based programming, but they are few and far between. The reality is that many networks shy away from religious content unless it fits a specific agenda.

  Grégoire Canlorbe: What is your view about the filmic treatment of Jerusalem in the time of the crusades? How do you assess, in particular, Ridley Scott’s Kingdom of Heaven?

  Igal Hecht: Aesthetically, Kingdom of Heaven is a stunning film. This is exactly what you’d expect from a director like Ridley Scott, with his massive budget and extraordinary craftsmanship. Beyond that? It’s all subjective. The film, like most historical dramas, takes artistic liberties. But that’s the nature of cinema… especially when dealing with a time period as complex and politically charged as the Crusades.

  Grégoire Canlorbe: In another recent documentary, The Jewish Shadow, you address the condition of Ukrainian Jews in the 1970s, under soviet rule. What did you choose to highlight about their condition—and how it has been evolving after the Soviet Union’s fall?

  Igal Hecht: The Jewish Shadow is an incredibly personal film. It was shot long before the war in Ukraine, and it focuses on the life my parents lived under Soviet rule.  To be honest, I have mixed feelings about it. This is not because it isn’t a good film, but because of how I approached it. I told my parents we were making a family roots documentary, but in reality, I pushed them to confront the antisemitism they endured. In the end, I apologized to them for putting them through that.

  Ukraine has a dark and undeniable history of antisemitism. One that still lingers in certain parts of the country today. But when the war broke out, it complicated everything. I had to grapple with the realization that my view of Ukraine is shaped by generations of Jewish persecution, whereas my parents, despite everything they went through, still have a deep attachment to the place. They lived there. They had friends, careers, and a sense of home… even if antisemitism was a constant shadow over their existence.

  That, in many ways, encapsulates Jewish life in the Diaspora. We integrate, contribute, and flourish; until history repeats itself. Until the inevitable moment when we are reminded that, no matter how much we belong, we will always be seen as different. And because of that so-called difference in the minds of antisemites, the hatred against us is justified. Or, as we are seeing now in places like Canada and many parts of Europe even celebrated and encouraged.

  Grégoire Canlorbe: Thank you for your time. Is there anything you would add?

  Igal Hecht: You can watch The Killing Roads at www.thekillingroads.com or catch it on the Documentary Channel at www.documentarychannel.com.   For additional information about Igal Hecht and his films, visit www.chutzpaproductions.com


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

Filed Under: Uncategorized Tagged With: Canadia, Donald Trump, Easter in the Holy Land, genocide, Grégoire Canlorbe, Igal Hecht, Israeli-Palestinian conflict, Kingdom of Heaven, Ridley Scott, The Abraham Accords, The Jewish Shadow, The Killing Roads, Ukraine

A conversation with Loren Avedon, for Bulletproof Action

A conversation with Loren Avedon, for Bulletproof Action

by Grégoire Canlorbe · Fév 25, 2024

Loren Rains Avedon is an American martial artist, actor, Emmy Award winning stunt man, co-producer, action director, and second unit director. Grand Master Avedon is a 9th Dan black belt in Hapkido certified by the IHF and the WHF. GM Avedon is also a 9th Dan black belt and Grand Master in Taekwondo serving as the Secretary General of the USTF a Federation created by one of the founders of the Kukkiwon. 10th Dan Grand Master In Kon Park (Dan #303), of more than 70,000,000 Kukkiwon black belts. GM Avedon is known for his portrayal of Jake Donahue in “The King of the Kickboxers”, Scott Wylde in “No Retreat, No Surrender 2: Raging Thunder”, and Will Alexander in “No Retreat, No Surrender 3: Blood Brothers”. In Europe (Germany et al.) the movies were also titled “Karate Tiger 2, 3 and Karate Tiger 5”. These epic starring roles fulfilled his contract with Seasonal Films in Hong Kong. According to Black Belt Magazine in 1992 in the United States the movies ranked numbers four, five and six of the top 10 Martial Arts movies ever made, only surpassed by the legendary Bruce Lee.

Grégoire Canlorbe: How do you remember your collaboration with Cynthia Rothrock in No Retreat, No Surrender 2?

Loren Avedon: She was wonderful to work with, very down to earth and very kind. In the 1980s, we were both doing a lot of tournaments, and I met her as a martial artist when she was training with Master Ernie Reyes Sr. the father of Ernie Reyes jr, as part of the famous “West Coast Demo Team” many years before I saw her on the set. Most of my acting was with Max Thayer in that film but all of us collaborated beautifully, really. We still keep in touch, though of course life takes you where it takes you. Max Thayer is still a dear friend and I see him whenever I am in LA.

Grégoire Canlorbe: In terms of martial arts, how did you allow your character in No Retreat, No Surrender 2 to stand out from Kurt McKinney’s character in the first movie?

Loren Avedon: If you notice Kurt’s technique, he’s doing more crescent kicks and techniques like that rather than spinning heel kicks for example. I don’t know what his martial art background is, but they hired me based on my abilities. And honestly, I don’t want to pump myself up too much, but let’s just say they were very happy that I had all of this capability to do reactions, take a lot of punishment and do most of my own stunts. I was a good athlete. Now you have these athletes that are absolutely incredible with all kinds of creative “trickster” kicking, but that was started in the late 90s.

Grégoire Canlorbe: Do you stand ready to co-act one more time with your No Retreat, No Surrender family in some new sequel?

Loren Avedon: Assuredly, and I would be especially thrilled if the Blood Brothers were reunited. For, whenever Keith and I are together, everybody goes kind of crazy. Keith and I are currently putting together a film interviewing screen writers and we might have something together very soon.

Grégoire Canlorbe: The King of the Kickboxers—sometimes known as Karate Tiger 5 in Europe—is thematically similar to Kickboxer but original in its snuff film storyline.

Loren Avedon: We—Billy and I and the whole team were trying to create that experience of revenge as written by Keith Strandberg. We were focused on the “snuff film” plot. In KOTKB my much old brother is killed at the beginning of the film. In Kickboxer, the brothers are closer in age. By the way, Dennis Alexio, the gentleman who played Jean-Claude’s brother, was a good friend of mine.

Grégoire Canlorbe: The final fight is quite phenomenal. Please tell us about how it was choreographed, executed, and shot.

Loren Avedon: Billy was phenomenal to work with, and fight with. Without him, it wouldn’t be such a great picture. He is so humble. He came to me in the beginning of the film and said “Loren, this is your movie and I want to do everything I can to make it great”. The film was shot in 14 weeks and the conditions were very hard. It was hot and humid all the time in Thailand, and I got tremendously ill, several times. Billy came in 35 pounds heavier and left about 30 pounds lighter. It was so much fun though, but a lot of pain as well, all part of making a great action movie.

At the time, there was no pre-visualization, no monitors, no playback, none of that. It made the filming of the final fight more challenging, choreographing everything on the spot, but working with the best in Hong Kong they didn’t need playback, they knew immediately if we needed another take. There was a brilliant choreographer, who also grabbed the camera and shot the fight—Tony Leung Shin-Hong. He is still working in Hong Kong today as a director and action choreographer. He is the Green Dragon Master in the first IP Man.

Grégoire Canlorbe: Please tell us about that movie called Los Angeles: Street Fighter also called Ninja Turf which is quite early in your acting career.

Loren Avedon: It was just kind of fun to be in a film with my Masters. We shot a lot of it sort of on the fly. We didn’t have permits. We would do it on the weekends, as Master Jun Chong and Master Philip Rhee were running the Taekwondo studio during the weak. A great example of how we got away with many shots is when we’re walking up as a gang to the actual “Fairfax” High School campus after school had let out for the day, so that’s the real Fairfax High School, and those are real students there. We just pushed them all out of the way and did the scene. Master Rhee, in the end of the film, hits me a couple times with a real wooden sword, and kicks me in the stomach, I throw my feet in the air and land face down flat a stunt commonly called a “dead man”. All I did was put some cardboard down on the alley street to cover all the disgusting trash and human feces there in that alley near “skid row” in downtown LA, where all of the drunks, drug addicts and homeless people were living on the street were before we came. It was pretty yucky in that alley, but we made a fun low budget movie.

I had been around film cameras all my life because of my mother. She was a TV commercial producer and director, and advertising creative director. She put me in many of her commercials. She knew all the big movie and TV stars, so I grew up around all of these big stars. All of her friends were, you know, my uncles, and aunts really, as my Father and Mother were never married, and my Dad had moved to Italy with his daughters by marriage, to run “Eve of Rome”, where he met his second wife Princess Luciana Pignatelli Avedon. It was martial arts that really changed my life. I needed male role models and I found them in the great Martial Artists at Jun Chong Taekwondo.

Grégoire Canlorbe: How do you think that Los Angeles has evolved since the time of Ninja Turf?

Loren Avedon: That’s a pretty sad question to answer, because Los Angeles has become less relevant in filmmaking. I just visited Los Angeles last May of 2023, and it was nice because there was recently some rain, and everything was green, as there had been such a long drought, the air was a bit fresher. But Los Angeles is, shall we say, not what it used to be. Now it’s easier to shoot in other places and with digital cameras, worldwide locations, it is far easier and cheaper to shoot great movies with the ability to move quickly, and with far less hassle. Los Angeles has become ridiculously expensive and is truthfully “shot out” which means that the locations have been used in so many movies and TV shows. Audiences know its Los Angeles. Unless you are working on a studio production which I did very often as a stunt man, stunt double. I got back into stunting so I could be a good single Father to my daughter Nicole. I was not going to let her grow up without a Father like I did. She has turned into a wonderful young lady. Daughters need their Fathers, and I was determined to be the Father I never had.

Grégoire Canlorbe: Many of those 80ties movies in the martial arts and action genres were produced by that iconic duo that are Menahem Golan and Yoram Globus. How do you assess their legacy?

Loren Avedon: Cannon Films, Golan Globus productions made all of these tremendous Chuck Norris movies. Using Israeli funding and locations in Israel. They were really instrumental in making martial arts movies outside of Hong Kong productions. It’s wonderful—I love watching those old movies. I just saw Richard Norton when flipping through the television channels last night. That was probably one of their productions. I never worked with Cannon, it wasn’t my time.

Grégoire Canlorbe: What is your take on the Ninja saga starring Scott Adkins?

Loren Avedon: I think it’s phenomenal. Scott is an amazing martial artist and a good action actor. But when you’re in the business, you become a bit more critical of things; you see things that others don’t. And the time that he had to shoot these movies is much shorter than that I had, usually about 3 weeks. The movies I am so well known for we had at least 3 1⁄2 months for principal photography.

Grégoire Canlorbe: How do you explain that unique innovativeness witnessed over the course of Asian history when it comes to martial arts?

Loren Avedon: I think it just comes down to necessity. You know, all of these weapons and things that they used were developed using farm tools, because people weren’t allowed to have swords or anything like that because of the laws preventing common people possessing weapons. Only the Emperors armies could have weapons of war. Lords, Kings or only those who could afford the expense of maintaining and army with such weapons helped keep the masses in line. Weapons were allowed only for the elite and the warrior class, devoted to their duty to protect their Kingdoms. I am so grateful most of the Chinese martial arts were preserved to some degree. It was some Army general or someone who whispered in Mao Zedong’s ear that convinced him to renounce his original plan to eliminate all martial arts and execute all Masters. Thank God that Mao eventually allowed it to become a sport instead— wushu.

I was just telling my wife the other day that I would fly to San Francisco to get videotapes of these 1970’s Chinese movies, made in Hong Kong or Taiwan because it was so entertaining to watch the choreography. In those days they would go out, as you probably know, and not have any script, just find an open field, or any place they could shoot, and figure out when they got there how to create a fight scene and to carry on with it until they had a feature length film. They just wanted it to be exciting and entertaining to watch so they could show it in the theaters. They used action to bridge the gaps between any culture because a punch in the face is a universal language. Throughout history, when we come to today, the Chinese and all Asia are still practicing martial arts. If you’ve seen on YouTube the videos of all the children practicing in China, I wish we had that in the West, honestly. We are losing one of the most important things all humans need especially growing up, discipline.

By the way, even in the 20th century, Bruce Lee got in a lot of trouble for practicing Wing Chun in San Francisco and for teaching white people, but that’s the truth. Kung Fu and the Shaolin Temple and all they do to Master an ancient art is absolutely phenomenal. I believe that Mao would not have survived as a dictator if he had destroyed the Shaolin Temple. The Chinese people would never allow that.

Grégoire Canlorbe: What about a new collaboration with the director of the two first No Retreat, No Surrender—Corey Yuen?

Loren Avedon: I believe Corey Yuen is between the U.S. and Hong Kong and working on other things. I don’t know exactly what’s going on with him, but whenever we do the new Blood Brothers, Keith and I want to hire a Chinese director assuredly. We want that ground pounding action.

Grégoire Canlorbe: What martial-arts movie do you believe could be made about the contemporary relationship between America and China? What kind of story could be told?

Loren Avedon: Throughout history, we have come to the aid of the Chinese many times, my Father included. My Father was a fighter pilot in the Navy in WW2 and the Korean war. Inside of one of his leather flight jackets is the Taiwanese flag, which of course is a disputed territory. In Chinese it reads “this is a friend of Taiwan, protect him and help him all you can” China and America are linked far more than people really know or will admit, and clearly that connection and how the Chinese know that the United States and the West have always come to their aid historically to free them from foreign occupation and allow them to be a sovereign nation. Most recently from Japanese occupation for 40+ years in WW2 is something that should be conveyed cinematically. It has been done in “Empire of the Sun”. It would be great to do a series like “The Crown” about China, but there just isn’t enough interest in doing so in the west.

Xi Jinping is a very powerful and smart leader. I hope that all of this, shall we say, South Pacific conflict, the Chinese trying to claim a little bit more of the international waters by creating man made islands, can be resolved peacefully. Because we see that the world is really kind of in turmoil now, all of this war and various things going on all around the world, such as Global Climate Change. In China we don’t really know what’s going on, because we’re given what we’re allowed to see by the media. Militarily the NSA here in the United States knows a lot more.

China has 5,000 years of history, America’s not even 250 years old. We can all learn from each other. People don’t really seem to understand that shamefully. There are almost two billion people in China while we’re only a few hundred million. We should all work together because this earth is all we have. We can destroy it many times over. I pray for the day we all come together to clean up the planet and live sustainably after 150 years of the Industrial revolution. We need to continue that relationship with China and remain allies, in spite of human rights abuses and China’s Communist regime.

The Chinese know from our history with them. The last sort of conflict that really was an issue China got involved with openly was the Korean War, which my father was a part of. He was called back into the service and trained Naval Aviators. His call sign was “Deadeye” because he was a double Ace plus. As a Commander in the Navy and was being groomed to become an Admiral. He was a top gun instructor during the Korean war, flew many missions in the war and also trained the ROK Airforce. He decided not to make the Navy his career, he’d seen so many men die in combat and didn’t want the responsibility of sending men into battle. He’d seen enough death. In WW2 the average fighter pilot was only to survive 5 missions. My Father was an amazing pilot, got his pilots license in 1936 at age 12. He had logged enough hours in flight and was granted that license at such a young age, amazing.

Grégoire Canlorbe: Do you sense the art of fighting when one is working as a producer willing to deliver a qualitative action movie has something to do with the art of fighting as a martial artist?

Loren Avedon: It’s about fighting with enhanced realism for me. You have to Master technique, then heighten creatively but realistically. If you see some Marial Arts movies today, they’re over-choreographed; it lacks the proper rhythm and reactions. There must be a certain time for reaction and also for a little bit of acting within the fighting. People need time to absorb what they’ve seen. I think it’s the video game generation that ruined things. A fight should be creative but more importantly believable. The Chinese were great at that and also allowed me to do as much of the action as possible. Truthfully, they demanded that.

Grégoire Canlorbe: You stood as a second unit director on Tiger Claws III, didn’t you?

Loren Avedon: Let’s just say I had to jump in every once in a while, and help. There was a cameraman and choreographer there. While Jalal was directing other things, I would take a splinter unit camera and direct my fights and some shots that were needed in other parts of that studio. He had converted a movie theater that he owned in Toronto, Canada into a studio. I think of the name of the studio/theater was “The Donlands”. His company is “Film One”.

I love to work in Canada. It’s a bit cold in Canada but people there are so friendly, it was a lot of fun. Jalal and I may be doing some things together in the near future. It’s interesting how the floodgates have opened during the pandemic, when people had to stay home the dusted off their old DVDs or Video cassettes and all of a sudden people were watching old movies. Keith Vitali just did this film with Cynthia and did a screen fight with Benny the Jet Urquides. And that’s full circle from “Wheels on Meals”. There’s a lot going on and a lot of possibilities for the future.

Grégoire Canlorbe: Do you have any project behind the camera?

Loren Avedon: I would like to get behind the camera more when I get back into the entire business. Because it’s a business. You have to pay back your investors and have everything under wraps. Working on a film with the Chinese was great. Having a say in the choreography as they allowed me to do when we were shooting “The King of the Kickboxers” and all my other Hong Kong movies. They would ask; “Loren, what do you think about this? What do you think about that?” That’s great because that’s the part of the process. It takes a team.

So, I would like to go back to Asia and hire a Hong Kong director to shoot, but then be there in the editing room as well. Because I’m sure you realize that the editing of the movies is a very important part of the whole process. You can shoot something phenomenal, but what I learned from them is they had the editor there on the set and he was taking notes on what takes were best etc. The assembly of the product is really important.

They’re shooting movies in twenty-one days now, I had three and a half months. The possibilities are endless when you have time. I already have several writers that are interested in penning the script if we’re to film in Asia. We’ll see. It’s all about writing for budget, and getting it done where it is really believable and exciting. You can see when it looks more like a martial arts demo which is what a lot of these movies made today look like, and when there is real contact and all of the little tricks that I’m not going to share.

Grégoire Canlorbe: To you, spirituality and martial arts have some strong connection, don’t they?

Loren Avedon: To me, martial arts are a very important part of spirituality indeed. The physical world is only what you make of it, what you interpret. So as a martial artist, it’s mind, body, and spirit every time. I always come back to the training and to the discipline of martial arts because that structure allows me to do much more than, let’s say, I would be physically, mentally, emotionally, and spiritually able to do otherwise. There are times where you have to be fearless. You’re scared to death, but you can’t show that nor can you let fear control you.

I don’t know who I would be or what I would be without the training and the experiences of being a dedicated martial artist learning and practicing with great Masters. Martial Arts training and practice allow you to transcend the physical. You become able to do things that most athletes cannot. The most physically demanding and athletically demanding dangerous stunts and fight choreography take after take, over and over and over again to perfection. If you watch those videos on YouTube, people breaking cinder blocks, capping blocks, bricks, huge blocks of ice, 2 x 4” wood pine against the grain, even young women, how does their petite little hand do that without their mind and their spirit, rigorous physical conditioning, and their control of the moment? Not thinking about the bricks but rather going through them. Mind over matter.

Grégoire Canlorbe: Martial arts are, it seems, is a path to the Ki or Chi and all the supernatural realm that is surrounding us.

Loren Avedon: I have taught so many thousands of martial artists and I always say that, whenever I am fighting or teaching, my Ki or Chi will change. And it will change the energy of a room, or of an entire situation. What does that come from? It’s obvious that there’s more going on than we see and that enables a Martial Artist to transcend the physical with your mind and your spirit using your body.

I did a seminar in Hawaii about Action film making. I was hired by the Big Island Film Office to put together basically a Martial Arts stunt fighting demo and also break down the fights in IP Man to show and explain martial arts in film. We didn’t get into much of the spirituality of that, but let’s just say in Hawaii like in certain other places of the world, you get that feeling that there is so much more going on than what we see. And if you don’t have that sixth sense or that ability to feel like Bruce Lee said, “don’t think, feel,” you wouldn’t be able to feel what’s going on behind the physical realm. What happens through training is you develop that sixth sense.

Grégoire Canlorbe: How do you sum up the specificities of taekwondo with other martial arts?

Loren Avedon: Olympic Taekwondo has evolved. I was very involved in taekwondo and studied many different Kwans or styles. I’ve been to the Kukkiwon many times. My Grandmaster took me all around the world. He was in charge of Taekwondo competitions by the WTF (World Tae Kwon Do Federation) and the Kukkiwon for all sanctioned competitions in Central and South America for about 10 years starting in the year 2000. Today’s Taekwondo only exists because when Korea was occupied by Japan, I think from 1904 to 1945, they had to adapt their martial arts to the Japanese way. It’s an amalgam of many things. From that came Tang Soo Do, and after WW2 when Korea was a sovereign Nation again came the development of Taekwondo, and Hapkido (from small circle) Japanese Jiujitsu.

Taekwondo now as a sport, I don’t enjoy todays Taekwondo as much the Old Olympic style of the eighties and nineties that had a 36’ x 36’ competition ring (square) with a 3’ warning track indicating when a competitor is out of bounds. Points could only be scored by a player (competitor) by hitting the opponent with “trembling shock” to the body or head or KO. These days, I rather would watch the international taekwondo, or open style karate tournaments where they’re punching, kicking, sweeping, stomping the head, doing what is necessary but in a controlled environment. I also enjoy JUDO competitions, it is exciting and is somewhat similar to the close quarters joint locks and throws of Hapkido, but without striking, or the finishing techniques of Combat Hapkido. The beauty of Taekwondo as a sport developed from the simple truth that it is too easy to punch somebody in the face, but if you could kick them in the face, or kick them in the body, or do something very acrobatic and stylish, involving beautiful footwork and dynamic kicking it was much more beautiful, exciting, and effective as a sport and Martial Art. The ancient art of Korean tae kyon developed to be modern Taekwondo. Tae Kwon Do still has the best kicking techniques of any Martial Art.

If you notice, a lot of MMA champions, including Anderson Silva, Anthony Pettis are Taekwondo stylists originally. This is because Taekwondo has great footwork. And the lack of footwork is the problem with a lot of the other martial arts, no disrespect but it’s true. If you can’t move with speed and balance you cannot win in a striking art. All great MMA fighters have mastered a traditional martial art, just think about Bruce Lee. He learned Wing Chun, which is for very close quarter fighting, but does have foot effective foot work, that is very interesting as it involves almost a pigeon toed and bent knee movement which can bridge distance at speed. Bruce Lee realized boxing and other true kicking arts required good foot work. He mimicked Muhammad Ali’s dancing and shuffling to execute his kicking techniques and close distance. Wing Chun was developed 300+ years ago by a 5’ 1” woman to defeat a 6’ tall man in close quarters.

Grégoire Canlorbe: How does the king of the kickboxers (you) assess Kickboxer?

Loren Avedon: Jean-Claude’s style was great, but I think what the movie was focusing on his learning to transcend fear and anger, pain emotional a physical by hard training and conditioning through extreme martial arts training to reach higher degree of Ki/Chi through that training and heighten your degree of consciousness and power to defeat a larger stronger opponent with things like level change, kicking techniques (jumping kicks), and low kicks to the legs and femoral nerve. Your forge steel through fire and hammering that steel to develop a lethal weapon.

Grégoire Canlorbe: Yes, the training in the stone city amidst the ancient warriors. Becoming supernatural through martial arts is a topic you can find in the first No Retreat, No Surrender as well.

Loren Avedon: You must be referring to the training with Bruce Lee’s ghost.

Grégoire Canlorbe: Indeed. Would you be intrigued by a sequel to the very first installment which would be featuring Donnie Yen as Ip Man’s ghost?

Loren Avedon: I heard there was a direct sequel to the first No Retreat, No Surrender in the works, I don’t know whether they plan to have Donnie Yen act as Ip Man’s ghost. If that’s their choice and it’s done well, not in a corny way, it will be interesting.

Honestly, I had not seen the first No Retreat, No Surrender before I went to Thailand to star in No Retreat, No Surrender 2, Raging Thunder. I had just come back with my Father from a Safari in Kenya and Tanzania, I had great experience in Africa discovering a whole new culture, that’s the beauty of travel. Mark Twain has a great quote about how travel breaks down all barriers and prejudices: “Travel is fatal to prejudice, bigotry, and narrow mindedness, and many of our people need it sorely on these accounts. Broad, wholesome,  charitable views of men and things cannot be acquired by vegetating in one little corner of the  earth all one’s lifetime.” 

But spirituality was the question raised about Kickboxer vs my movies in Hong Kong. There wasn’t so much spirituality in No Retreat, No Surrender 2,Raging Thunder, No Retreat, No Surrender 3, Blood Brothers. But it was introduced by the character Prang in, The King of the Kickboxers.

Grégoire Canlorbe: Thank you for your time Loren is there anything you would like to add?

Loren Avedon: Thank you for the interview. It’s nice to still be relevant and recognized for my work, and to have people that are still interested in those early Hong Kong action movies. When on Facebook there was that picture of Keith Vitali and I implying the possibility of doing another Blood Brothers, it was like an avalanche of messages and comments looking forward to that possibility. I barely got any sleep because of all of the messages, all of the people wanting to get involved. As I mentioned, we are in the process of developing a script at the moment that will star, Keith and I. It would be wonderful for the fans to see us together again, introducing a new Martial Arts star would be great if we can find one that has all the qualities required. We will be working on that aggressively very soon. After all we have 3 generations of fans now. The market for such a film is there and will be very successful.

Have you practiced any Martial Arts?

Grégoire Canlorbe: Not really. I did some Muay Thai some years ago.

Loren Avedon: Muay Thai is a hardcore striking art. I don’t like taking the leg kicks, I learned how to absorb them by training in Muay Thai. I trained in many different martial arts, because if you don’t have the complete understanding of other styles technique, you’re really missing out. And I’m still learning, that’s the beauty of it. You take yourself out of the world and put yourself into an entire other world where there is structure and discipline, and you connect with everyone while respecting their ways and their rules and their beliefs.

Look at South Korea, it’s one of the largest economies in the world though a very small area. I’m just very grateful as a Westerner to be accepted into their world and to be embraced by them and that’s the beautiful thing. You can bridge so many gaps, language barriers, or anything with sport. And martial arts and taekwondo, whether it’s the Olympic style or old- school hardcore knock’em out drag’em out Karate, is where you’re able to learn about yourself and to be able to engage with others without having to ever be violent. Because it’s not about violence, it’s about developing your mind body and spirit and living your life the Martial way, with honor.


That interview was initially published on Bulletproof Action, in February 2024

Filed Under: Uncategorized Tagged With: Bruce Lee, China, Grégoire Canlorbe, Jean-Claude Van Damme, Kickboxer, Kurt McKinney, Loren Avedon, Ninja Turf, No Retreat No Surrender, No Retreat No Surrender 2: Raging Thunder, No Retreat No Surrender 3: Blood Brothers, Thailand, The King of the Kickboxers, Tiger Claws III, Xi Jinping

A conversation with Alan Delabie, for Bulletproof Action

A conversation with Alan Delabie, for Bulletproof Action

by Grégoire Canlorbe · Oct 3, 2023

Alan Delabie is a French director, screenwriter, actor, producer, and martial artist. A black belt in karate shotokan, he is also trained in full contact and kickboxing and won the Nunchaku European Championship. In the movie field, he is notably known for the Borrowed Time trilogy, the last installment of which he co-directed with the man who mentored him in his cinematic adventure, David Worth.

  Delabie has won awards at several film festivals, including the Los Angeles Films Awards, the Los Angeles Actors Awards, as well as festivals in Istanbul, Tokyo and New York. He also received an award at the famous Gala Action Martial Arts Magazine in Atlantic City. In 2023, he played the role of a vampire in The Last Nosferatu, for which he received the award for best actor. Still the same year, he played Alex Lapierre in thriller Shepherd Code.

  Grégoire Canlorbe: Please tell us about The Last Nosferatu.

  Alan Delabie: I fell in love at a very young age with two movie genres: action, and horror. One of my challenges has been of directing a werewolf movie, so I wrote a werewolf screenplay. I ended up turning to a vampire movie’s project as it was too hard to find the money for a werewolf movie: at least, one that can compare favorably with Stuart Walker’s Werewolf of London and John Landis’s An American Werewolf in London.

  The Last Nosferatu tells a story that has nothing to do with that in Murnau’s movie; but the Nosferatu is not some unique character, it is a type of vampire instead. There is no action in The Last Nosferatu, which is all about horror with a special emphasis put on characters development and makeup. I wanted the process of my character’s transitioning from human to vampire to be as convincing as possible, both psychologically and in terms of physical changes.

  Grégoire Canlorbe: How do you assess Klaus Kinski’s vampire in Werner Herzog’s Nosferatu?

  Alan Delabie: Klaus Kinski, quite a personality—truly a madman, just as much a great actor! I love his work, as well as that of his daughter, Nastassja Kinski, the panther in Paul Schrader’s Cat People. Werner Herzog’s Nosferatu and Klaus Kinski’s vampire portrayal in the latter are certainly great. I nonetheless prefer the original Nosferatu movie, which Friedrich Wilhelm Murnau’s directing—and Max Schreck’s acting and makeup—make an unsurpassable classic. The fact it is silent, and black and white, only increases the mystery and horror…

  Grégoire Canlorbe: What is your assessment of contemporary horror movies?

  Alan Delabie: Today many of those horror movies with spectacular visuals just forget that they should have a good screenplay. Conversely many independent horror movies have a creativeness and crafty screenplay that are counterbalancing their lack of technical, financial means. That classic that is A Nightmare on Elm Street, which frightened me while I was a child, was already made with a budget only of $1.1 million (what remains relatively low, even in the 1980s). Yet it could rely on Wes Craven’s brilliant writing and directing, not to speak of Robert Englund’s legendary interpretation. A blockbuster remake of Nosferatu, as dazzling as its CGI would be, could barely hold a candle to the 1922 movie, no more than the remake of A Nightmare on Elm Street can compare with the original Freddy movie.

  Over the course of one of my stays in Los Angeles, I was surprised to notice how the house that “acted” as that of Heather Langenkamp’s character, Nancy Thompson, and the house that “acted” as that of Johnny Depp’s character, Glen Lantz, are really standing in front of each other.

  Grégoire Canlorbe: It seems turning a Hollywood dream into a reality is what the “borrowed time” of your life path is being spent notably.

  Alan Delabie: Living the Hollywood dream was a childhood dream, which I would never give up. I had already performed many stage demonstrations on French and Belgian television, and acted in TV movies and series like À tort ou à raison [Rightly or Wrongly], when Jalal Merhi offered me that I be part of his TV program Master of the Arts (aka Road to Hollywood). I would later write and film, and act in, my first feature, Eight Hours, a psychological thriller that would end up being projected in San Diego. Then I would start acting in a number of short movies and web series in America, and have the idea of the Borrowed Time web series. The unexpected fruit of that idea would be a movie trilogy.

  You know, it is an illusion to think that you gonna become a Hollywood actor just because you proved your worth as a martial artist. A martial artist who wants to be an actor, but who is no good actor, just a good martial artist, can hardly impress Hollywood and get a role in some major production. By contrast a good, charismatic actor, if he is no martial artist, can still end up in a Marvel production in which he will have doubles carrying out all (or some of) the stunts and fights.

  Assuredly a good way of challenging, proving my actor abilities was through venturing into the horror genre as I did with The Last Nosferatu, Meosha Bean’s MVB Films Halloween Horror Stories Vol II, or even with Chris Power’s Bloodslinger, a Canadian feature that is nicely interweaving horror and western.

The Last Nosferatu – makeup, and practical effects

  Grégoire Canlorbe: Two cases of a filmic intertwining between horror and action that come to my mind: George Romero’s Land of the Dead, and Lucio Fulci’s Zombi 2 with its iconic shootout in the hospital…

  Alan Delabie: I am an admirer of George Romero’s work, which The Walking Dead and its slowly walking zombies, who cannot get killed unless they’re shot in the head, have been massively inspired by. My favorite movies by Romero are Night of the Living Dead, and Dawn of the Dead. Land of the Dead is a good installment in Romero’s Dead series though.

  You do well to mention that unofficial sequel to Night of the Living Dead that is Lucio Fulci’s Zombi 2, as Fulci is one of those brazen masters of horror who’ve left their imprint on my filmic sensibility. The scene of the hospital shootout, or that of the eye, or that of the shark, they highlight how Fulci was willing to push the limits of what can be shown onscreen. Joe D’Amato—just think of his Anthropophagus—is another of those cheeky pioneers who were afraid of nothing.

  You must know that Catriona MacColl, who extensively collaborated with Lucio Fulci, acts as Franck Denard’s mother in Borrowed Time. She is my spiritual mother in the movie field actually. We did a short movie together, Mourir d’Aimer [Dying of Loving].

  Grégoire Canlorbe: Speaking of Franck Denard, how did you have the idea of that character? Is he a projection of you in some other timeline?

  Alan Delabie: No, Franck Denard is completely opposite of me. While I was in San Diego on a rainy, gloomy day, I decided to spend time writing and then came up with the idea of a short web series about a man who, while leaving prison and suffering from a brain tumor, establishes himself as a vigilante.

  After I made a few capsules, and a friend of mine in Los Angeles, Meosha Bean, discovered those, she suggested to me that the idea should be developed into a feature. Anatomy of an Antihero: Redemption (aka Borrowed Time), with she standing as a director and me as a writer, would be launched shortly after. Although the end of Borrowed Time implied a collapsing Franck Denard, shedding tears of blood and refusing to continue to take his medications, was about to die on the beach, a producer would express interest in launching a sequel. I proposed that we work instead on a prequel dealing with Denard’s stay in prison and what happens between his release and those ulterior events related in Borrowed Time. The producer agreed, and I started writing Denard: Anatomy of an Antihero (aka Borrowed Time 2), which I would direct as well.

  It was too hard to get the authorization to film in a jail, so the prequel, which I first planned to contain a large segment—half of the plot—set in a prison environment, would end up with only a few custodial scenes, all in the form of flashbacks. The success the second installment would meet on streaming platforms would arouse the launch of Borrowed Time 3: Falling Apart, which I would co-direct with David Worth. When working on Anatomy of an Antihero: Redemption, I could hardly imagine there would be any additional installment; but I now believe a trilogy is what Borrowed Time had always been destined to be.

Eric Roberts, Alan Delabie, and Merrick McCartha

  Grégoire Canlorbe: Two climactic moments in the saga are respectively your fight with Abdelkrim Qissi, and the training montage featuring you alongside Mohammed Qissi.

  Alan Delabie: Yes, and you can discern some inspiration from Abdel’s fight at the end of Lionheart. I somewhat regret that Abdel and I didn’t find time to rehearse our choreography as thoroughly as we should have. David, who was kind enough to check the editing of the training montage, gave me some helpful advice.

  Besides Abdelkrim and Mohammed, the Borrowed Time have assuredly allowed me to collaborate with a variety of other great actors: to name but a few, Eric Roberts, Costas Mandylor, Louis Mandylor, Patrick Kilpatrick, Matthias Hues, or Bob Wall, legendary opponent of Bruce Lee.

  Grégoire Canlorbe: Did those contracts you made with producers ask you to cede the copyright on Borrowed Time?

  Alan Delabie: No, I could keep the copyright.

  Grégoire Canlorbe: How both of you came to codirect Borrowed Time 3: Falling Apart is a high moment in that adventure that has been your mentorship by David Worth.

  Alan Delabie: It’s been more than thirteen years since I’ve been in touch with David. I had the audacity to reach him, and to introduce him to the early tentative steps of my work in the movie field. Since then, indeed, he has been mentoring me, and following and assessing my modest achievements.

  The first time I would meet David physically would be in 2013 in Los Angeles. At the time, he was teaching in San Francisco and doing several rounds trips between L.A. and San Francisco. When meeting we felt a time would come when we would do some movies together. A few years later, I would write Borrowed Time 3 and then submit the screenplay to David, who would see some potential in it. That is when I asked him whether he would agree to take charge of the L.A. part, while I would personally take care of the Europe part. David accepted my offer, and we would have much pleasure working together on the movie. After the filming was complete, David let me know that, whenever I would have a new project situated in L.A., he would be there to help me.

  David has been checking my work since even before he codirected Borrowed Time 3. You can easily imagine how stressed I am whenever the man who directed Kickboxer and made the photo for two Clint Eastwood classics is judging my way of filming, editing, and acting. His criticism is always constructive though.

  Here are two things he taught me, which I would like to convey in turn. Firstly: no matter how you edit it, if that footage you’re working on is bad, you cannot fix it. Secondly: it’s better for that footage you’re working on to have a good sound and average picture quality than have an average sound quality and good picture quality. Sound is really what gonna allow you to stand out.

David Worth (on the right), and Alan Delabie

  Grégoire Canlorbe: You used to be compared to Jean-Claude Van Damme.

  Alan Delabie: I indeed used to be compared to him, and to personally find inspiration in him. I am just being myself today. Jean-Claude’s charisma is unique, and unsurpassable. He has a warrior face that is cute, angelic at the same time. Whenever he acts as a dark character, he doesn’t shine really. JCVD is clearly at his best when he acts as a light-hearted, combative character, one who may go through sadness and anger, but in all circumstances remains cheerful and gentle and never stops fighting. It is something David Worth could capture beautifully.

  Grégoire Canlorbe: A contemporary horror movie that was made from a modest budget is Damien Leone’s Terrifier. The latter and its sequel, Terrifier 2, were respectively made from $35 000 and $250 000. Both movies are great, and have been successful financially and in terms of buzz. Do you believe an independent action movie can be as fortunate nowadays?

  Alan Delabie: Two remarkably well chosen examples. Damien Leone has managed to create a clown character who is truly terrifying and catchy, and who rivals with Stephen King’s It. I prefer the first Terrifier installment, which I find to be more effective and original.

  Yes, an independent action movie can be just as “fortunate,” both “financially and in terms of buzz,” but it is harder. You must know that, nowadays, an independent action movie with a budget exceeding $300 000 is never gonna be able to recoup its costs most likely. It is something I learnt through Don “The Dragon” Wilson, who is accustomed to acting in action movies with a budget situated between $300 000 and $500 000. The reason is situated at the marketing level. An independent action movie just cannot compete with all those action blockbusters that can put dozens of millions of dollars into their communication and advertising.

  True, your movie may still create a buzz with a modest marketing budget (or even no marketing budget at all), but a buzz is something way easier to arouse with a horror independent movie than it is with an action independent movie. Winnie-the-Pooh: Blood and Honey had a fun, original concept that caused a sensation. Anyway all independent movies, when it comes to breaking even, face a same problem at the level of distribution. Given the public at large is increasingly relinquishing both the movie theaters and physical supports, it is increasingly unlikely for an independent movie to be offered a release other than just on a streaming platform. Yet that type of release is less rentable.

Don « The Dragon » Wilson and Alan Delabie

  Grégoire Canlorbe: You’re acting as a French professional killer, Alex Lapierre, in Shepherd Code. It seems you’re inscribing yourself in the lineage of Alain Delon in Jean-Pierre Melville’s Le Samouraï…

  Alan Delabie: Alain Delon with his stern face and cold, stoic interpretation was perfect as Jeff Costello. I would love to meet him someday. To me, he is a lion, so are Jean-Paul Belmondo, Lino Ventura, Jean Gabin, and Michel Constantin. Alex Lapierre is a role that would fit Van Damme better than Delon though.

  Grégoire Canlorbe: How was the Shepherd Code project born? What is its spirit?

  Alan Delabie: At first, while there were three of us to be willing to invest into a new movie project, I wanted to direct a sequel to The Last Nosferatu. I planned my character to be chased by an equivalent of Van Helsing, whom I wanted to be played by Silvio Lumac. As my makeup artist wasn’t available at the time, I turned to another synopsis of mine, one about a hired killer who wants to make his last mission before retiring.

  I developed a screenplay from that synopsis, and then had the project launched with Don Wilson cast as the backer of my character’s last mission and David Worth attached to the project as an assistant producer. I also cast Silvio Lumac as a rival assassin, whose relationship with Alex Lapierre is similar to that Antonio Banderas’s character is having with Sylvester Stallone’s character in Richard Donner’s Assassins. I codirected Shepherd Code with Lh Chambat, who had edited The Last Nosferatu. We shot in L.A., Bristol, Lisbon, and Paris.

  Shepherd Code isn’t only about suspense and action. The introspection Lapierre finds himself proceeding with as he is carrying out what is supposed to be his last mission, the way he becomes aware of the source of his troubles, it is something I also wanted to stand at the core of Shepherd Code.

  Grégoire Canlorbe: Are there a few scenes of Shepherd Code you would like to tease?

  Alan Delabie: Yes, one in the desert with a white car whose trunk is being opened. Another one I would like to tease features two characters—the one played by Michael Morris and mine—shooting at the same time. Both scenes clearly have a Tarantino vibe. There is still another scene I would like to tease, which features David Worth doing a cool cameo.

Michael Morris, and Alan Delabie – Shepherd Code extract

  Grégoire Canlorbe: Both Shepherd Code and Borrowed Time 3 had parts shot in Los Angeles. L.A. is reportedly a good place for filming, with great urban landscape for action.

  Alan Delabie: Honestly L.A. is a nightmare for movies. You cannot shoot there without any license. If you start filming in the street without any delivered authorization, you soon end up getting stopped by the police and finding yourself with a fine. We were lucky that we could rent locations for the filming in L.A.; but, frankly, the urban landscape isn’t especially nice there.

  Most of those scenes featuring a shootout in the streets of L.A. are actually filmed in a studio nowadays. That is because insecurity and violence are now reigning in L.A., and you can be easily mugged or have your equipment stolen whenever you’re filming there. It happened on Shepherd Code’s set. Our boom operator had his boom mic stolen just in front of us, but we could get it back fortunately. It is no wonder that many companies delocalized their filmings from L.A. to Atlanta. Anyway we could capture some strong visuals in L.A., especially that scene on a building’s roof. What we shot in the desert is just as impressive.

  Grégoire Canlorbe: Does the way Paris was shot in John Wick 4 resonate with you?

  Alan Delabie: I like the three previous John Wick movies very much, but that fourth installment left me somewhat disappointed. It is as if the magic, including in the Paris segment, had vanished. It was nice to see Scott Adkins being offered an original role (in the Berlin segment) though. To me, his best movies are Undisputed II: Last Man Standing (aka Boyka) and its sequels, as well as Avengement and The Debt Collector and its sequel.

  Grégoire Canlorbe: Do you believe the sound, visual quality is something you can achieve even with modest technical means?

  Alan Delabie: A few months ago I was with David Worth, who had just bought a new iPhone. We did some videos tests with his iPhone, and we witnessed how it could shoot in 6K not less than in slow mention. With two iPhones (at least, that model or one comparable), two tripods, and a lavalier microphone, you’re perfectly in a position to shoot something that is quite good in terms of sound and visuals. David suggested to me that I watch Tangerine, a feature that was shot entirely with three iPhones. I must say the movie isn’t bad at all.

  I positively react to the fact that, in a sense, it is now increasingly easier to get the technical means to make one’s movie, and even to have one’s work released. If you cannot have your film rendered available on a streaming platform, you can still post it on YouTube, which remains a way of getting your work known. But beware: if you want to make a (good) movie, you must be able to proceed with a team job and, accordingly, to delegate some tasks and to respect, listen your colleagues. Also, you must be ready to be held to account whenever you’re getting your funds through a crowdfunding or some directly reached investor or sponsor.

  Grégoire Canlorbe: How do you feel about The Last Kumite?

  Alan Delabie: Quite a cool project. I am somewhat disappointed that Émilien De Falco wasn’t part of the adventure, as he would have been perfect as a lead character. It obviously remains a great cast with people like Matthias Hues, Billy Blanks, Kurt McKinney, Cynthia Rothrock, and both Qissi brothers. I heard there was a fight between Billy and Matthias, which I obviously look forward to discovering. I collaborated with Animal King, a capoeira master who fights in The Last Kumite. I must say he is very talented.

  Grégoire Canlorbe: You’re regularly involved with the score of your movies. Would you be ready to collaborate with Goblin band, who composed the soundtrack of many Dario Argento and other Italian horror classics?

  Alan Delabie: I love Goblin’s work. To me, they reached their summit with the soundtrack of Luigi Cozzi’s Contamination. Yes, I would be ready to collaborate with them, as well as with Fabio Frizzi, the composer on Zombi 2 and many other Lucio Fulci classics.

  Grégoire Canlorbe: Thank you for your time. Is there something you would like to add?

  Alan Delabie: It was quite sympathetic. I may be the conductor whenever I am alone to direct a movie; but I would be nothing without my collaborators. I may do my best to deliver a good movie; but my work could hardly shine if it weren’t for the talent of each of my actors, and that of each of my technicians. That’s why I attach special importance to bringing to light my collaborators and their credits, and to carrying out an authentic team job in a spirit of gratefulness.


That conversation was initially published on Bulletproof Action, on 3 October 2023

Filed Under: Uncategorized Tagged With: Alain Delon, Alan Delabie, Borrowed Time, Borrowed Time 3, Catriona MacColl, Damien Leone, David Worth, Don "The Dragon" Wilson, George Romero, Goblin, Grégoire Canlorbe, Jean-Claude Van Damme, Klaus Kinski, Los Angeles, Lucio Fulci, Luigi Cozzi, Meosha Bean, Scott Adkins, Shepherd Code, Terrifier, The Last Kumite

A conversation with Michael Bornhütter, for Bulletproof Action

A conversation with Michael Bornhütter, for Bulletproof Action

by Grégoire Canlorbe · Sep 20, 2023

Michael Bornhütter is a German sensei, stuntman, fight/stunt coordinator, and actor. He is notably known for The Saint: Wrong Number, The Bourne Ultimatum, V for Vendetta, and The Matrix Resurrections. He won a Screen Actors Guild Award for Outstanding Action Performance by a Stunt Ensemble in a Motion Picture for The Bourne Ultimatum; what’s more, he was nominated for a Screen Actors Guild Award for Outstanding Action Performance by a Stunt Ensemble in a Motion Picture for The Matrix Resurrections.

  Bornhütter is involved as a fight/stunt coordinator, fight choreographer, and martial arts/stunt teacher with Movision Movement, a Berlin based “stunt team & community of actors and stunt performers specializing in martial arts, fight design & movement preparation/training of lead actors.”

  Grégoire Canlorbe: Please tell us about Movision Movement. How was the company born, and what are its ambitions?

  Michael Bornhütter: I think Movision Movement was born through Manu [Manuel Werling] and Anna [Anna-Jorinde Pursche] because they both love movement, and both are excellent artists and martial artists. The deeper meaning in the name is found in the details—Mo-vision, the vision of the movement.

   I met Manuel on a no-budget film project (Dark Net: The Beginning) that I supervised as a fight choreographer; Manu also played a scene in the film, and I liked the art and style with which he moved, so we got together and I hired him as a fight choreographer assistant for a big film project (Tribes Of Europa). Manuel was a stunt performer before and from the moment we started working together everything went great. That’s when I joined Movision Movement. I also like the idea of Movie and Vision; that is another way of understanding the name.

Michael Bornhütter (in the foreground), and Manuel Werling (in the background)

  Grégoire Canlorbe: To what extent do the task of a sensei, martial-arts mentor—and the task of a fight coordinator—relate to each other?

  Michael Bornhütter: I think it’s close. Before I started the fight and stunt choreos, I was a sensei for mixed martial arts, just for martial arts. It helped me later to choreograph the fights; it helped me to deal with people and work with them. This is great for me. It’s a different job as a martial arts sensei, but it’s very similar because you work with people and explain to them how you do things. Teaching and learning is what I love about it.

  Grégoire Canlorbe: How do you sum up the tale of your “40 years of experience in various traditional & modern fighting styles”?

  Michael Bornhütter: My journey began at the age of 12; that’s when I learned traditional fighting styles. I later started stunt training, in the 80s; times were different in this area. In 2000 I worked with Donnie Yen and learned film martial arts, which is completely different from reality. Because it’s unreal; there’s a short real part in the fight, but you could never use that on the street. I learned a soldier’s way of handling weapons, all weapons and knives; I was taught a soldier’s tactical drills. I learned all of this even before I was a stuntman; for, when I started martial arts, I had a sensei who unusually taught me a lot of weapons. He said all martial arts are good and so I learned how to use Sai and Tonfa [a weapon from Kobudo and Ju-Jitsu], and many other weapons and fighting styles like those I would make use of as a stunt and movie fighter.

  Grégoire Canlorbe: So, you’re experienced as much with firearms as with fencing, archery, and knife throwing.

  Michael Bornhütter: I remember The Three Musketeers [Paul W.S. Anderson’s version]; that was super crazy. We shot in 3D and everything had to be much more precise because the focus is much closer than in 2D; that means we had to be much more precise with the weapons. It made everything more complicated, but also more interesting. You can fake a lot of things—knife throwing and things like those in your question—under the camera; you can also do a lot of tricks when editing. But faking is a little more difficult in 3D.

Michael Bornhütter, Hamudi Ahmad, and Manuel Werling (from the right to the left)

  Grégoire Canlorbe: I believe one of your skills as a stuntman is also driving stunt.

  Michael Bornhütter: I’m not a very good precision driver, but I’ve had experience with precision driver things and have driven a lot of vehicles. There are people who drive much better than me, whom I would entrust with tasks such as getting involved with a car race in a parking without anything happening to the vehicle he is driving, or doing a precision drive on an actor and stopping just before hitting him.

  I do those things though; I also do things like a U turn. It’s all a matter of practice; you can learn all of that, it has a lot to do with what people want to specialize in. Car stunt has a lot to do with technical standards: if the car is to jump from a ramp, explode, or roll over, it has to be prepared adequately. That means you don’t just need someone who can drive; you also need someone with all the necessary know-how. I know all that, I was there a lot; but I always try to get away from those things, that’s not my stuff really.

  Grégoire Canlorbe: How do you assess Nicolas Winding Refn’s Drive featuring Ryan Gosling in the role of a Hollywood stunt driver?

  Michael Bornhütter: I think the film is very good. There’s always a little bit of truth in a film, but it’s a romantic idea. There’s another old film that’s pretty cool related to it too, which I think is called Driver [Walter Hill’s Driver featuring Ryan O’Neal]; but of course that has nothing to do with reality either. From a cinematic point of view, Drive is awesome, with very good driving, and very good stunt driving, which, I have to say, are very well shot.

  Grégoire Canlorbe: When it comes to the way stuntmen are solicited, used, and treated in the Hong Kong movie industry, do you notice some significant difference with the way they are solicited, used, and treated in Hollywood?

  Michael Bornhütter: I got into Hollywood films relatively early: at the end of the 80s, while the wall was still in Berlin, I was a stuntman on a Hollywood film with Gene Hackman [Company Business], part of which was shot in Berlin. It was a film about the Cold War; before it was over and was supposed to hit theaters, the wall fell, that’s why the Americans withheld the film. When the wall fell, things moved on pretty quickly: a Hollywood film with Michael Douglas and Melanie Griffith [Shining Through] was made here in Berlin. In the beginning it was like you only ever worked with the Americans when they came here; that changed quite a bit in the 2010s, with the possibility offered to many German stunt people that they work in America once they’ve entered the SAG-AFTRA.

  I worked with the Chinese for the first time in 2000; I was the German stunt coordinator on a series [Der Puma – Kämpfer mit Herz] with which Donnie Yen was involved as an action unit director. I was a part of Donnie’s team, and did the casting of all the German fighters; I also worked on some choreos with Kenji [Kenji Tanigaki]. Initially it wasn’t possible to work in Hong Kong, as the Chinese weren’t really interested in working with Europeans. It is now the case that many German stunt people are brought to Hong Kong or India, and filming there; but I think it is only ten or fifteen years ago that they were offered that possibility. The whole thing has become more global, which was actually kickstarted by Jackie Chan; he worked in America himself, and inspired other Chinese movie fighters (like Jet Li, and Donnie Yen) to do the same. He did a lot to have people from all countries collaborate with each other in Hong Kong, and elsewhere.

  Here is a “significant difference” I see between the Americans, the Germans, and the Chinese when it comes to stunt and movie fighting. The Americans do everything with a lot of money, and with a lot of technology and people; the Chinese do everything with a lot of tricks and try to do the job with less equipment, less money, and less people but with effective things and ideas. And we Germans are somewhere in between.

  Grégoire Canlorbe: You were involved with Matrix Resurrections as a stunt performer, and nominated by the Screen Actors Guild Awards for outstanding performance by a stunt ensemble in that framework. How do you remember the experience?

  Michael Bornhütter: For me it wasn’t as exciting as it might have been for the younger people, as I made a lot of films like that before. It was nice to see Keanu Reeves and Carrie-Anne Moss though. I’ve known, and worked for, the director who made the film for a long time, and I actually got the job through her. I got to know the Wachowski sisters on V for Vendetta; that was the first time I worked with them, and I thought they were great and got along well with them. On Cloud Atlas I did the fight choreography for the two of them; on Matrix: Resurrections I was a stunt performer for Lana Wachowski, her sister Lilly was no longer on board. The work was okay for me. I knew all the stuntmen; we did a lot of stunts in that scene [an explosion scene] I was in, and it was fun.

Michael Bornhütter (on the left), and Manuel Werling (on the right)

  Grégoire Canlorbe: How do you assess the stunt prowess of those actors—like Jean-Paul Belmondo, Jackie Chan, or Tom Cruise—doing their own stunts?

  Michael Bornhütter: Very interesting question. To an extent, young actors are all Belmondo who are fit, who are go-getter, who do a lot of their own stuff; all have to meet their physical limitations someday though. Even Jackie Chan, however fit he may continue to be nowadays, has six doubles now.

  Anyway, once you start working in America, it becomes difficult for a lead actor to do a lot of his own stunts; because if he gets injured, no insurance will pay for it. Some Hollywood actors, like Tom Cruise, do a lot of their stunts; but I don’t think some performer, even Tom Cruise, can really be covered by insurance if he says: “I will make all my stunts myself.” There are certain things Jackie Chan wouldn’t even do himself if he were still working in America; the risk is just too great that he would injure himself and then stop shooting. I know he hurt himself a few times in Hong Kong on Hong Kong productions; but it’s handled differently there. The man is put in plaster, then the plaster is painted on and then he continues.

  Grégoire Canlorbe: David Worth’s Kickboxer enjoys everlasting fame and popularity alongside martial artists, stuntmen, and the public at large. How do you feel about it?

  Michael Bornhütter: I find that film to be pretty good. It’s like the other movie with Ryan Gosling: it’s just fiction, a romantic idea. There has to be a story, and the fights have to be choreographed in such a way that whoever is supposed to win wins; that means, of course, like in Rocky, you don’t see a real failure. If a boxer had to analyze the Rocky films, he would laugh his head off at how the fight goes in there; everyone still likes the fights and it’s great.

  One reason why Kickboxer has been so popular in the stunt profession may be that it was released at a time when a new generation of stunt people in Germany—we were just mesmerized by all those Jackie Chan movies—was trying to bring that Hong Kong spirit to the German movies, and to fight differently than what was expected from us at the time. I remember I was told then somehow: “Hey, this looks too much like martial arts, don’t do it;” but there were no fight choreographers in the 80s and 90s. The director said somehow: “Show them how to do the scene,” and it wasn’t called fight choreographer; that only came out in 2000 or at the end of the 90s. Anyway we could identify to the way those fights in Kickboxer were choreographed and shot, in a Hong Kong vein; but, of course, Kickboxer also contributed to making martial arts in movie increasingly popular alongside the German public at large.

  Grégoire Canlorbe: Thank you for your time. Please feel free to add anything.

  Michael Bornhütter: There are some prizes I received; but for me it’s more important to do some nice work, I don’t need a nomination really.

  Transcribers: Davide Daniele Jakubowski;
& Grégoire Canlorbe with the help of Sonix AI


That conversation was originally published by Bulletproof Action, on 20 September 2022

Filed Under: Uncategorized Tagged With: Anna-Jorinde Pursche, Cloud Atlas, Company Business, Dark Net: The Beginning, David Worth, Der Puma - Kämpfer mit Herz, Donnie Yen, Drive, Driver, Grégoire Canlorbe, Hong Kong, Jet Li, Kenji Tanigaki, Kickboxer, Lana Wachowski, Lilly Wachowski, Manuel Werling, Matrix Resurrections, Michael Bornhütter, Movision Movement, Nicolas Winding Refn, Paul W.S. Anderson, Ryan Gosling, Shining Through, stunt, The Three Musketeers, V for Vendetta, Walter Hill

A conversation with Mark Stas, for Bulletproof Action

A conversation with Mark Stas, for Bulletproof Action

by Grégoire Canlorbe · Mai 16, 2023

Mark Stas is a Belgian, South Korea-born martial artist, actor, screenwriter, and producer. The founder of a martial art, the Wing Flow System, he starred in features such as Borrowed Time 3 and English Dogs in Bangkok. Besides directing, writing, and producing short movie Emerging from the Shadows (in which he acted), he wrote At the Edge, a short movie that is based on his own experience and which he acted in.

  He was an award winner in three different projects he was involved in, namely Emerging From the Shadows, At the Edge, and Borrowed Time 3. An award-winning choreographer for Borrowed Time 3, he received the award of “Best Ensemble” at the “Los Angeles Actors Award” for his acting as Inspector Chan in Borrowed Time 3.

  One the newest projects Mark Stas is being involved with is Abel Ernest Tembo’s feature Funayurei, which is based on a screenplay by Grégoire Canlorbe, and in which Mark Stas both serves as an executive producer and as a lead actor alongside Manuel Werling and Ron Smoorenburg.

  Grégoire Canlorbe: You were given the nickname of the Belgian Bruce Lee. Do you find it to be somewhat reductive?

  Mark Stas: It all depends on the point of view, but it’s a real honour to be compared to him of course. He is the legend himself, unbeatable in many aspects whether it’s in his martial arts spirit and skills, his personal training creativity or his performance in movies. He paved the path for so many and surely inspired me along my martial arts path.

  Strangely I never really practiced his JKD. But I share 100% his tremendous focus and determination to become the best in what he did.

  I could only say reductive in the sense that I developed differently in martial arts: inspired by him to become the best possible version of myself through 100% dedication and personal training.

  Grégoire Canlorbe: Do you believe Bruce Lee to have been offered an appropriate treatment in Quentin Tarantino’s Once Upon a Time in Hollywood?

  Mark Stas: Here has been a lot polemic. I can underling though the react of his daughter Shannon Lee.

  But I also think it’s mere a point of view and although I’m a huge fan of Bruce Lee myself, sometimes there is a particular reason. I read for example what Mike Moh (who portrays Bruce Lee in Once Upon a Time in Hollywood) wrote in his interview:

  “In the film it was a challenge I got the first point — I knocked him on his ass first. And Bruce at that time was so cocky and maybe got a little excited and he didn’t know Cliff Booth has killed dozens of people with his bare hands — and that’s what people may not realize up until that moment in the film,” he said. “It’s a hugely important scene — what better way to show how dangerous Cliff is than for him to show up and even match him for a little bit with Bruce?”… “I can see how people might think Bruce got beat because of the impact with the car, but you give me five more seconds and Bruce would have won,” Moh continued. “So I know people are going to be up in arms about it, but when I went into my deep dive of studying Bruce, he more than anybody wanted people to know he’s human.”

  But we all know how big his influence was and still is. They forget maybe he was cocky but in the sixties, times weren’t as tolerant as today towards Asians (I recall the fact that Hollywood preferred David Carradine over Bruce Lee because he was too Asian…). And to survive in the world, especially in the movie world he had to be strong and prove himself.

  Such a presentation of Bruce Lee can never destroy his inspiration and knowledge he left in this world even after 50 years.

  Grégoire Canlorbe: How do you sum up the Wing Flow System, and its specificities with respect to the Wing Chun?

  Mark Stas: It’s a personal martial art vision which wasn’t really meant in the beginning to be promoted publicly.

  Highly influenced by Wing Tsun, and trained by the best masters in this particular style, I went for personal reasons my own way after 33 years martial arts training. It’s characterised by highly precise and perfect controlled attacks and defences, which are linked to a highly developed economy of motion and specific body mechanics. On top of that it has the soft-hard (yin-yang) aspect woven in the actions, where especially in close quarter it excels. When linked to a strategy and tactics, one will know that power or speed alone can be beaten (look at The Art of War to understand how strategy is woven into intelligent action).

  The difference with Wing Chun is that with everything I learned, studied and the experience I gathered, I had to kick out many movements or concepts in order to find something that could fit my needs as a martial artist. Many call it an improved version but others can claim their so called traditional wing chun as better with the full curriculum (but what serves theory if in practise they lack understanding of principles and body mechanics, let alone when demonstrating it…).

  I simply put it as a personal expression, thanks to my experience and hard work. Since it’s a personal system, it’s not always easy to structure for others a system that personally fits. But there exist a full teaching program where the most interesting part starts after the core levels (we distinguish a basic core, intermediate and advanced core block): all these levels are mandatory levels to develop the practitioner. Compare it also to for example Karate where at reaching the black belt, real training can start.

  Wing Flow System (WFS) has a strong but simple self defence concept which attracted the main instructor of the RAID (Special Force) in Lyon, France and many champions and high level champions in Brazil or Thailand witnessed WFS with success. People just need to understand that with WFS you enter in the ‘art’ and not purely competition area. Long term vision and development are essential since we all grow older and the bodily capacities and mind changes over time. I place WFS in the category of longevity martial art without being too much mystic about skills. It’s all about correct use of body structure, hard and persistent training and of course correct guidance if speaking about in-depth details.

  But as they say, there is no accounting for tastes.

Mark Stas (on the right) with Grégoire Canlorbe (on the left)

  Grégoire Canlorbe: How do you react to the claim that, just like absolute truth in the field of ideas is unattainable and only approachable, and only approached through competition between ideas, perfection in the field of martial arts is unattainable and only approachable, and only approached through the experience of fighting?

  Mark Stas: In martial arts what is truth? How to measure? Your question is a delicate one.

  Every martial art has a specific purpose, a sense. It all started with the origin of a martial art and how it developed over the years.

  We are largely influenced by what is on social media or the broadcasted highly paid boxing, MMA fights and so on. Sports gather people or create a certain atmosphere but martial arts practise is to me more a personal and individual fascinating way of life. You become a specialist when you train what is necessary to become one, especially in martial arts. It’s true that is has been proven that certain arts have more potential to be victorious than other arts. But in my opinion, why some martial arts fail in the sports area is mainly because of the lack of good instructors who can teach the specific combat concepts useable in combat sports.

  Ironically a martial art has limits in the sports area due to the limits imposed. But the reason why it fails in the sports area is because 99% of all martial arts practitioners don’t train as intensively as boxing or MMA practitioners who compete. Martial arts have a lot of techniques whereas in combat sports not as many techniques are necessary: an extraction is needed and these must be combat ready.

  Martial artists are in general more lazy and live on false hope. I can say as a martial artist I train a lot. But I couldn’t even compare to high level sports athletes who train 5 times more than me. Imagine the average martial artist… But martial arts compensate this comparison in a ring or on the mat by training methodologies unique in their genre.

  But again, there exist all levels of martial artists, which go from horrible to excellent. It takes experience and an eye for details to detect great from good and mediocre from decent. When I improve my martial arts skills, I want to come to perfect execution in the feeling of it. I’m a fervent believer of practicing one movement a thousands times, which can be a beginners advice but absolutely to an advanced martial artist it will become a must to go the level of excellence.

  Grégoire Canlorbe: How do you assess that movie saga starring Donnie Yen as Ip Man?

  Mark Stas: Donnie Yen did a great performance in Ip Man and it contributed highly to the fame of Wing Chun. He is a fantastic martial arts actor and he deserves the gory he worked so hard for.

  But distinguish movie and real Wing Chun practice. If I have to use my critical martial arts eye, it’s very well choreographed but a minor detail I would mention is that some actions are exaggerated. But that’s mere my own opinion. As a huge Wing Chun fan, I look forward seeing new Wing Chun movie creations.

  Grégoire Canlorbe: You’ve been in Bangkok for the filming of English Dogs in Bangkok. When comparing the Bangkok lifestyle with that of Brussels, Paris, or London, what are those differences that strike you most?

  Mark Stas: I lived 3 months in Bangkok and it was a unique period in my life and my movie career started there, although it was not foreseen that way at first.

  Bangkok, being a very busy metropole, it has really calming parks where I found this peace when I did my daily training. The temples and Buddhas are very impressive, which I loved a lot. I am a huge fan of Thai food and of course I enjoyed every single meal I ate there. Imagine the price quality of the food over there.

  The atmosphere is different from Europe and the kindness and smiles appearing on the faces of the Thai people are unique. There exists also the other side of the city, which attracts tourists, but each has to judge for himself which beauty to discover in this amazing city.

  Nevertheless I hold a very good memory thanks to Ron Smoorenburg who at first invited me over and got me involved in some movies. I could meet talented producers such as Daniel Zirilli or Dean Alexandrou and of course Byron Gibson and fantastic actors and stuntmen.

  Grégoire Canlorbe: How do you sum up the tale of your dual collaboration with Ron Smoorenburg, and with Byron Gibson?

  Mark Stas: It was thanks to some of my videos that Ron discovered me on social media. We communicated and he invited me over. I was very busy at that time and only after a while after a difficult period in my life I made a break and left for Thailand. He wanted to see if I was that really good: the rest is history.

  He presented my to Byron, since he was still filming his English Dogs in Bangkok: after seeing our first fight scene, Byron wanted me to do a second fight scene for the same movie. Thanks to that first fight scene, I got the chance to play a part in Dean’s movie, Haphazard.

  Grégoire Canlorbe: Your fight with Ron Smoorenburg is a climactic point in English Dogs in Bangkok. Please tell us about the way it was choreographed, executed, and shot.

  Mark Stas: First the luck was that Ron and I were from the beginning in very good harmony, although we practice different arts. So after creating the fight scene, I always film it and overview it to make changes. We rehearsed the changes and we shot the fight scene. Ron is very good in placing the camera angle and together with Byron they shot the full fights rather quickly. Byron himself is very dynamic in the way he shoots. With a powerful editing, Ron did an amazing job and luckily I could give him some pointers helping him for my movements, and the result is very nice for my first movie appearance.

  Grégoire Canlorbe: How is At the Edge exactly based on your own experience?

  Mark Stas: Around 2015 or 2014, together with Tomo, my long term student and assistent we made some quality videos and he introduced me to the director Lorenzo Vanin. After a great video we created, I wrote a part of my life which was then used to create a short movie with them. I told them I will be in Thailand but we could film over there. I made arrangements to bring them over and after hard work to create the full short, we shot it in Bangkok.

  I got many messages from people who found a true message and strength in it for their lives. At an emotional depth, although at a highlight in martial arts, there was this turning point, which made me to decide to take a break and leave Belgium. This short movie traces back this moment in my life (without now entering in details).

  It was put visually very good by the director Lorenzo Vanin, some parts couldn’t be as I expected due to limited possibilities although I’m proud of the result. All actors did also a great job.

  Grégoire Canlorbe: You’re fluent in Flemish, English, French, German, and Portuguese. Which of those languages do you find to be most appropriate to express love-related things?

  Mark Stas: Luckily I only need to express my love in one language. I’m not sure if Dutch would be the easiest way to express deep feelings although I don’t speak my mother tongue so often.

  Grégoire Canlorbe: How do you remember your collaboration with David Worth who served as a cinematographer on Borrowed Time 3?

  Mark Stas: Knowing he would co-produce Borrowed Time 3 was a real honor! Movies like Bloodsport or Bronco Billy are memorable references in the movie world even after 35 years. His experience contributed a lot in Borrowed Time 3 and meeting him was for me a true milestone. He’s a big man.

  Grégoire Canlorbe: Would you be ready to return as Inspector Chan in a new sequel to Borrowed Time?

  Mark Stas: Borrowed Time has something powerful, well created by Alan Delabie, and there exist some ways to create spin offs, etc. If there would be a proposal with a good script, then definitely.

  Grégoire Canlorbe: When it comes to the art of movie directing, how do you compare the respective techniques and ways of proceeding of Alan Delabie (on Borrowed Time 3), and of Taffy Edwards (on English Dogs in Bangkok)?

  Mark Stas: They have their own way to create and direct movies and that’s great, cause the individual vision in creating makes the difference instead of copying the same. Both movies have a different action idea. Both directors have a different martial arts background: the Karate and Nunchaku for Alan Delabie, while Taffy Edwards loved Greco-Roman wrestling.

  This also influences the action scenes they wanted to create, although I could show a more Asian fighting style in English Dogs in Bangkok. (We can’t forget that the story is based on a true story.) Some parts of English Dogs in Bangkok reminded me of some great movies, although the English touch is visible compared to Borrowed Time 3, which goes in the direction of the eighties action movies.

  Grégoire Canlorbe: Would you seize the opportunity to act in a movie by Wong Kar-wai, who directed The Grandmaster starring Tony Leung as Ip Man?

  Mark Stas: The cinematography is marvelous and I really loved how it was displayed. The majestic details are amazing. When I saw the movie, I totally enjoyed it. Different as the Donnie Yen’s Ip Man movies but I place it visually on a higher scale. Although many didn’t like it as much as Ip Man because the Wing Chun was less pronounced, but to me the aesthetic was perfectly woven in the action. I would definitely say yes to Wong Kar-wai.

  Grégoire Canlorbe: One of your most recent achievements is Emerging from the Shadows. Please tell us about it.

  Mark Stas: What started as a fight scene idea became an award winning short movie: who wouldn’t be proud of this?

  I was very lucky to have Ron Smoorenburg (yes again him) by my side for the main part I created in Italy. But I left it aside due to a lack of quality at first (no budget was planned and filmed with my iPhone without a real experience). Then when one of the actors, Max Repossi died prematurely, I decided to finish the short. I created a powerful introduction and an original opening credits (which by the way won an award), I worked hard in the editing. I could get the help from my friend Lina for the Japanese part in it and thanks to the help of Tomo for the colouring, but Jan De Hul did a huge job for the main color grading. And we obtained the best possible result ever.

  Finally it was a short movie in memory of Max and this sad tragedy helped me to continue to work hard to not let the project in vain.

  The few articles written were more than positive and I’m very proud with my first full creation, for which I won a Special Jury Award (Best Actor) or Best Action Short, Best Opening Credits, Critic’s Choice Award (Best Director) or the Award of Prestige for Best Choreography.

  Grégoire Canlorbe: What can you let us glimpse of that character you’re acting as in Funayurei—Genji?

  Mark Stas: The story is very well written (thanks to the talent of Grégoire Canlorbe) and I was attracted by the character of Genji, which was presented to me. He is the leader of a mercenaries group to find the legendary Funayurei, who is like a ghost. He has this more philosophical side which is woven into his character. His fighting skills are highly efficient but very exquisite and only he would be capable to capture the Funayurei, with whom he has a certain bond.

  The story has a very good intrigue between the Funayurei and Genji. We are still in a debut phase, but it promises to be a unique and very interesting movie concept. There are some high level actors involved such as Ron Smoorenburg or Manuel Werling. The director Abel Ernest has put a high standard, but I believe it can become a worthy project with story surprises. I really look forward.

  Grégoire Canlorbe: Spiritually speaking, do you rather consider yourself a man from the East, or one from the West?

  Mark Stas: I grew up in Europe, more precisely in Belgium but I traveled a lot around the world. I visited Asia around 7 times. But deep inside I was always attracted by the Asian culture besides of course martial arts, which were since my childhood my biggest passion.

  I think I’m spiritually more Asian but with a European touch. I was deeply influenced by Asian books such as Art of War, Hagakure, Tao Te Ching and the philosophy of Bruce Lee. Although I love the readings of Aristotle, Marcus Aurelius or Paulo Coelho. Martial art practice goes hand in hand with spirituality: form training and individual training are tools to develop one’s spirituality.

  Grégoire Canlorbe: Thank you for your time. Is there anything you would like to add?

  Mark Stas: With passion and pursuing one’s dreams and vision, a lot can be achieved. Never let negative critics abandon your believes. Work hard, surround yourself by the best, cooperate intelligently cause no one can do everything by himself and go for it. Thank you for this interview Grégoire.


That conversation was initially published on Bulletproof Action, in May 2023

Filed Under: Uncategorized Tagged With: At the Edge, Borrowed Time 3, Bruce Lee, Byron Gibson, David Worth, Donnie Yen, English Dogs in Bangkok, Funayurei, Grégoire Canlorbe, Ip Man, Manuel Werling, Mark Stas, Movision Movement, Once Upon a Time in Hollywood, Quentin Tarantino, Ron Smoorenburg, Wing Chun, Wing Flow System

« Previous Page
Next Page »

Copyright © 2026 · No Sidebar Pro on Genesis Framework · WordPress · Log in

  • Information
  • Privacy policy