Jean-Claude Van Damme

A conversation with Kamel Krifa, for The Postil Magazine

by Grégoire Canlorbe · Juin 1, 2020

Kamel Krifa is an actor, film producer, and Hollywood’s stars trainer—including Jean-Claude Van Damme, Michelle Rodriguez, Eddie Griffin, Steven Seagal, and many other ones. Krifa ranks among Van Damme’s longstanding collaborators and personal friends, acting alongside him in various movies. This conversation with cultural journalist Grégoire Canlorbe first happened in Paris, in July 2017; it was resumed and validated in April 2020.

Grégoire Canlorbe: In Kickboxer IV, you have given flesh and soul to iconic villain Tong Po. Do you intend to return to the saga?

Kamel Krifa: At the time I had been offered a contract of five films to interpret the character of Tong Po. It was an interesting challenge, for my acting was essentially limited to the expression of my eyes and to working the articulation of the mouth. Indeed, I was asked to wear a mask, destined to give me oriental features. Alas, concerning fighting scenes, I did not have the opportunity to really prepare them thoroughly, because I had to avoid spoiling, through my respiration, the three hours of make-up that were devolved to me each day. (Knowing that an extra hour was still required to remove my make-up after filming.)

Finally, I will have only once lent my traits—or rather, lent my stature and my agility—to the deceitful and cruel Tong Po. But I effectively returned to the franchise Kickboxer, since I appear in Kickboxer: Retaliation, alongside Mike Tyson, Hafþór Júlíus Björnsson, Christophe Lambert, and none other than Jean-Claude Van Damme. The movie was released in January 2018. It is the sequel to Kickboxer: Vengeance, a remake of Kickboxer released twenty-seven years after the original film.

Kickboxer IV final fight — Final fight in Kickboxer IV, exhibiting the martial prowess of Kamel Krifa (in the role of Tong Po)

Grégoire Canlorbe: Jean-Claude Van Damme has directed a single film, The Quest, in which he plays in the company of the late Roger Moore. According to you, why did JCVD not want to repeat the experience since then?

Kamel Krifa: Jean-Claude has an undeniable talent as a director and he does not hesitate to advise the directors who work with him. They benefit from his experience, acquired both before and behind the camera. In turn, he offers them the best of himself in his acting. Since The Quest, he indeed prefers to delegate the task to the director and to focus on his interpretation. It allows him to let his mind float — instead of cornering his attention with a host of technical considerations that never leaves his mind in peace. In that way, he can prove fully invested, relaxed, and reactive under the eye of the camera; he can put himself in the skin of his character with an optimal ability to concentrate.

Also, entrusting the filmmaking to someone else, whom he knows qualified, and to whom he transmits his directives, allows him to take time for himself: time to commune with himself, and to read and meditate on subjects that are dear to his heart. Jean-Claude is not only a man of great culture; he is an authentic gifted, a superior intelligence, who carries a unique and insightful look at people, the things of life, and the universe.

Grégoire Canlorbe: Whether as his coach, his producer, or his on-screen partner, you have been working steadily and consistently with JCVD. Would you care to say a few words about it?

Kamel Krifa: I have known Jean-Claude since he was thirteen. When I met him, I was twenty years old; and from simple sports room colleagues, we quickly became best friends, spiritual brothers. In 1989, Jean-Claude, who had just acted in his launch pad Bloodsport (and who was about to become an international star with the tremendous successes of the early 1990s), proposed to me that I become his exclusive trainer; very honored, I accepted his offer. I then had the opportunity to act alongside him in Death Warrant and Lionheart—and that is how I became a Hollywood actor.

During the 1990s I continued to appear alongside Jean-Claude in various action movies; on the same token, I launched into production. That is how I was an associate producer for Double Impact, featuring Bolo Yeung. I also co-produced Legionnaire, for which I made location scouting in Morocco for two years. I must confess that I have a special affection for that period film, which deals with the Rif War and which features Abdelkrim Khattab, whom I had the good fortune to play. Most recently, I collaborated with Jean-Claude on the pilot of the TV series Jean-Claude Van Johnson, sponsored by Amazon—and, of course, on the last installment of the saga Kickboxer.

Grégoire Canlorbe: Let us talk about the origin of your cinematographic vocation. What could be, in particular, the “double impact” of your Tunisian childhood and of your early discovery of martial arts?

Kamel Krifa: At the age of seven I had stars in my eyes in front of peplums and other spy films from the 1960s; and it is to a large extent in the popular movie theaters of Tunis, where action movie left me mesmerized, that my vocation of actor was born. But it is also at home, from a very early age, by having fun shooting amateur films through a play of shadow and light, by imagining myself in the shoes of role models like Tarzan or Maciste, that my attraction for cinema took shape. The martial arts, which I have been practicing since my childhood, seemed to me early on to be the royal way to make my entry into the Hollywood milieu. As an adult my experiences in the army, the police, or as a bodyguard allowed me to perfect my combat skills.

A conversation with Frédéric Delavier, for Counter-Currents Publishing

by Grégoire Canlorbe · Nov 30, 2018

Frédéric Delavier is a French author of books on bodybuilding, who also became a philosopher. His book Guide to Bodybuilding Movements first published in 1998 was a worldwide bestseller with over 2 million copies sold. It has been translated into more than 30 languages. Frédéric Delavier is also known as an educational or critical videographer on his YouTube channel. He recently published a treatise in philosophy, The awakening of consciousnesses [in French: L’Éveil des Consciences], which is awaiting translation into English. The following interview was first published on Counter-Currents Publishing.

Grégoire Canlorbe: Could you start by telling us about what motivated your decision to pursue a career in sculpting the body and in writing books on the subject?

Frédéric Delavier: To tell the truth, I have never been a bodybuilder, despite the fact that everyone presents me as such. I do bodybuilding because I like it, and because I like to walk around with a solid form; but I never wanted to have a bodybuilder physique. When I started bodybuilding in my youth, I saw it as a complement to the combat sports that I practiced: a way to increase my strength and therefore my dangerousness on the tatami. I naturally frequented, and observed, bodybuilders on this occasion.

A conversation with István Markó, for Watts Up With That

by Grégoire Canlorbe · Oct 28, 2017

István Markó (1956 – 2017) was a professor and researcher in organic chemistry at the Université catholique de Louvain. Prof. Dr. Marko was an outspoken defender of the skeptical view on the issue of human-caused/anthropogenic global warming, appearing in numerous French-language media on the Internet, in public debates and diverse English-language blog postings. He also joined with Anglo-Saxon climate skeptics, publishing several articles together on Breitbart News.

Grégoire Canlorbe: Climate activism is thought of as Marxism’s Trojan horse, a way for its followers to proceed with their face masked, in the never-ending holy war that Marxism claims will be necessary to establish communist totalitarianism. Yet it was actually Margaret Thatcher, the muse of conservative libertarianism, who kick-started the IPCC. How do you make sense of this?

István Markó: More precisely, Margaret Thatcher, although a trained chemist and therefore aware of the mendacious character of such an allegation about carbon dioxide (CO₂), was the first proponent to use the excuse of climate implications posed by CO₂ to achieve her political ends. At the time, that is, in the mid-1980s, Thatcher was waging war with the almighty coal union. In those days, the UK coal unions were remunerating themselves with public monies and by lobbying via the Labour Party had managed to pass an enormous number of laws and subsidies to keep an industry afloat that was no longer profitable on its own.

While facing a strike by the British miners, chaired by Arthur Scargill, (nick-named “Arthur the Red”) who was later to found and lead the Socialist Labor Party, Thatcher thought it worthwhile to enshrine the thesis of warming linked to CO₂ emissions to wind up the trade unionists holding her country hostage. But she was not really the initiator of the IPCC. The “kick-off,” as you call it, came more from personalities who were involved in hard ecologism,[1] such as Norwegian Gro Harlem Brundtland, who chaired the UN Commission responsible for the famous 1987’s report “Our Common Future,” or Canadian Maurice Strong, who ranks among the founding members of the IPCC.

The belief in a catastrophic greenhouse effect due to CO₂ emissions provided Thatcher with an additional asset, in her arm wrestling with the union, to set up the United Kingdom to get out of coal and to transition to nuclear energy. It was a belief she knew to be unfounded, but one she largely helped to entrench and popularize. One can, admittedly, deplore Thatcher’s strategy based on a perversion of science. The fact remains that, at that time, the electric power generation industries, notably that from coal, did not do so under very clean conditions. Even though CO₂ has absolutely nothing to do with a poison, there existed then a real pollution associated with coal burning due to a lack of modern emission control technology.

Indeed, the combustion of coal not only produces innocuous CO₂ emissions, it is accompanied by sulfurous and nitrogenous waste, produces SO₂ emissions, SO₃ emissions, and NOx emissions, ejects fine particles, and leaves nominally radioactive ashes (despite the fact that the epidemiological evidence and data for any serious health harms are still very controversial and hard to come by). Since the 1980s, the treatment of industrial pollution has however evolved. Today an electrical utility power generation plant that uses coal as a raw material now results in very little environmental pollution.

Grégoire Canlorbe: According to you, a person sensitive to pastoral charms, smitten with lounges of greenery and variegated grass beds, can only celebrate the increase in the concentration of carbon dioxide in the air. Could you come back to the necessity to stop demonizing CO₂ as a “Satanic gas” in view of the objective data of chemistry?

István Markó: Again, CO₂ is not, and has never been, a poison. Each of our exhalations, each of our breaths, emits an astronomical quantity of CO₂ proportionate to that in the atmosphere (some >40,000 ppm); and it is very clear that the air we expire does not kill anyone standing in front of us. What must be understood, besides, is that CO₂ is the elementary food of plants. Without CO₂ there would be no plants, and without plants there would be no oxygen and therefore no humans. The equation is as simple as that.

Plants need CO₂, water, and daylight. These are the mechanisms of photosynthesis, to generate the sugars that will provide them with staple food and building blocks. That fundamental fact of botany is one of the primary reasons why anyone who is sincerely committed to the preservation of the “natural world” should abstain from demonizing CO₂. Over the last 30 years, there has been a gradual increase in the CO₂ level. But what is also observed is that despite deforestation, the planet’s vegetation has grown by about 20%. This expansion of vegetation on the planet, nature lovers largely owe it to the increase in the concentration of CO₂ in the atmosphere.

If we study, however, what has been happening at the geological level for several million years, we realize that the present period is characterized by an extraordinarily low CO₂ level. During the Jurassic, Triassic, and so on, the CO₂ level rose to values sometimes of the order of 7000, 8000, 9000 ppm, which considerably exceeds the paltry 400 ppm that we have today. Not only did life exist, in those far-off times when CO₂ was so present in large concentration in the atmosphere, but plants such as ferns commonly attained heights of 25 meters. Reciprocally, far from benefiting the current vegetation, the reduction of the presence of CO₂ in the atmosphere would be likely to compromise the health, and even the survival, of numerous plants. To fall below the threshold of 280 or 240 ppm would plainly lead to the extinction of a large variety of our vegetal species.

In addition, our relentless crusade to reduce CO₂ could be more harmful to nature as plants are not the only organisms to base their nutrition on CO₂. Phytoplankton species also feed on CO₂, using carbon from CO₂ as a building unit and releasing oxygen. By the way, it is worth remembering that ~70% of the oxygen present today in the atmosphere comes from phytoplankton, not trees: contrary to common belief, it is not the forests, but the oceans, that constitute the “lungs” of the earth.

About the supposed link between global warming and CO₂ emissions, it is simply not true that CO₂ has a major greenhouse effect. It is worth remembering, here too, that CO₂ is a minor gas. Today it represents only 0.04% of the composition of the air; and its greenhouse effect is attributed the value of 1. The major greenhouse gas in the atmosphere is water vapor which is ten times more potent than CO₂ in its greenhouse effect. Water vapor is present in a proportion of 2% in the atmosphere. Those facts are, in principle, taught at school and at university, but one still manages to incriminate CO₂ alongside this learning, in using a dirty trick that presents the warming effect of CO₂ as minor but exacerbated, through feedback loops, by the other greenhouse effects.