Although born in London, I spent my formative years in the United States. I often feel a strong connection to Britain, particularly when I return to London. One of my favorite activities there is strolling through Hampstead Heath, which makes me feel most at home.
Having portrayed Marko in “The Lost Boys” and John Polidori in “Haunted Summer,” have you considered taking on another role related to vampires? Additionally, do you find Marko’s demise—being staked while asleep—a somewhat unsatisfactory conclusion? How would you have preferred to exit in style? Perhaps with a dramatic “death by stereo”? I would be thrilled to participate in another vampire film; I find those characters fascinating and enjoyable to portray. There are some exceptional vampire films out there, and I feel fortunate to have been part of one that remains popular for reasons none of us can entirely understand. I actually appreciate Marko’s death; it’s a memorable experience as an actor to be staked for the first time.
Which version of Keanu Reeves did you enjoy collaborating with the most: his role in “Waiting for Godot” on Broadway, as Ted “Theodore” Logan alongside your Bill S Preston, Esq in “Bill & Ted,” or as Ortiz the Dog Boy in the film “Freaked,” which you directed? Following “Waiting for Godot,” what classic story do you think Bill & Ted should humorously adapt next? I genuinely enjoy working with Keanu. Interestingly, we both play the bass, so during the filming of the first “Bill & Ted” movie, we often jammed together when we weren’t on set. Our shared background in theater and Shakespeare studies makes me hopeful that we could collaborate on a Shakespearean piece, perhaps something like “Measure for Measure.” We’ve had discussions about various ideas, but it’s uncertain if they will materialize. However, I believe in keeping possibilities open.
My children, aged six and nine, have recently become fans of “Ben 10,” and I noticed you directed its live-action adaptations. If you could choose any alien’s power from the Omnitrix, which would it be and why? Heatblast was my favorite character due to his fiery abilities. My kids were really into “Ben 10” at the time we worked on those projects, and collaborating with them was a rare and delightful experience. I also met my wife during that project; she was managing Cartoon Network studios then.
Your first film, “Death Wish 3,” was directed by Michael Winner. Could you share a positive remark about him? Also, where did you enjoy nightlife while filming in London? I can certainly say something nice about Michael Winner—he was the most intellectually sophisticated sociopath I’ve ever encountered, which I mean as a compliment. During the filming, we often went out in Brixton, where one of the crew members—who may have had some questionable connections—owned a club. They would close it down for us, and we would spend the entire night there. I was only 19 when I worked on “Death Wish 3,” and it was an incredibly enjoyable and formative summer.
Having produced documentaries on topics like Napster, the dark web, blockchain, and YouTube, which aspect of the internet do you find most concerning these days? The rapid, profit-driven rush into artificial intelligence is currently the most alarming trend. While not all AI is detrimental, many leaders in the AI industry have questionable ethics. What worries me most is the rise of tech oligarchs who are beginning to dominate various sectors, including business, politics, and civic life.
After creating your documentary on Frank Zappa, for those who may not appreciate his work, could you recommend a specific Zappa track or album? I didn’t create the documentary as a die-hard fan; rather, I was intrigued by Frank Zappa as a lens through which to explore American and artistic culture. He’s a compelling subject, having dedicated his life to art and facing the ramifications of that choice. If someone is looking to understand Zappa, I would suggest starting with “Hot Rats,” which is often considered his quintessential album. I also have a fondness for “The Yellow Shark,” an album he produced near the end of his life that leans towards classical and jazz influences.
The “Bill & Ted” films evoke a hopeful sentiment that music created by everyday individuals can change the world. Do you believe this is still possible? I firmly believe that quality art has the power to positively impact the world. While it may not be the sole solution, I do think that music and other forms of art can significantly contribute to the betterment of society and the planet.
Thank you for the uplifting conclusion in “Bill & Ted Face the Music.” Is there any possibility of a fourth installment in the series? Both Keanu and I would be excited to make a fourth film. For that to happen, several factors would need to come together. However, we enjoy portraying these characters so much that it feels like they are part of us. We defined Bill and Ted early on, and I believe they wouldn’t exist without our interpretations. Age doesn’t diminish our ability to act; one can continue performing as long as they are alive. I sincerely hope there won’t be a reboot, as I can’t imagine anyone else embodying Bill; that would be a disaster.
If you had access to Bill & Ted’s time-traveling phone booth, which significant historical figures would you choose to meet? I would love to visit ancient Greece to meet playwrights like Euripides or Aeschylus, or perhaps experience Shakespeare’s era. I’m also curious about the future—will we still have a planet? I would be interested to see what the world looks like 40 or 50 years from now, especially regarding our efforts to address climate change. I believe we will overcome this crisis; I’m not a nihilist. But it would be fascinating to witness how we achieve that.
If you could “melvin” anyone in real life, as Bill & Ted did to Death in “Bogus Journey,” who would it be? I grew up in the United States and was not familiar with the term “melvin.” My experience was different, and I didn’t encounter that concept during my upbringing.
