It sounds like someone’s LSD flashback. Frank Zappa, boxer Sonny Liston, Annette Funicello, female impersonator T.C. Jones, San Francisco’s legendary topless dancer Carol Doda and other cult celebrities appear in a movie co-scripted by Jack Nicholson and directed by Bob Rafelson (Five Easy Pieces, 1970) that showcases the TV-created pop band The Monkees in the leading roles, who in one scene play dandruff in Victor Mature’s hair. Entitled Head (1968), this Cuisinart-puree of pop culture infused with anti-establishment posturing and served up in the then-current style of a trippy experimental film could only have happened in the late sixties when Hollywood studios were in a try-anything phase to capture the rapidly receding youth market.
Italian director Elio Petri is probably best known for Investigation of a Citizen Above Suspicion (1970), which won the Oscar for Best Screenplay (by Petri and Ugo Pirro) in 1972. Yet, most of his other work, with the possible exception of the cult sci-fi satire The 10th Victim (1965), remains overlooked or forgotten when film historians write about the great Italian directors of the sixties and seventies. And 1968’s A Quiet Place in the Country (Un Tranquillo Posto di Campagna) is easily one of his most intriguing and visually compelling films.
Richard Rush has had his ups and downs in the unpredictable world of Hollywood. His more than three decades of filmmaking have included memorable collaborations with such fellow industry legends as Jack Nicholson and cinematographer Laszlo Kovacs as well as long, arduous years in development hell. It took ten years for The Stunt Man to finally reach the screen. Despite it all, Rush remains an eternal optimist with a wonderful sense of humor, genuine love for his craft and a steadfast loyalty to his cast and crew members. The following interview was conducted in April 2010 just prior to the first TCM Classic Film Festival where The Stunt Man was screened and covers some of his films and experiences in the movie business.