Betty:
I think I did Danny Zuko from "Grease".
John: [laughs] Hmm, I can't
even do that one anymore!
Betty: He said you did a great Katherine
Hepburn.
John: [all shaky-voiced] Oh stop...I don't like that.
Betty: And Barbra Streisand...
John: [crosses his eyes in true Babs fashion] Of course.
It's so good to be here wit all of you press.
Betty:
Where does that special talent come from?
John: Just being a New Jersey kid that liked show business.
Also, I'm half Irish and half Italian, and the Irish are very
famous for mimicking people. I don't know if you know that,
but in an Irish neighborhood, it's a very big deal, you know,
to come home and do your teacher, and your coach and whoever
else.
Betty:
With so much focus on the human fight for freedom and independence,
it seems that this movie talks a lot about Hubbard's philosophy.
Was that main goal of yours as producer?
John: I
thought it was interesting, but even a "Pulp Fiction"
- what is the meaning behind that briefcase opening? Or "Phenomena"?
Every great story has things that are left open for interpretation.
But this is a classic Good vs. Evil film. One guy even compared
it to a Western. Which I thought was an interesting analogy.
I think in most great stories you have things that are open
for interpretation.
Betty: When did you first read "Battlefield
Earth" and how did it grow into something you'd actually
make?
John: Well,
I read it 1982 and I was attracted to play the hero in it
[Jonny Goodboy] at the time. The reason why I loved it was
because Hubbard wrote these small chapters that kept me wanting
to read more. And I thought it was clever. I wrote one book
[Propeller
One Way Night Coach] and if I ever write another one,
I'm going to do the same thing. Because I think people can
confront 5-10 pages at a time easily. I found I wasn't able
to put it down. And I like to change genres as much as I can.
So if I ever was going to do a Sci-Fi movie, it would've had
to be this one or "Stranger in A Strange Land".

Betty:
But there's been so much speculation that this movie has
it's core in Scientology. There's even a nasty rumor that
there's subliminal messages in it. Can you address those
issues?
John: Sure. There's no correlation at all to
Scientology. Even in the preface of the book, he makes it
very clear that this is Science Fiction. And as you know,
it's won 11 consecutive Best Seller spots in the New York
Times. And prior to that, he was probably best known as
a Science Fiction writer. The funny thing is, only about
20% of the questions have been about what you're bringing
up. However, it used to be when I'd bring up the philosophy,
people would say, "Well, isn't he a Science Fiction
writer?" It depends on what angle someone wants to
take. I mean 6 million copies of the best Science Fiction
book ever written kinda speaks for itself.
Betty:
How much of this movie is personal to you?
John: Well, I think that you know the truth in Hollywood.
It's very difficult for any artist to get whatever they
want to have, get done. Interestingly enough, it was easier
to get a genre like Science Fiction on the screen than it
was a musical. I've been trying for 20 years to get a musical
on the screen. Nobody gets it - although that's been one
of my most successful genres. It's thought to get anything
you want. I thought this would be easier to get made.
Betty: I know that most of this
movie focuses on Jonny Goodboy (played by Barry Pepper)
and the humans' fight for humanity. I only wish - and maybe
if you do a sequel we'll see this - but I wanted to see
more of Terl. I would dig seeing Terl at home, Terl in his
private life... Any chance of that happening? Any chance
of you going away from the novel and maybe having a little
bit of artistic license?
John: Well, Terl is throughout the 1000 page book.
We could only do 500 pages of the book, so we hit the highlights
of it. But we hit the best moments of Terl and Jonny and
the special effects. The second part gets interesting because
it brings in other countries, and Terl becomes more like
a third party, trying to get people against Jonny. So it's
a little more intricate. I was happy how the writer hit
on all of the favorite notes. We took scenes right out of
the book, like with Kelly [Preston] trying to blackmail
him. But she added the tongue concept.
Betty:
Of course she did - I would too!
Well, thanks for talking with me again, John.
John: You're welcome, BeatBoxBetty!
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