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Originally Posted by Michael Brooke  Much like myself, he's a freelancer who's happy to contribute to any label that will make him an attractive enough offer - as demonstrated by the fact that he's regularly featured on Criterion and BFI releases as well, and doubtless elsewhere.
And he was the obvious go-to guy for Massacre Gun and Retaliation, because how many other people are out there with that kind of encyclopaedic knowledge of Japanese cinema and extensive presenting experience, who speak English as a native language and who also live conveniently close enough to one of Arrow's producers? Jasper Sharp is the only other person I can think of, and he was already on booklet-essay duties.
Tony's one of those people like Kim Newman and Philip Kemp who get hired a lot by multiple labels for one very very obvious reason: they're bloody good at what they do. And having worked with all three in recent months (full disclosure: I produced, shot and edited both the Tony Rayns pieces on Massacre Gun and Retaliation), I'm more than a little envious of their single-take fluency, which is all the more impressive when you're actually in the room with them! |
There's no need to be so defensive – I just thought it was odd to see him on and Arrow Video release when I'm used to seeing him provide extra features on Masters of Cinema releases like Alone Across the Pacific, Kokoro, Profound Desires of the Gods, Bedevilled, The Burmese Harp etc. and he always comes across as extremely knowledgeable and consummately professional.
A visual essay from him is very different to an interview with filmmakers like Lamberto Bava, Tom Savini, Caroline Munro or Jack Hill!