How Stirling Silliphant, One of the 20Th Century's

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How Stirling Silliphant, One Of The 20th Century’s Greatest Writers, Became My Mentor

Chapter 8/Finale Connected at the Hip Forever!

By John Corcoran

“There is no such thing as a ‘self-made’ man. We are made up of thousands of others. Everyone who has ever done a kind deed or spoken one word of encour- agement to us, has entered into the make-up of our character and of our thoughts as well as our success.” —George Adams, philosopher

I moved from L.A. to Tampa/St. Petersburg in central cutthroats and thieves, Nat stands out as the antithesis: Florida from 1983-90, initially to work on a motion- A person of high character and a dependable man of picture opportunity that ultimately fizzled out. As his word. Nat had done one of the last elaborate Q&A fate would have it, while there I ended up editing yet interviews with Stirling, via countless fax exchanges another martial arts magazine, “Fighter International,” with him between Bangkok and L.A. Nat and I had the first full-color publication ever produced in Ameri- nothing to gain by coming to the widow’s rescue. We can martial arts. During this seven-year period, I was did it out of our mutual respect for Stirling. mainly in touch with Stirling’s lovely wife, the glo- betrotting Tiana Alexandra-Silliphant, whose acting Conversely, many people who had benefited profes- career was taking off, and I wrote some newspieces sionally, some magnificently so, from their connection about her activities. with and to Stirling during his life were conspicu- ous by their absence! As Tiana remarked to me many We Got a Fair Maiden Tied to the times, “Where are all the people that Stirling made Railroad Tracks! Where the Hell’s the millionaires of now that his widow needs help?” Hero, Hollywood? Adding to Tiana’s existing financial crisis was the sud- After those seven career-challenging years in Florida, den, mysterious suspension of royalties/residuals for I moved back to L.A. in January 1991. Stirling and Stirling’s past work. Payments flow from a project’s Tiana had already relocated to Bangkok, Thailand in commercial life after its first broadcast and can con- July 1988, where he had semi-retired, and we were tinue to generate revenue, on a descending scale, for completely out of touch until I re-established contact decades. Depending on how many runs in how many with Tiana after Stirling’s death. On April 26, 1996, small markets, this can amount to a great deal or a Stirling, at age 78, died of prostate cancer in Bangkok. great nothing. In the case of international sales, royalty His estate was left in turmoil and complicated legal checks may depend upon the veracity of entanglements and Tiana, who had returned to L.A., the distributor. was overwhelmed with the complex problems of trying to put it in order. With an astonishing output of 200 TV and movie credits, as both a writer and a producer, Stirling’s estate Nat Segaloff, author of Stirling’s 2014 quintessen- should have had a constant stream of residuals still tial biography, “The Fingers of God,” and I stepped coming in from some of them. Furthermore, produc- forward for some four years to help her — and Nat ers get the lion’s share of residuals. After his death, it more so than anybody else. This is when I met and was estimated that Stirling’s projects collectively had got to know him. In an industry abounding with liars, earned over $1-billion! Tiana’s letter inviting me to meet her and SS in Miami. On the other hand, toward the end of his life when he ing “Ninjamania” trend. Later, it produced bigger- needed cash, Stirling may have sold back his screen- budget mainstream films, but continued cranking out play share of some projects to their producers, al- martial arts pictures. though the paperwork was not forthcoming. Because of this, Tiana was convinced she was being cheated The company was already in production on its first out of residuals owed to the estate. In dire straits and martial arts film, “Enter the Ninja” (released in Octo- with the IRS pursuing her for a massive unpaid back- ber 1981) when I established contact with Priscilla. I tax debt, at one point she found herself had sent her a copy of the May 1981 issue of “Kick Il- practically homeless. lustrated,” the magazine I was editing at the time. The cover story, which I wrote, focused on the retirement The harsh reality of Tiana’s struggles and lack of sup- from competition of Atlanta’s Keith Vitali, America’s port from Stirling’s network of friends and colleagues number-one-ranked fighter. She was apparently im- led to my own disenchantment with Hollywood in pressed by his movie-star good looks and ended up general and screenwriting in particular. Another reason signing him to a multi-picture deal, which launched was because of something that happened at the 1997 his post-competition film career. Oscars®. Of all organizations, the Academy of Motion Picture Arts and Sciences misspelled his name! Apparently, Priscilla liked my writing style, too. She called me one day in July 1981 to set up a meeting Each year at the televised Oscars©, the Academy runs with me to discuss the potential of my writing a ninja- a brief clip and/or picture, along with their names, of themed script for Cannon. Even before that phone call, all of the Academy Award© winners who died in the she had sent me a script to read that was personally previous year. When Stirling’s visual was presented, delivered by my old acquaintance, actor Sho Kosugi, some idiot spelled his name “Sterling” Silliphant. who disliked that script and implored me to get the job to rewrite it. (Sho would go on to become the most I was outraged. My immediate thought was, ”They prolific star of films in the ninja genre, playing count- oughtta fire the guy who made that error! Besides be- less roles as both hero and villain). ing an Oscar©-winner, here’s an industry giant whose canon of TV and filmwork was probably unprecedent- There was one big problem with Cannon Films, ed in his era and they can’t even spell his name right!” though, and everyone in Hollywood was aware of I called Tiana right after the broadcast and we vented it. The company was notorious for reputedly stiffing together over that error. writers and the casts and crews that worked on its many movies. Reportedly, veteran actress Shelly Win- My Adventures/Misadventures as a ters once kept an expensive diamond ring she wore Sideline Screenwriter while working on a Cannon-produced film as a means to force Cannon to pay her for her work. When Chuck In terms of our mentor-protégé relationship, I would Norris signed a multi-picture contract with Cannon, never become a Stirling Silliphant — and we both, he reportedly told his stunt crew that normally worked of course, knew that. Compared to the King, I’m not with him that he could not guarantee any payments even a vassal! He clearly recognized my passion and owed to them by Cannon. talent for martial arts writing. Screenwriting was just a professional sideline for me and I’ve taken a few With Priscilla’s permission, I brought an acquaintance serious shots at it over the years. Here’s a summary, with me named Bob Easter, a big, burly Vietnam starting with my first writer-producer meeting, one veteran whose nickname was “Bear.” Bob was an that would take a shocking, unforeseen turn! established screenwriter with produced credits. I had no credits yet, so I knew teaming up with him could be In 1981, I had been in contact with Priscilla McDon- the key to finessing the deal. ald, a strikingly beautiful and very competent execu- tive at Cannon Films. Cannon would become a pro- Everything commenced calmly and professionally dur- digious producer of very profitable B-movies in the ing our pitch meeting. Then, about five minutes into it, martial arts/ninja genre and a key player in the grow- Bob suddenly leaped out of his chair and — all kid- My letter to Cannon Films’ Priscilla McDonald after reading a script she sent to me. ding aside — threw a fit! He launched into a bellowing week! But at least, they already had the basic storyline tirade about Cannon’s bad rep for not paying writers it cemented and could dictate most of what they wanted hired and said he wasn’t about to be screwed by them in the script. on a writing gig! He was so angry I thought he was gonna turn violent and bust up the office, and I knew George took the deal, brought me in on it, and we he was scaring the hell out of Priscilla. immediately leaped into action. As a Writer’s Guild member, union regulations prevented him from writ- After I recovered from my momentary speechless ing a non-union, low-budget picture. So, he mentored shock, I calmed him down and Priscilla quietly ad- me as I wrote it, giving me a updated crash course in journed the meeting. I was terribly embarrassed since I screenwriting and earning me full screen credit. was the one who had brought Bob there. Upon leav- ing, I apologized to her profusely and did so again by I was very rusty at the craft of screenwriting at that phone later that day. In my cursory discussions with time in 1991 (“American Samurai” was released the Bob prior to that meeting, he gave me no indication next year) and was trying to resurrect my film-writing at all that he would erupt into such an ugly outburst. career after it had practically languished during my Understandably, that ended my potential deal on the seven years in Florida. George, kindly, advised me on ninja film before it could even get started! the more complex work, but I had no trouble doing the action and fight scenes. During my “dry spell” in Florida, I wrote two tele- plays on “speculation” (which means you hope to I was ecstatic! There I was, sitting outside in George’s sell them), for “Moonlighting” and for “The Twilight yard with a laptop, basking under an umbrella in the Zone,” neither of which sold. But, of the more than L.A. sun, sipping an occasional cocktail, and making 100 rejection letters I’ve received over my writing money to write a martial arts movie! (Yes, Cannon did career (mostly from mainstream magazines), the un- pay!) The screenplay was finished in five days. usual one from “The Twilight Zone” exec producer is my favorite (see attached letter). Framed, it occupies a Apart from screenwriting, I had a ball playing a stunt- prominent position on my office wall today. fighter in about ten martial arts films from 1991-97, mostly those starring my old friend Don “The Dragon” My First and Only Screenplay Credit Wilson. My new friend at the time was fight coordina- tor/film director Art Camacho, who hired me for the Finally, in 1992 I got my first — and only — produced majority of these movies. screenplay credit. As fate would have it, too, it was a martial arts film and, just as strange, it was a Cannon Stirling’s name cropped up there, too. In 1991, I Films production. Entitled “American Samurai,” it is was visiting the set of Don Wilson’s “Bloodfist III: best known for having launched co-star Mark Dacas- Forced to Fight” when I ran into Don’s co-star, Rich- cos’ (“Hawaii 5-0”) long acting career which contin- ard Roundtree, during a break. Stirling had produced ues to this day. 1971’s “Shaft,” the role that made Richard famous, and exec-produced two sequels, 1972’s “Shaft’s Big It was a strange twist of fate because I just happened Score” and 1973’s “Shaft in Africa.” to be working with my friend, veteran screenwriter George Goldsmith, at his home on a spec science- I mentioned to Richard that he and I had shaken hands fiction script at the time. We were halfway through it at Stirling’s 1981 party. He stunned me by not only when Cannon called George out of nowhere in a panic instantly remembering the party, but even the street, urgently requesting his help. They had commissioned Kings Road, where it was held! We discussed Stirling four different scripts for “American Samurai” and for a while and Richard expressed his deep respect none of them worked. Further, principal photography for him as a filmmaker and as a person. Stirling had was set to begin in Israel in just two weeks! Even fur- always championed minorities. Richard and Bruce Lee ther, they had blown most of their screenplay budget are two fine examples. on the unusable scripts and had only $12,500 left to pay him for a script that had to be written in just one I estimate I’ve received over 100 rejection letters throughout my writing career from magazine, book, TV and film mediums. Here’s my all-time favorite rejection letter, from the exec producer of “The Twilight Zone.” It actually says something extraordinary! Most rejection notices are photocopied and about two sentences long. Film insiders recently informed me that, today, you don’t even get a rejection slip; their queries go unanswered. The Haunting “Silent Flute”/”Circle of for it. An opportunity arose to prove it to myself. In Iron” Connection 1970, I switched karate styles and began training in a different system with a new instructor in downtown There’s a long and very strange yet fascinating con- Pittsburgh. I was a student attending technical school nection between “The Silent Flute” movie and me. for architectural drafting, working part time and, Even though I was never involved in the actual pic- naturally, was flat broke. So I offered to write press ture, it keeps mysteriously reentering my life over releases about the new instructor for the local media many decades. in return for my lessons, and he agreed. Subsequently, every time I sent out press releases on him, I got ink! I first read about it in October of 1969, when “Black Belt” published an article about Bruce Lee teaming Further, all of “BB” magazine’s buzz about martial up with Stirling and actor James Coburn on the dream arts films underlined my personal reasons for eventu- project. Seeing the pictures of Bruce and Stirling ally moving to Los Angeles, the martial arts Mecca, in together in that “BB” article sharpened my interest in late 1972. My burning desire was to become a “real” Stirling. To me, he exuded charisma and confidence professional writer. That dream came true for me in and looked every bit the part of what I perceived a rich June of 1973 when I was hired by “Black Belt” maga- and successful Hollywood writer should look like. zine and its book-publishing branch, Ohara Publica- tions. As it turned out, I was the first black belt to I was a 20-year-old karate brown belt living in my work as an editor of “Black Belt.” Since then, I have hometown of Pittsburgh, PA at the time and was written millions of words about the martial arts and already having aspirations, however naive, about built a global reputation in my field. becoming a writer someday. I did have the natural gift

German-language “American Samurai” DVD box covers, showing my credit as screenwriter. - January 2014: Nat Segaloff’s definitive biography, “Stirling Silliphant: The Fingers of God,” was published (34+ years after meeting Stirling and 44+ years post-“BB” feature). He devoted an entire chapter to Bruce Lee, focusing primarily on Stirling’s “Silent Flute” collaboration with Bruce and actor James Co- burn. And Nat was kind enough to quote me at some length, not only in that chapter but also elsewhere in his meticulous book.

Summary

Stirling and I had the profession of writing in com- mon, but it was really our mutual love of the martial arts that forged the strong bond between us. Studying, in retrospect, all of my detailed interaction with him within these memoirs, I’ve come to an undeniable conclusion. My quintessential interview with him and our relationship that blossomed from it, I believe now, reignited his passion for the martial arts unlike anyone or anything else had since his earlier relationship with Bruce Lee.

As I write this finale in December 2016, I’ve spent 49.5 years in the martial arts since my first karate les- son in August of 1967, and 43.5 years writing about it. Circle of Iron’s” (a.k.a., “The Silent Flute’s”) 2007 DVD box Throughout this lifelong involvement, I’ve often been cover. My audio-taped interview with SS was professionally told I have a passionate enthusiasm for the martial arts duplicated and used as one of the “extra” features to help sell the home video. that’s quite contagious. I know it rubbed off on Stir- ling. Here are the other major events in the odd, recurring chain of “Silent Flute” connections: In essence, after a five-year absence following the dismal outcome of his “Killer Elite” picture, I brought - Circa November 1978: Met Stirling for the him back full- throttle into the pastime he so much first time in person at its pre-release screening. (Nine loved, and made him feel like “one of us” — a martial years after reading the “BB” article.) artist — again. Stirling was transferring the love he had had for “Silent Flute” to his new pet martial arts - January 2007: Over 27 years after meeting project, “The Masters,” and he was renewing old re- Stirling (and post-“BB” 37+), I participated in a bonus lationships and establishing new ones with prominent audio featurette for “The Silent Flute’s” (a.k.a., “Cir- black belts and champions in our community. cle of Iron’s”) home-video DVD release. My instructor, Joe Lewis, who had worked on the picture, was My relationship with Stirling remains a personal and participating in a separate featurette and referred the professional highlight of my life. I was truly blessed production company to me. They wanted to republish by his acceptance and mentorship. And I’m proud to my quintessential martial arts interview with Stirling have been instrumental in restoring his passion for the from 1980. When I told them I still had the original re- martial arts after a long lapse. cording tape from that interview and would grant them permission to use it at no cost to them, Fate is a very strange accomplice indeed. I am appar- they were overjoyed! ently forever connected at the hip with master sto- ryteller Stirling Silliphant, one of the 20th-century’s Book covers of author Nat Segaloff’s extraordinary SS biography, released in 2014, in which he liberally quoted me in general and, in particular, in the chapter “Enter, the Dragon.” greatest writers. However odd, it can probably be Author bio: summed up in this quote I like by film producer/director Arne Glimcher. John Corcoran is a veteran black belt in karate who “We create our own fate. Your life moves in started his training in 1967. He launched his literary patterns toward things, and things that we achieve career in 1973 and has written millions of words about finally are part of this mosaic.” the martial arts in an acclaimed body of work encom- passing 12 books, one screenplay and the editorship of 24 magazines. In 2004, he was inducted into the Martial Arts History Museum Hall of Fame, receiv- ing its elite Funakoshi Award, named after the iconic “Father of Modern Karate.” His other main mentors are renowned Hollywood columnist and best-selling mainstream author Joe Hyams, who was also a substi- tute father figure, and World Heavyweight Karate and Kickboxing Champion Joe Lewis. Letter from the Academy of Motion Picture Arts and Sciences (the Oscar® organization), accepting my memoirs for inclusion in its Stirling Silliphant Collection.