*An Exclusive Q&A journey from America to Europe and beyond with actor/model, Daniel Stephen*  

(Conducted by Devin Kelly)  

Versatile, good looking, driven, talented; perfect descriptions in any discussion of veteran model and actor, Daniel Stephen. From a challenging start in life and modest upbringing as a youth in New Jersey, to a chance, symbolic path crossed with a reel of film, and eventual walk down the runway to his future, Mr. Stephen certainly found much to be blessed for as his life and passions progressed. As the center of a successful ad campaign for Jordache jeans in the early 1980's, it was inevitable Daniel be approached to lend his God given gifts to a much larger outlet, and true to form, he was relentlessly pursued in particular by aggressive European film producers and directors, hoping to capitalize on the young American's charm and rise in popularity. Soon he would find himself the focus of another type of lens, giving his all and slowly realizing his acting potential for the likes of Massaccesi, Baldi, Cardona Jr., and others. Now over 25 years later, this ever reliable and kindly approachable pro joins us for a very special, exclusive look back at his well travelled endeavors through modeling, cinema and all points in between. We're also lucky enough to get a glimpse into the strong character of the man himself, as well as a glance at what lies ahead in the artistic future of Daniel Stephen. Certainly a most fascinating conversation that I sincerely hope all of Cinema Nocturna's readers enjoy immensely.  

And to the interview we go...   
 

CINEMA NOCTURNA:  Where did you grow up and who were your biggest influences as a young man in his formative years?  

DANIEL STEPHEN: I grew up in New Jersey, mainly Garfield, Lodi and Passaic. We moved a lot due to a low-income family situation. As a youth, the three books I read were “Grey’s Anatomy”, the encyclopedia and the Bible. I think that these were very important books for anyone of any age to study and of course I loved comic books and drawing. I won many art contests while growing up and later studied charcoal and oil painting. Comic book artists and superheroes had the biggest influence on me as a young man. My favorite artists are Walt Disney, Dali, Michelangelo, Bernini, Leonardo DaVinci, Frank Frazetta, and John Buscema. Actors such as: Sean Connery, James Coburn, Robert Conrad (Wild Wild West, Batman TV Series), Steve Reeves (Hercules), James Cagney, Burt Lancaster, John Wayne, Clint Eastwood, and Stan Lee’s comic superheroes (Spiderman, Fantastic Four, Daredevil, Captain America, X-Men, Thor, Hulk, Silver Surfer, Submariner, Conan, Batman) were all a big influence on me. I looked up to Bruce Lee and have read and seen just about everything on him, and last but not least, in my eyes the greatest man who ever lived- Jesus Christ.  

CN: I’ve noticed any bios about you usually also list Daniel Ronald Stefanow under alternate names. I’m guessing this is your birth name. How was Daniel Stephen finally decided upon for your screen name?  

DANIEL: Yes, that’s my birth name. A friend from NYC who worked for Pierre Cardin encouraged me to model and suggested Stephen. A production manager used my passport name on “Il Ras Del Quartiere” accidentally, so it appeared on the credits, and poster, etc.  

CN: What lead up to your passion for film and eventual aspirations to become an actor?   

DANIEL: When I was about 9 yrs. old, my next door neighbor was a film projectionist at drive-in theaters. He took me to work with him. When he passed out from drinking one night and I couldn’t wake him up, I changed the heavy reels. I was a really skinny kid.  The only real danger was if you accidently opened the hood of the projector when the light was on which was a carbine tipped burning rod that threw out light to the screen. It could blind you. I was amazed by the camera and how it worked. That was my first experience with film. The combination of superheroes, film and art, I guess combined into my interest in acting and creating scripts. I must admit I did think about being up there on that screen one day but never ever thought it would come true.  

CN: How did you find your initial journey into attempts at landing various roles or even small gigs? Was it tough going for you in the beginning or were you fortunate enough to have found acting opportunities fairly easy in your earliest days?  

DANIEL: I was a full time furrier working in shipping and receiving for the #1 fur dying company in the world. I had various other jobs including, roofer, mason, window display, and construction. Just before landing my first gig with Jordache, I was given a grant to study Physical Therapy in college.  Desperately trying to save money to buy a house, I rode a bicycle to work 2 towns away, got up at 4:30 am arrived at 5:30, and opened shop. I ate pork n' beans, soup, made peanut butter and jelly sandwiches, hot dogs, everyday for lunch and dinner. I did manage to buy my own home with land in NYS. During that time I tried modeling through the encouragement of a friend and did work for Halston wearing a tuxedo and spraying cologne on people at Sax Fifth Ave. Many of the customers told me that I should get into modeling, acting, etc. and then gave me their cards but I thought most were crazy. This was the furthest dream I could have had but I did start studying make up because it had to do with colors and art. After I did some test shooting with photographers. Not paying jobs, but an article on me came out in a magazine (attached) that Richard Gere appeared in when he was just beginning his career. I went for 7 months without a paying job. I got on a couple covers of magazines, such as hairstyle magazines, etc. just to get exposure, but nothing paying. I had go-sees for a lot of companies- Champs Du Baron, Ralph Lauren, Calvin Klein, etc. It was the big jeans era. At the go-see I told the Jordache people that Champs Du Baron requested me for a call back that day, so they said “Do not leave. Try these jeans on again…oh my God, you are the one!". And I signed the contract the next day. And that’s how it started. After booking the print campaign and commercial through J. Michael Bloom Agency, which was the biggest commercial agency in the US, it was difficult to find work. My contract stated I couldn’t do any other sportswear/jeans modeling.  A friend encouraged me to go to Europe to build my book and get experience.  

CN: Much of your career has been spent in Europe and a number of your films originated in countries like France and Italy. What first brought you to these places?  

DANIEL: Instead of beginning college, after the commercial, I decided to put that on hold and give modeling a try, plus escaping an extremely jealous ex-girlfriend, a dysfunctional family, and needing to further my career, I decided to travel to the fashion capitals- Paris-Milan-Rome for a couple of weeks- fell in love with Europe and stayed for almost four years.  

The Jordache commercial had played throughout the USA on TV. I was getting a lot of exposure, people were recognizing me on buses and subways, yelling “Show us that Jordache butt.” Especially after the Academy Awards, I think the commercial ran 13 times in either 81’ or 82’- also the Sportswear campaign, all over the US showed me in the sportswear, jogging wear, tennis wear, swim wear, watches, glasses, belts. Plus it appeared in NY Times (much different then the other Jordache commercials where they modeled just jeans).  

Arrived in Paris with an address for the “Elite Agency”. They accepted me – I booked a few jobs but soon ran out of money.  I slept on a park bench for a week (they also lost my luggage and I had no clothes). Finally I meet a photographer who introduced me to the modeling scene. I made the rounds, met some agencies, met Amadeo, a dance choreographer, at a dance studio at the Garden Gym on the Champs de’Elysses. In Paris, I discovered my love for acting when I took “The Mastery Acting Course”. Charles Bronson and Clint Eastwood had furthered their careers in Europe so why couldn’t I?  After finishing the course, I was filled with more ambition and things started to happen. I booked jobs with top designers and after six months booked a role in film with famous director Claude LeLouch.  

I heard from a friend about a film being made in Milan, Italy, sort of like the “Wild Bunch” and I wanted the part.  “Il Ras Del Quartiere”- my first Italian film. I decided to check out Italy because I had a bigger desire to act and I heard Italy produced many films. I moved to Milan and commuted back and forth between Rome, Florence and Milan for work. I worked with many of the top designers in runway, print and TV, was seen in magazines, TV, billboards and film. I gained celebrity status there.  

CN: I’m guessing your modeling career was of great assistance in being sought after by casting agents for film work in Europe. How were you first discovered and approached over there for parts? Who gave you the proverbial “first big break” in Italian and French cinema and what exactly was the first film you ever shot in Europe?  

DANIEL: The person who gave me my first break in France was Pierre Sissor on the film “Ca Va Pas Etre Triste”. It was a spoof on Dukes of Hazard. The film appeared on the Champs d’Elysees. I was very proud, especially because it was in the same theater as Rocky 3.  My first commercial before the film, was Continental Edison. It was sort of a Savate kickboxing dance routine with me and another guy and two girls, directed by the famous Just Jaeckin. The casting director of Claude LeLouch used to dance at the same acting/dance studio I studied at in Paris, and she asked me to play a role in “Edith et Marcel”- the famous French love story of the beloved Canary woman of Paris and boxer Marcel Celldon. He unfortunately died in a plane accident while returning to France after being defeated by Jake La Motta for the middle weight championship of the world, which can be seen in the film, “Raging Bull” starring Robert DeNiro and Cathy Moriarty. I unfortunately got stuck in the airport in France and arrived on set late, so they used another actor.  My fault, I should’ve been there 2-3 days earlier in case planes were delayed, etc. After that I was second runner up for Tarzan of GreyStoke, being directed by John Huston. They told me I had lost the Tarzan role to Chris Lambert. They were looking to break the Johnny Weissmuller mold, I guess. Anyway, I loved the film and went to see it at the Venice film festival. John was there with everyone, it was great. It only inspired me to go further to have gotten so close to a big director and film like that.    

CN: Had you known how to speak French and Italian prior to arriving there or was that something you had to pick up and learn along the way?  

DANIEL: Not a word of either. Yes, first film was French speaking, of course with a terrible accent. I met a girl on the subway, asked her to read my lines on my tape recorder and I just studied that night and shot the next morning. I had no idea I was actually supposed to be reading the lines in French until they gave me the script the day before. At first they told me to say anything. They would dub it later, but I wanted to learn languages, I had friends coach me for hours with the script to understand what I was saying. Many of my friends at the time did not speak English. It was very difficult especially on the night before shooting the film “Maladona”, my electric went off and I was studying by candlelight. After awhile my Italian got better - not that I’m entirely fluent, but I can speak Italian pretty well. I lived there for about three years and loved every minute. It’s a different way of life - slower, more enjoyable and people are more family orientated. Plus the food was fantastic!  

CN: One of your most popular films is without question the Italian post-apocalypse flick, 2020 TEXAS GLADIATORS (ANNO 2020 – I GLADIATORI DEL FUTURO) from 1982. Before I go on with questions regarding this particular film, there has been much dispute over who directed the bulk of the picture, Aristide Massaccesi (aka. Joe D’Amato) or Luigi Montefiori (aka. George Eastman). Can you shed some light on this?  

DANIEL: Massaccesi and Eastman directed and Soavi, assistant director.   

CN: Aristide “Joe D’Amato” Massaccesi is somewhat of a worshipped cult film God among many collectors of his brand of cinema (myself included). How did you first meet him and what were your initial impressions of Massaccesi?  

DANIEL: After doing “Il Ras” I was lucky to have agents contacting me in Rome. I played the lead antagonist in that film and Joe D’Amato/Massaccesi had heard about it. He contacted me through another director and we made a meeting at my favorite piazza, Piazza Navona, bringing along George Eastman. George was a real big guy, they both were sweethearts and together they convinced me to play the role of Catch Dog. They also wanted me to shave my head on the sides like a Mohawk, so it matched the guy on the cover of the poster. I couldn’t because I was under contract to do another film in between that. He said that the film budget was around $2-$2.5 million. We also spoke about producing a film together afterwards, which never came about due to my constant traveling. I remember George asking me “Why do American’s spell words different from what they sound like.” The hardest thing in English for him was kitchen and chicken - he would mix them up. Joe came from a family of electricians in the film industry. I saw the passion they had for 2020, even though I only had a treatment. So I had no idea that I was going to be attempting to rape Sabrina in the script. We became friends, we had dinner and I introduced her to some of my close friends. Michele Soavi was great. He later on went on to do a film that I love called “Cemetery Man”. I’d love to work with him again. I think they had story boarded everything afterwards. I do remember that George had forgotten the shot where Al found out that his wife was raped by one of my men that he jumped over a crowd of guys and we never saw him again (his death). I haven’t seen the movie in quite a while so I think Joe had to come on set and I think they shot a scene showing the guy with the patch who had raped her, killing him. I forget. As far as I remember, Joe began the movie, and then George filled in. When they looked at the dailies they realized that the death of Al had not been shot. There wasn’t much dialog when we were shooting; a lot of people were improvising, which made it hard because not a lot of us knew the story that well. Harrison Muller wasn’t supposed to get killed but towards the end they did him in. He was a cool guy. I hope he’s doing well in the business. We used to work out together on set. He was the only real athlete I could work out with. One of the scenes I had to drive a dirt bike alongside a steep mountain side. I had to make it look believable, the bike is supposed to get shot and then roll down the hill with me. During the stunt I turned the front tire my foot got stuck in the spoke and me and the bike rolled down the hill together. They all thought that I had broken my leg until I popped up and started shooting my weird space looking weapon (which was used in many other films.) Ha ha. Another story, at the end, when I’m chasing Sabrina to kill her and only have my knife, because my gun stopped working, there was a jump I had to do over a railing and attack her. I said “Piece of cake, let me practice.” He said “Let me show you how to do it first.” After putting a pile of sand below the landing area, the stunt coordinator did the stunt, I think he either sprained his ankle or hurt his knee and went to the hospital. But we resumed shooting and we got it on the first take. I had jumped a few fences in my day, in NJ.  

CN: In 2020, you play “Catch Dog”, a member of a band of post-nuke enforcers kicking mutant ass left right and center. Your character reveals his true colors early on however when you try and rape poor Sabrina Siani. Is playing the “bad guy” a preferred choice for you?  

DANIEL: No, the rape scene wasn’t in the story. I had to think how to make it look realistic but not have people remember me as this. But also in another film, “The Man In White” the same thing happened. They added a rape scene. There are so many versions of how to be a bad guy. Just look at Jack Nicolson and Arnold Schwarzenegger and so on. It depends on the director and the story. Some guys can kill everyone and you still love them, like Bruce Willis, Mel Gibson, and Arnold S. No, I don’t mind playing the bad guy, if he has a story behind him. As far as Sabrina, we were friends and she had invited me and one of my best friends to have dinner with her and her Aunt and….lets just say I make it a point to never get involved with my co-stars for professional reasons.    

CN: How long was the shoot on 2020 TEXAS GLADIATORS and what was it like working along side established veterans of European film, like Donal O’Brien and Al Cliver? Did these favorites of Italian cinema lend any friendly advice and do you have any amusing tales to tell about some of the cast and the shoot itself?  

DANIEL: The shoot lasted about three weeks. Donald O’Brien is a very nice guy. We took some photos together then exchanged them with autographs; I think he wrote “To that great light heavyweight, from Donald O’Brien.” We both loved talking about boxing.   

He mentioned when he was visiting his sister in England, he had a terrible accident and tripped on the rug at night and hit his head on the radiator. I think he said he ended up in a coma and when he finally woke up he was partially paralyzed on one side of his body. Little by little he came back; he wouldn’t give up and still did the best he could. Great guy. The guy I became very close with was Harrison Muller. He was a really cool guy. Also, Peter Hooten - very theatrical. Good actor. I think I might’ve been doing “Warrior of the Lost World” at the same time as this because Harrison was being transported back and forth from the “Warrior” set. I don’t remember exactly.  

Al who if I remember correctly was French, had a fight scene with me and during the scene as he was throwing a punch, his shoulder pulled out of socket. He screamed and screamed in French, his arm was shaking. They had to pull it back into place. After that it was very difficult to work with him, I was afraid of his condition so I had to be very careful. Everyone was very delightful to work with, but my only concern was that I had crawled out of an extremely deep hole in the beginning scene. I dropped a rock down it and I didn’t hear it hit the water below for about a minute later. Either way I agreed to take the risk because I didn’t want the crew to have to dig a deep hole in the dirt. And I had braced steel bars and cut off 2x10 beams to make a platform for myself… just like guerilla shooting.  

CN: You worked on a similar picture the following year - that of course being David Worth’s WARRIOR OF THE LOST WORLD (1983). In this one you play a martial artist. Your background in the martial arts and boxing no doubt had a big part in assisting you in roles of this nature. You also performed stunt work on both this and 2020. Being as physically demanding as they were, did you have a certain regimen that you followed in training for these films?  

DANIEL: Yes, David was very nice and professional. If I remember correctly I think he told me he also started in the business as a director of photography (DP) for Bronco Billy staring Clint Eastwood. I am still in touch with him, exchange Christmas cards, stuff like that. Yes, lifting weights, stretching. Practice with a partner if possible, and always, always hang out with the stunt guys in order to learn better and safer moves, rolls, etc. And never forget to bring your own protective equipment. Protect that spine- cut a cardboard box up, whatever. Hit the focus glove, heavy bag, spar if possible with protective head gear. Ask someone to perform the stunt first so you’re not stuck doing it many times incorrectly. One scene in “Warbus” I had to carry a 45 lb. gun through 13 rehearsals in over 100 degree weather with dysentery. It was extremely humid, I was sweating like a pig, well I think you get the idea.  

My partner in “Warriors of the Lost World”  with the red sweat pants, was Bruno from Rome (*interviewer's note: Bruno Bilotta...aka. Karl Landgren from DEMONS 2 and COBRA NERO*)- a nice guy, easy to work with, always doing back flips, even at 3 in the morning after a few drinks. We practiced that flying side kick. We had him jump off a mini trampoline as David was on the ground, filming him go over head. Remo De Angelis was the stunt coordinator and very easy to get along with. He saw that I had some experience and gave me the authority to choreograph the martial art sequences. The other guys were from a karate school and of course challenged me, saying “You don’t know martial arts, you’re only an actor.” After a few slips, traps, and broken rhythm, everything was okay. Robert Ginty was cool. People thought he was little too laid back, but I guess that was the character; sort of John Wayne. What was important to me was that he trusted my control of distance- to stop where needed so the scene looked believable. A biggie was I “Wish we had sun block on set”- I ended up with a bad sunburn.  

CN: Did you find it easier working with an American director like Worth in Italy over an Italian director? What do you find the major differences are working with a European cast and crew over an American one?  

DANIEL: Both Italian and American directors have their special qualities. The European directors are more approachable. American directors go through agents and assistants who screen all their contacts. For example, I met with Richard Donner and Harvey Bernheart when they were in Rome and it would have been difficult in America. In Cannes I had dinner with Mario Kassar (T-3 producer) and other name talent - Chris Reeves, Nastassja Kinski, Bo Derek, etc.  In Europe you can call the directors, visit them, have dinner - they are living a different life, not as fast paced.  There’s more competition in the U.S. .  European directors I feel are more laid back, possibly more visionary as far as character driven. When they see a Clint Eastwood or a James Dean type, they study the person within to see what they can create with him...sort of an evolving process. They would like to be the first to discover a young attractive talent.  In the U.S it seems more difficult to prove your talent, especially if your looking like Charlize Theron did in 'Monster'. American directors mainly have to go through agents casting agents, red tape and box office draws, who you know, etc. But then again, these are only my thoughts.  

Gianni Versace was more Americanized, but he also looked beyond the surface. The day I started working for him in Milan, he had asked me what my birthday was, November 23^rd, and then he said Boris Karloff and Boris’s daughter were born on that day. Gianni encouraged and told me I would eventually star in films, produce, write, and direct said he saw it in my eyes. And I thought he was only a fashion designer. He was the best designer I ever worked for. I remember hanging out with him and Eric Clapton and Julio Iglesias at La Penta’s in Milan, Italy one night.  

CN: Robert Ginty and Donald Pleasance were two of the big names attached to WARRIOR OF THE LOST WORLD. Did you get to spend any significant time with either one of them? In particular, what are your memories of shooting the sequence with Ginty in which he fights various post-nuke characters, including yourself?  

DANIEL: Never met Donald Pleasance on the days that I was working. I would have liked to though – great actor. Robert Ginty went on to directing films afterwards. He was a sweet guy, not cocky at all.  In our fight scene, Robert had to beat me so we had to think of something he could trick me with. So we came up with him opening the side door of the van to knock me down and then hit me again to knock me out. It worked well.  

CN: Another of your extremely popular Italian action pictures was a little film called, WARBUS (1985). In it, you’re in the role of Sgt. Dixie - a take no shit Vietnam ass-kicker heading up a school bus built for war. This had to have been a fun film to shoot. What were your first reactions to the concept?  

DANIEL: When I met the director in Rome, we hit it off very quickly. He thought of me as the sort of Clint Eastwood type and he had worked with Sergio Leone before as far as I know. I think he directed the film 'They Call Me Nobody' with Terence Hill and Bud Spencer. I love that flick. The film 'Warbus' was originally called The Last Heroes, co-production between Philippines and Italy. We were set back a month due to the rebel and dictatorship problem. Aquino was gaining power. Marcos and Imelda were being impeached or something like that so it wasn’t safe to have us running around shooting in the jungles with military uniforms and guns so we waited a month and went over and I think around the same time we arrived, Aquino was assassinated, so his wife was eventually took over. Ironically, on the plane trip from Italy over to the Philippines, a 24 hour flight, the head airline stewardesses was the niece of Aquino. We ended up dating and towards the end of the film her uncle who worked in Subic Bay for the military had given us helicopters and many other military supplies and vehicles that we wanted, for nothing, plus he offered me two islands if I married his niece, which I had to decline because of traveling, career, “not ready for marriage”. The people were extremely friendly, very professional, and humble. I have nothing but the best to say about the Filipinos. They are such an undiscovered talent. The Philippine Islands is truly a treasure to uncover. The only problem I had was getting extremely sick from the second day on. You see I was living in a 2^nd world country (Rome, Italy) and went to a 3^rd world country in Asia.  I hadn’t gotten any shots and I ended up getting dysentery. Imagine running around with a 45 lb gun, bullets strapped all over your chest and back, lifting weights every second you had, and having diarrhea, average 20 something times a day. I was drinking water and coca cola, carrying rolls of toilet paper in my khakis, had to run behind trees every second I had a break. Yes, I loved the character Sergeant Dixie. I became very close with the stunt men and went to parties with them, met their families, other directors they had worked with. Towards the end of the film I had dehydrated so badly that I passed out while throwing up blood in the men’s room and one of the actresses in the film was actually a nurse. She rushed me to a hospital. Within a few days I was back on my feet and we had 1 week left to go. All together I think we shot for 7 weeks. The humidity was terrible, especially for people who weren’t used to it. I met Martin Balsam there, he was doing another film. Great guy, we became friends and stayed in touch and met in NY many times. The Canon group was doing a film called American Ninja. Menahem Golan had seen my character in “Warrior of the Lost World”, and it was actually playing in PI at the same time, and also “2020 Texas Gladiators”. Warrior played as long as “Raiders of the Lost Ark”; at least that’s what I was told through the newspaper. The director Sam Firstenberg and producer Gideon Amir came to see me in my hotel and offered me the lead role in “American Ninja” because Chuck Norris had bailed out. They didn’t know I was in the hospital, cool…and I said let me talk to my producers of “Warbus”. Well they weren’t very happy and said “We’ll get back to you with the schedule.” We were supposed to wrap that week. Well, oddly enough there was another week added onto the “Warbus” schedule which prevented me from taking on the role in “American Ninja”.  

After the film was over I flew back from PI to Rome, Italy to dub my voice, help edit and make a trailer so that I could bring it to Cannes film festival which was starting in a week. I acted as one of the representatives of the company. I took the trailer to so many distributors, basically from America - Sigrid Ann Davison from Skorus - Robert Little from Overseas Group - Kelly Ross from CineTrust - Embassy Entertainment - just to name a few - and very importantly, Menaham Golan from Cannon Group, who said he wanted the film and I’m going to make you a big star throughout the world - but they could not agree on a price. We also spoke about why I didn’t do American Ninja, etc.  He shocked me by knowing more about me then any film producer I knew and we had never met before. Also Mario Kassar was one of the nicest producers I ever met. He produced "First Blood" and was at the end of the Croissette. He viewed the trailer of War Bus and loved it - said, “Since we are selling "First Blood", whoever picks this up for the U.S and if it does well, I promise you I will produce the sequel". Unfortunately the Italian distributors did not go with any one I brought to them that year. The next year they sold it to Embassy which was bought out by New Line Cinema. I tried to buy the rights and name because I had written a sequel but they wouldn’t sell it to me.   

At the time a dollar was worth 26 pesos in the Philippines. So the film was categorized as being a 2.5 mill and received 2 1/2 stars in the video handbook. I was quite proud of this feature and I had suffered a lot to make this the best I could. This is one of my favorite movies that I have ever starred in and probably my proudest because it represents the men who died for our country. Need I say more?  The three men depicted in the eight foot bronze statue at the Viet Nam Memorial in Washington DC.   

CN: You also found yourself in the starring role here. Do you find it much more stressful and draining being in the spot of top-billed actor?  

DANIEL: The other actors – most who were living in PI, made things easy. I made sure that I performed all my own stunts. When you are on your own, away from the protection of your agent/ union, an actor can run into problems on the set that he has to contend with. Scenes and actions he doesn’t want to do or stress from crew or other actors not respecting his position can sometimes occur.  

CN: Sadly, director of WARBUS, Ferdinando Baldi, passed away fairly recently, in late 2007. Baldi has most certainly gained a small cult following as well, for his incredibly zany and likeable work. What are some of your memories of the man and his method of film making?  

DANIEL: Sad to hear he passed away. Ferdinando was a quiet thinker, a talented visionary. We used to get together when he visited his brother in NJ, who is a dentist. We had actually talked about bringing a camera to the world that lay sideways. He wanted me to represent it in the USA and even in 3-D. He did a film called “Gotcha”, which came out in Europe (*interviewer’s note: I believe Daniel is thinking of Baldi’s 1981 3-D flick, COMIN’ AT YA!*). I was extremely impressed. He had invented a special lens like IMAX back in 1985 with the Chinese, which he had developed for the camera. I wrote my own version to the sequel to “Warbus” after reading Ferdinando’s which was to be shot in “Argentina”. I tried to buy the rights to “Warbus”, the storyline, the characters.  

CN: Did you find it at all strange or maybe even slightly more challenging that your character in WARBUS was epileptic? It’s certainly an interesting quirk to this type of role? 

DANIEL: My character was not. Don Gordon was the epileptic and my character was only going into the water for a dip and many people have not understood this, it seems. On the internet I was Sergeant Dixie, with the big gun and actually the lead.  I’ve seen on the internet that Don Bell starred in this film. I have written to several sites to have this corrected and it still hasn’t been done. Help!  

CN: Of course, you haven’t just done action pictures. You’ve also starred in a series of comedies and erotic films while working in France and Italy over the years. Films such as Carlo Vanzina’s IL RAS DEL QUARTIERE (1983) and Bruno Gaburro’s MALADONNA (1984) without question probably helped shape you as an actor. Do you enjoy trying your hand at different genres of film more or is there one that you prefer?  

DANIEL: I really like comedy and of course playing the hero. I’ve only done one so called erotic film, “Maladona” aka “Malombra 2” – also known in Asia as “The Story of Lady O”. I think for the most part the film was well shot and did not go over board, no open legs no male organs shown nothing like that so as to say it was porno. There was more male nudity in American Gigolo, remember …and “Eyes Wide Shut” - and I never took my pants off even though the women were sometimes nude, big deal, get over it crazies out there…control yourselves (LOL, only kidding). Some shots were put in later. I wasn’t even in the room to see what Paola was doing most of the time.  I became interested in the film because it was a period piece, totally opposite of what I had been doing, and the costumes reminded me of the film Chris Reeves did - “Somewhere in Time” (same type of suit he was wearing). Met Chris at Cannes Festival. At the time I was dating a real Countess in Milano, Italy for 8 months. I was commuting back and forth between Milano and Roma. We had the most popular and elegant of parties with the most interesting people and celebrities you could have imagined as our guests….and she and all our friends begged me to do “Maladona”…what could I do… (The Contessa and I are still good, close friends).  Also, during the filming, my apartment in Rome had a major electrical problem leaving me without heat and hot water for days.  

CN: In MALADONNA you worked with troubled but popular actress – namely for her roles in numerous cult pieces – Paola Senatore. What are your memories of the fondly remembered starlet during this time?  

DANIEL: The first day she came on set with her small pet monkey, who was trained to do tricks.  That day we had to do a love scene. Sometimes it’s best to get the most difficult shots done first.  The director said we were doing a rehearsal but we were actually shooting. Paola knew it and she put as much reality into it as possible. I had a clause in my contract that I didn’t take my pants off and would only so far during the love scenes. I guess it was sort of a test to see if I would go further. After that scene, they knew where I was at, and everything went smoothly.  

CN: Although I’ve yet to find it, THREE SUPERMEN IN SANTO DOMINGO (1986) looks like a highly entertaining final edition to the Three Supermen series created by Aldaberto “Bitto” Albertini and Italo Martinenghi. Again, this had to be another flick that was a blast to shoot. Any qualms about donning the red superhero spandex or is it happily remembered work for you? Personally, I’m dying to track it down.  

DANIEL: You can get this film by contacting- superstrangevideo@lycos.com. The owner is Robert– he has a great library of hard to find flicks. He’s a very nice guy- we have spoken several times.  The spandex was cute and corny - the island was nice. In fact I met a few people from New Jersey there who were vacationing and we are still close. I did this film basically because I had wanted to do a comedy in English that the whole family could see. I liked the story for its corny characters and storyline. But this was the most dangerous film I have ever worked on. I tore the cartilage in my knee due to negligence and I needed years of rehab for it and finally an operation. In the scene, I was being chased by a bunch of bad guys and I ended up running into a 2 ton steel boxcar door. The rehearsal went perfect, everything was timed correctly with the guys I was working with, but the driver had taken off accidentally with my knee pads and protective equipment and he couldn’t be contacted in time.  

After finishing Warbus, I flew to Rome to do post production then to the Cannes Film Festival to promote Warbus. This is where the producer of “Three Supermen in Santo Domingo” saw me and hounded me for days, chased me down the street, begging me to play this role and didn’t want to go through my agent. After returning to Rome, Italy where I had been living, I had my agent contact him. At the same time I was offered “Blood Brothers”, but they didn’t come up with the money so I signed with “3 Supermen”.  Things were negotiated and when I got to Santo Domingo “Blood Brothers was filming there also - Bo Svenson (Walking Tall II) was in the lead role. While Bo Svenson was rehearsing the script by the hotel swimming pool, a storm kicked up and his nose was broken by a flying beach chair. Peter Hooten and Kelly Cole (son of Nat King Cole) were also working on the film. All these guys were great to hang around with. They were all worried about being paid – the entire budget hadn’t been raised. I don’t know if they ever finished it.  

Back to “3 Supermen”, the first day shooting they had me do a stunt- rolling backwards down a staircase from an airplane, while people were walking down it. I destroyed my clothes, my suitcase - telling me they were shooting the scene. Afterwards I found out it was only a rehearsal and had to do it again. The stunt coordinator and I put cardboard along my spine for protection. I always carried my own elbow and knee padding for stunts. The fight scene outside the restaurant was a fiasco because the producer brought in a Karate school - they didn’t know how to roll with a punch and usually only worked well with others in their school, so people did get hurt. It wasn’t realistic as a street fight and difficult to coordinate with no rehearsal and no lighting. When doing movie stunts you need to work with professional stunt men.  

I had found a group of guys from Brooklyn that were working out in the gym. We put together a fight scene that looked great but the producer didn’t want to use them. Later my knee got busted because the scene called for me to run into a freight car steel door (my knee pads were with a driver who had gone to get lunch).  I was taken to the hospital. In the next room from me was the body of a political assassination, I was told. Then I remembered an hour before someone had been shot and people were running. We heard the gunshots and the producer said just keep filming. The director was great - Adalberto Albertini, he did the best he could - he was ill due to a hernia. The hospital wouldn’t let me leave without paying - I didn’t have a wallet with me in my superman costume. A friend paid the bill. Afterwards, I was told that Sal Borgese – who played one of the 3 Supermen - was shot in the stomach with a flare gun & received 3^rd degree burns. All said & done, I still liked my character.  

CN: You worked with yet another revered horror and exploitation director, the Mexican icon René Cardona Jr. in 1994. This time you played the role of Hombre De Blanco (The Man in White) in the film EL HOMBRE DE BLANCO. What are your thoughts on this picture and Mr. Cardona? I understand it was pretty well received in Mexico and elsewhere.  

DANIEL: René Cardona Jr. He was like a big teddy bear. I loved this guy …great wife and daughter - unfortunately he passed away.  He produced “Santa Sangre” which won at the Cannes Film Festival I think in 1989 for best picture. I met René when I was on vacation in Ixtapa, Mexico. We hit it off right away; spoke about films to possibly shoot in Mexico. At that time two of my favorite modest budgeted big-hits were “The Hitcher” starring Rutger Hauer, and “Dead Calm”. He told me he wanted to write a blend of both those films to star in. True to his word, he contacted me six months later and I flew to La Paz in Baja to film. At the time of filming was a solar eclipse - which lent to storyline. The area was beautiful and so were the people and the food.  

The first night on set they handed me a rattler and told me to hold it. I asked them if it was poisonous, they told me they had just milked it. I did the scene, but was secretly freaked. I don’t like snakes. Anyway the experience was great - the role was strenuous. My co-actress was a very popular soap star in Mexico and South America. Next, René  wanted me to play “Kaliman” a popular comic book superhero which sold over a billion copies in Spanish speaking countries. We were negotiating a contract but then René lost the option.  

CN: What lead to you finding yourself on the Dave Chappelle show?  

DANIEL: Martin Scorsese’s parents believe it or not, Charlie and Kate.  I don’t like impersonating unless it’s in a film like let’s say Charlie Chaplan life portrayal by Robert Downey Jr., an utterly fantastic job. I think everyone should be themselves. The Scorsese’s were very good friends who used to come to my house for dinner. Kate always commented that I looked like Patrick Swayze and made me promise if they ever did something on Patrick I should play the part.  I really miss them- two beautiful people. They used to tell me stories about Marty that he couldn’t decide to be a director or a priest.  So when my agent called and said that it was a spoof on “Ghost”, I auditioned and got the role. It was fun - everyone was a riot on the show.  

READ PART 2 of the Daniel Stephen Interview