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Interview: 'Creed II's Dolph Lundgren on Why Being Ivan Drago Is a Blessing and a Curse
It is very easy to envision a scenario where the premise for Creed II — Russian boxer Ivan Drago, the man who killed Apollo Creed in Rocky IV, returns to train his son for a fight against Creed's son — goes laughably, horribly wrong. Instead, Creed II pulls it off. And a big reason why the story works is Dolph Lundgren, whose big break in Hollywood came playing Drago in Rocky IV 33 years ago.
Instead of the monosyllabic brute, Creed II's Drago is a complicated guy with very relatable motivations. And Lundgren gives a full, rich performance; easily one of the best of his career, particularly in the scenes where he and Sylvester Stallone rekindle Rocky Balboa and Drago rivalry 35 years later.
When I interviewed Lundgren in Philadelphia earlier this month, he seemed rightfully pleased with the movie and his performance — and he seemed to enjoy dipping into his memories to compare the experience making Rocky IV to the making of Creed II. (He also does a surprisingly good Stallone impression.) Lundgren told me the backstory he gave Drago while filming Rocky IV, and described how playing the character has been both a blessing and a curse throughout his career. He also revealed how his own relationship with an abusive father helped inform how he played Drago, and why he thinks there should be a #MeToo movement for men.
Was there ever an opportunity to make another Rocky before, or was this the first time it's come up in a serious way?
First time. They've asked me to use footage from the other films. And always, every time, I always said yes to Sly. I was told some of the other actors were always charging them money, but I thought "No, no, no, this was my big break." So I just always would do it as a favor. But this was the first time I was asked to be in a picture.
I rewatched Rocky IV for the 8000th time this week, and it is interesting to compare it to the new film. In the original film, Drago is just like pure menace, pure evil, pure power.
Sure. [laughs]
And in this film he's much more of a rounded character.
I was curious if during the making of Rocky IV you ever discussed a backstory for him with Stallone. Were there any things that weren't in the film that you knew about him or decided about him at that point?
There were a few things. For the the screen test I had to do to get the part, I decided to keep him very still, because I had seen pictures of these Soviet cadets where they always stand chin up like this. [demonstrates] Drago was a uniformed officer. So I said, "Okay, I'm going to stay very still and reserved" — because I was nervous, you know? I had this acting coach in New York. He said "Don't move, don't do anything," because I wouldn't know what to do much anyway. I was totally new at this. So I kept it very internal. So that was one thing; that's how I got the part probably. There were three guys left for the screen test: Two Russians and me. And the other two Russians were yelling like a Russian Mr. T "I must break you! I will kick your ass!" Very loud — and then I cam on, [quietly] "My name is Drago." And of course, Sly is not stupid, he saw that was good.
So that was one of the thing. The other thing was I had this Russian coach for my Russian language and he was from Moscow. He had all this information about the athletes in the Soviet Union, how they're being used by the system, how it's very militaristic, they don't have any power, they have to do what they're told. We kind of built that into his backstory. I can't remember exactly what it was, but there was something I had to prove to the establishment. And that's one reason I did all of these things. I didn't feel good about killing Apollo, for instance, they had told me to do it. It wasn't like [Drago voice] " I want to kill this American fighter." No, no, no; this is what's going to happen. And I was just a tool.
I remember I was trying to play some emotionality there, even though I came across as this kind of cold-hearted killer. I think there is something in the character that people felt a little sorry for him; like he was the monster and Dr. Frankenstein was the bad guy, and that is the Soviet system. So the reason I could move on and play leads in movies afterwards — in my next film I played He-Man, who was like a good guy — I think it was something in the backstory, even though the guy was a killer and people mostly hated him for killing Apollo. But there is another little quality there that kinda got me off the hook a little bit.
Creed 2 II
And that's kind of what's built on in this movie and is one of the pleasant surprises in Creed II. What did you think when you got the script and saw that you go on this emotional journey in the movie — you're not just the Frankenstein monster, as you put it.
I met [director] Steven Caple Jr. First, I met him and I saw immediately he was an artist and a filmmaker, not a guy who wanted to make a hit movie. He was thinking of the characters, and he came from a character point of view. Then I read the script. And the script was wonderful. I thought it was great. I said whoever wrote this managed to throw it all in there, Rocky's backstory and my life somehow in there together. And then the fact that the son of the guy I killed now is there and then he has a kid ... It was just a really great, great script.
And there was a great scene when I come into Rocky's restaurant. I told Steven, "Look, if anybody says to change the script, give me a call because I'm sure as hell going to fight for it." And there was just one or two things people are trying to change a little bit in that scene in Rocky's restaurant, but we worked that out and otherwise I thought it was really good script.
Tell me about shooting that scene — and compare for me working with Stallone in 2018 versus working with him in 1985.
Big difference. He's mellowed out quite a bit. Obviously I've done 60 movies since then, and he's done a bunch. But [in 1985] he was my boss and he had done a lot. He was a big movie star, I was just a nobody. And this time I have a little more experience and I know him well from The Expendables films and stuff.
So, that scene. I knew it was a crucial scene for me and I of course it gets delayed and delayed until the last week of shooting and I'm a bit nervous about it, because I know it's a very emotional scene and I wanted to really do well. And then of course they called me one day, "Sly wants to shoot the scene a day earlier." So I go "F—!" I was ready to go to the gym or something. I have to go right in to the set, right on location, get ready, and then we come in and of course the scene has been rewritten five times. Sly rewrote it a couple of times himself and I liked the original. So now I've got to get in there and hash it out with Stallone about my character. Some of the stuff was taken out I didn't like, I think it should come back in there.
He was kind of cool about it, but I did think as I'm sitting there — because Steven Caple stayed away, he didn't want to get into some kind of argument between me and Stallone. I was really hard with Stallone, because I really felt like this was a great scene and I don't want to mess it up. And he was tired but I think maybe for the first time since we've worked together where he was more respectful, and kind of realized "Dolph's not going to take no for an answer here." He wasn't just ordering me around, like in '85. We actually decided how to put it together. We argued for about an hour I think. Finally he just says [does Stallone impression] "Hey can we shoot this f—ing scene? Can we stop talking?"
[Laughs] That's pretty good!
So then we shot it all night from about from about five until about two in the morning or something like that. And it was exhausting. But I think it was interesting because there's this thing between me and Stallone. We made all these films together, and he's always been the boss. This is the first time in this film that I have a real role, a real character and I had to prove that to him. And when Ivan Drago opens his mouth, it's a bit of Dolph speaking to Sly as well. I felt that, and he did too.
It was good because I know at the end Stallone's not going to walk around giving out praise to everybody on set. He's not the kind of guy. But he did come up after that scene and kind of slapped me, gave me a little hug and said "Well done." He'd never ever done that before.
How often would you say someone says "I must break you" to you? Is it a daily basis?
It can be daily if I'm out and about. If I'm like walking the streets of Manhattan or whatever, then it would be daily. If I'm in L.A., and I'm in my car, it can be once a week or something like that. Yeah.
I'm interested to hear your perspective on that — on being associated for so many years with that line, that character and what he represents, for so many years. What's it like living with Drago and now playing him again and inviting even more focus on him?
I just had to stick it out for 35 years.
This is the reward?
Yeah, I had to do six movies with Sly to get the reward. [laughs]
That's what it's like. It's been a great blessing, because I obviously got into the business, but it's been kind of a curse as well because people hated me for many years. Then they thought "Oh he can't talk" or "He's a robot" or something. But then, with time, it sort of mellowed into something that people really appreciate. People got to know me a little bit, that I'm not Drago. But that part's become iconic and you're right — it's weird. It's like somebody else said in an interview with me, if you say "I must break you" anywhere in the world to anybody — whether they're in South America and the jungle or Indonesia — most of them know what that is. It's like playing the Rocky music. You play one bar and people know what the hell a movie is. It's weird.
You mentioned working with a Sly and I think you said he's he's mellowed since since Rocky IV. And there's a famous story of the fight in that movie between you two where you apparently hurt his heart with a punch and he had to get airlifted to a hospital or something. I've heard the story from Stallone's side — he tells it in interviews and Q&As — but I would love to hear your side of this legend and hear what really happened.
Well, he's like a masochist, you know.He loves to talk about about all these injuries. And it's true! I mean, he's amazing. He's been operated on worse than me.
But yeah, I was this Swedish kid who was a real fighter, and he was my boss and he told me to hit him a few times in the movie for it to look good. And for shots to the body you have to kind of lay it in there. And he was overworked and ... I don't know, I didn't see anything. He wasn't carried off on a stretcher from the ring, but what happened was we came back from Vancouver to L.A. and the producer says "Dolph, you've got two weeks off." And I'm like "Oh great. What's going on?" He says "Sly's in the hospital." It was like "Oh s—!" Then I heard the story.
My side of it is that I was very powerful. I was a very dangerous individual, as Mickey once said to Rocky. But I think he was overworked and that was part of the problem.
I read a few interviews where you talked about your relationship with your father. And Creed II is all about fathers and sons with very complicated connections. The whole Drago storyline is about that. Is that something that you drew on when you were making the film?
Yeah, for sure. Steven wrote that in the script. It was just perfect timing, because I've been in therapy and I meditate and try to get rid of some trauma from my childhood. My dad was a genius in some ways and he was crazy in other ways. He was very abusive. I loved him and I hated him at times. I've forgiven him — he grew up during the Depression, where people were starving to death. He grew up in a different time.
That relationship was something I drew on. It kind of gave me a chance to be him; to be the other side, to see from his point of view. And it made me understand him a little bit, and it made me very emotional. A lot of times Steven, he'd go up to the set and talk to the actors. With me, he just had to come over and say "Okay, remember that place?" He would just say something like that. And I could work it out.
And I think a lot of men — speaking of things like #MeToo. Women are being mistreated, yes, I agree. They have been, and they should be be well-treated. But hey: A lot of guys are also mistreated and they can't say anything. In our culture, you're not supposed to say anything, you're not supposed to complain. Look at a lot of men. They are treated badly as kids and then in many countries they have to go out and to join the army, get blown to pieces, and kill other men. And then they can't complain about it. So yeah, hopefully this film, a lot of people are going to see it and a lot of guys who have problems with their dads are going to get something out of it.
Creed II opens in theaters on November 21.
ScreenCrush's 'Creed II' Review
Source: Interview: 'Creed II's Dolph Lundgren on Why Being Ivan Drago Is a Blessing and a Curse
Filed Under: Creed 2, Dolph Lundgren, Steven Caple Jr., Sylvester Stallone
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Copyright © 2017, Best Supply Ltd.


Jack Pearce is a London based artist whose work often revolves around 'dudes having a good time' or 'Bromance'. His themes carry a native feel combined with elements of popular culture, including hats and skateboards. Using Indian ink and a paintbrush he creates bold black lines that give his characters a dark and ominous glare. Jack's studio is currently based in an abandoned canteen where he is able to work freely on his larger scale signature characters. Jack's second solo exhibition will be opening at Atomica Gallery in May 2015 – with a new take on his classic 'bros'!


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EBRD to invest in major landfill near Serbia's capital
The sun is reflected off the windows of headquarter of the European Bank for Reconstruction and Development (EBRD) in central London
BELGRADE (Reuters) - The European Bank for Reconstruction and Development plans to invest 72.25 million euros ($78.86 million) to help Serbia's capital Belgrade in the cleanup of a huge landfill just outside the city and construction of a new one, the lender said on Wednesday.
Serbia faces massive challenges to bring its long-neglected environmental procedures and greenhouse gas emissions to the standards required if it wants to join the European Union, a task estimated to cost around 15 billion euros ($17 billion).
The EBRD funds are needed for an energy-from-waste facility in Belgrade's suburb of Vinca where the landfill is located, a waste demolition plant, and also for the closing of the existing landfill and making of a new EU-compliant one.
"The EBRD is contributing a 72.25 million euros loan for its own account, while arranging a syndicated loan of 35 million euros for the account of participants," the lender said in a statement.
The EBRD will also "mobilize 21 million euros in concessional finance" funded by TaiwanICDF development fund, it said.
"Closing the old site – which poses a major environmental and health risk, including the pollution of the nearby river Danube ... is a top priority for the government of Serbia and the City of Belgrade," it said.
Serbia recycles only around 3 percent of its municipal waste and up to 40 percent of packaging, far from the 65 percent required by the EU by 2025.
The total investment "will be mobilized" by Beo Cista Energija Ltd., formed by the SUEZ utility company, the Japanese conglomerate Itochu and Marguerite Fund, a equity fund which is investing in renewables, energy and transport, the EBRD said.
In 2017 the three companies entered a 25-year public-private partnership with Belgrade's city hall, making it the first such large-scale environmental investment in the region.
The new landfill will have the capacity to process around 510,000 tonnes of household waste and around 200,000 tonnes of construction and demolition waste per year, the EBRD said.
(Reporting by Aleksandar Vasovic; Editing by Chizu Nomiyama)

redpajama_set_name: RedPajamaCommonCrawl


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Truman sought single payer. His failure led to Kennedy and Johnson, who confined their ambitions to poor families and the elderly. Then came Nixon, whose reform plan was entirely based around private insurers and government regulation. He was followed by Carter, who favored an incremental, and private, approach, and Clinton, who again sought to reform the system by putting private insurers into a market that would be structured and regulated by the government. His failure birthed Obama's much less ambitious proposal, which attempts to reform not the health-care system, but the small group and nongroup portions of the health-care system by putting a small minority of private insurance plans into a market that's structured and regulated by the government, and closed off to most Americans.
It is not hard to imagine health-care reform following a similar path.
That's a little long, but I think it's important. Tens of thousands of Americans die preventable deaths every year because they don't have health insurance. The new, reformed system will save lives, and it will give us something to build on in the future.
Even though I really, really wanted to sign on with a public plan, dammit.


Recently, my novel was handed over to the publishing company. It has taken a mere sixteen years, since it was first conceived, for the submission of this final copy. Finally, after countless chides from my family to get it published, numerous edits, and one title change, One More Tomorrow is officially out of my hands.
The process of writing a novel—or the creation of any art form for that matter—bears some striking similarities to our lives. Well-lived lives, like well-written books, are crafted by thoughtful decisions, intentional choices, inspiration, imagination, creativity, and untold toil undertaken over its entirety. Even as I handed my manuscript over, I knew it would never be perfect. There could forever be tweaks, cuts, and additions, but there was a deadline, and so I gave it away.
Our lives are just the same.
It too will never be perfect. It has a deadline, and you need to give it away.
No matter how hard we try, no matter how we imagine it, painstakingly craft it, and steer the process, our lives will never measure up to our expectations. Our days, we ourselves, will never be flawless. There will be times when those around us will fail us, circumstances will crumble, and we will be less than perfect.
But the here and now, and all that we make of it, isn't all there is. And despite all our efforts—all our cuts and edits—to achieve perfection, we can't become good enough for all that comes after this life. We weren't meant to achieve perfection, nor was life meant to be perfect. Because this life, with all its aches and pains, is not heaven.
As bleak as this sounds at first appearance, it's actually good news. Forget trying to be flawless like you wish the manuscript, the painting, the song, or the dance of your life to become. There will be plenty of time for that later when perfect is the norm. But like my book, our lives have a final submission date. That date occurs on the day you pass from life, to death, to eternal life.
Until then, we can rest in knowing that there's nothing we can do to be good enough for this moment—for eternity. No amount of hard work, good behaviour, rule following, or believing we are better than the person next to us will gain us an admission ticket into heaven.
Jesus alone bought our passage; we only need receive it by faith.
Everything else, the cuts and edits, will come as a result of his life in you. You give away your life's manuscript, and he does the work crafting it—and you—into his masterpiece. He's the only one who can make you fit for forever.
Have you found your rest in Jesus? I would love to hear your story!
The day after Christmas, my lifelong friend's father passed away. Hearing the tributes at this man's funeral made me consider what a well-lived life looks like and reminded me that our time here is limited.
So much of our lives can be spent on achievements – the gaining of accolades and things, yet it's the unremarkable, ordinary bits that have a way of squeezing to the forefront, while the larger become the lesser and blur into the background.
We each leave an impression; our own individual indent on our patch of time here on earth. The things we do are meaningful – even the smallest of them. Surprisingly, the most mundane, everyday bits are perhaps most memorable – the parts lived in-between the "big stuff" instead of that which we might consider the main or most prominent events.
The echo that remained in the wake of this father's last days wasn't the accumulation of treasures and trophies, degrees or diverse portfolios. Resonating most powerfully was the very ordinary way in which this man lived his life and how a final decision altered his eternity.
It appears the achievements of a life well-lived are not actually the "achievements" at all. Paradoxically, greatness may resonate most fully through quiet kindnesses, a hand held out to the needy, a listening ear, or simple silence – the countless breaths between the fanfare.
I was also reminded of how, as long as you have breath, it's never too late to find God.
This same father wondered why he had let go of God at the age of fifteen, and if it was too late for him. He had spent fifty-nine years away from God, but grasped hold of the Father two short days before he died.
See…even if, in the last cluster of moments, we wonder for half a heartbeat if there is still room in heaven for us, still a hope, still a chance to return from a lifelong detour, even then God's offer still stands, even then His embrace is fully enfolding, even then heaven assured.
There is always room enough for you and me under heaven's canopy.
May you experience an extraordinary life in Christ.


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Nintendo's long delay in releasing a competing 3D console and the damage done to Sega's reputation by poorly supported add-ons for the Genesis (particularly the Sega 32X) allowed Sony to establish a foothold in the market.
The Play Station was immediately successful in the U.
Released in Japan to a subdued reception, the Dreamcast enjoyed a successful U. launch backed by a large marketing campaign, but interest in the system steadily declined as Sony built hype for the upcoming Play Station 2.
Sales did not meet Sega's expectations despite several price cuts, and the company continued to incur significant financial losses.
As of August 1997, Sony controlled 47 percent of the console market, Nintendo controlled 40 percent, and Sega controlled only 12 percent.
After a change in leadership, Sega discontinued the Dreamcast on March 31, 2001, withdrawing from the console business and restructuring itself as a third-party publisher. Although the Dreamcast had a short lifespan and limited third-party support, reviewers have considered the console ahead of its time.
Its library contains many games considered creative and innovative, including Crazy Taxi, Jet Set Radio and Shenmue, as well as high-quality ports from Sega's NAOMI arcade system board.
The price reduction and release of Namco's Soul Calibur helped Sega to gain 17 percent on its shares."Let's take the conservative estimate of 250,000 Dreamcast units at presage—that's a quarter of a million units at 0.
We'll have a ratio of 1.5 or two games for every Dreamcast unit sold. We think we'll be .5 to one on VMUs and peripheral items such as extra controllers and what have you. What has ever sold to million in the first 24 hours? Peter Moore, a fan of the attitude previously associated with Sega's brand, worked with Foote, Cone & Belding and Access Communications to develop the "It's Thinking" campaign of 15-second television commercials, which emphasized the Dreamcast's hardware power.
In 1997, Irimajiri enlisted the services of IBM's Tatsuo Yamamoto to lead an 11-man team to work on a secret hardware project in the United States, which was referred to as "Blackbelt".
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* If your JL was equipped with LED turn signal lights from the factory the provided marker lights will set off the dash light. If you JL came with halogen turn signals then the lights work seamlessly.


text:
package com.readytalk.swt.widgets.buttons;

import java.util.ArrayList;
import java.util.List;

/**
 * Currently this is primarily used for square buttons used like a toggle.  It does nothing for layouts, but acts as a point of control.
 */
public class SquareButtonGroup {
  private List<SquareButton> buttons;
  private List<SquareButton> toggleableButtons;
  private SquareButton currentlyToggledButton;

  /**
   * You can add any SquareButtons to a SquareButtonGroup.  If they are toggleable then the group will
   * link them together so they can act like radio buttons.  The first button in the list will be set on by default.
   *
   * @param buttons
   */
  public SquareButtonGroup(SquareButton ... buttons) {
    this.buttons = new ArrayList<SquareButton>();
    this.toggleableButtons = new ArrayList<SquareButton>();
    for(SquareButton button : buttons) {
       addButton(button);
    }
  }

  /**
   * Call this to explicitly pick which button is toggled in the group.
   *
   * @param button
   */
  public void setCurrentlyToggledButton(SquareButton button) {
    setCurrentlyToggledButton(button, true);
  }

  private void setCurrentlyToggledButton(SquareButton button, boolean simulateClick) {
    if(simulateClick) {
      if(isStrategyValid(button)) {
        executeStrategy(button);
      }
    } else {
      currentlyToggledButton = button;
      button.setToggled(true);
    }
  }

  public SquareButton getCurrentlyToggledButton() {
    return currentlyToggledButton;
  }

  /**
   * Internal method, will return true if the button is toggleable.
   *
   * @param button
   * @return
   */
  boolean addButton(SquareButton button) {
    boolean toggleable = false;
    buttons.add(button);
    if(button.isToggleable()) {
      button.setDisableDefaultToggleClickHandler(true);
      toggleableButtons.add(button);
      injectStrategy(button);
      if(currentlyToggledButton == null) {
        setCurrentlyToggledButton(button, false);
      }
      toggleable = true;
    }
    return toggleable;
  }

  void injectStrategy(final SquareButton button) {
    button.addStrategy(new SquareButton.ButtonClickStrategy() {
      @Override
      public boolean isStrategyValid() {
        return SquareButtonGroup.this.isStrategyValid(button);
      }

      @Override
      public void executeStrategy() {
        SquareButtonGroup.this.executeStrategy(button);
      }
    });
  }

  boolean isStrategyValid(SquareButton button) {
    return (currentlyToggledButton != button);
  }

  void executeStrategy(SquareButton button) {
    button.setToggled(true);
    currentlyToggledButton = button;
    for(SquareButton otherButton : toggleableButtons) {
      if(currentlyToggledButton == otherButton) {
        continue;
      }
      if(otherButton.isToggleable()) {
        otherButton.setToggled(false);
      }
    }
  }

}

redpajama_set_name: RedPajamaGithub