Toad Warrior is the third entry in the Frogtown series. It comes at a time when Jackson had fully embraced the zen film making model and was almost exclusively using his cast of stock players. As such, it feels less like a Frogtown movie and more like a late career Jackson film. Not only is Jackson using his Maximo T Bird pseudonym, but he is crediting himself as the writer of the “scream play”
I fear for this film…
Once again, Max Hell retains the name but is a completely different character. This time played by Scott Shaw, he’s a sword wielding lone warrior, very reminiscent of Shaw’s Hawk from “The Roller Blade Seven”.
The film opens with as Max Hell sails over the desert in a parasail plane, over the heads of two Frog people before exiting the vehicle, samurai sword in hand. The toad people are obviously guys in leftover masks from the other films. There’s no attempt to even hid it. We see pink, human legs protruding from shorts, and Caucasian hands. It doesn’t help that these were among the last scenes to be shot, when the project was already running out of steam.
Shaw rescues a busty blonde, and the two leap into a passing pick up truck to try and escape, but one of the frogs gets in the bed and Shaw has to bear knuckle it out with him!
At this point I’m already checking my watch. 80 minutes, I think I can handle that.
Joe Estevez is a mob boss or loan shark of some sort who appears to be trying to extort one of the frog people. The frog boss hires Max Hell to go take Joe out. I Gotta admit, the banter between Shaw and Humphrey Bullfrog is a little fun – it almost feels like there may have been a partial script for this film despite being billed as a Zen film. Fun fact, Humphrey Bullfrog is working out of Donald Jackson’s actual studio office.
Mr. Big’s ninja henchmen kidnap the beautiful blonde scientist who is the only one who can transform frog DNA into human, and Shaw is off to rescue her.
This film actually seems to be very self-aware, and playing a lot of things for laughs… Part of me wants to make fun of the lounge singer girl crooning her rendition of “my kind of frog “, but it’s actually tradition at this point and it’s actually better than the bizarre musical numbers that showed up in the previous film. The fact that this movie seems to understand it’s kind of a joke makes it an easier pill to swallow somehow. This one takes place after the “frog was “ when the scientist unleashed the green plague and humanity.
It’s also notable that Scott Shaw delivers his dialogue far more convincingly here – it appears he’s actually got some acting chops that are properly showcased. It also actually ends up being a much better showcase for Scott Shaw’s martial arts skills than the Roller Blade films were.
The production quality however has sunk down into that $30,000 level that Jackson was making films for the time, and it really shows. It affects this film more than the reduced budget would with the Roller Blade movies. Those things NEVER had any money behind them so we were used to it. But Frogtown, particularly the first one was a reasonably high budget production at about eleven million dollars. For it to sink down to $30,000 really shows. Toad Warrior ends up feeling more like a fan film then a professional production, with things like a shot on Jackson’s favorite overpass above the busy 170 freeway. The cars showing up in the background undermines the whole post apocalyptic world schtick. There are sets that are basically been built out of curtains, loud background noise and incomplete costumes. All hallmarks of Jackson’s late career work. The main things that give this any sort of credibility are the masks, and yet those seem to still have been left over from previous films. Did I mention there is another hand puppet on this one? The Roller Gator from Jackson’s kiddie flick of the same name gets a cameo in a scene where Conrad Brooks (still a swamp farmer) attempts to nap. Sure there are b-lister stars in the movie, but even my 10-year-old daughter managed that for her backyard zombie films!
There is a story in here somewhere, but it gets lost as people meander around and we end up with a lot of disconnected fight scenes and bits of random exposition that don’t really move the story forward.
It’s important to note that IMDB lists a fourth movie in this series. “Max Hell : Frog Warrior” is not really a sequel. Like “Legend of the Roller Blade Seven” or “Hawk : Warrior of the Wheel Zone” Max Hell is actually a re-edit of Toad Warrior. Toad Warrior never had a proper release in the US, only playing theaters in Japan, Malaysia, and the Philippines, and for good reason. Neither Shaw or Jackson were happy with the final cut.
“I don’t know if it was the lack of technology at the time, laziness, or just the fact that the editor was more locked into a sense of Traditional Filmmaking than Zen Filmmaking but he and Don really missed the mark on the original edit of Toad Warrior.” Shaw recalls.
“He didn’t like the edit either. He asked me if I wanted to redo it. But, there wasn’t time. To me, the edited film kind of felt like they were just filling in the required eighty-two minutes that it takes to make a movie viable for international sales.” The film was for technically for sale, but not being pushed. Jackson and Shaw were only looking for theatrical deals, which they found in the East.The result was “Post the 1996 AFM Don and I buried the film. We planned to reedit it but we were busy and we never got around to it.”
Somehow, a distribution company managed to turn up a beta master of the film, and dumped it onto a compilation DVD with several other movies. Shaw and Jackson had never wanted this version of the film released in the West. To add insult to injury many of the titles and screen credits of this version were incorrect. An entire stretch of film (the section in the truck and lab) had the audio track missing. By this time, Jackson had lost his battle with cancer so Shaw, now the sole copyright holder chased them down. Due to copyright infringements, this DVD was eventually removed from the market without the need for a lawsuit, but the damage was done. The film was out there.
It was time for Shaw to release his own edit. “What else could I do? I don’t like the cut. Don didn’t like the cut. But to kept that unauthorized version from being the only version of Toad Warrior out there I had to release the authorized version.” Shaw would lengthen certain scenes shorten others. The lab scene was jettisoned, and the entire thing was shortened. It’s interesting to look at both movies side by side, but they both boil down to essentially the same film – the one Jackson and Shaw attempted to bury in the days before internet. Perhaps best to leave it buried.
Return to Frogtown begins in a darkened hall where the frog leader declares it time to rise up and throw off the yoke of slavery! Basically the first few moments are to let you know straight off just how over to top this movie is going to be. It goes even further than the first film and that’s no small feat.
The frogs look good as ever, and I wonder if Jackson made off with some of the masks that Steve Wang had crafted for the last film (Things do go missing from studios from time to time after all). The credits on the other hand, look cheap and shortly we find ourselves in a marble yard that may be the same one he filmed “The Roller Blade Seven” in one year prior. The toad warriors are hunting as a torn old flag flutters overhead. It doesn’t look as if the lips can move on these frog masks being used for the long outdoor shot (There’s a hero mask for indoor close ups with some very basic up and down movement on the bottom lip, but that’ll be it). Not a big surprise. Indie film making usually involves a slashed budget and Jackson is back to his old tricks, overdubbing the whole thing with hollow, tinny sounding looping. He’s chosen appropriate voices, deep and menacing, but the poor dubbing throws the whole feel of the film off – especially when you’re outside. Inside we can forgive a little echoey sound but outside with no lips moving and poor looping… Well that’s classic Donald G Jackson. Still, Robert Z’Dar, Lou Ferigno and even Brion James all show up in the credits which leaves me feeling hopeful.
Then the rocket man appears in the sky, and I’m pretty sure I know exactly what kind of film I’m in for. It’s Ferigno playing ranger John Jones (named after a different green guy than the one he normally plays) and now he’s trapped behind enemy lines.
Robert Z’Dar, One of the futuristic Texas Rocket Rangers (who dress like the Rocketeer only with the helmet on backwards) is assigned to go fly in and find him. Apparently he’s playing Roddy Piper’s character in this installment, I am somewhat mystified as to why they didn’t just create a new protagonist. There is no resemblance between the two incarnations of the character, physical, behavioral or otherwise. Z’Dar is given free reign to do his own thing. He’s accompanied by Denice Duff playing Dr. Spangle. Again, we have a character with the same name from the first film, but who has no actual resemblance to the previous outing. Spangle was blonde, smart and all business in the first one. In this film she’s a spunky brunette sidekick and I think I actually like her better. (To be fair though, that could be just my affection for Duff coming through from her time in Full Moon’s Subspecies series….)
In the meantime back at Frogtown, the toads interrogate Ferigno to discover the secrets of the rocket pack. It almost feels like Jackson is creating a serial here, He’s obviously influenced by the old Commander Cody episodes and stuff this film full of monsters, jet packs and cool vehicles – gun cars and dune buggies.
Frogtown in this installment is an old western ghost town rather than the industrial hellscape of the previous film. That stupid sign is upfront again too, “If you lived here you be home by now”. Jackson seems to have as much of an obsession with this gag as he does with samurai swords. The stock background along with the expressionless masks, limited jaw movement, and hand puppet mutant (and what’s with Jackson’s fixation on puppet nookie anyhow?) give the film a distinctly power rangers sort of feel. This thing is practically a cartoon.
Ferigno is still being interrogated and drugged, but now we see he is slowly being turned into a mutant as well by mad scientist Brion James in the single most uncharacteristic role I’ve ever seen him in. It’s a bizarre. He’s a poindexter type of character, with frizzy hair so wild that it would shame Larry fine.
In the meantime, because this is the 90’s and we’re still recovering from Vanilla Ice’s “Turtle Rap” in the second Teenage Mutant Ninja Turtles film on year prior, Donald Jackson felt it was very important to include a nightclub scene that featured a four-minute long original song sung by a band completely comprised mainly of mutant frog people and their slave girl dancers..
The Texas Rocket Rangers are captured, but still determined to break Ferigno out. Lou for his part, is looking greener every minute and I’m afraid he’ll hulk out at any moment! I mean that as a joke, but to be fair, Ferigno does bust them out of their prison cell by literally ripping the bars out of the window.
Shotguns in hand, they attempt their escape with the mad scientist and his formula to turn people into frogs. Only Z’Dar is able to slip away, with the help of the hand puppet. He almost makes it, long enough to Don his rocket pack. Suddenly, before he can tak off, he’s surrounded by frogs.
The frog master find the humans guilty of crimes against frog kind (Now there’s a sentence I never thought I’d say). Seconds before they’re executed, another Texas Rocket Ranger sweeps in and rescues everyone, blasting the frogs back and freeing Sam Hell up to shotgun everything in sight. This begs the question why they didn’t just swoop in like this this in the first place, (but that’s okay. The film still clocks in at under 90 minutes) Even the turtle head with the gatling gun is no match for our rocketeer wannabes and their hand puppet.
The frog man says “I’ll be back “more frequently than Arnold Schwarzenegger.
We find ourselves in a climactic battle of katana versus katana in a smoky room and we get a somewhat surprising twist with the frog master just before everything blows up.
It’s goofy dumb fun, and a little more unintentionally campy then the original film, but still passable. I’d probably be upset if I paid money to watch it, that wouldn’t necessarily turn it off if it were on cable. The Asylum has done far worse.
Sometimes, I almost forget that Donald Jackson made some fairly legit films. “Hell Comes to Frogtown” is one that even I’ve heard of, though I’ve never seen it before. Still, of Jackson’s filmography, it’s the one that is probably the most recognizable. It’s postapocalyptic, which is right in Jackson’s wheelhouse and looks like it was even filmed in some of the same places he’d use for his Roller Blade series (that’s not surprising. Jackson LOVES his five or so stock locations).
Mutants have kidnapped fertile women, and Rowdy Roddy Piper as Sam Hell ride a shockingly pink truck straight into Frogtown to go and rescue them… and also possibly impregnate them. The role was originally written for a friend of Jacksons, but New World pictures decided that the film need some star power and offered it to Tim Tomperson. I can’t help but wonder how it will be different with him in it. When he passed, New World decided to go with Piper because of Jackson’s previous association with the world of wrestling in his documentary “I Like To Hurt People”. It’s bold casting, considering this is before “They Live” and Piper was an unproven quantity, but he’s actually pretty delightful in this film. I’ve always had a kind of low opinion of him, I’m not into wrestling and I don’t enjoy “They Live” but the way he chews the scenery and goes off on rants here is incredibly amusing. Even more amusing is the high-tech chastity belt they’ve strapped on him to ensure his cooperation. He’s a good pick for the role, his own inherent absurdity matching the lunacy of the film and its premise. Tomperson usually plays characters more straight and I can’t imagine him pulling this off with quite as much fun as paper did.
It’s the bizarre sort of film where women wear camouflage lingerie and fight frogs after all. A world where hot lady frogs throw themselves at Piper, much to his extreme discomfort (Even if she is wearing a bag over her head).
I don’t believe rowdy Roddy Piper for a moment when he says “I’m not just a machine you can turn on and off whenever you want to!” It seems somewhat out of character for him to be so reluctant to knock these refugees up. And yet, he rises to the occasion when it’s time for him to be serious and touching.
“The war was a long time ago,” she tells him. Piper turns and looks at her sadly.
“Not for me…”
I totally buy it.
They make their way into the Frogtown, an abandoned factory complex with Piper’s handler Spangle posing as his prisoner. They are greeted by a sign “Welcome to Frogtown! If you lived here, you’d be home by now! “. Jackson would use this joke again in “The Roller Blade Seven”, with a similar sign in the wheel zone. It wasn’t funny then either.
Inside the bar, we get our first look at the frogs. A go-go dancer struts her stuff on the table as other mutants drink. The make up reminds me a great deal of the lizards from “V”. Piper seeks out somebody to barter with, and encounters a frog in a fez. He’s totally playing Sydney Greenstreet’s Signor Ferrari character from Casablanca, only he’s a frog. Fez Frog serves Piper slightly radioactive beer and kicks off negotiations. There is something slightly disturbing about watching a giant bull frog ask if pipers slave woman can dance, before handing her over to another mutant frog with an eyepatch. It’s these little touches that really sell the characters, and I’m not sure if they’re really meant to be comical or not. The comparison to Casablanca comes into even sharper focus when the deal is busted by the head frog who tells him he’s shut down till further notice!
Everything was going so well until Piper and his handler get captured. Then you find yourself all tied up with a mutant frog holding a chainsaw coming at you.
The good news is, the chainsaw managed to accidentally get piper’s high-tech chastity belt off without hurting him. The bad news is, the belt exploded while the frog was examining it. Actually, I guess that’s good news too… except it didn’t kill him, the detonation just sort of pissed him off. Still, that green blooded such and such doesn’t know who he is dealing with! Piper leas into action, quickly dispatching the frog, then rushing off to save Spangle from the king frog with two wangs.
It’s fun direct to video sort of action, with just enough humor to land jokes and keep things light without turning the film into an out and out comedy. The whole thing has almost a Troma feel to it in its independence. Frogtown makes all the absurdity in it do exactly what it supposed to do… It amuses. It’s fun.
Daniel Jackson always resented the tight rein New World pictures kept in this, but I’m not so sure he should. This is arguably his best film, he seems to do much worse than his own. Despite having a co-director and a co-writer, it’s still distinctly Jackson, with the setting, the fixiation on samurai swords, and the general weirdness of everything. I have to wonder if he’s not better when he has somebody to reign in his wilder ideas. I also for the life of me can’t imagine how he could make a film like this on his future budgets. After all, there’s two sequels that follow this movie. I guess we’ll find out!
“The meek will inherit the earth!”
“Not without a good lawyer.”
– Deleted line from “Hell Comes to Frogtown”
“Hell comes to Frogtown” is probably the most recognizable film Donald G. Jackson ever made. But it has a long history that goes all the way back to Jackson’t previous film, Roller Blade.
There is a section in L. A. they actually call Frogtown. It seems that back in the 1940s this part of the city was overrun by hordes of Frogs, an event that inspired its name. One of the actors in Roller Blade lived in this area, and Don was on his way up to see him. It was the actor, who’s name was Sam Mann, who came up with the title, Hell Comes to Frogtown. The name intrigued Jackson, and he tucked it away in the back of his mind.
“Crazy titles were getting the be the big thing. You could actually sell a movie on the strength of the title”
The title “Hell Comes to Frog town certainly fit in with the weirdness of other films like “Attack of the Killer Tomatoes” or “Killer Klowns from Outer Space”. It had potential, but was no time to start planning another film though He still had “Roller Blade” to complete as well as his night job to do. Jackson had worked with both Dennis and Bob Skotak (Who would soon become famous for their visual effects work on films like “Aliens”, “The Abyss”, “Terminator 2” and “Escape from New York”) back when they were still in Jackson’s native Michigan. Bob was the first to reach Hollywood (and had actually been the one responsible for hiring James Cameron in to New World). Dennis followed shortly after and Jackson had leveraged these connections to get his current gig at New World Pictures. It was at this night job for New World pictures that Jackson met Randall Frakes. The twilight shift pretty much consisted of the two men and no one else.
“We worked the midnight shift, setting up effects shots for the Skotak brothers to shoot during the day. During that time, Don and I bonded, and he talked about the kind of movies he loved and wanted to make.” Both were fans of old serials like “Flash Gordon”, “Captian Video” and “The undersea Kingdom”. These films would be huge influences on “Hell Comes to Frogtown”. There in the gloom of the FX studio, Frakes and Jackson let their imaginations run wild. “Working night shift, had time while babysiting the computer cameras doing visual effects to come up with all these bizarre concepts, come up an idea for a screenplay about murders happening in a special effects facility”
Meanwhile, Jackson was just about to wrap on “Roller Blade” when he received what he considered to be an omen.
“I was shooting the very last shot of the movie, I turned around and someone a gang memeber or somebody had spray painted on a brick wall the name “Frogtown” and I turned to the actors I was working with and said “That’s a sign. That’s our next movie; Frogtown”.”
He headed back to the studio but made a wrong turn and got lost, eventually finding himself in strange area, overgrown and full of graffiti on the walls. It’s featured in “The Running man” and “Alien Nation”. Jackson dubbed it “Grand Graffiti train station” and flagged down one of the homeless people squatting there. He convinced the bum to take him on a tour to showcase all the points of interest, and that’s where the world of Frogtown started to coalesce in Jackson’s mind.
Back at New World, the accountants were tallying up the profit on Jackson’s direct to video “Roller Blade”. With revenue topping one million dollars, New World decided to call Jackson back in t osee what else he had to offer. Jackson had one word for them. “Frogtown”. New World didn’t even blink. They set him up with a 150,000 budget and assigned the film to home video.
With the movie now greenlit, it was time for Jackson to call Frakes. During those late night FX sessions, Frakes had constantly tried to stress to Jackson the importance of scripting when it came to story. Jackson was ready to make him put his money where his mouth was. They met at a Mexican restaurant where Jackson bought them enchiladas and pitched his idea to Frakes. He had a page full of notes and ideas about a place called Frogtown and a dystopian future where the main character was the only fertile male on the planet, battling mutant people who looked like frogs. Looking down ant the page of ideas, Frakes was transfixed.
“I looked at it and the whole movie—from beginning to end, pretty much the way the first draft was written—just started playing in my head. I looked at the one-pager in a sorta trance for about 15 minutes.”
Frakes broke out of the trance when Jackson pointed out his enchilada’s were getting cold. Jackson was in a hurry to have a script to show to New World. Frakes rose to the challenge and declared he could have a full script delivered to Jackson in a week. Jackson was skeptical, but willing to gamble. He offered Frakes a five hundred dollar bonus if he made the deadline. Frakes accepted the deal, and began work on the script. Jackson followed him home and watched over his shoulder as he pounded out the screenplay on his battered old typewriter.
“It was pure stream of consciousness stuff—something I’ve never been able to repeat—and it resulted in a script 120 pages long.”
Not confident that the script alone would truly capture his vision, Jackson commissioned a comic adaption to illustrate the look and feel of his world, pulling from the rich underground comic scene he was so fond of. Max Hell stemmed from Spain Rodriguez’s “Trashman” while the frogs were inspired by a combination of Vaughn Bode’s Junkwaffle soldiers and Kevin Eastman’s Teenage Mutant Ninja Turtles (Jackson would later work with both Eastman and his wife Julie Strain in his independent film days). He started binding the seven page comic in with the script, making it an eye catching point of interest.
Pre-Production began. Frakes and Jackson were planning to shoot as much of the film as possible on hand-held cameras, giving them a greater freedom of movement. Creature Effects artist Steve Wang, fresh off “Predator” and “The Monster Squad” was brought in to design the frogs. Jackson wanted something catchy, visually interesting. Something he could build a franchise that could be spun off into toys, cartoons, comics and merchandising. Wang drew up the designs in half an hour. Meanwhile, Wang was introducing Jackson to eastern Kung-Fu films and suggesting gags for wirework in Frogtown. Jackson was eager to try it all out.
Elsewhere, the comic adorned screenplay for “Frogtown” managed to catch the eye of Robert Rehme, an established producer with a special flair for action films, and also the president of the Academy Awards. He passed it on to his wife to read and see what she thought of it. The next day she reported back that it was a uproarious send-up of Mad Max and the Planet of the Apes, only they’re frogs! Bolstered by this review, Rehme pulled the script from Home video and transferred it to the theatrical department, causing an uproar. The Video department was keeping New World Alive at the time and everyone knew it, causing a rivalry between the different sections of the company. Rheme pulling “Frogtown” was just the latest slap in the face.
It was however, looking like good news for Jackson and Frakes. Now a theatrical feature, New World increased the budget to 1.5 million dollars and made it a low budget SAG production. Star power was on the table with names like Tim Thomperson and even Jay Leno being tossed around. New World locked both Frakes and Jackson into a pay-or-play deal meaning that even if the film fell through, they would still get paid. Their end would be nearly one hundred thousand dollars. The deal, which sounded like a dream come true, would soon become a nightmare for both men.
“Signing that deal—because it was pay-or-play—meant that we didn’t really have any contractual power and could be fired on a whim if they felt like it. So we lost creative control at that point”
The first signs that Jackson and Frakes were no longer in control came in casting the lead. New World wanted Roddy Piper for Sam Hell. It was a logical choice because of Jackson’s previous association with rofessional wrestling, and piper was quickly becoming one of the biggest stars in the WWF. Piper however, didn’t feel he was getting the recognition he deserved.
“At WrestleMania 2, the entire audience just started chanting my name. Hogan got all sideways. I heard, “Oh, we’ll take care of Piper,” meaning “We’re going to try to downplay his product.” Well, I went and did a movie. So, that stuck harshly with Vince. It stuck in his craw and then Hogan and Vince did “No Holds Barred”. ”
Piper would meet with Jackson telling him “I want to do this part so bad Don, I’ll do it for free!”
Back in reproduction, the studio also nixed the opening stunt Frakes and Jackson had planned with stuntman who had designed a motorcycle that could do a flip and roll and always end up back upright. They planned on featuring this in the opening action scenes where the government forces captured Sam. New World decided that even with the newly ex-anded budget, such a stunt was too expensive and proposed instead an on-screen graphic, a WANTED poster for Sam Hell, overlayed with giant red letters reading “Captured.”. Frakes mentioned this problem to Jim Cameron. He was furious. Cameron went to New world and offered to give the production $100,000 to film the opening chase. New World wasn’t sure to do with this offer. They decided to play it safe and declined to take Cameron as an investor, even after he proposed to put his name (by that time a big box-office draw) on the film as a producer.
Soon the studio was questioning every move. Jackson, not used to such interference started to get edgy. Trouble reared it’s head during his very first day on set.
“They had an art director creating one of the sets. When he finished, I checked it out and it all looked too clean and pretty to be a part of the film. I told him about it, but he didn’t listen. He had all the arrogance of an art director and felt he had to answer to no one. So, when he stormed off of the set, I got a few can of spray paint and went and spray painted graffiti on the wall of the set. When he came back, he freaked out.“11.
Elsewhere, Frakes wasn’t being nearly as subtle in hiding his outrage. The main villian, a frog called “Commander Tody” (named after Commander Cody of the rocketman serials) had been designed with four arms. The plan was to slowly reveal this during the bar sequence. One arm moves as game piece. Another lifts a cup to his mouth. Another reaches out to shake hands, ect. The arms ahd been built and the puppeteers were practicing when a New World executive came to Frakes and suggested the arms would be too expensive to build and operate. (For some reason, even though the overall budget on the film had increased by a factor of ten, Steve Wang’s budget for creture effects had remained exactly the same). Frakes tried to appeal to logic, pointing out that the arms had already been constructed and the puppeteers were hired, keeping this from being an actual cost cutting measure. The exec was determined to have his way. Frakes leapt up on a table, and began to jump up and down as he screamed at the executive about how incompetent he was and what a ridiculous idea this was. The exec left, and headed over to another art of the studio. In an attempt to turn the tables on Frakes, he actually sought out Jim Cameron and posed the question to him, “We don’t really need four arms on this character do we?” Cameron looked at him incredulously. “The more arms the better!” he replied. New World stood by it’s people. The extra arms for Commander Tody were discarded.
Frakes’ outburst on the table did far less damage though than the memo he circulated the next day, calling out the exec for poor decision making, and New Worlds short-sighted move in backing up the administrative decision. Jackson was called into the head offices the next day and informed that Frakes was no longer on the project and that if he tried to come back on set he’d be arrested. Jackson assured the suits that he understood. He did. The next day he would start sneaking Frakes in through the back entrances instead of the front gate where they had his picture posted.
New World was also hedging their bets at this point and assigned a co-director to the project. A veteran sound editor for the last five years named R.J. Kizer. Jackson was insulted that New World was assigning someone with less directorial experience than him to be the lead director on the film. Kizer for his part wasn’t thrilled either. He’d shot some of the US footage for “Godzilla 1985” but this would be his first full feature and he didn’t quite get the strange tone of this weird little movie. He worked slow. Jackson continued to work fast.
Rowdy Roddy piper was also working fast to get u to speed with his acting coach. Frakes had expressed some trepidation when he was cast. Piper’s skills were unpolished and he had a tendancy to mumble. However, he rose to the occasion and filled the heroe’s shoes well. His coach pushed him further, actually filling his shorts with metal shards to make him uncomfortable when wearing the film’s high tech “chastity belt”. When you see him squirm and scratch, it’s for real. So is the fear on iper’s face later in the film when faced with a Frog weilding a chainsaw. The saw was Jackson’s homage to “The Texas Chainsaw Massacre”, and it was real. The studio was not pleased.
Jackson had already circumvented New World’s restrictions by building the “Frog Tank” for the climax of the film himself. As the money for “Roller Blade” had come in, Jackson had poured it into rebuilding a ‘62 Plymouth on a truck chassie, then spray painted it cameo colors. The vehicle would be used in several more films, including the second Frogtown movie. It even appeared at one point in an L.L. Cool J video. They were shooting at Vasquez Rocks and Indian Dunes (the last movie to be filmed at the Indian Dunes movie ranch by the way, before it was plowed under for a new housing development) away from Kizer. Unfortunately, the Frog Tank, which had performed perfectly in rehearsals, chose that moment to break down. It had to be kicked into neutral and pushed into every scene filmed, coasting past the camera. Jackson and Frakes struggled to get the ideal shots to make it look good. At one point, they needed a POV shot of a dead frog warrior, plunging off a cliff. A stunt person took the first jump into a mass of cardboard boxes, then they tossed an empty suit off the ledge and filmed it crashing into the ground. Finally, they achieved an overhead shot by Jackson bracing himself then grabbing Frakes’ ankles and dangling him over the cliff with the camera.
Finally, the studio had enough of Jackson’s renegade film tactics.
“I am a very hands on Director,” Jackson once said. “They told me, “Everybody has their job on a studio film. Yours is to direct the actors.” So, that was the beginning of the end.”.” Jackson too, would find himself fired and banned from the lot, though, once New World started to run into financial problems they invited Jackson back to consult on the edit. By the time it was ready for music, New World was in bankruptcy. The score was recorded in October of 1986, at Amigo Studios in North Hollywood, CA, with non-union musicians. In a final ironic twist, despite striking 2000 prints of “Hell Comes to Frogtown” for distribution in theaters nationwide, the movie still ended up going direct to home video.
R.J. Kizer would go on to direct only one more feature; 1992’s “Death Ring” starring Billy Drago as well as Steve McQueen’s son Chad and Patrick Swayze’s brother Don. He would spend the rest of his career back in the sound department. The creature effects in “Hell Comes to Frogtown” would catch the eye of Hollywood and Steve Wang would go on to be a much in-demand creator, providing creature effects for films such as A Nightmare on Elm Street 5: The Dream Child, Godzilla, Bicentennial Man, Reign of Fire, They, Darkness Falls, Underworld, Blade: Trinity, Underworld: Evolution and Aliens vs. Predator: Requiem as well as directing the Guyver movies and several episodes of Kamen Rider. Randall Frakes would go on to be a successful screenwriter, getting regular work on video games, TV movies and small indie projects. He’d team up with Jackson again for “Kill, Kill, Overkill” (aka “Twisted Fate”) and the first sequel to “Roller Blade”