This album is tribute to independent art, music and cinema around the world, regardless of budget or corporate/mob influence. This work has been reassembled with care with help from the original composers and artists who contributed to Pak’s vision.
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The following excerpt is taken from ‘An Encyclopaedia of Asian Sci-fi, 1980-2000’ (2022), Han Publishing (Translated from Korean).
Grid Warp II: Killzone (1995) dir. Pak Nam-Gyu
The cyberpunk classic that never was.
Despite finding success with the Cyber Crash movies (Machine Warrior, 1987, Virtual Weapon, 1989), Pak Nam-Gyu found he was unable to secure the budget required to realise his ambitious vision for the trilogy’s final chapter. He fell into something of a creative malaise for several months until a chance viewing of Charles Band’s seminal Trancers (1984) at a friend’s studio in Busan, South Korea. As the final credits rolled Pak declared that he would not shoot another take until he had seen how Band worked. He left for America three days later; yet another example of his obsessive, borderline maniacal, work ethic.
There are few recorded details of Pak’s early years in the States. Some sources have him working as a runner on the sets of the legendary Albert Pyun, refining his English and learning the techniques and methods employed on movies such as Nemesis (1992). Other reports state that Pak worked for both Band as well as pioneer Roger Corman between 1993-1994. Pak himself claimed to have had significant creative input on the concepts of artificial intelligence and visuals for Arcade (1993) and even wrote several key scenes on Band’s Crash And Burn (1990).
Whatever Pak’s actual exploits were, it is known for certain that during this period Pak stayed with an uncle in Korea Town. He was both fascinated and repelled by the accounts of the LA riots and the efforts of many Koreans, effectively abandoned by the police, to protect their families and livelihoods as society around them fell into chaos; themes that Pak would examine in his work repeatedly over his career.
Immersed in the twin themes of social unrest and isolation, coupled with the technical and storytelling skills gleaned from Band, Pyun and Corman, Pak began aggressively seeking funding for his own work. His lack of pedigree in the American market however proved to be an issue. In his desperation Pak pretended to be Godfrey Ho to obtain meetings with American producers but overall it seems that thematically Pak’s work was deemed too pessimistic to be profitable.
In mid-1995 Pak signed a contract to write and direct an English language movie in Hong Kong. Pak was outwardly apathetic about his return to Asia although he confided to his uncle that he took his failure in LA personally. Pak’s new project was funded by various shell companies linked with organised crime, likely Triad gangs, along with some ex-employees of Tomas Tang's Filmark International. Bizarrely it seems that Pak convinced financiers he had previously written and directed a cult hit in America entitled ‘Grid Warp: Techno Rites’. Pak had sold his project on the premise that there was an instant audience in the burgeoning American “cyberpunk’’ culture who were familiar with the original, not to mention significant European sales. Why this transparent lie was not uncovered by the financers is unclear. It has been suggested that Filmark head, Tomas Tang, was a fan of Pak’s early work and let the lie go unchallenged to allow Pak to keep face. Others have suggested that the money men knew that sequels were highly profitable and wished to see if it made financial sense to simply skip the initial instalment.
Regardless, Grid Warp II: Killzone joined a niche group of sequels that have no preceding chapter and Pak had the green light to start work on his first full-length English language feature. One that sadly, never was.
Early shooting was plagued by crew walkouts blamed on everything from bad-faith contracts to Pak’s relentless work ethic. Cash-flow issues meant delayed wages and cut corners on set; both cast and crew were unsettled by rumours of Filmark International's financial collapse. Even with shooting complete, Pak and the financiers fought on a range of issues dragging out production for several years, not least the musical score. Initially Pak had pushed for a reunion with long-time collaborator and university friend Lee Hae-Dong. The financiers however baulked at the time and costs involved, preferring to licence existing American pop and rock music, arguing that it would broaden the appeal of the movie in America. Pak refused and considered walking out on the project entirely. Instead, at the suggestion of Tang, he reached out to composer Richard Band (Brother of Charles Band) in America. Band was unable to commit the time needed, but he put Pak in touch with a group of anonymous composers networking within the new virtual spaces of the burgeoning internet. Many of these unknown artists were fans and sent Pak multiple tracks along with messages of support and encouragement. Emboldened by the response, Pak re-edited scenes to better complement the music. With the movie wrapped, the financiers and Tang were convinced that Pak had made something special; money was found to bolster the advertising campaign and there was talk of a national distribution deal in the USA.
Then, without warning, disaster hit; the notorious 1996 Garley Building fire broke out destroying the Filmark office, killing Thomas Tang and at least forty other occupants of the building. The other significant losses were original Filmark canisters, editing equipment, promotional materials and the only known prints of Grid Warp II. Movie fans across the globe will forever be worse off for the tragic loss of Tang, his team and so much of his legacy, of which Grid Warp II was just a part.
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Plot Synopsis
Taken from a press-release located in the basement of a defunct Lebanese cinema.
In 2151, the effects of a mysterious virus have pushed society to the edge. Rioting, looting and random acts of violence go unchecked. The Enforcers have abandoned the outer districts to focus their resources on protecting the Mega-Towers of the rich and powerful. When a data-heist goes horribly wrong, Graylock, an elite Netrunner, finds himself trapped in enemy Syndicate territory. Unable to return to safety via the battle-torn streets, Graylock takes to the rooftops in a bid to reunite with his scattered team. High above the burning city Greylock meets a half-dead Razorgirl smuggling data which suggests that the virus may not be all that it seems. Greylock is rapidly drawn into an ever-widening conspiracy involving corporations, the media and government that cuts to the very heart of a rotting nation.
supported by 20 fans who also own “GRID WARP II: KILLZONE”
I adore this! Music to dream to and drift away... the stuff of legends! WILL4IN should consider a re-release of the physical versions- I would buy! 😜 minus9
