A Goldmine of Archives

I began by gathering every existing piece of information: scouring the internet, dissecting magazines, and analyzing autobiographical books. Each of these sources held incredible discoveries—details buried in interviews, forgotten articles, and personal accounts that had never been fully connected before. It was already a massive undertaking, a puzzle slowly coming together. Then, I delved into the archives of local press coverage from the film’s shooting location, Hope, British Columbia.

This allowed me to cross-check a huge amount of information. But my greatest hope was to get my hands on actual production documents—the kind of material that could reveal the unseen side of the film’s making. And after relentless searching, I finally succeeded. I managed to obtain an incredible collection of archival materials directly from the film’s producer, Buzz Feitshans. A treasure trove of call sheets, memos, casting notes, budget reports, shooting locations, props, costumes, and more. It was a breakthrough—an unprecedented dive into the film’s history. These fascinating documents enabled me to reconstruct, piece by piece, the complete story of how First Blood was made.

Exclusive interviews

It was essential for me to speak with those who were directly involved in the making of the film. I reached out to everyone still alive who had been part of the production. Through this process, I conducted more than thirty interviews, collecting unique testimonies from actors, stunt performers, technicians, extras, the film’s military consultant, and even the emergency doctor on set.

I was absolutely honored and thrilled to speak with so many people involved in the making of First Blood. They were all incredible—not only for agreeing to talk to me but also for making the effort to recall, in detail, what they experienced on set more than 40 years ago, answering very precise questions and digging into specific moments of the production. Some interviews lasted more than four hours. Absolutely memorable conversations!

Among them were actors such as Chris Mulkey (Ward), Patrick Stack (Captain Morgen), and Grandmaster Stephen Chang (Viet Cong Commander). I also spoke with Diamond Farnsworth, Stallone’s stunt double on the film, and Jacob Rupp, the stuntman whom Stallone knocks off the motorcycle. There was also Jack Gill, who doubled Stallone in certain motorcycle sequences, as well as the film’s brilliant editor, Thom Noble (who, by the way, confirms that the supposed 3-hour cut Stallone mentions never existed). I even had the chance to interview Chuck Tamburro, the helicopter pilot, William Stout, the storyboard artist, and many more…

YVES PINOL

I vividly remember my first solo cinema experience—a defining moment. It was a Saturday at 2 PM, March 19, 1983. I was twelve. That screening hit me hard, a true “cinematic punch.” And the film? First Blood.

Already passionate about cinema, that film ignited an insatiable curiosity in me. I wanted to understand every element behind a movie—how it was made, the techniques that stir deep emotions, and the hidden cinematic tricks that bring a story to life.

In the early ‘90s, my studies at film school opened up a whole new dimension. I discovered the vast network of professions that shape a film and realized that beyond the director’s vision, every movie is a collaborative effort, the result of a dedicated team working behind the scenes.

With a growing appetite for film analysis, I began teaching film courses and writing for magazines. At the same time, I launched my career in video production, founding my own company, where I produced corporate films and advertisements. I also ventured into fiction, writing and directing several short films.