Word: scripting
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Dates: during 2000-2009
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...most challenging? -Chelsea Olson, SEATTLEThat's a very hard question. It's like if I had more than one child, having to choose what child I liked, because each of them represent so much to me. For overall experience, I loved making Dangerous Liaisons. It was such a brilliant script and I love working with Stephen Frears. Big Chill - only the second movie I did - was a great experience, with another wonderful director Larry Kasdan and a great cast. Challenges I think would have to be Fatal Attraction because it was a very physical demanding part, and Reversal of Fortune...
...emerges from his first car chase complaining of a skinned knee and a potential asthma attack. Naturally, Farrell toughens up considerably by the time the last fireball blasts past his ear. Could the movie have used a few more grumbly witticisms from McClane? Absolutely. Could Mark Bomback's script have been more probable? Sure. Are we perhaps getting a little tired of movies over-loaded with high-tech gear, whirring numbers on multiple screens and the barking of incomprehensible instructions to the techies tapping away at their keyboards? I think...
What's most deeply pleasurable about You Kill Me is its unique tone. The script by Christopher Marker and Stephen McFeely (who number the rather different Chronicles of Narnia among their credits) is not one that goes for big laughs. It offers, instead, a steady mutter of eccentric situations and, better still, a whole bunch of glum and occasionally desperate characters whose depressive natures are hinted at but never boringly explicated. They appear and disappear rather casually in the story, which the director John Dahl (Red Rock West, The Last Seduction) paces expertly. His film moves not with the speed...
...Rings, but they live on the bloop doubles of Talladega Nights and Meet the Fockers. A top comedy star may earn the same as an action star, $20 million to $25 million a picture, but that could be nearly half of a comedy film's budget; everything else (script and director, supporting cast, production cost) is cut-rate. "You can make three comedies for every action movie," says an industry power broker. "It's such an easy 'yes' for a studio exec." For one such pooh-bah, Matt Tolmach, co-president of production at Sony Pictures, the guidelines are simple...
...reality shows. Movies have stepped into that gap. There's a connection with TV, of course: nearly all of today's movie-comedy stars (Carell, Stiller, Ferrell) started on the small screen. The biggest hits also depend on two of the oldest, most productive Hollywood combustions: first between script and star, then between star and audience...