Word: stricking
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That would be Val Kilmer the meticulous student of each role he plays, from randy Jim Morrison in The Doors to the courtly, consumptive Doc Holliday in Tombstone. On that night in Australia, says Noyce, "he was already acting the role of the Saint." Later Noyce and scriptwriter Wesley Strick trekked to South Africa, where Kilmer was shooting another film. "Let's go," the actor greeted them. He hopped into a Land Rover and, steering wheel in one hand, cigarette in the other, drove them madly across dirt roads to a distant campsite where he was living in a tent...
...original script for Sister Act and the final version of The Addams Family, but his name was on neither film. Carrie Fisher did a polish on Sister Act, but her work was anonymous, as it was on Hook, Made in America and Lethal Weapon 3. On Wolf, Wesley Strick's surgery earned him co-author credit; Elaine May's consultation was a secret known only to all Hollywood...
...Strick took over Wolf from novelist Jim Harrison, and Batman Returns from the brilliant Daniel Waters (Heathers). "Sometimes I feel like a burglar," says Strick. "It's like being invited to someone's house for a week and rifling through their drawers. Being assigned to rewrite a script by a really good writer, you may think that all you're doing is taking this wonderfully idiosyncratic thing and homogenizing it into a 'Hollywood' movie. But sometimes, after two or three years and three or four rewrites, the original writer can get ground down and fed up. Personalities can get flinty...
...comes the script doctor. "They bring you in with the idea you're just going to do a nip and a tuck," Strick says. "They say it's two weeks' work on one character. Four months later, you're still on the picture." While on the job, you must be, in the words of talent agent Jeremy Zimmer, "an artist, a technician and a diplomat" -- jobs that may be mutually exclusive. The trick, Whedon says, is to "know how to please people without turning work into junk...
...Nichols and the writers (novelist Jim Harrison and Wesley Strick) are treading a fine high wire; one misstep and off you tumble into self-satire, the modern horror film's omnipresent danger. But by provoking authentic laughter with their satirical thrusts at current corporate styles (Spader is a hilarious model of yuppie unctuousness), they make sure we are amused often and always at the right moments. If Nichols had less skill, we would crack up when the moon is full and Nicholson's stunt double starts leaping around the countryside, but using low light and slow motion, the director displays...