tony scott Tagged Articles at Cinematical

With the possible exception of the "zombie versus shark" scene in Lucio Fulci's Zombi (coming soon), there may be no greater scene in film history than the exchange between Christopher Walken and Dennis Hopper at the midpoint of True Romance. Hyperbole aside, it's the kind of scene that true cinephiles salivate over the prospect of, and no doubt that actors dream of performing: two great personalities locked into a magical rhythm, creating character and making history even as they seemingly talk about a whole lot of nothin'.

The first time I saw True Romance was during its theatrical run, when I invited two female friends unfamiliar with Quentin Tarantino to see the film with me. While they were shellshocked by the abundance of profanity and violence the film contained, I was endlessly captivated – perversely so – with Tarantino's indefatigable penchant for crafting clever, memorable dialogue that celebrated itself as much as the films and pop culture highlights to which it referred. But even having been a longtime devotee of Reservoir Dogs – which to this critic remains his best-ever work – I was unprepared for this scene between Walken and Hopper, two acting masters, as they slowly and subtly engaged in a power struggle that would necessarily – if satisfyingly – end in cathartic tragedy.

Ironically, the sequence is only tangentially connected to the main narrative, a love story between a comic book store clerk and a call girl who accidentally stumble across a small fortune in drugs. Walken plays Vincent Coccotti, a mob boss who stumbles across Clifford Worley (Hopper) while looking for the former cop's son. Coccotti initially exerts physical pressure on Worley to reveal the wherabouts of his son, but as Worley realizes that he's in a no-win situation whatever he tells Coccotti, he decides to tell the Mafioso a story that will provoke his adversary without necessarily having to compromise his dignity, much less his son's location.

A mere week after Sony canned Steven Soderbergh's Moneyball, another big-budget film may have bitten the dust. Fox is putting the breaks on Tony Scott's next project, Unstoppable, over budget concerns, and may can the project altogether.

According to The Hollywood Reporter, the film was set to begin shooting in fall, and Denzel Washington and Chris Pine were attached to play the leads. But none of the acting deals have been officially closed, and not even Scott is definitively signed to the project. Fox is growing more and more concerned about the cost of production on the thriller, which would be quite high -- after all, it centers around a runaway train loaded with toxic chemicals, and it's being stopped by the $20 million dollar Denzel Washington. While the film isn't in as much production peril as Moneyball, its budget is definitely a roadblock, and fat will have to be trimmed somewhere. Maybe they can make a smaller train, or just have it be an unstoppable semi-truck, or maybe some of the A-Listers can take a pay cut ... something like that.

This summer has seen a lot of big-budget films falter at the box office, so studio hesitations are understandable, and budget trimming has been a long time coming. Though I do love a good action flick, I'm neither here nor there about the plot of Unstoppable, but it would be a shame for Pine to lose his next big role, and kill his Captain Kirk Buzz. So let's hope they figure out how to cut some corners.

Just because Tony Scott decided to put the brakes on his A L I E N prequel, doesn't mean that he won't have plenty of projects to keep him busy in the meantime. For starters; there's his Warriors update, a sequel to his 1983 vampire flick, The Hunger, and the action flick Unstoppable with Chris Pine starting this fall. But that's not all, because now the director has been talking about an adaptation of Hunter S. Thompson's non-fiction classic, Hell's Angels. In an interview with Coming Soon, Scott confirmed that Traffic's Stephen Gaghan has already been hired to write the script, and while Scott claims to own the rights to Thompson's book, there is still confusion over what Gaghan will be using for the script. According to the "motorcycle club's" legal counsel, Scott's film will be based on the book, Hell's Angels: The Life and Times of Sonny Barger and the Hell's Angels Motorcycle Club -- but my guess is that the script will be a blending of the two books.

The Wild One may have brought bikers into the popular consciousness, but by the time the 60's hit, clubs like The Hell's Angels were a status symbol for the counter-culture. Thompson's book was one of the first accurate looks inside the 'gang', but was a far cry from his usual 'gonzo' work. Which isn't necessarily the best fit for the kind of flashy action movie you expect from Scott, but luckily Gaghan has a knack for making sense of complicated subject matter. There is no word yet on whether Scott will just produce, or whether he will direct the film as well. But, the Scott brothers seem to have a thing for packing their schedules, and unfortunately, they tend to bite off a little more than they can chew.

After the jump; updates on Tony Scott's other projects...

With the economy hurting, what better time to start up a new film studio? DF Indie Studios officially announced itself to the world yesterday, though news broke first via our friends at indieWIRE the other night. The company "is uniting veteran producers with sales and distribution experts." DF Indie Studios says it will "fully finance as many as a dozen films per year, each at a budget of up to $10 million. Significantly, the movies will also have guaranteed U.S. theatrical distribution through the company."

Notable names such as veteran producer Ted Hope (Adventureland, In the Bedroom) and distribution ace Ira Deutchman are involved with the company, as well as Scott Free, the production company of Ridley Scott and his brother Tony Scott (The Taking of Pelham 1 2 3). Company executives told indieWIRE that "the first five films will go into production this fall and hit the festival circuit next year." They also expressed the rather incredible hope that they will create between 10,000 and 15,000 (!!!) film jobs over the next five years. DF Indie Studios is still raising money for their venture, and is about halfway to their $100 million goal, according to the Associated Press.

What type of films will the company be backing? The press release mentions "commercially viable" twice and says they are partnering with "established producers with successful box office track records." Film journalist / critic Anthony Kaufman points to the Variety story, "which reported the company's aims are to make films such as 'the Saw franchise, Juno, Good Night, and Good Luck and Little Miss Sunshine.'"

"How the hell can you run a goddamn railroad without swearing?"
-The Taking of Pelham One Two Three (1974)

"I got 99 problems, and a bitch ain't one."
-The Taking of Pelham 123 (2009)

About as loud as Joseph Sargent's original was lean, Tony Scott's take on The Taking of Pelham 123 is more indebted to his name than its own, all restless shots and relentless cuts, ticking clocks and roving maps, a stream of shouting and shooting and speed-ramping and slow-motion and all that jazz. The conversations are cranked up, and the confrontations are amped up, but to what end? Scott whips out the familiar frame-blurring techniques that have ostensibly served him well in the past, but his flair tends to instead rob a crackerjack crime thriller of an inherent momentum that has served it quite well over the span of almost four decades.

For a while it looked like Unstoppable was, indeed, stoppable. Martin Campbell was prepping the project in 2007, and then the project slipped into the void of development hell. But now the train is back on track, Tony Scott is leading the rush, and he's grabbed Denzel Washington and Captain James T. Kirk.

While chatting with Washington, MTV learned about Chris Pine's involvement in the upcoming action film, and just how this feature is going to shape up: "I'm going to shoot a movie in the fall called Unstoppable -- me and Tony Scott -- and Chris Pine's going to do it with us. I hope I'm not speaking out of line. I think they made a deal with him, and I'm supposed to meet him next week."

Scott has described the project as "Speed on steroids," so this should be fun, popcorn action fare. Based on an actual event, the film will focus on an engineer who teams up with a young train conductor (we presume Pine) to stop a runaway train full of toxic chemicals. Since the story has some truth to it, Scott plans to shoot it like a documentary, a la Touching the Void.

Personally, I kinda wish it was Silver Steak on steroids, but Chris Pine is no Gene Wilder, and Denzel Washington is no Richard Pryor.

So, do you want the good news or the bad news first? Well, let's start with the bad news: Its official, the A L I E N reboot has gone beyond rumor and straight into reality. But the good news is that at least it won't be a remake. Just last week, Peter broke the story that Fox was looking to revive the franchise, but at the time, none of the principals involved (original creator Ridley Scott, Tony Scott, or rumored director, Carl Rinsch) had officially commented on the status of the project. Now, though, Collider brings us news that they got the chance to speak with Tony Scott during a press event for The Taking of Pelham 1 2 3 and he confirmed that Rinsch has indeed been given the nod to direct a prequel to the 1979 sci-fi horror.

Once you get over the fact that a prequel is a particularly goofy idea, it probably wouldn't be that hard to come up with a plausible story. In the original film, the story of the derelict ship that the crew of the Nostromo encountered was never really explained. That element of the unknown was always an integral part of the original film's scare factor, but you have to admit, it wouldn't be all that difficult to fill in the blanks. Scott is looking to get the film into production by the end of the year, but there is still a small matter of a script and a cast before they can think about sticking to a tentative release date of summer, 2011.

After the jump: how do you make an A L I E N prequel? And does it automatically have to star Christina Bale?

In Hollywood, no one can hear you think. With a remake / reboot of Predator on its way, 20th Century Fox may now be setting its sights on Alien. (That "popping" sound you just heard emanates from the burst blood vessels of a million fans.) An anonymous source told Bloody Disgusting that Fox is developing a remake of Ridley Scott's 1979 classic. Another source says that the studio "is possibly working on an origins story, as opposed to a straight-up remake."

Considering how both the Alien and Predator franchises have been devalued, thanks to the low quality of AVP: Alien vs. Predator and AVP: Requiem, as well as Fox's recent, poor track record with action movies, my expectations are below zero. With Robert Rodriguez on board as producer and a July 2010 release date set, a new Predator is coming whether we want it or not. As a strictly business decision, it makes sense for Fox to keep remaking, rebooting, and making sequels to properties they own. As a huge fan of Alien, I just sigh. The picture, by the way, is from the Polish poster for the original.

For what it's worth, BD's tipster claims that Ridley Scott, Tony Scott, and Michael Costigan are on board for the next movie in the Alien series, and that Carl Rinsch has been hired to direct. (Here are four commercials he did for a car company.) Rinsch has worked for the Scotts since 2000. (Here's an article about how he originally got hired by the company.) Keep in mind that these rumors haven't been confirmed by the principals. Feel free to express your disgust and / or delight in the comments. In the meantime, enjoy once again the terrific original Alien trailer, as presented by our own Scott Weinberg.

We often hear about Hollywood remaking foreign-language pictures, translating them for the domestic audience. (Some would say, "dumbing down and stripping away everything that made them unique and special," but I digress.) Now a Hollywood studio is proceeding with plans to remake its own movies for international audiences. Do they have any hope for success?

Fox International Productions is working on versions of Tony Scott's Man on Fire and Mike Nichols' Working Girl for the Russian market, according to Variety, and is planning a different version of Working Girl for the Japanese market. In a case of "turnabout is fair play," Taka Ichise, who produced the original Japanese versions of The Ring and The Grudge, will perform the same duties for the Japanese Working Girl. The Russian versions are considered re-imaginings rather than remakes, "with concepts to be tailored by Russian writers."

The Russian films can be made on the cheap (under $4 million) because, presumably, the Russian equivalents of Denzel Washington, Tony Scott, Harrison Ford, and Mike Nichols won't be paid millions of dollars and production costs will be lower. A Russian remake of Johnny To's Breaking News was recently released, so maybe Russian audiences are primed and pumped to see local remakes of foreign films. It's not likely that American audiences will ever be able to (easily) see any of these particular foreign-language films, but I admit to curiosity over how Russian creative talent will interpret the basic premises of Man on Fire and Working Girl, or how Working Girl will translate in Japan. They sound like odd choices to remake. Anyone want to venture an opinion on why and how?

It's not far to assume that all remakes will disappoint by default. I've come to learn that we get one Dawn of the Dead '04 for every ten of Prom Night '08, but more importantly, I've learned to be a bit more grateful for those that do work, because they are no less ours to enjoy. However, judging by the new trailer over at Yahoo! Movies for Tony Scott's take on The Taking of Pelham 123, that approach cannot eliminate skepticism entirely, which is what this trailer filled me with, entirely.

Hiring the more spastic Scott sibling to helm a movie that mostly takes place on a subway car held hostage doesn't seem right, which is why this piece is filled with roaming cameras as a truck crashes into a car, Denzel Washington clashes with John Travolta, a motorcycle crashes into a car, Denzel's facial hair clashes with Travolta's facial hair, so on, so forth...

And the original (Walter Matthau vs. Robert Shaw! And that theme!) and its dry wit appear to have instead been reduced to that one line about milk and a climax likely more comparable to Speed than Pelham '74. But hey, I can't say for sure until I actually see more than two minutes of the thing, and having been surprised by how much I enjoyed Scott and Washington's Deja Vu after sitting through its trailers, I'll try and bite my tongue until June 12th.

(On the flip side: if you have 105 minutes to spare, I may be able to help you see things my way...)