Nicolas Winding Refn Says ‘Dying Of The Light’ Fell Apart Because Harrison Ford Didn’t Want To Die > The Playlist
He also shared a little more info on a now-dead project called “The Dying of the Light” by “Taxi Driver” scribe Paul Schrader. The film centered on a C.I.A. agent who starts to become afflicted with blindness and Harrison Ford was attached to the lead.
Unfortunately, the project fell apart around February of last year and Refn had this to say at the time, “Unfortunately, it just didn’t work out. It’s a shame. The script was fantastic but things fall apart. It’s one of those things that’s difficult—I really like Harrison and I think we got along great.” That certainly is the case in Hollywood that things don’t always work out but now we have a few more details on exactly why the collaboration never moved forward. Here’s what Refn had say:
“It was a wonderful, wonderful script about a C.I.A. agent who goes on an existentialistic journey and dies at the end. And I thought, ‘If I could do a movie where Harrison Ford dies, I would contribute to society.’ So I was really into making this film. And I had gone to Los Angeles for short periods at a time to work with him. And you know, because it’s Harrison Ford and you sit around in his big hangar with all his private planes and you hang out with Harrison Ford. Then he realizes that he doesn’t want to die. Then it’s like, ‘****ing hell. Okay, then there’s no movie, Harrison.’ Well he’d been thinking about it and ‘Wasn’t there another way?’ and back and forth. And I thought, ‘Oh God dammit.’ So I was so angry at myself for buying into the illusion of Hollywood and of course, nothing ever happens.”
By the way, I think I'm going to wait until I see it again to post my thoughts about Drive.
Albert Brooks Says He Knows His ‘Drive’ Character’s Entire Backstory > The Playlist
There’s been Oscar mumbling since Cannes, but the loudest (and strongest) voices have been purporting the villainous turn of Bernie Rose by “Real Life” director Brooks as a lock for Best Supporting Actor. It’s a category that the man has already tasted before, tragically losing to the most Scottish-sounding Irish cop ever, Sean Connery, in “The Untouchables” in 1988. Will the Academy redeem themselves for this mistake over 20 years later? It’s exactly the kind of yarn the board loves to spin, but there’s always the chance that random spurts of violence in “Drive” will turn off certain voters, Brooks or no Brooks.
Either way it’s a fantastic performance, a highlight in an already insanely consistent film. Earlier in the week we posted part of our conversation with the “Modern Romance” filmmaker concerning Judd Apatow’s untitled film and possible future collaborations with Refn. Here we’ve collected the rest of the dialogue, which includes the birth of his character and rumblings of a new directing venture.
Drive is not the best movie I've seen this year, but it is, without a doubt, my favorite. I really only had two big problems with the movie: 1) The four of five neo-synthpop songs used throughout stuck out like sore thumbs. The 80s inspired score by cliff Martinez set the movie's tone perfectly. I didn't need to hear modern bands try their hardest to sound like Depeche Mode circa 1984. 2) The montages seemed to drag on far too long.
Now that I think about it, both my problems probably stem from m the same place, my utter distaste for the song choices. So, I guess I only had one real issue with the flick.
In the end, the movie isn't groundbreaking or original but it's a hell of a ride.
Saw Drive last night.
It is exactly the same as how the Impala was described early-on: there may be a million other Impalas (films) out there, but it's that new engine under the hood that makes it better than everything else out there.
Great movie and one of the best of the year so far for me.