Ryan Lambie Sep 5, 2016
An often spectacular drama, American History X left its maker shunned by Hollywood. Ryan looks at a great film and its maverick director.
It should have been a proud moment for British director Tony Kaye. His first feature, American History X, had finally appeared in Us cinemas on the 30th October 1998, and was already earning deserved attention for the strength of its direction and its powerful performances - not least from Edward Norton, cast in the lead as a volcanically angry young neo-Nazi in Venice, California.
American History X might have marked the next phase in Kaye's career, which, like such directors as Ridley Scott and Alan Parker before him, had begun in advertising back in the 1980s. And yet post-production on the movie had been protracted and difficult, as Kaye engaged in an increasingly public battle for its final cut. That battle had become so heated,...
An often spectacular drama, American History X left its maker shunned by Hollywood. Ryan looks at a great film and its maverick director.
It should have been a proud moment for British director Tony Kaye. His first feature, American History X, had finally appeared in Us cinemas on the 30th October 1998, and was already earning deserved attention for the strength of its direction and its powerful performances - not least from Edward Norton, cast in the lead as a volcanically angry young neo-Nazi in Venice, California.
American History X might have marked the next phase in Kaye's career, which, like such directors as Ridley Scott and Alan Parker before him, had begun in advertising back in the 1980s. And yet post-production on the movie had been protracted and difficult, as Kaye engaged in an increasingly public battle for its final cut. That battle had become so heated,...
- 9/2/2016
- Den of Geek
At 63, Tony Kaye is plotting another comeback. Although he’s always been an award-winning director of commercials and music videos, his feature career is a study in scorched earth. His last feature was five years ago; before that, he shot “Black Water Transit,” which was never finished. And then there’s his debut, a masterpiece riddled with production woes called “American History X.”
That track record leads to perceptions that it’s impossible to take Kaye seriously — but that would be a mistake.
Studios may view him as a flustered and frustrating eccentric, but Kaye remains a rare breed — an outlaw artist working through one hurdle after another, beaten but not broken, and always ready to rise again. While virtually every American studio movie reflects some kind of compromise, truly unfiltered creative visions are rare. At a time when we could use more committed independents, we don’t hear from Kaye nearly enough.
That’s about to change, and while his characteristic brashness is still evident, he said he’s learned a bit of restraint. “We’ve all got demons inside of us,” he explained in a recent phone interview. “I’ve gotten rid of mine — or got them under control.”
His chosen vehicle to showcase that rehabilitation is “Stranger Than the Wheel,” Kaye’s first feature-length project since 2011’s “Detachment.” Last fall, Kaye announced on Facebook that Shia Labeouf would star in the self-financed film.
He’s wanted to make this movie for decades. In the early ’90s, Kaye was a popular director of commercials and music videos (he won a Grammy for Soul Asylum’s “Runaway Train” video). But his goal was to make movies. “Stranger Than the Wheel” was one of three scripts he considered for his debut (another one was written by a newcomer named M. Night Shyamalan; the third was “American History X”).
Written by Joe Vinciguerra, “Stranger Than the Wheel” is the story of a young man who struggles to reconnect with his estranged father. “It’s a kind of serial drama about isolation, alienation, and alcoholism,” Kaye said recently, clearly relating — even if he hadn’t lost his father in recent years, Kaye would identify with the character’s alienated state.
In April, Kaye announced the departure of his lead via email, with the subject line “Shia Labeouf Qu!T.” (“Tony and I rolled around and wrestled an idea together,” Labeouf explained by email. “We shot a test. But in the end, we are not making a film together.”) Now the film will star Evan Ross (“The Hunger Games”). Kaye has been shooting test footage, and plans to begin production later this summer, with the stated (if unlikely) goal of finishing the picture in time for the fall festival circuit.
Or, all of this could be a preamble for more of the same. Eighteen years ago, “American History X” was also gearing up for a fall showcase — the Toronto International Film Festival offered it a prime slot — when Kaye flew across the country to meet with festival CEO and director Piers Handling. Claiming New Line Cinema had made changes to the film without his permission, Kaye asked Handling to refuse the studio’s version and show his cut instead.
“He was eccentric, opinionated, and had a very strong sense of what he wanted to do,” Handling recalled, noting that Kaye brought a small digital camera with him to their meeting and recorded the whole conversation. Handling talked to the studio about showing Kaye’s version, but instead, the company pulled the movie from the lineup.
While artistic temperaments are often part of the filmmaker package, Kaye is a breed apart. He’s the kind of Hollywood aberrant whom the corporate-overlord studio system has all but bred out of existence. “Tony doesn’t play that game,” Handling said. “He always wants to do things on his own terms.”
That’s an especially dicey proposition in 2016, an age in which every facet of the entertainment industry is deathly allergic to risk. Anyone concerned about the bottom line would be wary of Kaye’s track record when it comes to managing a responsible production.
During production on “American History X,” Kaye went to war with his star, Edward Norton, declaring him unfit for the part. (He later received his second Oscar nomination.) Kaye hired a priest, a rabbi and a Buddhist monk to join a meeting with New Line executive Michael De Luca. Editing was a protracted process and, after Kaye completed a cut the studio liked, he demanded eight more weeks to radically reimagine the film.
When New Line refused, Kaye began trashing the movie; he threatened to remove his credit and replace it with “Humpty Dumpty.” (That has since become the title of an unfinished documentary about the production that Kaye hopes to release.) Then came the Toronto showdown.
When it was all over, Kaye had earned the outright ire of New Line, the DGA, and the Alliance of Motion Picture & Television Producers; everyone else was confounded. After that, things didn’t get easier. While he won a lifetime achievement award for his advertising work in early 2001, that fall, Marlon Brando hired Kaye to direct a series of acting workshops. The filmmaker showed up dressed as Osama bin Laden, shortly after 9/11, infuriating everyone involved.
A year later, he confessed his major regret in an article for The Guardian. “I thought I was upholding the old movie industry traditions of strutting around, picking fights with the studio and being the fly in everyone’s ointment,” he wrote. “I had passion — you have to give me that. But I was, it has to be said, a spectacular pain in the ass.” These days, he describes his previous setbacks as the result of “desire for self alone.”
Whatever his current emotional state may be, his existing filmography speaks on its own terms. If there’s an overarching theme to Kaye’s work, it’s his ability to deliver achingly real portraits of America’s fractured communities.
Kaye’s antics make it almost too easy to dismiss his filmmaking outright — as this writer did initially, with “Detachment.” The vulgar tale of a disgruntled public high school instructor (Adrien Brody) struck me as a shrill riff on “Half Nelson.” At Kaye’s urging, I took a second look, and found that “Detachment” is more than theatrics surrounding student-teacher relationships: it’s a tender investigation into what it means to feel utterly helpless while battling institutional dysfunction.
But nothing in Kaye’s filmography demonstrates his vision more cohesively than “Lake of Fire,” the haunting black-and-white encapsulation of abortion debate in America that Kaye spent decades assembling. From its visceral imagery of abortion operations to the angry protestors, the film conveys an operatic vision of anger and frustration rendered in expressionistic terms.
Kaye realizes it’s his most coherent achievement to date. “I don’t know how I made that movie,” he said.
“There are some people who don’t really fit into the Hollywood structure,” said Handling. “Tony’s one of those guys. He’s a renegade, an outsider — not unlike Orson Welles.” And like Welles, Kaye’s sensibility extends beyond the fits of ambitious projects, some more polished than others. The man is indistinguishable from his movies.
Kaye has remained an accomplished commercial artist. The money he makes on ads enable him to self-finance his films. He also recently completed work for the virtual reality company Jaunt on a six-part series, “Pure McCartney,” which features McCartney at home discussing his relationship to five different songs. Kaye spoke emphatically about the possibilities of the new technology. “It’s this incredible process of carrying the viewer into a solitary experience,” he said.
Kaye described his current inspirations as ranging from Jackson Pollock to David Lean, whose “Lawrence of Arabia” epitomizes the kind of sprawling drama Kaye hopes to create. “I’ll get there,” he said, and hopes to do it with “Stranger Than the Wheel.”
His new star is thrilled at the prospect. “I’m generally just excited about anything Tony Kaye does,” said Ross, who has already been shooting footage for the project around Los Angeles. “I don’t think I’ve worked with a director like him who can just put incredible things together.”
Kaye shared his vision with IndieWire via multiple emails, showcasing photos of ink-blotted pages filled with fractured images from his planning sessions for the film: a raggedy school bus, some kind of giraffe-bird mashup, an impressionistic sketch of his leading man, the quixotically named Faunce Bartleby.
“I think I am real,” he wrote at one point. At another, he noted that he planned to turn “Stranger Than the Wheel” into a musical — “a dramuzical epic,” as he wrote in an email. At times, he sounded off about his resistance to industry standards, noting his frustration over a recent big studio film he attended with his kids. “These perpetrators of pollution people should not be allowed to work!” he wrote.
Will Kaye succeed in bringing his visions to the world? If not, it won’t be for lack of trying. While he has struggled with a stutter over the years, the impediment was barely discernible in recent conversations. Kaye has no trouble formulating the case for his latest efforts.
“I’ve got something marvelous here,” Kaye said of his new project. “Don’t worry: I want it to be a hit.”
Related storiesTony Kaye Returns With 'Stranger Than The Wheel' Starring Shia Labeouf'American History X' Director Tony Kaye Says He's Still In Director's JailDaily Reads: Going Deep on Mark Wahlberg, How Pop Culture's White Supremacists Validate Lone-Wolf Racism, and More...
That track record leads to perceptions that it’s impossible to take Kaye seriously — but that would be a mistake.
Studios may view him as a flustered and frustrating eccentric, but Kaye remains a rare breed — an outlaw artist working through one hurdle after another, beaten but not broken, and always ready to rise again. While virtually every American studio movie reflects some kind of compromise, truly unfiltered creative visions are rare. At a time when we could use more committed independents, we don’t hear from Kaye nearly enough.
That’s about to change, and while his characteristic brashness is still evident, he said he’s learned a bit of restraint. “We’ve all got demons inside of us,” he explained in a recent phone interview. “I’ve gotten rid of mine — or got them under control.”
His chosen vehicle to showcase that rehabilitation is “Stranger Than the Wheel,” Kaye’s first feature-length project since 2011’s “Detachment.” Last fall, Kaye announced on Facebook that Shia Labeouf would star in the self-financed film.
He’s wanted to make this movie for decades. In the early ’90s, Kaye was a popular director of commercials and music videos (he won a Grammy for Soul Asylum’s “Runaway Train” video). But his goal was to make movies. “Stranger Than the Wheel” was one of three scripts he considered for his debut (another one was written by a newcomer named M. Night Shyamalan; the third was “American History X”).
Written by Joe Vinciguerra, “Stranger Than the Wheel” is the story of a young man who struggles to reconnect with his estranged father. “It’s a kind of serial drama about isolation, alienation, and alcoholism,” Kaye said recently, clearly relating — even if he hadn’t lost his father in recent years, Kaye would identify with the character’s alienated state.
In April, Kaye announced the departure of his lead via email, with the subject line “Shia Labeouf Qu!T.” (“Tony and I rolled around and wrestled an idea together,” Labeouf explained by email. “We shot a test. But in the end, we are not making a film together.”) Now the film will star Evan Ross (“The Hunger Games”). Kaye has been shooting test footage, and plans to begin production later this summer, with the stated (if unlikely) goal of finishing the picture in time for the fall festival circuit.
Or, all of this could be a preamble for more of the same. Eighteen years ago, “American History X” was also gearing up for a fall showcase — the Toronto International Film Festival offered it a prime slot — when Kaye flew across the country to meet with festival CEO and director Piers Handling. Claiming New Line Cinema had made changes to the film without his permission, Kaye asked Handling to refuse the studio’s version and show his cut instead.
“He was eccentric, opinionated, and had a very strong sense of what he wanted to do,” Handling recalled, noting that Kaye brought a small digital camera with him to their meeting and recorded the whole conversation. Handling talked to the studio about showing Kaye’s version, but instead, the company pulled the movie from the lineup.
While artistic temperaments are often part of the filmmaker package, Kaye is a breed apart. He’s the kind of Hollywood aberrant whom the corporate-overlord studio system has all but bred out of existence. “Tony doesn’t play that game,” Handling said. “He always wants to do things on his own terms.”
That’s an especially dicey proposition in 2016, an age in which every facet of the entertainment industry is deathly allergic to risk. Anyone concerned about the bottom line would be wary of Kaye’s track record when it comes to managing a responsible production.
During production on “American History X,” Kaye went to war with his star, Edward Norton, declaring him unfit for the part. (He later received his second Oscar nomination.) Kaye hired a priest, a rabbi and a Buddhist monk to join a meeting with New Line executive Michael De Luca. Editing was a protracted process and, after Kaye completed a cut the studio liked, he demanded eight more weeks to radically reimagine the film.
When New Line refused, Kaye began trashing the movie; he threatened to remove his credit and replace it with “Humpty Dumpty.” (That has since become the title of an unfinished documentary about the production that Kaye hopes to release.) Then came the Toronto showdown.
When it was all over, Kaye had earned the outright ire of New Line, the DGA, and the Alliance of Motion Picture & Television Producers; everyone else was confounded. After that, things didn’t get easier. While he won a lifetime achievement award for his advertising work in early 2001, that fall, Marlon Brando hired Kaye to direct a series of acting workshops. The filmmaker showed up dressed as Osama bin Laden, shortly after 9/11, infuriating everyone involved.
A year later, he confessed his major regret in an article for The Guardian. “I thought I was upholding the old movie industry traditions of strutting around, picking fights with the studio and being the fly in everyone’s ointment,” he wrote. “I had passion — you have to give me that. But I was, it has to be said, a spectacular pain in the ass.” These days, he describes his previous setbacks as the result of “desire for self alone.”
Whatever his current emotional state may be, his existing filmography speaks on its own terms. If there’s an overarching theme to Kaye’s work, it’s his ability to deliver achingly real portraits of America’s fractured communities.
Kaye’s antics make it almost too easy to dismiss his filmmaking outright — as this writer did initially, with “Detachment.” The vulgar tale of a disgruntled public high school instructor (Adrien Brody) struck me as a shrill riff on “Half Nelson.” At Kaye’s urging, I took a second look, and found that “Detachment” is more than theatrics surrounding student-teacher relationships: it’s a tender investigation into what it means to feel utterly helpless while battling institutional dysfunction.
But nothing in Kaye’s filmography demonstrates his vision more cohesively than “Lake of Fire,” the haunting black-and-white encapsulation of abortion debate in America that Kaye spent decades assembling. From its visceral imagery of abortion operations to the angry protestors, the film conveys an operatic vision of anger and frustration rendered in expressionistic terms.
Kaye realizes it’s his most coherent achievement to date. “I don’t know how I made that movie,” he said.
“There are some people who don’t really fit into the Hollywood structure,” said Handling. “Tony’s one of those guys. He’s a renegade, an outsider — not unlike Orson Welles.” And like Welles, Kaye’s sensibility extends beyond the fits of ambitious projects, some more polished than others. The man is indistinguishable from his movies.
Kaye has remained an accomplished commercial artist. The money he makes on ads enable him to self-finance his films. He also recently completed work for the virtual reality company Jaunt on a six-part series, “Pure McCartney,” which features McCartney at home discussing his relationship to five different songs. Kaye spoke emphatically about the possibilities of the new technology. “It’s this incredible process of carrying the viewer into a solitary experience,” he said.
Kaye described his current inspirations as ranging from Jackson Pollock to David Lean, whose “Lawrence of Arabia” epitomizes the kind of sprawling drama Kaye hopes to create. “I’ll get there,” he said, and hopes to do it with “Stranger Than the Wheel.”
His new star is thrilled at the prospect. “I’m generally just excited about anything Tony Kaye does,” said Ross, who has already been shooting footage for the project around Los Angeles. “I don’t think I’ve worked with a director like him who can just put incredible things together.”
Kaye shared his vision with IndieWire via multiple emails, showcasing photos of ink-blotted pages filled with fractured images from his planning sessions for the film: a raggedy school bus, some kind of giraffe-bird mashup, an impressionistic sketch of his leading man, the quixotically named Faunce Bartleby.
“I think I am real,” he wrote at one point. At another, he noted that he planned to turn “Stranger Than the Wheel” into a musical — “a dramuzical epic,” as he wrote in an email. At times, he sounded off about his resistance to industry standards, noting his frustration over a recent big studio film he attended with his kids. “These perpetrators of pollution people should not be allowed to work!” he wrote.
Will Kaye succeed in bringing his visions to the world? If not, it won’t be for lack of trying. While he has struggled with a stutter over the years, the impediment was barely discernible in recent conversations. Kaye has no trouble formulating the case for his latest efforts.
“I’ve got something marvelous here,” Kaye said of his new project. “Don’t worry: I want it to be a hit.”
Related storiesTony Kaye Returns With 'Stranger Than The Wheel' Starring Shia Labeouf'American History X' Director Tony Kaye Says He's Still In Director's JailDaily Reads: Going Deep on Mark Wahlberg, How Pop Culture's White Supremacists Validate Lone-Wolf Racism, and More...
- 6/14/2016
- by Eric Kohn
- Indiewire
Brad Pitt, Kristen Stewart and Channing Tatum might have new movies opening this weekend but if you like your entertainment a little edgier, Paragon Pictures is releasing “Mall,” based on the debut novel of celebrated playwright Eric Bogosian. “Mall” marks the directorial debut of Linkin Park's Joseph Hahn, who worked off a script that Bogosian's “Law & Order: Criminal Intent” co-star Vincent D'Onofrio co-wrote with Sam Bisbee and Joe Vinciguerra. The well-made indie movie follows five characters whose paths cross over the course of one fateful evening in a shopping mall that has come under siege from an armed lunatic.
- 10/14/2014
- by Jeff Sneider
- The Wrap
Linkin Park DJ Joseph Hahn has apparently taken to directing movies and for his debut he's put together a cast that includes James Frecheville (Animal Kingdom), Vincent D'Onofrio, Gina Gershon, Peter Stormare and Cameron Monaghan (The Giver). D'Onofrio even co-wrote the screenplay with Sam Bisbee and Joe Vinciguerra based on Eric Bogosian's novel of the same name, Mall. Here's the plot: Malcom's done with his life. Only the noise of Crystal Meth gives him a reason to keep going - everything else it has long regardless. Equipped with a bag full of weapons and self-made bombs, he makes his way to the nearby mall to really stir things up. On his personal war campaign, he not only changes his life radically, but also the fate of other people who are in the wrong place at the same time: a teenager whose favorite pastime is smoking pot in his dreary existence,...
- 6/26/2014
- by Brad Brevet
- Rope of Silicon
The band Linkin Park has contributed their music to the world of motion pictures before with singles on the soundtracks for Transformers and a reworked score for The Raid: Redemption, but now Deadline reports beat master Joseph Hahn (or Mr. Hahn) has gotten behind the camera to direct a feature film called Mall. The film was already released in France with the title A Day to Kill and follows a group of people who come together after a shooting in a shopping mall. Sounds like Crash, but with the more timely and relevant public shooting angle, and we have a trailer. It looks like a feature length music video, with some weird threads that will be tied together somehow, but maybe the story will be worth it? Watch now! Here's the first trailer for Joseph Hahn's Mall from YouTube: Mall (or A Day to Kill) is directed by Joseph Hahn,...
- 6/26/2014
- by Ethan Anderton
- firstshowing.net
There hasn't been a good psycho on a killing spree movie in quite some time, but that could be changing relatively soon thanks to the new flick on its way called Mall.
According to Bloody Disgusting, actor Vincent D'Onofrio (pictured right; Full Metal Jacket; The Cell) is both executive producing and starring in Joe Hahn's (best known as Linkin Park’s DJ) genre pic that heads to the Mall.
Penned by Joe Vinciguerra and Sam Bisbee, the indie project that’s described as a dark drama follows the empty and sordid lives of various mall-goers which are brought into stark relief when a disgruntled former tuxedo shop employee goes on a massive killing spree. The flick will feature the music of Linkin Park.
Doing some digging, we discovered that the pic will also star Cameron Monaghan ("Shamless"), James Frecheville (Animal Kingdom), India Menuez, and Michael Kenneth Williams (The Road,...
According to Bloody Disgusting, actor Vincent D'Onofrio (pictured right; Full Metal Jacket; The Cell) is both executive producing and starring in Joe Hahn's (best known as Linkin Park’s DJ) genre pic that heads to the Mall.
Penned by Joe Vinciguerra and Sam Bisbee, the indie project that’s described as a dark drama follows the empty and sordid lives of various mall-goers which are brought into stark relief when a disgruntled former tuxedo shop employee goes on a massive killing spree. The flick will feature the music of Linkin Park.
Doing some digging, we discovered that the pic will also star Cameron Monaghan ("Shamless"), James Frecheville (Animal Kingdom), India Menuez, and Michael Kenneth Williams (The Road,...
- 4/10/2012
- by Uncle Creepy
- DreadCentral.com
Sometimes your headlines write themselves. When a film features a warning right in the title, that’s playing with fire. In the case of Vincent D’Onofrio's woeful directorial debut, the warning is more than prophetic. Based on a script by Sam Bisbee and Joe Vinciguerra and a story by D’Onofrio, “Don’t Go In The Woods” is an earnest attempt to marry musical and horror, two genres that already have quite a bit in common. Both tend to invest in stagy, big-time emotions and feature grandiose payoffs, but while musicals deliver vocal triumphs, horror dishes it out in blood and guts, arterial sprays and all that good stuff. D’Onofrio's film features a great deal of occasionally decent but consistently navel-gazing songs and a precious few craniums caved in via sledgehammer during its exhaustingly paced eighty-six minute runtime. In order to escape modern distractions and bang out new classics,...
- 1/13/2012
- The Playlist
The words “slasher film” and “musical” are not often heard together in the same sentence. That may be about to change, thanks to Vincent D’Onofrio and his directorial debut Don't Go in the Woods, which opens in New York today. This “slasher musical” tracks a rock band as they attempt to write songs in the wilds of upstate New York only to get picked off by a mallet-wielding psychopath. Below, the star of Full Metal Jacket and Law and Order: Criminal Intent talks about how he came up with the idea for his genre-fusing film, why he...
- 1/13/2012
- by Clark Collis
- EW - Inside Movies
Photo courtesy of Tribeca Film / credit: Nathan West Over the past three decades, Vincent D'Onofrio has amassed a diverse, respected career as a genius character actor in movies such as Full Metal Jacket, Men In Black, Mystic Pizza, and The Player, and many more know him best as the intense Detective Goren on Law and Order: Criminal Intent. In 2005, D'Onofrio directed himself as a cinematic legend in the short film Five Minutes, Mr. Welles, and he's now moved on to a feature project: a low-budget 'slasher musical' (in which he does not act) called Don't Go in the Woods, which debuts today on nationwide VOD. (Find a screen near you here.) While the story is credited to D'Onofrio, he enlisted two of his buddies to flesh out the screenplay: Joe Vinciguerra and Sam Bisbee, the latter of whom also wrote the songs that serve as the soundtrack for the movie.
- 12/26/2011
- TribecaFilm.com
Chicago – Vincent D’Onofrio has had a career that is rich and diverse. He has worked with directors as distinct as Stanley Kubrick (”Full Metal Jacket”) and Tim Burton (”Ed Wood”), and has starred in the legendary TV franchise “Law & Order: Criminal Intent.” He presents his directorial debut, “Don’t Go in the Woods,” on November 12th in Chicago at the “Tribeca Film Festival on the Road.”
Vincent D’Onofrio began his career in the early 1980s, and quickly built an impressive resume from there. He played opposite Julia Roberts in “Dying Young” (1991), had character parts in “JFK” (1991) and “The Player” (1992), and famously played Orson Welles in “Ed Wood” (1994). He practically stole the showy film, “Men in Black” (1997) as Edgar, and portrayed Abbie Hoffman in “Steal This Movie” (2000). From 2001-2011, he also made waves on television, memorably taking on the persona of Detective Robert Goren in “Law & Order: Criminal Intent.
Vincent D’Onofrio began his career in the early 1980s, and quickly built an impressive resume from there. He played opposite Julia Roberts in “Dying Young” (1991), had character parts in “JFK” (1991) and “The Player” (1992), and famously played Orson Welles in “Ed Wood” (1994). He practically stole the showy film, “Men in Black” (1997) as Edgar, and portrayed Abbie Hoffman in “Steal This Movie” (2000). From 2001-2011, he also made waves on television, memorably taking on the persona of Detective Robert Goren in “Law & Order: Criminal Intent.
- 11/12/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Vincent D'Onofrio directed and co-penned a horror film called Don't Go in the Woods . You know, D'Onofrio, right? Sure you do: Full Metal Jacket , Strange Days , The Cell , Law & Order: Criminal Intent . Some time in 2010 is wrapped up this morsel of mayhem with writers Joe Vinciguerra and Sam Bisbee and actors Matt Sbeglia, Bo Boddie, Gwynn Galitzer, Jorgen Jorgensen, Soomin Lee and Eric Bogosian. Tribeca Film picked it up and is bringing it to VOD on December 27. A limited theatrical run is expected to follow in a few major cities in January. And look at that...we've got an early exclusive clip to share. What a bloody doozy it is. The film is the story of a young band who heads to the woods to get away from their everyday lives in order to focus on writing new...
- 11/8/2011
- shocktillyoudrop.com
Vincent D’Onofrio came aboard the feature film adaptation of Eric Bogosian’s 2001 novel Mall not only as its lead actor but also a co-writer of the screenplay with Joe Vinciguerra and Sam Bisbee. According to Mike Fleming at Deadline, D’Onofrio agrred to headline an ensemble cast that included talk show host Chelsea Handler as a disturbed housewife and Bogosian as a store owner. D’Onofrio agreed to play a despondent businessman who comes to the mall and gets caught up in violence.
- 5/6/2011
- Upcoming-Movies.com
Vincent D’Onofrio came aboard the feature film adaptation of Eric Bogosian’s 2001 novel Mall not only as its lead actor but also a co-writer of the screenplay with Joe Vinciguerra and Sam Bisbee. According to Mike Fleming at Deadline, D’Onofrio agrred to headline an ensemble cast that included talk show host Chelsea Handler as a disturbed housewife and Bogosian as a store owner. D’Onofrio agreed to play a despondent businessman who comes to the mall and gets caught up in violence.
- 5/6/2011
- Upcoming-Movies.com
Vincent D’Onofrio came aboard the feature film adaptation of Eric Bogosian’s 2001 novel Mall not only as its lead actor but also a co-writer of the screenplay with Joe Vinciguerra and Sam Bisbee. According to Mike Fleming at Deadline, D’Onofrio agrred to headline an ensemble cast that included talk show host Chelsea Handler as a disturbed housewife and Bogosian as a store owner. D’Onofrio agreed to play a despondent businessman who comes to the mall and gets caught up in violence.
- 5/6/2011
- Upcoming-Movies.com
Vincent D'Onofrio, Chelsea Handler and Eric Bogosian will all star in the indie film adaptation of Bogosian's 2001 novel "Mall" reports Deadline.
The film follows the intersecting paths of five disaffected suburbanites: a stoner teen, a restless housewife (Handler), a voyeuristic businessman (D'Onofrio), a mall security guard and a trigger-happy crystal meth addict
Linkin Park's Joe Hahn makes his directorial debut on the project. D'Onofrio co-wrote with Joe Vinciguerra and Sam Bisbee, and will produce with Erika Hampson and Sam Maydew.
The film follows the intersecting paths of five disaffected suburbanites: a stoner teen, a restless housewife (Handler), a voyeuristic businessman (D'Onofrio), a mall security guard and a trigger-happy crystal meth addict
Linkin Park's Joe Hahn makes his directorial debut on the project. D'Onofrio co-wrote with Joe Vinciguerra and Sam Bisbee, and will produce with Erika Hampson and Sam Maydew.
- 5/6/2011
- by Garth Franklin
- Dark Horizons
Exclusive: Law & Order: Criminal Intent star Vincent D'Onofrio is the catalyst for a film adaptation of the 2001 Eric Bogosian novel Mall. The film will mark the feature directing debut of Linkin Park's Joe Hahn, and will star D'Onofrio, Chelsea Handler and Bogosian. D'Onofrio is producing with partner Erika Hampson and The Collective's Sam Maydew. D'Onofrio also wrote the script with Joe Vinciguerra and Sam Bisbee. The film follows the intersecting paths of five disaffected suburbanites: a stoner teen, a restless housewife (a dark role to be played by Handler), a voyeuristic businessman (D'Onofrio), a mall security guard and a trigger-happy crystal meth addict who heads to the mall looking for trouble. Bogosian will play a store owner. "This film will be a comment on social violence," D'Onofrio said in a statement. "It begins as a man walks through the front door of a suburban mall armed to the teeth,...
- 5/6/2011
- by MIKE FLEMING
- Deadline
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