Paul Haggis‘ latest film The Next Three Days is going to be released soon, but the writer/director still doesn’t have a follow-up booked. At least as a director. He’s set to write the big screen version of The Equalizer, and has been talked about as a possible director for that film.
Now Paul Haggis is working on a deal with CBS Films to write and possibly direct a remake of the award-winning 2009 Spanish film Celda 211. Deadline pitches the remake well, pushing the idea that it is like Die Hard in a prison. Read More »
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In June of this year we got word that the long-rumored TV-to-film version of The Equalizer was actually moving forward with Russell Crowe attached to the role originated by the late Edward Woodward. At the time there was no script, and there is still no script, but that could change soon. Paul Haggis, who just directed Crowe in The Next Three Days, is in negotiations to write. Read More »
Paul Haggis has worked quite a lot since his Best Picture winning film Crash divided critics and audiences into rather strict love/hate camps. He directed the rather good In the Valley of Elah, and worked on scripts for two Bond films, two Clint Eastwood films and other projects.
But the spectre of Crash is still what defines his career. Does The Next Three Days have the power to change that? It has a notable cast (Liam Neeson, Russell Crowe, Elizabeth Banks and Olivia Wilde) and a not too challenging dramatic thriller plot. But watching this trailer, it’s rather difficult to tell. Read More »
A bunch of new release dates were announced overnight, including the Ryan Reynolds one-man thriller Buried, the computer animated/live-action hybrid 3D film Smurfs, Jonah Hill‘s big screen adaptation of the television series 21 Jump Street, and Crash writer/director Paul Haggis‘ new film The Next Three Days. Details after the jump.
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It’s difficult for me to get very excited for a new Paul Haggis directorial project. The stain of Crash stays with me. But The Next Three Days could be interesting. It’s a remake of a 2008 French film Pour Elle by Fred Cavaye about a couple that has some problems when the woman is imprisoned for a murder she says she didn’t commit. Russell Crowe and Elizabeth Banks are the headliners, but three more have just been added to the cast. Read More »
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We all love Paul Haggis around these parts (and by love, I mean mock and ridicule as much as possible), so we try our best to keep close tabs on his projects just to make sure we don’t miss a single thing. It looks like his next film is The Next Three Days, a remake of the 2008 French film Pour elle, and he’s tapped Russell Crowe to star. Crowe plays a high school teacher whose wife is falsely accused of murder, and he comes up with a plan to free her at all costs.
The original film starred Diane Kruger as the wife, so I wouldn’t be surprised if we catch wind of her joining this remake a la Vanilla Sky. Haggis, who is also writing the script, said he chose Crowe because of his tested ability to play the Everyman, in addition to his more traditionally heroic roles.
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I was looking at the official website for Terminator Salvation, and found myself looking at the credit list on the bottom of the site. Yeah, the PG-13 MPAA logo is there, but we already confirmed the rating to be true. What I noticed was that the official “written by” credits for the film have been awarded to John Brancato and Michael Ferris.
This is interesting because McG has been touting substantial rewrites by The Dark Knight screenwriter Jonathan Nolan and Crash scribe Paul Haggis in interviews and convention appearances. We know that Haggis did a rewrite and that Jonah was brought on to do an overhaul of the script in an effort to convince Christian Bale to come on board the project. Nolan was also supposedly on set for most of the production, doing rewrites scene by scene. At a press conference at Comic Con 2008, McG even referred to Jonathan as “the lead writer of the film.” When asked if Nolan would receive screenwriting credit for his work, McG responded “I don’t know how the WGA rules work but honest to goodness, we did the heaviest lifting with Jonah.”
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Posted on Wednesday, November 5th, 2008 by David Chen
New York magazine’s Vulture has a piece (via Film Junk) that describes how Paul Haggis, a screenwriter for Quantum of Solace (and the writer/director for the Best Picture-winning Crash), almost created a child subplot for the next Bond film. According to Marc Forster, Solace’s director:
Haggis had an idea they weren’t fond of, and I didn’t know if it would work or not…The idea was that Vesper in the last movie, maybe she had a kid, and there would be an orphan out there. It wasn’t anything to insult the franchise. But they felt it wasn’t particularly Bond — him looking for the kid. I think Paul thought he just leaves the kid, he doesn’t deal with it. But [the producers] thought that would be really nasty, too, because Bond was an orphan himself. If he would find a kid, would he just leave it? They were so vehemently against it. That was the only time I saw, really, “No, we can’t do that.” They said, “Once he finds the kid, Bond can’t just leave the kid. It’s not right.”
Having spawned from the mind of Haggis, this idea doesn’t really surprise me, but it almost definitely would have been a horrendously executed. What possible positive outcomes could there have been for this scenario? As my /Filmcast colleague Devindra put it, either he keeps the kid and ruins the franchise, or he leaves the kid and is a much bigger asshole than we could have possibly imagined.
The franchise most fresh in my mind that played with this type of thing was Indy 4 and your feelings towards that film as a whole will probably inform how successful you feel that relationship was. But can we all agree that a James Bond Jr. would, as a general thing, be a terrible idea?
Discuss: Would you want to see a Bond film where he deals with his child? What action movies have dealt with father/son relationships satisfyingly?
Is it just me or does the television show adaptation of Paul Haggis’ Academy Award winning film Crash look really REALLY bad?
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