Word: greengrass
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Dates: during 2000-2009
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...Director Travis's early claim to fame was the 2004 Omagh, a retelling of the massacre of 29 civilians in a Northern Island town a decade ago. That TV film's script was co-written by Paul Greengrass, and Travis has borrowed some of the jittery camerabatics that Greengrass applied as director to of United 93and the last two episodes of the Jason Bourne saga. You can easily spot Travis's attempt at docudrama bona fides from the gritty cinematography. All the 50-plus mid-level stars - Quaid, Hurt, Weaver, Bruce McGill - are shot (I mean photographed) so unflatteringly that...
...before the opening of The Bourne Supremacy, Marshall got a call from its star, Matt Damon, who was on the Lake Como, Italy, set of Ocean's 12. Damon had talked with a screenwriter there and come up with an ending for Supremacy that he and the director, Paul Greengrass, liked better than the original, which left test audiences unmoved. "I said, 'Matt, the movie comes out in two weeks. What are you talking about? We're done,'" recalls Marshall. After hearing the idea, however, Marshall was convinced it was worth the risk, so he and Damon called then Universal...
...personalities as well as skills," says Kennedy. "If you have somebody who's intensely creative but they can't manage their way out of a paper bag, you bring somebody else in to augment that." The two producers also like to pair inventive directors of smaller-budget films (like Greengrass before Bourne and Schnabel now) with studio-caliber crews to surround an artistic mind with precision and experience...
...movie. "You lay down a story, you've got to have some core objectives and some core sense of what your sequences are gonna be, and then you really have to move forward and start to make it and trust that in the process you'll find it," says Greengrass. "A film should not be an airline meal. It should not be prepacked." In other words, that edge-of-your-seat feeling of watching a Bourne movie often derives from the fact that the filmmakers are as surprised by their plot twists as their audiences are. "The camera...
Damon and Greengrass's improvisational style of moviemaking applied to the ordered world of the action franchise has produced a character, Bourne, wholly of the moment, rooted in the morality of today's landscape. "We all know we're in dangerous and ambiguous times," Greengrass says. "Bourne is not about wearing Prada. He's about essence, core, honesty and truth in a complex world." The movies work only because the director and star trust each other. "It's best not to look at it too close," says Greengrass of their relationship. "'Cause it's a bit like...