Word: greengrass
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...Your role (as a Pentagon liaison) in your next movie Green Zone is a departure from your two films this year (Genius and Ghost Town). Why did you choose the role? Paul Greengrass asked me to read the book, Imperial Life in the Emerald City, which is kind of just a backdrop for the movie. It's about the early mobile exploitation teams and the soldiers, including Matt [Damon], who go in to find weapons of mass destruction in Iraq and don't have a lot of luck. I think what Paul was attracted to was all that Americanism integrated...
...loving shot of Statham exercising in his cell, the taut muscles of his upper back pulsing under his flesh like alien tumors. He certainly fits into the film's production design, in the New Brutalist style that borrows the grimy industrial look from Fight Club and rummages through Paul Greengrass' Bourne movies for the attention-deficit editing and ShakyCam dialogue scenes...
...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...