Дьявол в деталях (The Little Things)

Серийного убийцу может сыграть Джаред Лето

У героя Вашингтона талант находить важные для дела мелочи, и ему приходится объединиться с другим человеком, чтобы поймать серийного убийцу.

Что же это мне напоминает?

Ах да,

25 и 28 октября

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Вашингтон в роли Дика, изможденного жизнью помощника шерифа округа Керн, который объединяется с детективом департамента шерифа округа Лос-Анджелес Бакстером (Малек), чтобы поймать серийного убийцу (Лето)

Старый Харви Буллок и молодой Джим Гордон ловят Жопера, который обезумел после расставания с Харли.

Сабж интересный из-за Вашингтона и Лето. Роль серийного убийци - идеальна для Лето, как по мне.

+ Последние фото со съёмок

Сабж интересен только из-за Рами.

Так-то, наверное, будет очередной фильм про напарников-полицейских. Сотни их.

Variety

According to sources familiar with discussions, “Judas and the Black Messiah,” a biographical drama starring Daniel Kaluuya and Lakeith Stanfield; Denzel Washington’s crime thriller “The Little Things” and the “Tom and Jerry” remake could all see a hybrid HBO Max/ theatrical fate similar to “Wonder Woman 1984.”

Первые кадры

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ни разу не напоминает тот самый фильм. прям ни разу.

лето смешной, начало трейлера почти убедило, что будет вин. жаль, что уже ясно, как всё закончится

жаль, что уже ясно, как всё закончится

40+ на помидорах и "ахахаха 1/10" от тебя?

ни разу не напоминает тот самый фильм. прям ни разу.

чё конкретно за фильм.

Интервью с Джоном Ли Хэнкоком

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How long did it take for you to get this serial killer thriller The Little Things to its status as first 2021 Warner Bros films that will premiere on HBO Max as it opens in U.S. theaters?

 

I wrote it before Se7en. I came across a draft the other day that said it was first registered with the Writers Guild in spring of 1993. I wrote it right after A Perfect World.

 

For you to direct?

 

No. A Perfect World had come out, with Clint Eastwood. I wasn’t directing yet. I had a three-picture deal at Warner Bros based on A Perfect World and one of those was a blind picture deal with Steven Spielberg. At the time, Steven was attached for a bit and then felt it was too dark for him. He had just done Schindler’s List and wanted to do something else. Clint was attached for a bit, I went through many discussions with Warren Beatty about it, then Danny DeVito when he was directing a lot. I started directing in earnest with The Rookie around 2002. Mark Johnson had always been the producer, and he would come to me every two or so years when someone was interested. He’d ask, do you want to direct it? I had little kids at the time and wasn’t sure I wanted to live in that dark a place for two years. Then I had conversations with two friends, Scott Frank and Brian Helgeland, both were big fans of the script, and they encouraged me to direct it. They loved the script.

 

So I went back and read it. I didn’t know if Warner Bros would necessarily be interested in making it. But they owned it and there was no underlying material. It was something I made up, and way back then, they didn’t pay me a lot to write it. So there wasn’t a lot of money against it. I had just done a movie for Netflix and I thought if Warner Bros doesn’t want to do it, Netflix might, and Warner Bros might let me take it out of there. Then, Warner Bros read it; Courtenay Valenti was the only one who was still around from back then who read it before. She said, before we even consider giving it away in turnaround, we all have to read it. Two weeks later, Courtenay came back and said, I’ve got bad news and good news. Everybody loved the script, but if they don’t make it, I’m not sure they will let it get outside the walls. Then it had a life of its own after 30 years, and next thing you know we were making it.

 

What does ‘a life of its own’ mean?

 

Well, nobody had read it for a long time. The first stop was Denzel. I had a relationship because I’d done rewrites on Magnificent Seven and also, I’d been in South Africa with Denzel, doing rewrites on Safe House. We had some mutual respect and spent lots of time in a room together talking about story. When Warner Bros asked Mark Johnson and I, who’d you like to play Joe Deacon, we talked about it and said, Denzel would be fantastic. He read the script, we talked about it and he said, let’s do it. It was too good to be true. Next step was, who’ll play Jim Baxter and Denzel and I thought Rami Malek would be an interesting choice. Rami said yes. I had a little bit of a relationship with Jared Leto, who was a fan of a movie I’d directed, The Founder…

 

How close was that 1993 script to the movie I watched? What changed?

 

It’s pretty much the same. When Courtenay said, let’s let everyone at Warner Bros read it, I asked for a week and a half to clean it up. When I wrote it, it was a contemporary piece. Now, all these years later, it’s a period piece; 1990, when the story was set, was pre-DNA. A lot has happened with criminology. I went back and culled out some of the CSI-type stuff that at the time was groundbreaking, and people hadn’t seen it before. You see it twice a week now on the TV crime shows. I also took about seven pages out that were repetitive or overwritten. When you write a script for someone else to direct, you have to leave more breadcrumbs, to help them understand what you’re going for, and you can cut that out in post. But when you are the director, you have to know precisely what you’re after and you don’t need to leave breadcrumbs for yourself. It was probably 85-90% what was written in 1993, or ’92.

 

What sparked your original idea? Even back in the ‘90s, you’d see a lot of crime movies that climax with everyone showing their colors and you know exactly who did it and why. You don’t do that here.

 

I was living in Hollywood at the time, and had some success. It wasn’t the Hollywood of today, it was a lot more run down. Some locations changed, because they were real in 1992, and now are very gentrified. This flophouse, now a Whole Foods is there. I was going for a realistic view of LA at the time, without showing landmarks or anything beautiful. I wanted to show the distant parts of the Valley and East LA; I wanted to show downtown Skid Row, which were as much a part of downtown LA as the Chinese Theater. I was into crime drama. At that time, most of the movies about cops on the trail of a killer, were really fun for the first two acts. In the third, the cop would find out who was doing the killing, and then it would be by rote. Big face-off, and the cop would seemingly be beaten down and would come back and kill the guy in some morbid fashion. That always disappointed me; I thought, must the third act be just running around shooting at each other when the first two acts with all the clues were so interesting? I was trying to turn away from that and come up with a third act that would be surprising and hopefully still be fulfilling.

 

 

We know Denzel drills down on his roles as the lead actor. What did he bring when you had him helping break down the story?

 

It was a blast being able to talk to him all through prep. He read the script once and then re-read it over and over, making notes and notes. I’ve saved them all because they’re such a great look back. He would call and leave 30 second messages. ‘I’m re-reading this scene at the flop house. It says I have a coat on. What if I don’t? Then I can drop…’ He comes at it in such a practical way, from staging to wardrobe, and says things like, ‘why am I doing this here?’ He was around so much, I said, I’m going to set you up with an office, when we had prep offices at Warner Bros. He said, Ok and his office was right next to mine, and he would come and go. Both our doors were open and we sat for hours and talked. All that prep work saves you because you have talked about the scene so much, you know what you’re doing. When you’ve dealt with all the extracurricular things, like, does he have a coat on, you’re able to just did into the character and the underlying themes and what the scenes are really about. It helped me and I’m sure it helped him also.

 

The most important contribution with a great actor like that brings?

 

Once we clicked in and we could look each other in the eye and talk in a real way, he told me very early on, I respect you, you wrote the script and you are the director. If I didn’t respect you I wouldn’t be here, but that doesn’t mean we can’t have frank conversations. Having a partner like Denzel, you don’t want to give him too narrow a lane. He’s so instinctual, and so watchable. I’m a big student of behavior in actors. Sometimes, you’ll have a thing where an actor just scratches his cheek in a way you like. It’s neither here nor there, but to me it serves the character. Once he is that vessel for the character of Joe Deacon, he can’t make a wrong move. Anything he does is Joe Deacon and not giving him too narrow a lane and block in a way that allows him to change things up, is better for the movie, me, and him. He’s a guy who will change things up and give you lots of choices. He’ll go with whatever is in that moment, based on what the other actor gives him. The delivery of a line by Rami, two different ways, will draw two very different responses. Watching Denzel, Rami and Jared work it out together, was really a master class.

 

They all seem so different. Rami has such a singular look. You had him after the Bohemian Rhapsody breakout role that won him the Oscar.

 

Rami understood that in some ways, his role was the most important, as the straight ahead guy who allows Joe Deacon to come from Bakersfield and for Jared to become his character, Albert Sparma. What I loved about Rami was that he and Joe Deacon didn’t seem like they’d fit together. You could cast someone else and think, I could see them hanging out. I liked the fact that Jim Baxter’s straight-laced and that Rami isn’t who you’d think of for him. And you wouldn’t see these guys hanging out. That’s why, when they form this bond of obsession, it’s just all the more interesting to me, just watching them sitting in the car together. I like that this was set three years before DNA took hold. I wanted it to be harder for these cops, who had to hit the streets and spend time driving around. Nowadays cell phones keep you connected all the time. I liked the stakeout of Sparma’s house and there being a payphone there that the cops would have to use. They would carry around lots of quarters. It all served their obsession in a way, that they had to work so hard. It was very internal, in the minds of these cops, and how they can become so focused and fixed on a suspect.

 

Their bond, an internal torment over an unsolved murder and actions taken on a long ago case for Denzel’s character, and Rami’s detective falling into the same rabbit hole as young women are murdered now, is palpable despite their differences. We’ve seen Jared Leto in his Oscar role in Dallas Buyers Club, in Suicide Squad and other movies. What most surprised you about how he played the prime suspect, who is clearly intoxicated by this strange relationship he develops with the detective played by Malek?

 

Jared transforms for every role, not only from his voice, to how he walks and what he wears and how he looks. He’s really interested in transformation. We started conversations early, and tried very different things. You always hear about Jared as a true method actor and that is true. I would talk to him using his character’s name and give notes that way, between takes. He was completely open to trying anything and everything that I put in his ear.

 

So you get three Oscar winners for your nearly three-decade old script, which is like going from a luckless night to drawing three aces, in the night’s biggest pot. Have you ever had a journey like this before?

 

It’s somewhat similar to The Highwaymen. That was a 15 year journey and that felt like a long time. This was twice as long. Suddenly, you’re pinching yourself going, this is a lot, be careful what you ask for. It then falls on me to be sure the movie gels and is as good as we all think it can be.

А вдруг кино будет похоже(по стилистике и атмосфере) на ''Семь'' Финчера? К тому же Джаред в роли маньяка, это Win. Ему подобные роли(неадекватов) идут!

Не думаю... По трейлеру мне вообще ни чем не напомнил, Семь. А вот Джаред может сыграть своего психа как надо.

Конечно списали.(

Может не удался фильм. Посмотрим.

Чето как то никак. Каст хороший и все. У Лето наверное лучшая роль.

Видимо Даллаский клуб покупателей вы не смотрели....