DESPERATE MEASURES, which was filmed on location in San Francisco and
in and around Los Angeles, is produced by Barbet Schroeder and his longtime
collaborator and producing partner Susan Hoffman, along with Gary Foster
(Tin Cup) and Lee Rich (Just Cause). Jeffrey Chernov (First Kid) is executive
producer and the screenplay is by David Klass (Kiss the Girls). Reteaming
with Schroeder are Director of Photography Luciano Tovoli and Editor Lee
Percy, who have worked with the director on his last four projects. Geoffrey
Kirkland (Mississippi Burning) is the production designer and Gary Jones
(Just Cause) is the costume designer.
Since its formation in 1995, Mandalay Entertainment has produced Tony Scott's
The Fan, starring Robert DeNiro, Wesley Snipes and Ellen Barkin, Mike Newell's
Donnie Brasco starring Al Pacino and Johnny Depp, Tsui Hark's Double Team,
starring Jean-Claude Van Damme and Dennis Rodman, and Jean-Jacques Annaud's
Seven Years in Tibet, starring Brad Pitt and David Thewlis. Slated for a
February release is Bille August's Les Misérables, starring Liam
Neeson, Oscar® winner Geoffrey Rush, Uma Thurman and Claire Danes.
In DESPERATE MEASURES, Barbet Schroeder continues his love affair with American
movie genres, from courtroom drama to psychological thriller, from film
noir to family drama. Like many French directors of the post-New Wave period,
Schroeder learned how to make movies by watching them over and over again
at Paris' famed Cinemathèque. "I started going to the movies
seriously at the age of 12 or 13," he recalls. "I was just one
generation after the New Wave and we were much more exclusively fanatical
about American cinema. I knew everything about the movies of Howard Hawks,
Raoul Walsh, Anthony Mann, Samuel Fuller and Alfred Hitchcock before I knew
anything about Shakespeare or Mozart. This was my cultural milk. So the
movies I do in America are linked to the American movies I was seeing then."
These directors, now acknowledged as masters, often worked in genres that
were considered too popular or unsophisticated to be taken seriously by
the cultural elite. They also switched genres, seemingly indiscriminately,
often alternating a western with a war film, a gangster melodrama with a
musical. But true cinéastes like Schroeder soon learned that, while
these filmmakers worked within conventional formulas, their unique style
and distinctive vision enabled them to transcend whatever material was at
hand and transform it into something of lasting artistic value. "Among
the filmmakers I love," says Schroeder, "most never won an Oscar®.
But for me, there is absolutely nothing inferior about a genre movie. Many
of the films I consider masterpieces of the cinema are genre movies."
Of all the different genres Schroeder has explored, DESPERATE MEASURES is
the most quintessentially American, and the one least likely to have been
made in his native France. Though his previous two films, Kiss of Death
and Before and After, were mostly dialogue-driven (and were written, respectively,
by noted author/scenarist Richard Price and Oscar®-winning screenwriter
Ted Tally), DESPERATE MEASURES is almost completely kinetic. Apart from
a few introductory scenes that establish the characters and their situation,
the balance of the film unfolds over one long night and involves almost
relentless action and movement as McCabe escapes and makes his flight, with
Connor and a host of others in perpetual pursuit. Inspired by such classic
fugitive-on-the-lam dramas as Raoul Walsh's White Heat, starring James Cagney,
Schroeder builds DESPERATE MEASURES around a number of "top of the
world, mom" moments involving high-speed car and motorcycle chases,
rooftop helicopter assaults, foot chases through darkened hallways and steam
tunnels, mid-air leaps from fifth-story windows or 120 feet-high drawbridges,
as well as a number of conflagrations, explosions and gun battles.
If all this son-et-lumière is customary for an action thriller, it
was certainly new terrain for Schroeder, who found the physical demands
of the production and the emphasis upon action over words both challenging
and stimulating. "I had done a little bit of that in Single White Female
and Kiss of Death," recalls the director. "There were entire sections
that did not rely so much on dialogue, and I discovered that I actually
liked the process of doing an action scene. For me, it is really magical
that you design all these little puzzles and finally, when you put them
together after long, excruciating labor, the fact that it all suddenly works
is exciting. It's like a magic trick. I discovered real pleasure doing that
in short sequences in those two movies, so that's why I thought I would
do it on a bigger scale with this one."
The film's continuous narrative, beginning from the point where McCabe is
brought to the hospital and extending through the ensuing evening, night,
and early morning, presented enormous problems in creating transitions,
ellipses, momentum and continuity. "This movie was really like a minefield
at every stage because there were so many little implications to every bit
of action, so many little details that had to fit together logically. The
amount of information you have to process and piece together is totally
amazing. And while the average audience would never think about three quarters
of the questions we asked ourselves at every single stage, if something
were wrong everybody would notice!"
Apart from all the creative decisions he was accustomed to making, Schroeder
found himself facing considerable logistical choices that were, for him,
unprecedented. For instance, when Michael Keaton's character gets shot in
the leg early in the film, it sets into motion a debate over "how much
blood and how wet? How dry is it 20 minutes later, one hour later? How does
it come out? Then, when he has stitched the wound, and the blood is not
flowing anymore, is it dry? Does it have a different color? There was endless
discussion about everything," he recalls.
Another challenge was presented by the set which, according to the script,
needed a highly specific set of attributes. One wing of the hospital where
McCabe will submit to the bone-marrow transplant is modern and hi-tech.
The other, containing the prison ward where McCabe seizes control, is old,
outmoded, and full of the long-forgotten, labyrinthine passages that he
will use as an escape route. Between the two wings is an elevated bridge
that must be destroyed in a key scene. In addition, it is frequently necessary
for important actions involving some characters who are in one area of the
hospital to be witnessed by other characters who are in another area. Needless
to say, nothing even remotely like this location existed in reality, and
Schroeder and his team devised a strategy whereby actual exteriors in multiple
locations were combined with constructed exteriors, real interiors and studio
sets to create the impression of one large edifice.
"What I like in this kind of movie" Schroeder says, "is that
it forces you to resort to what I call 'real' movie making because things
have to be constructed. Your shots, the story, the set (which had to be
constructed especially for the story)-all this really forces you to know
everything that's happening in every shot ahead of time. Not only did we
have the usual stuff, where you use storyboards," he adds, "we
could also visualize the set in 3-D, using a computer. This way, we could
know if we put the camera at that window, using that lens, whether we would
frame the whole walkway or not. By visualizing the set in 3-D, we could
actually move the camera within a virtual set and list all the shots we
needed to tell the story correctly."
He continues: "With a big budget and a complicated situation like this,
it is better to know exactly what you are doing, and even if you are doing
it. If you bring everybody to the set in the middle of the night and find
out then that it doesn't work, it's a nightmare!" Yet, despite all
these technical considerations, which forced him to elevate efficiency to
an art, Schroeder was charged by the process. "There is something essentially
cinematographic in making a location exist, in making real a setting that
before had only existed in your head. It's a very exciting exercise."
Having chosen to work within the action formula, Schroeder, like his forebears,
makes it his own, placing his distinctive stamp on material that succeeds
or fails almost exclusively on the merits of its execution. About the match
between the director and the project, producer Gary Foster observes, "I
liked the idea of having a director who was known for his characters doing
an action picture." With Schroeder on board, DESPERATE MEASURES could
be, in Foster's words, "a character-driven drama" and "more
than just a prison-break film." Susan Hoffman, Schroeder's longtime
partner in producing his American films, notes that "if Barbet and
I bring anything to what we do, I think it is definitely to create a character
study, so the story becomes more about people in a situation than the situation
itself." Schroeder adds, "When I do a genre movie, I always try
to work on the characters, to make them as rich and believable as possible.
If you follow the characters in their logic, you cannot do anything stupid.
In other words, if they do something stupid, it is because they are stupid,
not because you are stupid!"
Having sharpened the characters with his esteemed team of screenwriters,
Schroeder was able to bring them to thrilling life in his casting, starting
with Michael Keaton and Andy Garcia as the two antagonists. "I always
say," stresses the director, "that if I don't have the cast that
I dream of, I prefer not to do the movie. When I saw Michael Keaton in Clean
and Sober and later in Pacific Heights, I thought his performances were
absolutely extraordinary. He brought complete freshness to this part, creating
an entirely new character, a new voice, as we knew he would. Similarly,
Andy is totally authentic in his performance. Apart from being a wonderful
actor, he is a wonderful human being and a devoted father whose family is
what is most important to him. I felt this would come into play in one way
or another."
Echoing Schroeder's enthusiasm, Garcia says, "I really wanted to work
with Barbet and, when I read the script, I was attracted to the relationship
with the son. That was the most compelling thing for me as an actor: what
is a father prepared to do in order to save his son's life?" Playing
a completely different sort of role, Keaton also found one compelling thing
about his character that became his key. For him, it was "finding a
tiny spark of humanity deep inside McCabe, who otherwise might be irredeemable."
After all, he observes, "this is a man who has spent over half of his
life behind bars. He might, in fact, have some sort of psychological disorder,
as opposed to just exhibiting sociopathic behavior. So, if there is just
a wee spark, then I could put a bellows on it, and it might possibly build
into a flame."
In identifying the humanity in the horrific McCabe, Keaton addresses a moral
ambiguity that is, in fact, a hallmark of Schroeder's films. Never one to
work in the absolutes of black and white, Schroeder's belief in the moral
"grayness" of us all is one of his ongoing thematic concerns.
Never has this blurring between good and bad, right and wrong, and hero
and villain been as prevalent as in DESPERATE MEASURES. "The irony
here," says Schroeder, "is of a cop needing to keep a murderer
alive. In order to save his son, he must side with a sociopathic murderer.
Finally, the question is how many more people will the 'hero,' Frank Connor,
allow to be killed in order to save his child." Adds Hoffman, "this
gave us a twisted situation, and Barbet and I thought it would be fun to
play with that. McCabe and Frank are engaged in a cat-and-mouse game that
reveals just how alike the two men are."
"Because McCabe has nothing to lose," she continues, "and
Frank has everything to lose, there's a dynamic that creates an equal desperation
for both of them. Frank starts to behave a lot like McCabe and he has to
think, 'am I accountable for my actions?' There is a point when they become
the same," she notes. There are, in fact, many moments when the audience's
moral preconceptions are so turned around that it finds itself cheering
for the 'villain,' who is both intelligent and resourceful, at the same
time that it feels outraged by the 'hero,' who becomes increasingly ruthless
as the film progresses. "I did that sort of perverse thing in Single
White Female," notes Schroeder, "where there was a lot of empathy
with the character played by Jennifer Jason Leigh. That's how you can subvert
a genre. That's also how you can renew its whole equilibrium."
Placing villains front and center in his films is yet another trademark
of Schroeder's, who has created some of the most memorable "meanies"
ever to grace-or disgrace-the screen. "I guess I'm always attracted
to the mystery of evil," he says, "and the fact that it comes
out of people who are completely human and sometimes quite charming. Otherwise
they couldn't operate the way they do. One of the big shocks when you've
been born into the world is to find out that bad people have a lot of charm.
So the black and white view of the world-that on one side you have the bad
guys and on the other the good guys, and that you can easily choose between
the two-is actually much more complicated. Of course, the biggest villain
I did a film about was Idi Amin Dada, who was a total charmer, a total seducer,
very funny and, of course, totally frightening."
"One of the most important things you can learn about people,"
continues Schroeder, "is that bad guys have a human side. And if you
are an actor, and you want to portray one, you discover all kinds of very
nice things about him. Then when you play him in the movie, you become the
advocate for that person and try to show his good side. Because, the more
you show that good side, the more frightening the character becomes, the
more real he becomes." Keaton, who has never before essayed a character
this horrific (in a serious context), agrees: "McCabe is a monster,
but also extremely intelligent. I thought that made him twice as scary and
twice as interesting."
Producer Hoffman sums up this latest Schroeder villain by saying, "Although
McCabe is very evil and scary, he's also kind of fun and, at some level,
even likable. Although he does horrible things, in a way, we admire him
and I think audiences will enjoy him." As for her partner's penchant
for portraying such characters as both appalling and appealing, she notes,
"I think that Barbet is a natural born psychologist, even though he
doesn't think of himself that way. And I think he is extremely sympathetic
to monsters. Barbet finds humanity in everything-I think of it as an obsession
with humanity-and he pays evil an equal amount of respect. Which makes his
character studies maddening, but also very compelling."
Another way in which Schroeder puts his imprimatur on the material is with
his distinctive visual style, developed in conjunction with his longtime
collaborator, Luciano Tovoli. Tovoli, who achieved cinematographic immortality
with his legendary gyroscopic coda to Antonioni's The Passenger, has shot
Schroeder's previous four films and, with his director, has devised a look
that is at once contemporary and classical. As Tovoli notes, "I don't
think that you can do a suspense-action thriller without a very strong visual
element. It's one of the reasons why such James Cagney films as White Heat
are so memorable. In the '40s they used lighting to define an atmosphere.
You have to think of an aesthetic when lighting movies." It is precisely
the aesthetic of a classic '40s film that Schroeder evokes with DESPERATE
MEASURES, intentionally eschewing the currently popular post-MTV pyrotechnics
that emphasize activity, not action. "It's much harder to do a constructed
shot, with depth of field, than a multitude of little, out-of-focus shots
that don't relate to each other except when they are linked by music,"
observes Schroeder. "I don't think you can get into a character if
the editing is too abrupt. You always have to have a little time to understand
what is happening. I think an exciting action sequence is one in which you
understand what is at stake; you understand the geography; you understand
the psychology and goals of the characters. If you have all those elements,
and if they are all clear and on the screen, for me it's much more exciting."
In DESPERATE MEASURES, Schroeder has made a movie that has many classical
elements, each of them renewed by his unique perspective. As a European,
he sees our world and our way of filming it with different eyes. As he puts
it, "When you come here from somewhere else, you can have a fresh approach
to old formulas. You say, 'I'm not going to do this, which has been overdone'
or 'we can avoid this cliché, or we can use this cliché, but
we can make it completely different by injecting this,' and so on. This
kind of exercise is very pleasant for somebody coming from the outside."
But Schroeder hastens to point out that, to a great extent, Hollywood has
always been made up of "outsiders" like himself. "This phenomenon
of attracting talent from all over the world is absolutely nothing new.
Right after the first World War, you had waves of immigrants who were bringing
unbelievable stuff to American filmmaking." Citing Ernst Lubitsch,
Billy Wilder, William Wyler, Fred Zimmermann, Frank Capra, and Alfred Hitchcock-all
of whom gravitated straight to the mainstream, all of whom were artistic
but never "artsy"-he notes that "basically 50 percent of
the American cinema was made by people who were imported." Summing
up his attraction to Hollywood and its legacy, he concludes, "Hollywood
has been for cinema what Paris was for painting. Things are happening there
and it has the vitality of an art that is being made for the whole world.
Working there, I have been able to go from one extreme of the palette to
the other. From one style to the opposite one. For me it has been very satisfying
and exciting to be able to try new things."
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