“That was a script I wrote like four or five years ago with Karen Croner. “That cast is going to change now,” he revealed. And I’m figuring it out in the next three or four months.” One of those potential projects is the long-gestating “ Tulia,” which at one time might have reunited “ Monster’s Ball” co-stars Halle Berry and Billy Bob Thornton. “I’m trying to figure that out right now,” he said when asked what’s next. Given the variety of options he has on his plate going forward, it sounds like Singleton’s career decisions can be largely intuitive. I don’t overthink it or over-intellectualize it.” “Sometimes, you want to do stuff that’s hyper-reality, I say. It’s about people watching human life in different scenarios and being excited about that.” Furthermore, he said that the key is creating a sense of authenticity: “Once you turn the cameras on, it’s all about plausibility,” he insisted, acknowledging that sometimes a well-told story is more important than a realistic one. “Even with all of the tricks and stuff that you can do, cinema is all about a reflection of reality. Still, Singleton said those references and homages mean less than the emotional connection they create between the characters and the audience. It’s right out of ‘ North By Northwest,’ with Cary Grant and Eva Marie Saint when they’re on the train and kissing for a long, long time, I showed the kids that, and the way Eva Marie Saint does her hands and her fingers and plays with the back of his head, and I had Lily do that stuff.
Abduction cast movie#
“There’s stuff in this movie that’s just classic, simple stuff, like the intimacy between the two characters. But he said that with a chase thriller like “Abduction,” much less one in which two romantically-involved fugitives find themselves on a train, it’s easy to find a place to pay homage to the classics that inspired him. Like many of his contemporaries, Singleton is a cinephile filmmaker, preparing for his own films by watching older films from the same genre he’s working in, the influence of which occasionally shows up in one form or another in the finished product. And Taylor wanted to do something with an edgy filmmaker, and make it cool and commercial and stuff. “They wanted me to do this movie because they wanted to do it quick. They have more heart and more weight.” In fact, Singleton suggested that part of the reason that Lionsgate hired him to helm “Abduction” was both because of his efficiency, and personality, behind the camera. Like ‘ Four Brothers’ – you look at that film, or the action pictures that I make, they’re totally different from what anybody else would do with them. “I mean, I’m doing things even in these different genre pictures that are personal. “It’s personal in a different way,” he explained.
Nevertheless, Singleton insisted that his success in the mainstream hasn’t come at the cost of an intimate connection with the material he chooses. I’m the same guy, really, but I’ve just evolved and gotten older.” “I’m totally different I’ve evolved, I’ve changed, I’ve gotten better, and I’ve gotten more nuanced as a filmmaker. “I’m not the same filmmaker I was when I made that,” he said. Now at the helm of tentpole action thrillers, Singleton admitted that he’s not the same guy who once shepherded that intimate character study from his ‘hood to Hollywood. Singleton first made his name in 1991 when he wrote and directed “ Boyz n tha Hood,” a deeply personal inner-city drama that earned him an Oscar nomination for Best Original Screenplay. And then finding out that family isn’t his real family, which is the whole MacGuffin, the genre thing of it.” “I think of it more as a young man who was kind of out of place in the family that he was in, which is something a lot of teenagers feel organically, even if they’re biologically linked to their families. But Singleton said that he turned the film’s most thrilling mysteries into themes that any teenager could relate to. Of course, thanks to a marketing campaign that effectively positioned Lautner as a teenage Jason Bourne, “Abduction” will at least seem familiar to audiences as they enter the theater to watch it.
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