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Adrian Lyne

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Reply #15 on: August 25, 2005, 01:06:04 AM
I really liked the acting and sex scenes in Unfaithful.
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Reply #16 on: August 25, 2005, 01:07:20 AM
i feel embarrassed to ever hav had the same signature as u.
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Reply #17 on: August 25, 2005, 06:50:13 PM
He's a very talented director. "Jacob's Ladder" is by far his best movie, but "Fatal Attraction" and "Unfaithful" weren't bad either.
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Reply #18 on: April 23, 2006, 08:33:57 PM
I've seen unfaithful and fatal attraction and both of them very solid movies. Unfaithful has one of the best proformances by Richard Gere.
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Reply #19 on: April 23, 2006, 09:03:33 PM
I've seen unfaithful and fatal attraction and both of them very solid movies. Unfaithful has one of the best proformances by Richard Gere Diane Lane.

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Reply #20 on: August 08, 2006, 01:04:15 AM
Lyne recruited to mastermind WB's 'Thieves'
Source: Hollywood Reporter

Adrian Lyne is attached to direct an adaptation of Chuck Hogan's "Prince of Thieves," which will be written by Sheldon Turner. Graham King's Initial Entertainment Group optioned the book and is producing for Warner Bros. Pictures.

"Thieves" is the tale of four men -- thieves, rivals and friends -- being hunted through the streets of Boston by a tenacious FBI agent and a woman who might destroy them all. The book won the 2005 Hammett Prize for excellence in crime writing.
Lyne brought the book to King, who then took it to the studio. Kevin McCormick will oversee for Warners.

King's producing credits include the Oscar-winning biopic "The Aviator" and the upcoming Martin Scorsese-directed crime thriller "The Departed." King also is a producer on Ed Zwick's "Blood Diamond," starring Leonardo DiCaprio.

CAA-repped Turner, who wrote the Adam Sandler hit "The Longest Yard" as well as the "Texas Chainsaw Massacre" prequel, wrote a draft of "Two Minutes to Midnight," a thriller Lyne was attached to direct for 20th Century Fox. Lyne recently dropped out of "Midnight," but "Thieves" allows for the two to work together again.

Lyne, a provocative filmmaker who was nominated for an Oscar for 1987's "Fatal Attraction," most recently directed 2002's "Unfaithful." Other credits include "Indecent Proposal, "Jacob's Ladder," "Nine 1/2 Weeks" and "Flashdance."
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Reply #21 on: April 26, 2013, 05:53:13 PM
Abstinent A Decade, Adrian Lyne Beds Down With Fox 2000 On Adaptation of Patricia Highsmith’s Sexy Thriller ‘Deep Water’

EXCLUSIVE: After directing the steamy, sexy hits Flashdance, 9 1/2 Weeks, Fatal Attraction, Indecent Proposal, and Lolita, Adrian Lyne has found nothing to get excited about since 2002′s Unfaithful. Finally, he has found a project that has him hot and bothered. Lyne last night closed a deal to direct Deep Water, a Zach Helm-scripted adaptation of the classic thriller novel by Patricia Highsmith, the late author of Strangers On A Train and The Talented Mr. Ripley. Lyne is making the film with Fox 2000‘s Elizabeth Gabler, with whom he teamed on Unfaithful, the study of infidelity that starred Richard Gere, Diane Lane, and Olivier Martinez. Deep Water will be mounted as a co-production between Film Rites and Film 360.

The contemporized Deep Water tells the story of Vic and Melinda, an attractive young married couple whose mind games with each other take a twisted turn when people around them start turning up dead. There is already a conversation with a big star, and if it pans, scheduling will dictate start of production. This project is a long time coming: Ben Forkner, who with Film 360 cohort Guymon Casady is producing alongside Fox-based Film Rites’ Garrett Basch and Steve Zaillian, went to Zurich eight years ago to court the Highsmith estate, and came away with rights from the iconic author’s family. They and Film Rites have been working on it ever since and finally got a script they liked from Helm, who scripted Stranger Than Fiction and wrote-directed Mr. Magorium’s Wonder Emporium. Lyne is repped by WME’s Robert Newman.
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Reply #22 on: August 22, 2019, 01:30:05 PM
The Profound Schlock of Adrian Lyne’s ‘Jacob’s Ladder’ by Mani Lazic

Jacob’s Ladder, however, is not an erotic thriller. The bodies here are foreign, repulsive, and perhaps not even human—allowing Lyne to take his fascination with flesh further into morbid territory. For what Jacob first takes as a trick of the light and a sign of fatigue on the subway soon returns and becomes too tangible to be dismissed: Creatures and physical deformities keep appearing around him. A nurse seems to have a strange growth on her head; at a party, he finds what looks like a rotting cow skull in the fridge; and although all these disturbing things appear furtively at first, they progressively take up more and more physical space. There seems to be no way for Jacob to be the only person experiencing visions, and yet no one else appears to notice them. Later, Jacob joins Jezzie on the dance floor and catches a glimpse of a couple making out intensely on a couch. After some awkward dancing, Jacob moves away and lets Jezzie dance with another man. Looking over at the couple kissing again, they seem to be going way too far for such a public setting. While the funky music of the party keeps playing, Lyne begins to emphasize the closeness of the bodies around Jacob and presents him in tight close-ups. Returning toward Jezzie, he sees that the stranger dancing behind her is turning into a winged, Lovecraftian creature, wrapping itself around Jezzie as she gesticulates more and more aggressively and ecstatically, taking off her skirt as it feels her up with a set of tentacles. Lyne uses all the visual elements at his disposition to make the violence of the scene ever more palpable: the sweat on Jezzie’s face reflects the flashing party lights, the darkness keeps Jacob (and the spectator) peering at her despite his repulsion to try to understand what he is seeing, and fast cutting heightens the tension. Finally, further pushing the reference to the similar intercourse between a woman and a disgusting creature in Andrzej Zulawski’s 1981 film Possession, Lyne takes the scene to a crisis point: The monster seems to impale Jezzie with some sort of gigantic fang, which sends Jacob into a full-blown panic attack. From the beginning of the scene, sex and horror are intermingled. Lyne makes the vulnerability of desire dangerous, an opening into the ghastliest turn of events. In several sequences, Jacob’s Ladder is an erotic horror film.