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Trailer here. (http://playlist.yahoo.com/makeplaylist.dll?id=1351878&sdm=web&qtw=480&qth=300)
Release Date: August 12th, 2005 (wide)
Cast: Keira Knightley (Domino Harvey), Jacqueline Bisset (Pauline Stone), Christopher Walken (Mark Heiss), Mena Suvari (Kimmie), Lucy Liu (Taryn Miles), Mickey Rourke (Ed), Edgar Ramirez (Choco), Delroy Lindo (Claremont Williams III), Mo'Nique (Lateesha), Macy Gray (Lashindra), Shondrella Avery (Lashandra), Dabney Coleman (Drake Bishop), Ashley Monique Clark (Kee Kee), Ian Ziering (Himself), Brian Austin Green (Himself)
Director: Tony Scott (Man on Fire, Crimson Tide, Top Gun)
Screenwriter: Richard Kelly (Donnie Darko)
Premise: Domino Harvey leaves the cushioned Beverly Hills lifestyle she knew as the daughter of a famous actor and a Ford agency model to become a bounty hunter and pursue criminals for a living.
Based Upon: Based on the true story of Domino Harvey, daughter of actor Laurence Harvey (The Manchurian Candidate), who left the modeling world to be a bounty hunter.
Hahahahahahahaha.
Heads you live (heads you live...live...). Tails you die
*clink*
There is no way this can possibly be as good as "Dog: Bounty Hunter"
I'm only looking forward to this because its Richard Kelly who wrote the script, but I'm not so sure Keira Knightley is the right person for the part, or Tony Scott the right director... Trailer is alright, but nothing exciting
of course you're looking forward to it.
fuck you
Richard Kelly is a director NOT a screenwriter.
trailer is pretty crazy, doesnt tell you much of anything. thats good though. scott is still in hyper-insane mode. i am very much looking forward to this.
Explaination of the 'Based On A True Story... Sort Of'?
'Domino' Blasted by Bounty Hunter
Source: WENN
Keira Knightley's new movie Domino has been slammed by real-life bounty hunter Domino Harvey for falsely portraying her sexuality in the film. The $57 million drama is inspired by Harvey, who abandoned a lucrative career on the London catwalk to chase some of the world's dangerous criminals for the Celes King Bail Bonds Agency in Los Angeles. But the 33-year-old former British model is furious she has been depicted as a heterosexual when in reality she is a proud lesbian, and has blasted producers New Line Cinema for not giving her the right to approve the script before shooting started. A source says, "Domino sees it as an insult that the producers are selling it as her life story, when they are completely overlooking what she regards as a pretty basic part of her life. She feels they have stolen her life from her and made it into the women that they want her to be rather than the woman she is. She thinks it's ironic that so much of the publicity the film has attracted has been based on it's raunchy sex scenes."
Brian Austin Green as Himself?
It's about time the dude got some work. I'm sure Brian Austin Green would have an interesting enough life story to make a "Based on a true story... sort of" type movie. I'd call it B.A.G.: Lust 4 Life
And "Domino" Blasted By Bounty Hunter is a funny headline.
...but she has no problem with us believing she really blew away an apartment door with a machine gun in each hand?
Quote from: Sigur RósRichard Kelly is a director NOT a screenwriter.
Amen to that. I thought Donnie Darko was fantastic. The cinematic experience is just fantastic, but it's lacking in substance and has plenty of pretentiousness. Which makes me wonder.
Did he want to direct this himself and they wouldn't let him? Seems odd he'd just turn it over to Scott.
Quote from: MyxomatosisQuote from: Sigur RósRichard Kelly is a director NOT a screenwriter.
Amen to that. I thought Donnie Darko was fantastic. The cinematic experience is just fantastic, but it's lacking in substance and has plenty of pretentiousness. Which makes me wonder.
Did he want to direct this himself and they wouldn't let him? Seems odd he'd just turn it over to Scott.
As far as I know they offered him good money to buy the script, and he didnt know if he was going to get money to do it himself... so he sold it and began working in another project called Southland Tales, which he also wrote
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I so wanted that to be Russel Crowe with long hair. (left)
Someone needs to get Keira some dominos cause shes fading away. GROSS.
I almost thought the teaser was a practical joke, until they started showing off faces (Rourke, Walken). Keira does look ridiculous screaming and shooting those guns, though. But one can always rely on Scott for an entertaining flick.
I've read this. It's pretty entertaining for a while (particularly once Domino and her cohorts raid a frat-house), and you'll probably get a laugh out of the 90210 alums. That being said, the ending blows and makes little sense.
Trailer's neat though, I'll see it just for Scott. His crap movies are totally watchable.
I wonder what I would pick if Keira asked me HEADs or TAILs
What do you mean :?:
'Domino' pic's subject dies
Domino Harvey, the model-turned-bounty hunter whose adventures inspired director Tony Scott's upcoming film "Domino," starring Keira Knightley, died unexpectedly Monday. She was 35. Harvey, the daughter of the late British actor Laurence Harvey, was pronounced dead at Cedars-Sinai Medical Center in Los Angeles just after 11 p.m. Monday, according to Lt. Larry Deitz of the Los Angeles County Coroner's Office. She was taken to the hospital after being found in her West Hollywood home, Sheriff's Lt. Mary Michael said. British news reports said Harvey was found unconscious in her bathtub. Local police, however, said no information about the case would be made public pending an investigation.
i guess this means an oscar for keira. or at least a nomination for the film.
RESHOOT
yeah... maybe they should change the ending... or add all the all the things they removed from the film after domino's complains (i dont know if they were many). but at least now she cant sue anybody
New Line's "Domino" Rally
Source: E! Online
Domino is still standing.
After initially deciding to postpone the picture, New Line Cinema and filmmaker Tony Scott have now opted to stick with the original August release date for the thriller Domino, about a model turned bounty hunter, following the sudden death of the woman who served as the movie's inspiration.
Domino Harvey, the 35-year-old daughter of the late British actor Laurence Harvey, was found dead Monday in the bathtub of her West Hollywood apartment. An autopsy failed to determine cause of death, though initial reports indicate it may have been the result of a drug overdose; toxicology tests are pending, according to the Los Angeles County Coroner's Office.
Harvey was busted last month in a drug-trafficking sting in Mississippi and was under house arrest awaiting trial.
"Domino never failed to surprise of inspire me over the last 12 years," said Scott in a statement. "She was a free spirit like no other I have ever known."
Harvey gave up her glamourous life as a catwalker to become a bounty hunter tracking down fugitives for a Los Angeles bail bond agency.
After getting word of her death, the studio and Scott decided to delay the film, which stars Keira Knightley in the title role, from its Aug. 19 debut to November, according to Daily Variety. But, after thinking about it for a few days, they decided to reconsider the move.
New Line was hesitant to unspool the flick in the fall around the same time another Knightley picture, Pride and Prejudice, is due in theaters. And August was the only time the 22-year-old British actress would be available for publicity in between filming on the two Pirates of the Caribbean sequels.
Shooting on Domino began last fall under the direction of Scott, the veteran action filmmaker best known for such high-octane fare as Top Gun, True Romance, Crimson Tide and Enemy of the State.
The film, which costars Christopher Walken, Mickey Rourke, Jacqueline Bisset, Lucy Liu, Mena Suvari and Macy Gray, is loosely inspired by Harvey's extraordinary life. In addition to being a Ford model, she was also a nightclub operator and a firefighter. Her father was a critically hailed actor who starred opposite Frank Sinatra in the original The Manchurian Candidate, and her mother was Vogue model Pauline Stone.
While providing great fodder for Hollywood, Harvey's boundary-pushing lifestyle also proved troublesome for filmmakers. After her arrest last month, Scott reportedly shot additional scenes to incorporate into the final cut.
However, New Line and Scott say there are no plans to alter the ending to reflect Harvey's death.
The fall of a thrill hunter
Jet-set daughter Domino Harvey aspired to be a legend. In death, she may achieve it.
By Chris Lee, Special to The Times
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The day Domino Harvey died, she called her former partner, Ed Martinez, to reminisce about old times — the three violent, thrilling years they spent together as bounty hunters in South Los Angeles.
Harvey, daughter of the late British actor Laurence Harvey and supermodel Paulene Stone, had led a tormented, eccentric existence. She ran a London dance club, worked as a ranch hand in San Diego, then became a "bail recovery agent," hunting fugitives and carrying a shotgun she called Betsy.
A statuesque, 5-foot-9 blond, she seemed addicted to excitement, to adrenaline, as much as to cocaine and heroin.
Now, at 35, she was facing federal drug trafficking charges that carried a possible 10-year prison term. Word of her arrest had blazed through the British tabloids, infuriating her.
"She was telling me she was set up," Martinez said.
Then there was the movie. "Domino," an action comedy based on her life, was due in theaters soon. The film, starring Keira Knightley, took the usual Hollywood liberties with Harvey's life, depicting her as a European fashion model who becomes a bounty hunter and goes on to have her own reality TV show.
Harvey told Martinez that she wanted to make a documentary about her life to set the record straight. All of her life, other people had defined her. Now, she wanted to do so.
That evening, June 27, friends visited her at her West Hollywood cottage. Around 11 p.m. everyone had left, except a live-in "minder" that Harvey had hired to help her stay clean. Harvey went into the bathroom and closed the door. Seven minutes later, she was found dead.
Warwick Stone, Harvey's uncle, said she finally got what she wanted, if not in the way she would have wanted.
"She didn't want to be an ordinary person," he said. "She wanted to be a legend. I would like Domino to have a decent legend." Domino Harvey was born in London in 1969. Her father, born Laruschka Mischa Skikne, had transcended an impoverished Lithuanian-Jewish background to star as an English dandy in movies such as "Life at the Top" and "Darling." He played an American in his celebrated role in "The Manchurian Candidate."
Domino's mother was a Vogue cover girl who embodied Swinging London in the 1960s.
Laurence Harvey died of stomach cancer in 1973, when Domino was 4. He left a sizable inheritance, ensuring that she would be financially well off. It did not fill the void created by her father's death. By her teens, Harvey had been kicked out of four elite boarding schools.
At 16, she settled down at the Dartington Hall School in southwestern England and cultivated a skill that would prove useful later. "I spent my time making canoes and studying martial arts," she told London's Mail on Sunday newspaper in 1994. "It was really relaxed."
In the early '80s, her mother married Peter Morton, founder of the Hard Rock Café and Hotel chain, and moved to Los Angeles. Harvey, a teenager at the time, stayed behind, moving into an apartment in London's Notting Hill Gate neighborhood.
"It was a rough area," remembered Warwick Stone, former creative director for the Hard Rock Hotel franchise, who now lives in Sylmar. "Bloody policemen, race riots, bottle throwing."
A mythology grew up that like her mother, Domino was a model and that, unlike her mother, she had turned her back on the glamour of the runway for a fringe existence. But according to several family members and friends, Harvey never worked as a model.
She did show an entrepreneurial spirit, designing a funky clothing line and selling it at the Kensington Market. "She also ran one of the first clubs in London to do with the dance music scene," said Michael John Galvin, a British attorney who was a friend of Harvey from her London days and now lives in L.A.
Even then she was battling drug addiction. At 17, she visited her uncle and aunt in Israel, seeking to get to know members of her father's family. While there, she sneaked away to score drugs, recalled Nachshon Sneh, an Israeli cousin.
'Complete remake'
At 20, she moved to L.A. and into her mother's house in the Hollywood Hills. Two people who knew her then said her drug problem quickly landed her in rehab. By 1992, she was building a new life in San Diego.
Just as her father had, she began to create an image for herself. "He came across as a very fey, elegant dandy. In fact, he was anything but," said Domino's godfather, Peter Evans, a British journalist and author. "He eventually became what he had created. I think that quality — that complete remake — was in Domino."
She worked briefly as a ranch hand, then became a volunteer firefighter at the Boulevard Fire & Rescue company near the Mexican border. "She said she loved rescuing people," said one of her defense attorneys, Michael Mayock.
Two years later, she returned to L.A. intent on becoming a firefighter but was rejected by the Los Angeles Fire Department. She took courses as an emergency medical technician but never found work as a paramedic.
After reading about a two-week, $300 class for bail enforcement agents, Harvey decided to become a bounty hunter.
Martinez, a Vietnam veteran and gang member turned bounty hunter, was the teacher.
"She was young — maybe 22 or 23 at the time — tough and blond," he recalled. "She had on camouflage pants and a camo tank top and a big knife on her belt. She stood out."
Martinez introduced her to his boss, Celes King III, a legendary bail bondsman and civil rights activist who ran the Celes King Bail Bond agency in South Los Angeles. As Martinez's partner, Harvey embarked on a high-risk career as one of the only female bounty hunters of the time.
Harvey helped captured about 50 fugitives, Martinez said. He remembered 10 of those as "dangerous situations." Their work often took them out of state. He said Harvey took part in an armed stand-off in Texas, among other tense situations. In addition to her shotgun, she carried a 9-millimenter Browning pistol.
"She had money. She could afford good guns," Martinez said.
And she continued to use drugs on the job.
"Mostly coke, sometimes speed," Martinez said. "I did heroin with her occasionally. There was so much opportunity. You break down the door, arrest someone, they've got drugs. Well, you're going to get paid there too."
Again and again, Harvey tried to kick her habit. She became friends with Steve Jones, lead guitarist of the punk rock group the Sex Pistols — and a former junkie and alcoholic who has been drug free for almost 20 years. A mutual acquaintance had asked the rocker to help her.
Jones remembers hiking in the Santa Monica Mountains with Harvey one afternoon about 10 years ago when she collapsed. He attributed it to a drug reaction. "I was very angry actually ... I had asked her beforehand and she had sworn to me she was straight."
Beneath the tough exterior, Jones saw an insecure woman. "She was very shy and didn't have a lot of social skills," Jones said. "Whenever I took her out to meet friends, she wouldn't talk."
The Tony Scott connection
Word of an English rose trolling the streets of South Los Angeles for fugitives made its way to Britain. In the mid-'90s, a London tabloid profiled Harvey — and a business manager for Tony Scott, the director of films such as "Top Gun" and "Beverly Hills Cop II," sent the article to the director.
"I tracked her down, dug her out and that's where it all began," Scott said.
Captivated by Harvey, whom he remembered as "a fascinating little thing," the director seized upon the idea she would make a great movie subject. Scott began taping interviews with Harvey. They would form the basis of a script.
"One of her quotes — and this made it into the movie — 'Heads you live and tails you die.' That to me encapsulates how she lived her life," he said. "There was nothing as intoxicating, not even drugs, as actually kicking down a door and wondering what was on the other side."
She sold her life story to Scott for $360,000 in 1995. Around that time, Martinez left L.A., effectively ending Harvey's bounty hunting career. At some point in 1997 or 1998, Harvey's mother enrolled her in the Habilitat rehabilitation clinic in Hawaii, a long-term residential program.
"She was very unhappy about the whole thing," said Evans. "It was a very strict regime."
Part-time DJ
Harvey returned to Los Angeles in 2000 and enrolled in computer classes at Santa Monica College and UCLA. She did odd computer graphics jobs and occasionally served as a DJ at nightclubs in West Hollywood, including Louis XIV on La Brea, where she "loved to play early '80s hip-hop," recalled club owner Jean-Louis Bartoli.
A year earlier, Paulene Stone bought Domino and her sister, Sophie, a West Hollywood cottage on a tree-lined street a block from the Pacific Design Center. Sophie, an architect and interior designer, is Stone's daughter from an earlier marriage.
The sisters lived together in the cottage, and Domino continued to meet with Scott every six months or so to talk about the movie.
In 2003, Domino was arrested for possession of crystal methamphetamine. As a first offender, she was allowed to avoid trial and enter a treatment program.
Around that time, Sophie Harvey married Aspen businessman and philanthropist Richard Butera. Domino was introduced to Butera's son, Thomas Richard Butera Jr.
According to a family member, the sisters began to grow apart. But Harvey and the younger Butera became friends. At one point, she visited him at his home in Gulfport, Miss.; another time, he visited her in West Hollywood, said Anthony Salerno, one of Harvey's attorneys.
By 2004, "Domino" was moving into production. In October, Knightley signed on to play Domino for $2 million. The $60-million film began a 62-day shooting schedule using locations in Los Angeles and Las Vegas. It is due to open Oct. 14.
Harvey was often on the set, serving as a technical consultant. Although it was widely reported that she was upset with her portrayal and with the liberties that screenwriter Richard Kelly, the writer-director of "Donnie Darko," took with her story, family and friends say Harvey was delighted with the movie.
"She was not happy about those reports," said her friend Galvin. "She really liked Tony Scott. There was no conflict there whatsoever. I would know about it: I was on the set with her many times and went to the wrap party with her."
In January, Butera Jr., 41, was arrested in Gulfport on charges of possessing methamphetamine and conspiring to distribute it. He pleaded guilty to one count of possession of less than 50 grams of methamphetamine on June 7 and remains in jail while awaiting a Sept. 13 sentence, which could range from five to 40 years, according to a spokeswoman for the U.S. attorney's office for the Southern District of Mississippi. Calls to Butera's attorney and family were not returned by press time.
In May, Harvey was arrested at her home on a warrant issued in Mississippi after a federal indictment charged her and a co-defendant named Eric Pae with conspiring to possess and distribute more than 500 grams of methamphetamine. "She was very adamant that she did nothing wrong," Salerno said.
The last days
At a bail hearing in May, the judge deemed Harvey a flight risk. She had to put up the deed for the cottage she and her sister Sophie owned — now worth $1.2 million — and a $300,000 bond. The judge ordered her to surrender her passport and be confined to house arrest with an electronic anklet.
In Domino Harvey's final days, she girded herself for fights on several fronts. Stone, her uncle, said she was considering suing several publications for describing her as a lesbian and was also considering suing one of the rehab facilities.
And she had arranged to have her beloved pit bull, Blue, travel to Mississippi with her for a court hearing in early July.
"The major thing in Domino's life was her dog," said defense attorney Mayock. "That's what she talked about in jail. She didn't miss anybody else."
When she finally returned home, Harvey arranged to have four "minders" she had met at Alcoholics Anonymous meetings move into her house to keep her off drugs. Four days before she died, she called Jones. "I hadn't seen her for a long time but she started calling me, telling me she's straight now, can I take her to [12-step] meetings," he said. "I thought, 'Here we go again.' "
Although she had been out of touch with Martinez for nearly a decade, she tracked him down so Scott's production company, Scott Free, could pay him for including Martinez (Mickey Rourke plays the "Ed" character) in the film.
She also talked about the documentary she wanted to make.
"At the same time, she was asking me about another [bounty hunting] case I was working on," he said. "I was going to build her up and get her back in the business."
The Sheriff's Department said officers arrived at Harvey's house a little after 11 p.m. on June 27 and found her unconscious. She was taken to Cedars-Sinai Medical Center, where she was pronounced dead at 11:28. A department spokesperson later said she had died in the bath.
The cause of death will not be determined until toxicology tests are completed, officials said.
Among those who attended Harvey's funeral on July 1 were Rourke, Scott, Peter Morton and Steve Jones.
"I think as the song goes, she was looking for love in all the wrong places," said Jones. "Another lost soul who couldn't find her way."
NEW TRAILER: http://movies.yahoo.com/feature/dominoqt.html
or download broadband version directly here (http://mp3content01.bcst.yahoo.com/b02r01/005/yahoomovies/11/17371140.mov) (19MB)
I thought the teaser was crap, but this new trailer is all right I guess. I will probably go see this anyway cuz it's a Richard Kelly script.
in the new EW, Richard Kelly describes Domino "I wanted to do it as this punk-rock fever dream, in a very nonlinear Rashomon style, and Tony sparked to that." Tony Scott describes Domino as a cross between Taxi Driver and The Royal Tenenbaums and says "It's very funny, it's very dark, and it's very touching. It's sex, drugs rock & roll, and a little bit of violence." and Keira Knightley describes it as "hyperviolent".
:yabbse-thumbup: :yabbse-grin: :yabbse-thumbup:
Painkiller Is Blamed in Harvey Death
An accidental overdose of a powerful painkiller killed Domino Harvey, a model-turned-bounty hunter whose life is depicted in the upcoming action movie "Domino," according to a coroner's report.
Fentanyl, a drug more potent than morphine, was found in her heart, blood and liver, according to a toxicology report released Friday by the Los Angeles County Coroner's Office.
Harvey, 35, was found unresponsive June 27 in the bathtub of her West Hollywood home and was pronounced dead at a hospital. Neither drowning nor foul play contributed to her death, the report said.
British-born Harvey, daughter of actor Laurence Harvey, star of the original "The Manchurian Candidate" gave up a modeling career and socialite life to become a bounty hunter.
Arrested in West Hollywood in May on drug charges, Harvey also faced federal charges of conspiring to distribute drugs, crossing state lines for unlawful activity and having property used in or obtained through criminal activity in Gulfport, Miss.
"Domino" is scheduled for release on Nov. 4.
Tony Scott needs to have his directing license removed. He can't keep the camera still for more than three seconds. Maybe I just feel sorry for his editor.
Quote from: RedVinesTony Scott Martin Scorsese Paul Thomas Anderson needs to have his directing license removed. He can't keep the camera still for more than three seconds. Maybe I just feel sorry for his editor.
Quote from: onomatavivaTony Scott Martin Scorsese Paul Thomas Anderson needs to have his directing license removed. He can't keep the camera still for more than three seconds. Maybe I just feel sorry for his editor.
:shock: :yabbse-angry: take it back...
saw this tonite. i was REALLY looking forward to it as i'm a fan of the new and insane tony scott, curious to see richard kelly write another script, and it seemed like a cool story. it kicks ass. NOT as much ass as in my dreams of how much ass this could kick, but a good amount.
i never had anything for or against keira knightley before (except against that she was cheaper portman) but she is pretty awesome in this (and i don't think natalie portman could've done this part as well.) scotts camerawork and editing didn't seem MORE crazy than man on fire but about the same. (or maybe now that i've seen enough of it (bmw short, man on fire, agent orange short, this) i might just be getting used to its craziness.) the opening credits seemed like they were for a tv show (but maybe that was a comment on the reality tv thing). there were also an abundance of funny rap in this.
those of you who don't like scott are going to hate this and it is A LOT of true romance mixed with confessions of a dangerous mind and shot like man on fire; but that sounds pretty good to me. probably one of my favorites this year (so far). :yabbse-thumbup: B+
Quote from: RedVinesTony Scott needs to have his directing license removed. He can't keep the camera still for more than three seconds. Maybe I just feel sorry for his editor.
He's perfect for these films. If this was twenty or fifteen years ago, Scott would be making these genre films but they'd be looking like every film of that same genre literally since the beginning of that fucking genre. The action adventure, since its conception in The Great Train Robbery(1904), really has not changed much in basic features. Editing is more detailed, but little difference.
With the MTV generation, Hollywood blockbusters allowed a combustive language of editing to slip in. It can be used for talent and crap. Scott, recently, has been magnificent. He's propelled the entertainment of Spy Game to something memorable. Man on Fire, the seemingly distant cousin of City of God, had purpose and talent in its editing. The only thing it lacks compared to City of God is intricacy.
With Domino, I'm excited and fearful. He could elevate the bottom of the pit genre that is the Tarantino kill fest to some talent. Or he could once again play Tarantino's doll like True Romance with a film that is so glorified in violence and robbed of intelligence it becomes painful to watch. Its just this time the very overrated Richard Kelly will be pulling the strings. Personally, I hope he allows his directing to pull through. I also hope Richard Kelly doesn't fall for the very fashionable in film today. Decent talent in Hollywood is hard to come by.
Just read in AC that City of God's dp César Charlone was the camera operator on Man on Fire. Interesting...
I really loved Scott's evolution in style in Man On Fire, but here it just sorta sucks. Partially because the script sucks, too, making all the stylistic excess just that: excess. Color me bored. I can't decide whether this or Elizabeth town is the worst movie I've seen lately.
This one does get points for throwing Tom Waits into the mix. That scene was cool, just because it was Tom Waits.
Yeah. Pretty much drivel from start to finish.
Glad I saw it for free. Only time wasted as opposed to time and money.
The film has an accomplishment. Tony Scott has finally made a durable version of True Romance. As much as I try, I can not sit through that film without pain. The final shoot out in Domino is a mirror image to the one in True Romance. Like that film, Domino falls flat trying to carve out an identity of plausability for the carnage tragedy. Unlike True Romance though, its entertaining and even has moments that understand its absurdity. I believe the best thing about the film is Tony Scott's handling of the material. His direction is exciting. Its no Natural Born Killers though.
Richard Kelly falls flat. Punk Rock, maybe, but Rashomon, no. The identity of "purpose" to these characters doesn't come up until the third act. There is no mystery in this film. The "what if's" last 10 minutes and are explained. Mere plot contrivances instead of artful drama. Its ironic Richard Kelly would even use punk rock in the same sentence as Rashomon for describing this film. The former is appreciated in its decision to not be form, to be very rough along the edges and never complete. The latter is the fully realized art drama.
I believe this film will be appreciated by many. Not just in enjoyment, but in the idea of progressive cinema. A shame Sin City is the seemingly high mark so far this year. Yet again America searches for art in mere genre twists and turns.
It was fun. Still don't really like keira knightley, and I think True Romance is better. That's all I really got.
I recently tried to sit through The Fog. I lasted only 45 minutes and all I kept thinking is that I wish I was seeing Domino instead. I didn't really detail how entertaining Domino was. To the wrong audience, it is still another example of twisted morals and dumb logic that I am sick of, but fuck, the film is inventive. The type of film The Fog represents will always be worst. Even if the film pleads moral innocence, crap movies have no reason to be made.
It was pretty silly. I can see where The Gold Trumpet is coming from, pure desperation, but we might disagree on how important progressive is to quality. I do not think that snap zooms and jump cuts and half-assed movie jargon scripts are what American cinema needs. I think there was a point about ten years back, when QT quip became the barometer, a point around the time of Bad Boys, in which American cinema went down the wrong path. Instead of trying to get back to the fork, we have been trying to correct ourselves in the midst of epileptic siezures and Target commercials.
Also, there was literally a moment that went "explosions, titties." As my friend Joe pointed out by saying "explosions, titties" at that point.
Quote from: Losing the Horse:It was pretty silly. I can see where The Gold Trumpet is coming from, pure desperation, but we might disagree on how important progressive is to quality. I do not think that snap zooms and jump cuts and half-assed movie jargon scripts are what American cinema needs. I think there was a point about ten years back, when QT quip became the barometer, a point around the time of Bad Boys, in which American cinema went down the wrong path. Instead of trying to get back to the fork, we have been trying to correct ourselves in the midst of epileptic siezures and Target commercials.
Also, there was literally a moment that went "explosions, titties." As my friend Joe pointed out by saying "explosions, titties" at that point.
I won't argue the script, but did you really think the filmmaking was bad? See, I think Tony Scott is able to elicit an energy in these films that is really lacking for most of what Hollywood has to offer. Not only are his films progressive in what genre films of yesterday weren't able to do, but he knows who he is making these movies for. Domino is not an ambitious film. Its entertainment fizzle.
Yet, the script is terrible. Its the worst of the gore genre. The film thinks it can mesh the absurd, the opportunistic, the dumb with the dramatic. It needed a whole identity. Thing is, I'm able to excuse it because in the end it has little ambition. I'm much tougher on the indie auteur crowd who strain for the great film but end up making juvenile crap.
Have you seen Save the Green Planet?
I'll have to wait for a DVD release to be lucky enough to see that one.
http://www.deepdiscountdvd.com/dvd.cfm?itemID=KCH030839 !
curious, why bring it up here and now?
Because I had just seen it and liked it so much that I couldn't even stand to have a conversation about Domino afterwards.
Is what drunk me was trying to say.
With the release of this weekend's Domino, Richard Kelly has gone from time-displaced teens to female bounty hunters. Here, he talks about how to adapt her "fragmented, drug-fueled odyssey" of a life "at a fever-dream pitch," as well as integrating her into the world of Beverly Hills, 90210, and rumors of Domino's lesbianism.
It's been almost exactly four years since Donnie Darko was quietly released to theaters, thus beginning its slow march to cult phenomenon status which, three years later, would spawn a successful Director's Cut re-release. Though fans of that film have been justly rewarded for their devotion, fans of Richard Kelly have gone more than a little wanting. Finally, after a tantalizing near miss with an adaptation of Kurt Vonnegut's Cat's Cradle (the script for which is titled Ice 9), that peculiar comedic/tragic sensibility is returning to theaters in the guise of Domino, directed by Tony Scott from a boldly original screenplay.
The story centers on the highly embellished real-life exploits of Domino Harvey (played by Keira Knightley), the daughter of British thesp Laurence Harvey who turned her back on a promising modeling career to become a wildly successful bounty hunter. That last sentence is the truth. What's made it into the film however...well, you'll have to figure it out for yourself because Kelly has no interest in clarifying matters.
Thankfully, however, he does have plenty of interest in discussing the process of crafting his "punk rock" biopic, which is also his first screenplay written for another director. As a narrative, it's got nothing on the life of Domino Harvey, but, as a screenwriting journey, it's certainly go its own unique twists.
When did you first get involved with Domino?
Probably a little over three years ago. [Scott Free] sent me the transcripts and an overview of the project. Tony had read an early script for Southland Tales and requested a meeting with me. I read the transcripts and thought, "There's definitely a movie here," and the opportunity to meet Tony Scott and to potentially write a project for him was exciting to me. I just went in for a meeting, came up with this big elaborate pitch, and Tony immediately jumped on it. And then we sold it to Fox 2000.
How much reading had you done on Domino Harvey up until that point?
It was just the outline that Scott Free had come up with about her life and how they were open to taking a lot of liberties with it. They didn't have all these parameters; it didn't have to be a traditional biopic. Clearly, there needed to be some fiction injected into the story simply because otherwise it would be a normal biopic. The nature of the project, this psychotic nature of bounty hunting, and her life being such a punk rock lifestyle...clearly, what Charlie Kaufman did with Confessions of a Dangerous Mind [autobiography of The Gong Show's Chuck Barris] was an inspiration in that that was obviously a fabrication on many levels, while the truth that was there was also sort of a fabrication -- the CIA hitman stuff -- was clearly a metaphor for his guilt for having to become this trash television host. That was definitely an inspiration piece.
That's an interesting comparison. How did Domino feel about having her story spun out in such a bizarre direction?
She was definitely cool with it. She liked the idea because she had been working with writers to develop her story for six or seven years at that point, and nothing had really worked to everyone's satisfaction. I basically said, "We're going to open the movie with a title card that says, 'Based on a true story...sort of," so right away, with tongue planted firmly in cheek, we acknowledge to the audience, "Listen, not everything you're going to see here is true, but the fun will be picking it apart and finding out where the truth begins and the lies end." Ultimately, there still is plenty of truth in the lie. It's a metaphor of the truth of her worldview and the way she looked at America -- the fundamental nature of who we are as a country.
And just to avoid any trappings of the traditional biopic.
Exactly.
Approximately, as much as you can say, how much fact were you drawing on?
There's quite a bit of fact. Her coming over from London and going to Beverly Hills High is all true. Jacqueline Bisset is a composite of her mother; Mickey Rourke is a composite of a guy named Ed Martinez; Edgar Ramirez is a composite of a guy named Choco; Delroy Lindo is a close composite of the real Celes King III, the bail bondsman; Rizwan Abbasi, who plays Alf, was a very close composite to their Afghani driver. Domino was and clearly did end up getting in a lot of trouble with the FBI, and was facing prison time. The reality television show could be a metaphor for Hollywood coming to tell her story, and are they going to tell it accurately. Beverly Hills 90210 was something that was a metaphor for everything she rejected in life. [In the film, Kelly created a reality show hosted by the now washed-up duo of Ian Ziering and Brian Austin Green, which is intended to make Domino a star.] She could've had a very easy life -- she had money, she had looks. She could've had a very easy, Beverly Hills socialite life -- gotten married, had kids -- and she turned her back on all of that. 90210 represents the archetype, the mold in which she could not fit.
I thought that was an interesting thing to drop in there because that was a show that came too late to have an impact on her life.
Well, no. She was 35 when she died. She started bounty hunting in the early '90s, so that show would've been at its peak right around when she was bounty hunting, or right before she was bounty hunting. The dates of the film have been adjusted to a dream state because Keira Knightley is 19, and Tony didn't want to set the film in the early '90s; he wanted to make it present day. So, when you see the mom watching 90210 in the film, Domino is five or six years old, or something like that. The timeline is meant to be sort of screwy anyway in the film.
I think we're both around the same age, so we probably share a strange affinity for that show and what it represented. On one level, you knew you were watching trash, but it was really entertaining trash.
Yeah.
Bringing that show in, was that exciting for you?
It was definitely something I pushed for. I think I had to give Tony a bunch of tapes of the show and educate him on it, because I don't think he was aware how huge it was, and what a huge global, cultural phenomenon it was. I mean, in many, many countries that show is still on the air. And once he met Brian and Ian, and he saw how people would come to the set and not care about meeting anyone other than Brian or Ian [laughs]. Because I had to push him; for a while, he didn't get why it was significant to the themes of the story, and I had to keep pushing him to understand why it was an essential thematic element. And there's a great deal of comedy in seeing these two characters resurrected as "themselves," I guess.
One of the huge laughs in the script was that you actually wrote in the KEG House, which was the fake fraternity on the show.
Yeah, they didn't hold onto that [in the movie]. There are a lot of subtle 90210 things that I put in the script that, for whatever reason, maybe weren't cleared because Aaron Spelling owns that acronym or something. I know that they couldn't get the logo or any actual clips from the show because I don't think Aaron Spelling really cared for the script. [laughs]. So, they had to use a European talk show with the cast on it that Aaron Spelling didn't own. There was definitely no cooperation from Aaron Spelling's camp.
Were you on set much?
Oh, yeah. I was there probably half the time. I was doing a lot of last-minute rewrites per Tony's request, and I also just wanted to be there to see Tony work. I didn't want to be a nuisance. The last thing I wanted to do was be lurking around bothering Tony, but he was really open, and I just sat beside him and watched him work, which was awesome.
Was the film taking shape in a way that made sense to you?
I could see how he was going to cut it together. With all the monitors, you can sort of watch the editorial process on set because he's got three cameras going simultaneously usually in every scene. You can already see the coverage coming together.
As far as what made to the final cut, was it close to what you imagined?
Yeah. It definitely evolved, but I think the spirit of the original screenplay is absolutely intact. It went through a lot of different rewrites; Tony and I rewrote it many times. It's a very unorthodox film. I'm actually surprised that it even got made and is being released by a major studio, because it's not a traditional film on any level.
It's practically experimental.
I like to say it's "punk rock cinema."
That's a good way of putting it. Now, when you started writing, were you writing for a particular actress?
No, there was no actress attached. As things got into casting, it became clear that Keira was the closest physical and geographic specimen in that she's from London, and the whole model thing. She fit the mold of the character more perfectly than any other actress could've played it.
She's very athletic.
Yeah, she's very athletic and a bit of a tomboy. There's the glamorous side, but when she showed up with her hair chopped off, everyone was sort of taken aback. But then we realized it was right for the character. She wanted to deglamorize herself, but, at the same time, when Keira Knightley chops her hair off, she still looks pretty unbelievable.
I don't know how much rewriting you did after Mickey Rourke came on, but there's a personality that couldn't be more pronounced.
There was definitely rewriting done for Mickey. He likes to come up with a lot of his own dialogue, which I totally get. If actors want to create their own stuff, that's Tony's prerogative, too. You've got to leave that option open. Absolutely.
You're not so precious with your words that if someone comes up with a better line, you'll let it go?
Yeah.
At the end of her life, Domino was described as an out-of-the-closet lesbian. But in the film she's played as straight.
That was never an option. Her sexuality was never a discussion point at all for us. I was never aware that she was a full, out-of-the-closet lesbian. There was never a discussion point to portray her as straight.
First of all, I don't know if what you just said is true, because she actually denied that fact in a statement to the British tabloids. She said she wasn't a lesbian. I have no idea if she was or not. It's none of my business. I think the relationship between her and Choco was something that Tony decided to add the story. There was never a consummated relationship in the original script, but it evolved that he would be a romantic interest. That traditionally happens in movies, where you feel your heroine needs some sort of romantic interest.
But the lesbian thing was never an issue. There was never a conscious decision to hide or dismiss it in anyway. And I still don't know whether what you said is true or not. I know for a fact that she was thrilled with the film, and didn't take offense to a lack of lesbian activity within the film. I think that might be something that the British tabloid media has picked up on in some way.
That's interesting, because there have been murmurings that she wasn't happy with the film.
Yeah, and that's completely untrue. She was on set frequently, she saw the almost-finished film, she was at the wrap party, she has a cameo in the film -- she's the last image you see in it -- and in many different interviews, most notably in a recent Los Angeles Times article, all of her close friends are interviewed saying that she was thrilled with the film and she was very pissed off at people saying she wasn't. That's something I want to clarify, because that's something that's been fabricated. She was on set, she was very close to Tony, and issued a statement saying that she was thrilled with the way Tony Scott is handling her story. She actually issued a statement that said that.
I just don't understand why all these people still claim that she had problems with it. I think they just like to create artificial conflict that doesn't exist for some reason. So, it's important for me for those things to be corrected.
It's been interesting doing research for this interview, because there are so many contradicting stories online. Her life seemed like a contradiction. I guess you've done the best thing that you could, which is chop up her story and stay true to the spirit of her life without getting too particular about it, because no one seems to know who Domino Harvey really was.
Her life was such a fragmented, drug-fueled odyssey -- a violent odyssey and a tragic one -- that the movie intends to capture that odyssey at a fever-dream pitch.
After she died, was there any thought to rewriting or reshooting anything? [Domino Harvey was found dead in her bathtub on June 27. According to her attorney, the cause of death was a heart attack, and she had deadly levels of the painkiller fentanyl in her blood. She was 35.]
Tony didn't change a frame. I haven't seen the final, final, final mix with all the bells and whistles. I've only seen five or six cuts along the way, but I've already done my commentary for the DVD. I don't know if he's put a date bracket "1970 - 2005" card in there, but I know that not one piece of voiceover was added to the film after her death. It always ended that way. I actually think the film is now more bittersweet and haunting after what has happened. Strangely enough, it has the feeling of an epitaph or a eulogy for her. But as far as I know, nothing was changed.
Let's talk about your other projects. Where does Ice 9 stand at this point?
It's pretty much dead [laughs]. George DiCaprio, Leonard's father, is the producer on the project. It's a passion project for him, and he just wanted to go in a completely different direction. I'm very, very proud of the script that I wrote, and I would love for it to see the light of day at some point. But I think George had a different vision for it, and he hired two different screenwriters now to take the film in a different direction. My version will probably never see the light of day.
It's now going to have a reputation as one of those great unproduced scripts.
Maybe it'll end up online for people to read. I'm very proud of it.
Finally, with the experience of working with Tony on the screenplay for Domino, has that affected the way you're sculpting Southland Tales?
Listen, you would be foolish not to study the way Tony Scott works, because he's been doing this for over 20 years now. He's one of our great directors, one of our great visual stylists, and I absolutely learned a lot of things from him. I wouldn't say it's changed my approach to Southland Tales inasmuch as it gave me new ideas to think about, like how thoroughly he researches his subjects and how obsessed with accuracy he is in terms of bringing in real 18th Street Gang members. Also, how he likes to film on real locations and not rebuild a lot of things on sound stages. He really likes to get in there and shoot with more than one camera.
I wouldn't say it's affected my style, because I've already kind of defined my style, or am in the process of still doing it. It's more just looking at a great master work and the way he conducts himself; he's a real gentleman, he's really good to his crew, and he's clearly someone who is very detail-oriented, which is the way I am, too. It was a great learning experience.
And how has Southland Tales been going?
Great. It's crazy. It's gone really fast. I only have 30 days to make this movie, which is only two days longer than I had for Donnie Darko. We're shooting all over L.A. on a lot of expensive, real locations. It's a whirlwind, but it's exciting to be back in the saddle.
It's been a while.
Hopefully, it won't be this long between pictures again. Hopefully, I'll try to do one every 18 months.
New Line will release a Domino: Platinum Edition on 2/14 (although the date may be changed to 2/21 - SRP $27.95). The DVD will include the film in anamorphic widescreen video (a separate full frame edition will also be available), with Dolby Digital 5.1 EX and DTS 6.1 ES audio. Extras will include audio commentary (with director Tony Scott and writer Richard Kelly), a second commentary with script notes and story development (with Scott, Kelly, executive producer Zach Schiff-Abrams and actor Tom Waits), the I am a Bounty Hunter featurette (with optional commentary by Kelly and the late Domino Harvey), the Bounty Hunting on Acid: Evolution of a Visual Style featurette, deleted and alternate scenes (with optional commentary by Scott) and the film's teaser and theatrical trailers.
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i'm a little surprised only 6 people here saw this. i mean, i know nobody likes tony scott, but i would've thought that Richard Kelly's second produced script would've turned up a few more viewers around here. i thought it was pretty good.
i didnt know that two hottys from beverly hills 90210 are in this bitch: brian austin and ian zerring...this film deseves more attention...
Quote from: modage on December 08, 2005, 07:58:18 PM
i'm a little surprised only 6 people here saw this. i mean, i know nobody likes tony scott, but i would've thought that Richard Kelly's second produced script would've turned up a few more viewers around here. i thought it was pretty good.
I saw it (and actually I am a Tony Scott fan myself)
I can say I liked it aside from some bad calls, for example, the intro music & the 90210 gag. However other than that, I enjoyed it alot and looking forward to picking it up on Tuesday.
Blind bought this today. It was everything I hoped it would be. Pure trash of the most wonderful sort. Tony Scott's best since Crimson Tide. Definitely a worthy companion piece to True Romance, as has already been said a couple of times. As far as self-plagiarizing post-modern remakes go, I only wish John Carpenter had had this much success when he did Escape From LA. It's not quite True Romance but after one viewing, I'm thinking of it more fondly than I do Natural Born Killers, which kind of startles me to say.
I thought it was ok. Tony Scott's directing style is so aggressive that it eventually becomes tiresome (particularly with a running time of over 2 hours). "Man on Fire" had the same problem. Otherwise, I liked the cast and some of the over-the-top touches.
I finally saw this today myself. I liked it a lot more than I disliked it. I'll admit, I'm sold on Tony Scott's current style; I think Man of Fire is a near-masterpiece. Domino doesn't reach that level, but it's a good ride.
Looking back on it, there are a lot of parts that could (and should) have been cut right out, the Jerry Springer sequence in particular. It was funny, in its way, but it was entirely irrelevant to the movie as a whole. I was, however, surprised at how well the 90210 thing worked. And the line: "I saved that girl, and when she gets older, a woman named Domino is going to tell her that there is only one conclusion to every story... we all fall down." It's utterly meaningless, but its a powerful sort of meaninglessness. Ditto with the Tom Waits cameo.
The important thing is, Tony Scott has me looking forward to new movies from him. There's a weird ebb and flow between his and Ridley's careers; as one gets less interesting, the other gets more so.
well put. i'm surprised that this was like one of the 5 of 10 WORST reviewed movies of the year. just universally hated. i guess critics are just too old.
I picked it up yesturday,
I enjoyed it in the theatres and even more so the second time watching it, I gotta say I fully agree with the previous posts. Some things in the movie could have been left out. I think the 90210 gag should have been one of those also. And yes, Man on Fire is a favorite of mine as well, had Domino kept more professional with consistent typefaces, visual graphics and less of that acidic look (it gets TOO much at times) I think it would have worked as well as Man on Fire did. Otherwise for the most part, it was fun & entertaining, would be interesting to see the direction of Deja Vu after something like this.
If anybody knows where I would be able to pick up the Soundtrack/Score for this (which is said to be available), please let me know & thanks.
I loved the character of Domino, and agree with this...
Quote from: modage on October 11, 2005, 09:37:17 PMi never had anything for or against keira knightley before (except against that she was cheaper portman) but she is pretty awesome in this (and i don't think natalie portman could've done this part as well.)
Keira's take on this character is what made (to use a cliche) 'guys wanna fuck her and women wanna be her'. Like the style (which felt like a midpoint between Natural Born Killers and U-Turn), she envokes much energy and freshness, captivating the screen when she's on...
Which is why I felt the film lost that excitement when it switched from being a 'biopic' (if you will) and bogged itself down and settled into a standard 'deal gone wrong' film.
Saw it tonight. Thrilled me.
Quotewomen wanna be her
That's me. I wanna be her. Seriously.
I got excited. To tell the truth, I got confused as well. But I figured everything out and still liked it throughout. For some reason I was reminded of Fear and Loathing in Las Vegas a couple times(but that may be because I just finished reading that book). Plus I'm a sap when it comes to those love stories where they're too tough for each other, and then it all works out, and then someone dies.......haha. That just sounded weird. Nonetheless, I liked it mucho.
I borrowed this friend and absolutely loved it. Extremely fun and really "punk rock". A great cast too with fabulous production design. I wish more films were as crazy as this.
Quote from: SiliasRuby on March 15, 2006, 10:23:19 PM
I borrowed this friend and absolutely loved it
I call movies I hate "my enemies."