But I am mindful like we all are that you don’t get to keep doing this if your movies don’t perform at the box office.ĭEADLINE: John, how hard is it for you to end your long run on The Office ? If Promised Land does not do a lot of business, it’s not going to end my career. I want to challenge myself in different genres, playing different characters, and I don’t want to get pigeonholed and forced to do the same things. That would be a career built out of fear and I won’t live that way. But I would never just protect my beach head. It buys you relevance in the industry for a couple years and gives you cover to do these other things.
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I don’t know what that movie would do today, but that doesn’t mean I wouldn’t love to be in The Verdict.ĭEADLINE: How helpful then are hits like Bourne ?ĭAMON: It’s always nice when one hits. In writing Promised Land, John and I talked a lot about films like Local Hero and The Verdict, a movie I absolutely love. That might put me in the minority of the movie-going public, but that doesn’t mean I shouldn’t make them. These are exactly the kind of movies I like to go see. I couldn’t bear to have a career like that. How much do stars like you and Brad worry about taking on projects like that or Promised Land ? You see them as specialty pictures made at a price, but if they fail, they go down in the loss column.ĭAMON: Some actors don’t make these movies for exactly that reason. Until we can deliver that, we just can’t make it.ĭEADLINE: I watched last week as Brad Pitt’s bankability got questioned after Killing Them Softly tanked. But our part of that bargain is that the movie is good and belongs with the other three. We don’t take for granted the fact that we’ve built an audience for Bourne, that’s a real privilege. To me, the reason to make that movie is because people want to see it. If we could get line of sight on that…ĭEADLINE: We are force-fed so many unnecessary sequels, and here is a smart thriller that we actually want to see more of…ĭAMON: Neither of us is against it. And we can’t quite see what the movie would be. Paul and I have been talking about it for years.
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And he took a run at it and he couldn’t crack it either. I just said, can you put your brain on this? I can’t figure it out.
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I quietly went to Jonah Nolan, because he and his brother Chris did such a brilliant job on Batman and that whole mythology. We just don’t have a story, and we haven’t had one. Paul Greengrass has to want to do it, and secondly and equally important, it comes down to Paul and I knowing what the hell we want to do. What has to happen for us to see your signature character back onscreen?ĭAMON: Just a couple things, really. Eventually, the writing duo got a different offer from Miramax, which bought the rights from Castle Rock and made the movie the way Damon and Affleck wanted to make it.Ī little while later, Damon and Affleck hired Gus Van Sant to direct, and the rest is film history.DEADLINE: Matt, you’ve said recently that the Bourne Legacy spinoff didn’t make it any easier for Jason Bourne to return. The big problem then, though, was that the studio didn't want Affleck and Damon playing the main roles. And what else would you expect from the dude who directed the film version of The Princess Bride?Īfter Reiner got his changes made, Castle Rock bought the script to Good Will Hunting for $675,000.
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But in this case, Rob Reiner made a good call. Now sometimes, production companies force people to make changes to movies that end up ruining them. At first, Matt Damon and Ben Affleck (it's so sad that there's no way to fuse their names gracefully-"Men" and "Batt" both sound just… bizarre) wanted to make a movie about a super intelligent kid from Boston who gets caught up in an FBI spy plot.īut after they brought it to Castle Rock Entertainment, President Rob Reiner told them to focus the movie on Will's relationship with his therapist, Sean Maguire.