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http://www.reuters.com/article/us-people-curtishanson-idUSKCN11R0AK
Whoa. I had just been watching "Chasing Mavericks" earlier tonight with the commentary track on by Michael Apted, the director who took over from Hanson when he fell ill, and two of the producers. It got me curious as to how Hanson was doing...and this is the news tonight.
I'll always remember Hanson from "The River Wild" scoring session footage in the Jerry Goldsmith documentary.
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Thank you for sharing this, Mark.
OH! But I loved Curtis Hanson's work! He was a true artist, and I was hopefully expecting more pictures from him.
This is so sad for me. Like a member of my family passing too soon.
Rest In Peace, Curtis.
I will be enjoying your wonderful work until I pass over with you...
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Posted: |
Sep 21, 2016 - 2:30 AM
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By: |
Bob DiMucci
(Member)
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Hanson made his directorial debut, as did so many filmmakers, working for Roger Corman’s New World Pictures. His 1972 film SWEET KILL starred Tab Hunter as a psychotic maniac who literally "loves" women to death. Despite its low budget and lurid topic, reviewers lauded Hanson's script for SWEET KILL, noting some parallels to Alfred Hitchcock's classic 1960 horror film PSYCHO, including a shower stabbing scene.
When the film generated disappointing box office returns, Roger Corman had Hanson shoot additional sex scenes over a period of two days, to spice-up the film. When it was re-released in 1973, it bore the title THE AROUSERS, and the name of Tab Hunter disappeared from the advertising. Charles Bernstein provided the uncredited score for the film.
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I have seen The Hand That Rocks The Cradle, The River Wild, LA Confidential and Wonder Boys. I would also rate them in that order.
RIP Mr. Hanson.
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Very sad passing indeed.
As with many others, I am very partial to THE RIVER WILD and L.A. CONFIDENTIAL—both brilliant filmmaking with, of course, Jerry Goldsmith.
I am also very, very fond of a film which he contributed several screenplay drafts: Carroll Ballard's magnificent NEVER CRY WOLF.
Rest in peace with much respect and thanks, Mr. Hanson.
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When i saw LA confidential it gave me hope that someone apart from Scorsese was still making great thrillers.
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Posted: |
Sep 21, 2016 - 1:21 PM
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By: |
Bob DiMucci
(Member)
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Hanson’s next film, “God Bless Grandma and Grandpa,” a darkly comic horror thriller about the elderly using the bodies and blood of the young to live forever, was taken out of his hands when the production company, LT Films, went under. The film was sold to another producer, who handed it off to a new director. By the time the film was completed, it was called EVIL TOWN and received only a limited theatrical release. Later, additional footage, including some gratuitous nudity, was added, along with a 1985 copyright statement. By 1987 it had already found its way to video.
EVIL TOWN starred James Keach, Dean Jagger, and Robert Walker Jr. Hanson and three other people ultimately received directorial credit. Charles Bernstein and Michael Linn provided the unreleased score.
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Posted: |
Sep 21, 2016 - 2:20 PM
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By: |
Bob DiMucci
(Member)
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The convoluted production and release history of WHITE DOG is too complicated to go into detail here, but Curtis Hanson’s involvement with the film began early on, when in 1975 then-producer Robert Evans commissioned Hanson to write a screenplay based on Romain Gary’s story “White Dog,” which was published as a short story in Life Magazine in 1968 and then as a novel in 1970. The film was at various times set to be directed by Roman Polanski, Arthur Penn, and Tony Scott, but never got off the ground.
In 1981, with the looming prospect of strikes by both the Writers Guild and the Directors Guild, Paramount decided to fast track the project with Robert Butler directing, using the then more recent Nick Kazan draft of the screenplay. Contract producer Jon Davison was assigned to oversee the project. The studio was interested in turning out a low-budget horror-exploitation film, but Davison suggested hiring Sam Fuller because he felt that Fuller would bring an added dimension to the project because of his long-standing and public opposition to racism throughout his career.
Hanson and Fuller were friends, and so Hanson was brought back on to work with Fuller on the screenplay. The pair spent two weeks together in lengthy 30 to 40 hour sessions to complete the new screenplay. Fuller shot the film on schedule over the course of forty-three days. Paramount had announced both the American and French releases of the film for June 1982, but the date for the American release was postponed. The film had a special world preview in June 1982 at the Cinematheque Francaíse in Paris, after which it was released in France. The film was met with positive reviews, attributed mainly to the fact that Samuel Fuller had been admired as an artist in France for many years.
Undecided about how to distribute the film, Paramount held another test screening in Denver during late summer. On 12 November 1982, WHITE DOG opened for one week at five Detroit theaters, "with no trailer, no poster and no promotion," according to producer Davison. "It did no business and was shelved as uncommercial. Fuller was so devastated he went into self-imposed exile in France and never made another studio film."
Paramount then scheduled WHITE DOG for release to TV and video in January 1984. However, NBC pulled the film after promoting it for a month. The television network issued a statement that the film had been deemed inappropriate for broadcast. The film was not screened theatrically in the U.S. until 1991, when it premiered at New York’s Film Forum to enthusiastic reviews. Ennio Morricone’s score for the film was released by Film Score Monthly in 2010.
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Posted: |
Sep 21, 2016 - 4:44 PM
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By: |
Bob DiMucci
(Member)
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Hanson returned to the director’s chair for the 1983 youth comedy LOSIN’ IT. Although the movie was largely set in Tijuana, Mexico, none of the film was actually shot there. Doubling for Tijuana was the town of Calexico in California. Of the four movies in which Tom Cruise appeared in 1983 (the others were THE OUTSIDERS, RISKY BUSINESS, and ALL THE RIGHT MOVES), this would prove to be the least well-remembered.
An LP of pop songs from the film was released on Regency Records, but it contained none of Ken Wannberg’s score. LOSIN’ IT opened in New York City and Los Angeles to mostly negative reviews, earning $437,257 at 180 theaters during its debut weekend. Ultimately, the $7-million-budgeted film grossed only $1.3 million in the U.S.
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