On tap is a fourth "Bourne" movie, but [Universal's] slate is full of efforts to either launch new franchises or resurrect old ones...
More recently, Shmuger and Linde landed Paul Greengrass and Matt Damon for a fourth "Bourne" movie, even though the director and star seemed ready to wrap it up after three pics.
Liman acquired rights to the Robert Ludlum books and lined up Matt Damon before Universal chairman Stacey Snider greenlit the movie. Things went smoothly until Liman's first producer, Richard Gladstein, bailed before the start of production and Frank Marshall took his place.
Soon Liman and Marshall were butting heads, as Liman tried to introduce new story ideas onset, and didn't consider a call sheet a blueprint for what he should do on a given day. "Every time I had to make a decision, my inclination was against making a traditional action movie," Liman says. "I was not interested in doing that. It wasn't because I wanted to be contrary. I didn't take to it."
But the studio ordered reshoots, and Marshall essentially took over the $60 million movie, which went at least $10 million over budget. "The director is the captain of the ship," says Marshall. "If the captain has a process that can't get the ship to the dock, that's a problem."
Juno is up for four awards, including best picture, but I can think of several others that could have been honored not just for pleasing crowds, but also for resonating with them.
The Bourne Ultimatum // You'd think U.S. audiences would tune in or line up for movies and TV shows about the CIA, yet the only "agency" films pulling them in on the big or little screen are the Bourne series of adventures about the human killing machine who rediscovers his humanity after a bout of amnesia.
TV's 24 has been feeding the anti-terrorist vengeance fantasies of liberals and conservatives alike. The Bourne films have been questioning in the most tumultuous and visceral ways the brutalization of a country that resorts to fighting evil with amoral means.
Except for No Country for Old Men, no American film of the past year can match The Bourne Ultimatum for pure filmmaking. Paul Greengrass is the reigning master of the jittery, hyper-realistic style, and there should be a way of honoring a performer like Matt Damon, who manages to act, simultaneously, as a movie artist and a martial artist.