What We Really Want?
Would this (or a much better variation on this) be the Miami Vice trailer you would prefer?
Do you think anyone would be scared off by a little trip down memory lane?
May 3, 2024
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
That’s not the real trailer?
Gong Li is looking pretty hot in this… might make it worth sitting through a movie starring Colin Farrell and Jamie Foxx.
This thing perfectly shows the difference between what Mann is doing and what anyone else would have done.
He is not doing Miami Vice the TV show and that is why this is the one summer movie I want to see.
This is better: http://youtube.com/watch?v=JBC0yhfDsWw&mode=related&search=
Love the new trailer. This is one of maybe three movies I have to see this summer.
I kept hoping they’d throw in the original theme music…just to see how (wrong) it would play. Dunno…a little nostalgia could go a long way (the key being “little”). Besides, I’m sick of the Jay-Z/Linkin Park mashup.
A clever composer could easily work in a few bars of the theme as a bone to the shows fans. I do not argue that it needs to be there, but done properly it should not hurt.
What I love about the trailer is how much from the show they kept.
Crockett’s speech patterns, the cigarette boats, a few shots with bright colors, the looking down at the dashboard while driving shots…
I think people remember this show incorrectly. It had much more grit and edge to it than people remember and was about more than the pastel suits.
I even like the Jay-Z Linkin Park thing. The show was known for playing the hip music of the time and this fits the bill.
Even if it isn’t a huge hit, I think it will be a quality film and a lot of people who are laughing will be surprised.
“Miami Vice” was indeed much darker and grittier than a lot of people remember. I remember watching an episode in which underworld types were actually trying to find a serial killer before the cops did — and it suddenly hit me: “Holy smokes! They’re doing a riff on Fritz Lang!” And, sure enough, it did turn out to be a homage to “M.” That same season, if I recall, Mann did a variation of his own “Manhunter,” with Crockett getting steadily more unbalanced while trying to think like an increasingly more violent home invader. At the end of the episode, when he tells a potential victim “I’m a cop,” he sounds more like he’s trying to convince himself. I know Don Johnson has turned into a punchline, but he was DAMN good in that show.
Joe,
Yes, I think it is a shame Johnson sort of became a parody. I don’t think it was entirely his own fault.
He lent a weight and gravitas to the show that he never really gets credited with. People forget he won awards for his acting on the show.
I hope Farrel can fill the deck shoes.
My only regret about the movie is that Olmos is not Castillo. He still looks great and lent a real weight to the proceedings.
btw, Olmos is great in Battlestar Galactica. If you haven’t seen it, it’s another great example of a re-invention that distances itself from the original to create something far superior. He makes a great couple with Mary McDonnell, the best female President on TV.
The fact that I despise that poser Linkin Park song is one reason I’ve disliked this campaign so far.
I haven’t seen it but I will say that I always thought that a really good rendition by a top orchestra of the original Battlestar Theme sounded every bit as glorious as Williams Star Wars theme.
Glad Olmos has found success. He is also a good director.
I was surprised to see the Linkin Park/Jay-Z ‘Numb’ track edited so well in the latest trailer, so I’m cool with it just fine.
Reminds me of the Batman theme lacking in Begins. Sure, they could’ve thrown it in there, but it wasn’t a greater or lesser movie because they kept it out.
If they’re going to do a “trip down memory lane” trailer, at least use the theme and not Phil Collins. That said, I’ll echo what’s above: title and character names aside, this isn’t your typical tv-show-turned-movie attempt.
It’s probably as much a remake as Mann’s “Heat” being a redo of his TV movie “L.A. Takedown.” – meaning not much.
No harking back to the original is needed, or wanted I think. I’ve seen the trailer multiple times in which the crowd will be really into it, and then start giggling a little when it says “Miami Vice.”
During his time on “Miami Vice,” Edward James Olmos was, quite simply, the baddest ass on prime time TV. He even scared me, even though I’d interviewed him on a few occasions and found him to be a gracious and friendly gentleman in real life. Whenever Castillo would glower at anyone and say “Get… out… of… my… office,” I always expected the object of his wrath would respond: “Uh, OK. No, don’t worry about the door, I’ll just jump out the window here…”
Watching the clip mutinyco linked to makes me think that Foxx will be a great Tubbs. I could easily envision him saying those lines…anyhow, like I’ve said before, I have no history with this show. I just want to see a kickass movie.
When I saw that homemade trailer a month ago, using the very moody “In The Air Tonight” music that was so identified with show, I thought “Yes! That is exactly what they should have used.”
While Jan Hammer’s theme would have screamed 80’s, the slow build on the Collins track is still effective and rather timeless. Its dark, soulful sound was closer to the spirit of the show and I would suspect the new film.
And what’s up with the new Castillo, unless he is supposed to be Cuban why the change away from him being Hispanic? If Mann is running scarred from the old show by not using any of the music, nothing says 70’s & 80’s cop show louder than having the cliched heavy-set black boss.
You know what I’m looking the most forward to out of everything related to Miami Vice? Some more fantastic Dion Beebe night-time cinematography.
His work on Collateral was some of the greatest ever (criminally robbed of an Oscar nod, let alone the win) and from the looks of it, he appears to be doing some again on this one. So, yay for that.
Agreed. The Phantom of the Opera‘s nom should have gone to Collateral although I’m not mad The Aviator won…
…and I don’t know what to think about the fact that Klaus Badelt is composing Miami Vice…
Out of the actual nominees I think I would’ve prefered Bruno Debonet (er, the spelling isn’t in my brain right now) for A Very Long Engagement but The Aviator was very deserving.
Dion’s non-nomination hurts even more since he WON for uninspired and blah work on Memoirs of a Geisha.
I sorta wanna watch Collateral now, but I have to watch Kagemusha before taking it back.
Memoirs of a Geisha was a crappy movie, but the cinematography in it, along with the production design and Gong Li, were very, very strong and the only bright spots.
The costumes and sets were pretty (if historically innacurate) but the cinematography was nothing special. I can’t remember one single memorable thing about it. Unlike Beebe’s work on Collateral, In The Cut, Praise, Chicago and Holy Smoke!. In The Cut, now there’s a movie that wouldn’t have been half as watchable if it weren’t for the astonishing cinematography.
KCamel, you and I (and the Academy, and the ASC, and the BAFTAs) will have to agree to disagree.
😛
As long as we agree Collateral‘s was better then we’re as right as rain.
Everything about Collateral was better. (Although to be fair, that movie was started by a different DP, Paul Cameron.)