Carey Mulligan is in talks to join the Universal action thriller Drive, which already has Ryan Gosling in the frame.
Bryan Cranston is also negotiating to join the cast, the Risky Business blog reported. Nicolas Winding Refn is directing the adaptation of the James Sallis novel.
The story, per BIZ, is about a nameless Hollywood stuntman who moonlights as a freelance getaway driver during robberies. When a bank heist goes wrong, he ends up on the run with a contract on his head and an ex-con's girlfriend in his car.
OddLot Entertainment, Bold Films and Marc Platt Prods. are producing. Shooting is to begin next month around Los Angeles.
Producers include Marc Platt, Gigi Pritzker, Michel Litvak and Adam Siegel. David Lancaster, Gary Michael Walters, Bill Lischak and Linda McDonough will serve as executive producers, said BIZ.
In his effort to recall and contrast the enthusiastic optimism that surrounded the presidential campaign of RFK with the heartbreaking illusion-shattering reality of his assassination Estevez wisely bypasses conventional biopic storytelling or even conspiracy-minded cinematic razzle-dazzle of JFK. Instead he tells the tale from the ground level focusing on a large disparate cast of characters of differing social status – some interconnected some not – who’ve assembled at Los Angeles’ swank Ambassador Hotel on the fateful day in 1968 and as a group they’re both as troubled as that turbulent year and still each clinging to hope in their own individual ways. There’s the Dodger-loving busboy (Freddy Rodriguez) contending with a brooding racist kitchen boss (Christian Slater) and bolstered by an eloquent chef (Laurence Fishburne); the head of staff (William H. Macy) who’s sleeping with a comely switchboard girl (Heather Graham) while seemingly happily married to the hotel’s compassionate beauty salon operator (Sharon Stone); she in turn counsels both a young teen bride-to-be (Lindsay Lohan) marrying a friend (Elijah Wood) to protect him from service in Vietnam and the faded boozy lounge singer (Demi Moore) whose self-destructive cruelty alienates her subservient husband (Emilio Estevez); a veteran hotel manager (Anthony Hopkins) and his retiring crony (Harry Belafonte) reflect on their lifetime of experience while an idealistic Kennedy campaigner (Joshua Jackson) dispatches two volunteers (Shia LaBeoufand Brian Geraghty) to recruit last-minute voters but they head off on an acid trip with a high-minded hippie (Ashton Kutcher); the disconnected May-December couple (Martin Sheen and Helen Hunt) the black campaign volunteer (Nick Cannon) who’s already lost too many leaders; the crusading Czechoslovakian journalist (Lenka Janacek) scrambling for an interview with the candidate; and Kennedy himself appearing in news and archival footage the most eerily effective presence in the film. While such an A-list ensemble of actors initially seems like a director’s dream team they are also responsible for the biggest hurdle the film faces. While most films have a handful of stars and the luxury of time to help audiences forget their celebrity status and embrace them as the characters they’re playing Bobby keeps shoehorning more and more famous faces into short scenes which makes it somewhat more difficult to shake the initial distraction of “Hey there’s so-and-so!” Some of skilled cast—particularly Hopkins Belafonte Macy Sheen Hunt Rodriguez and Fishburne—make the transition easier but with others who are known more as “stars” than actors (Moore Stone Lohan and Kutcher) it takes longer to adjust. And that’s not to say those performances are bad: Moore is terrific reminding us more of her innate watchability on screen than her well-preserved looks and much-younger husband; Stone is in top form despite her overly dowdy get-up; and Kutcher shows his skill with a slightly subtler form of comedy than he usually delivers. Lohan is only passable however trying too self-consciously to appear vulnerable. Still other performances are revelations: Cannon shows as-yet-unseen depth and fire Jackson displays a Clooney-esque self-assured poise and Estevez smartly underplays his role. Understatement definitely seems to be Estevez’s watchword. He typically eschews an overly flashy cinematic approach and simply allows his actors to bring the scenes to emotional life even as he takes great pains to get the period details just right. When he does bring his technical filmmaking savvy more obviously to the forefront primarily in the scenes that integrate real scenes of Kennedy into the story it’s especially potent. Indeed the first three-quarters of the film are well-shot well-acted vignettes that evoke an era but it’s the thoughtful and clever integration of RFK into the third act that unifies and ultimately gives each of the stories—and the film as a whole—genuine dramatic power. Ultimately Estevez uses Kennedy’s own words to deliver a solemn respectful eulogy for the man and a hopeful call to keep the man’s dreams alive.
Lucy (Ashley Judd) is a small town girl just getting by with her small-town job and small-town roommate. Relationships are forgettable to her mainly because she tries to sneak out before her lovers even wake up. But Cal (Jeffrey Donovan) wants more than a one night stand. He actually cares encourages her to stay for breakfast and maybe even have a conversation. This is all new for Lucy. Someone actually cares about her feelings? How could that be when she doesn’t even care about her own? It changes her approach to all her usual routines--her boss (Stacy Keach) her family and her church. But positive change has a hard time sticking and old habits threaten to ruin Lucy’s progress. That’s about as far as we can stretch this plot description. Really it’s just sleeping around trying to stay faithful and open and going about small-town life. It’s really slow or you could call it deliberate if you’re being kind--so you’d better love promiscuous drunks to spend 90 minutes with them. Judd gives her most powerful performance in decades since her debut performance in the indie film Ruby in Paradise. She may not be playing a suicidal cutter in Come Early Morning but she gets to show real emotional pain. She cries yes but what’s really going on with her self-esteem is much more subtle. An awesome supporting cast makes sure Lucy exists in a real inhabited world. Keach is an honorable boss who hopes against hope that maybe Lucy will pick up and follow him to bigger and better places but kind of resigned in the knowledge that people don’t leave their nest. Laura Prepon (TV’s That ‘70s Show) plays Lucy’s roommate as spunky as small- town folks get but never in an obnoxious way. Diane Ladd plays what may be Lucy’s future a bitter old woman taking crap from a sexist grump. These kinds of people really exist and these actors portray them as slightly complicated people considering the simple examples they are meant to serve in the film. Donovan sure makes Cal a lovable guy and you almost root for him to find someone more stable than Lucy yet he’s never a pushover just an honest good soul. Actor-turned-director Joey Lauren Adams (Chasing Amy) really loves the small-town setting so she lets the camera linger on loving establishing shots. It creates a believable world of folks in their routine. She cast perfect supporting players to beef up the star vehicle and really just lets them go. Some are familiar faces professional enough to tone down any personas they may have. Others are unknowns who bring more authentic color outside of Hollywood. The story gives them all quirks to show but a lot of it is just effective casting. There is nothing flashy about the style of Come Early Morning. It’s definitely an indie in the vibe of people sitting around talking but there are no extended diatribes á la Kevin Smith. Come Early Morning is focused on moving the characters’ emotional journeys forward. That’s exactly what Adams should be doing in serving this rural relationship drama. If given a subject with broader appeal or a killer hook Adams could surely have a long career behind the camera.