Showing posts with label todd phillips. Show all posts
Showing posts with label todd phillips. Show all posts

Tuesday, July 26, 2011

'Hangover' director Todd Phillips sets his sights on real-life stoner arms dealer tale


By Sarah Sluis

Movies like Pineapple Express and Dude, Where's My Car? have successfully combined stoner philosophy with epic, falling-out-of-control crimes and plot twists. But what if were all real? Director Todd Phillips (The Hangover) read a Rolling Stone article entitled "The Stoner Arms Dealers: How Two American Kids Became Big-Time Weapons Traders." Doesn't that title just beg for a movie adaptation? Phillips has optioned the story with an eye for directing.



I took a look at the online article by Guy Lawson and pulled out the most eye-raising passages. What Main-e1301074403627 starts out as a tale about stoned dudes in over their heads turns into a dark tale about corruption and scapegoats. There's no telling if the story will focus on the glitz and swagger of the men or the shady activities that helped them make millions. Here's a look at how the plot might shape up.



The players
David Packouz, "a skinny kid who wore a yarmulke and left his white dress shirts." He smokes so much pot in high school his parents send him to a special school in Israel, where he learns to take more drugs. His friend, who he met at their Orthodox Synagogue in Miami, Efraim Diveroli, "was the class clown, an overweight kid with a big mouth and no sense of fear."



The beginnings
Diveroli's family is in the arms business. Eventually, he recruits Packouz to help his growing business, which has the law-breaking, cutting-edge vibe of Facebook in the early days. Think: The Social Network. With guns.



The swagger:
This is how Packouz describes the holdup of a plane in Kyrgyzstan, a situation that involved pressure from the Russian KGB and prompted U.S. Defense secretary Robert Gates to head there to smooth things over.



"I didn't know anything about the situation in that part of the world. But...if our delivery didn't make it to Kabul, the entire strategy of building up the Afghanistan army was going to fail. It was totally killing my buzz."



The "regular kid" moment
Then there's what Packouz "really" wants to do. "I didn't plan on being an arms dealer forever � I was going to use the money to start a music career."



The supporting actress
Midway through, a cranky older woman provides comedy relief.



"Diveroli's aunt � a strong-willed and outspoken woman who fought constantly with her nephew � joined the two friends to provide administrative support. She didn't approve of their drug use, and she talked openly about them on the phone, as if they weren't present."



The plot thickens
In the second act, the two go to an arms convention, Eurosatory, in Paris, where they meet a James Bond type. Heinrich Thomet, a Swiss arms dealer, was "tall and suave, with movie-star looks and an impeccable sense of fashion." He becomes their middleman.



The duo wins a $298 million defense contract, a "pseudo case." The aim was to arm the Afghan Army, but without care for the weapons quality. Here's where it gets dark. "The Bush administration's ambivalence about Afghanistan had manifested itself in the terms of the contract: The soldiers of Kabul and Kandahar would not be abandoned in the field, but nor would they be given the tools to succeed."



The unraveling
The duo ends up shipping Chinese ammo from Albania to Afghanistan. It's illegal, but they look the other way until political winds change. A competing defense contractor tattles on them for something else, incriminating emails are found, newspapers start writing stories, and that's when things come to an end for the two.



Phillips will have to lighten up this story considerably if he wants it to fit with his existing oeuvre of comedy films, but maybe he's trying to go serious, with a comedy like Men Who Stare at Goats or Charlie Wilson's War. The author of the article ends by noting just how larger-than-life the young arms dealers were. "As always, the 24-year-old arms dealer [Diveroli] was the star of his own Hollywood movie. No matter what happened, he told the agent moments before his arrest, he would never leave the arms business. 'Once a gun runner,' he boasted, 'always a gun runner.'"



Tuesday, July 28, 2009

Robert Downey, Jr. schedules 'Due Date'


By Sarah Sluis

Robert Downey, Jr. will join Zach Galifianakis in Due Date, the next film Todd Phillips will direct. The Hangover, which starred Galifianakis and was directed by Phillips, outperformed two summer comedies with Robert-downey-jr big-name comedy stars (Land of the Lost and Year One), and usurped Beverly Hills Cop to become the highest-grossing R-rated comedy of all time. Phillips has already signed on to direct a second installment of The Hangover, but plans to squeeze in Due Date first. The deadline comedy will center on an uptight husband (Downey, Jr.) who must rely on a dopey slacker (Galifianakis) to drive him to his wife, who is either in labor or at the very end of her pregnancy. Phillips called it "a buddy comedy without the buddies." Within the one-sentence summary of the movie, I see elements of both a road trip comedy and a race-against-time comedy. I find the latter to be much more difficult to pull off, since there's only so much frantic yelling and scrambling audiences can take before they check out. However, The Hangover handled its deadline (finding the groom before the wedding) with a mix of freaked-out and laid-back characters, and by making the race to the altar a flashback (though not one that gave everything away).

Due Date will begin production this September in Los Angeles, Atlanta, and New Mexico. Phillips will also be a producer on the project. On The Hangover, he gave back his salary and in turn was rewarded with over $35 million, a stunning sum for an individual. He also got Warner Bros. to greenlight the sequel two months before it released, signaling not only the strength of the film but also the finesse of his agent and lawyers.

Creating one good comedy after another is difficult. Just as soon as comedians develop a signature style, it can quickly go sour (e.g., Bruno). To expand his comedic empire, it appears that Phillips is attempting to cultivate a stable of writers (e.g., Scot Armstrong) and stars (e.g., Galifianakis), using a strategy that has Hangg received particular attention lately because of Judd Apatow and his string of comedic hits. For those interested in the movie/comedy business, Funny People, which I saw yesterday, offers a thinly disguised critique of comedy stars and the process as a whole, including a thinly disguised poke at star Adam Sandler's career. In the movie, he's the star of high-concept comedies like Merman (He turns into a merman!) and Re-Do (He's a man in a baby's body!). While the movie as a whole, and its insidery feel, is a mixed bag, I never tired of seeing how Apatow used the silly films Sandler's character starred in as part of the plot. Phillips, however, has mined a different source of humor, that fraternalistic bonding we now dub "bromance." Both Old School and Road Trip are tales of male bonding, and Phillips' first film was in fact a documentary about fraternity hazing called Frat House. Who would have thought that the documentarian would turn to scripted stories about his subject? But it makes sense. As a director, Phillips is careful to find and incorporate his actors' improv performances, a sensibility that I attribute to the observational mindset of a documentarian. It will be hard to top the #1 spot currently occupied by The Hangover, but I'll be marking my calendar for Due Date.