1:38:00
. . .he's not, what I'd caII. . .
1:38:02
. . .the shining beacon of civiIity
and moraIity, any of those things.
1:38:06
He kiIIs peopIe at a drop of a hat.
1:38:09
But he does stay on course.
Put it that way.
1:38:12
He doesn't switch horses.
1:38:15
Back-story. He was a marine.
1:38:17
He just was a grunt.
1:38:19
He's a kind of bIue-coIIar guy.
1:38:23
Got a weakness for women.
1:38:25
Likes money. Likes to go on hoIidays.
1:38:28
He has a certain street nous.
1:38:31
And he knows how to. . .
1:38:33
. . .pIot things out
and waIk away with it.
1:38:36
A whoIe worId is created here.
Everybody's a bad guy, and. . .
1:38:41
. . .in this worId, somebody Iike
Porter you can root for. . .
1:38:45
. . .because by virtue of not being
as bad as everyone eIse. . .
1:38:49
. . .it makes him the hero.
He's a bad guy.
1:38:53
It's a bizarre and absurdist worId.
1:38:57
It's reminiscent of a Iot of those
70s gritty action-crime capers.
1:39:02
The Dirty Harrys and the Getaways
and Sam Peckinpah and Don SiegeI.
1:39:08
It wouId have been ideaI
to shoot it in bIack and white.
1:39:11
Scratchy 1 6mm bIack and white.
ReaIIy dirty.
1:39:15
But you can't do that, and seII it.
1:39:18
PeopIe want a coIor image.
So what we did was. . . .
1:39:23
The way that the fiIm was shot was
done with a bIeach bypass process.
1:39:27
It's stiII in coIor, but it's got
these sort of noir tones. . .
1:39:31
. . .which is nice. Gives a Iot of
grittiness and character.
1:39:35
There's Maria BeIIo, of course. . .
1:39:37
. . .and there's Gregg Henry, who's. . .
1:39:42
. . .insane and funny and sick.
1:39:45
And there's Lucy Liu, of course. . .
1:39:48
. . .who Iooks great in a Ieather
dominatrix outfit. . .
1:39:52
. . .and aIso provides a Iot of Iaughs.
I mean, she's very funny.
1:39:57
So, you know, it was weII cast.