You can also see Budd Boetticher, the celebrated director of some of the greatest Westerns of the 1950s, in a cameo. As described by Towne, Riley was in the locker room and "had to dramatize a point without hurting anyone, and when the trainer walked in with a tray of Cokes, he dumped them on Kareem. But the character was also modelled in part on Los Angeles Lakers coach Pat Riley, a close friend of Towne, and a scene where Nick clears a desk of soft drinks and soaks a DEA agent was directly inspired by Riley. ''In his life, he is buoyant and mischievous, a good-hearted bad boy," explained Towne. Towne wrote the part of Dale's old friend Nick Frescia, a narcotics officer with the Los Angeles County Sheriff's Department, for Kurt Russell. Michelle Pfeiffer was cast as the restaurateur with whom Dale is in love, a part demanding (in the words of Towne) "someone with that kind of sang froid, that kind of infuriating beauty."
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The part went to Mel Gibson, who had been elevated into the stratosphere of Hollywood stardom after the huge success of Lethal Weapon (1987). With production back on, Towne offered the leading role of Dale McKussic, a successful drug dealer trying to get out of the business, to Harrison Ford, who turned it down. Years later, while Towne was in France in his capacity as script doctor on the film Frantic (1988), he showed his screenplay to producer Thom Mount, who signed on to produce and co-finance the project with Warner Bros. over his directorial debut, Personal Best (1982), resulted in the film getting shelved. It was originally slated to begin production in the early 1980s with Warren Beatty in the lead, but Towne’s battle with Warner Bros.
TEQUILA SUNRISE MOVIE MOVIE
"People in the movie business don't hesitate to say: 'We go back a long way. ''It's a movie about the use and abuse of friendship,'' he explains. According to Towne, ''With melodrama, as in dreams, you're always flirting with the disparity between appearance and reality, which is a great deal of fun." The dynamic is also in part informed by Towne's difficult relationship with Hollywood. Tequila Sunrise harkens back to such Hollywood classics as Casablanca (1942) and The Big Sleep (1946) with its mix of adult relationships, sophisticated banter, crime drama and romantic melodrama, updated to the culture of 1980s Southern California. "My characters get caught, they try even though they don't prevail or even significantly influence events. ''The characters I write about are men who control events far, far less than events control them," is how he described the dynamic to Turan. When the movie industry shifted from adult stories to action films, blockbuster fantasies and adventures in the course of the 1970s, Towne made the shift to director.Īs he explained to Kenneth Turan in 1988, ''even if someone is scrupulous about your text, tone is finally what's important, and you can't get that if you're not willing to be there and insist on it.'' Tequila Sunrise (1988), Towne's second directorial effort, is an original screenplay built around friendship, loyalty, betrayal and a romantic triangle that pits longtime friends, now on opposite sides of the law, against one another. And along with writing such landmark films as The Last Detail (1973) and Shampoo (1975), Towne was one of the most in-demand script doctors for decades, performing structural surgery and providing uncredited rewrites or additional scenes on such films as Bonnie and Clyde (1967), The Godfather (1972) and The Parallax View (1974).
He's been nominated for four Academy Awards for his screenplays and won for Chinatown (1974), one of the great American films of the 1970s. Robert Towne is one of the great American screenwriters.
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