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Right before Breakdown, I had been developing for the De Laurentiises a movie based on a Stephen King short story, set out in the desert, called Trucks. The next day they gave me a check to complete the film.
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Someone introduced me to Dino and Martha De Laurentiis and I went to their office and showed them 20 minutes of edited footage. And the second film that I made, which was only about a million-dollar budget, I ran out of money. But if you don’t like the prototype, you can’t get your money back.” I ultimately succeeded in that. We’re going to make a prototype but we need all the money just for the prototype. Because ultimately, what you’re trying to do is get somebody with money to separate from their money. If you scratch behind any filmmaker, you will find someone that perhaps should have been a used-car salesman. And that will be my entrée into show business and I will meet people and somehow I will go from there. I shall go find this Lorimar and I shall go become a parking-lot attendant there. And they must have parking attendants to park the cars of all the big shots that go to this Lorimar. The final credit would come up and say, “Lorimar,” and I thought, This Lorimar, they must have a parking lot. I’d been a fan of Dallas, which was made by a company called Lorimar. Deep down I dreamed of being a filmmaker but it just didn’t seem like a realistic goal. Tell me about the circumstances that led to you making Breakdown. (Among other things, Breakdown is one of the all-time great truck flicks.) We talked about how Breakdown came to be, the insanity of making T3 when Arnold Schwarzenegger’s political career was taking off, why the director seemed to slow down after that film, and that time he caused an international incident with U-571. But Breakdown reminds us of the dazzling skill with which Mostow puts together action scenes, not to mention his facility with big machines. His next feature would be 2009’s financially and critically disappointing Bruce Willis sci-fi film Surrogates, and then a small 2017 hitman flick called The Hunter’s Prayer. Although T3’s reputation has eroded somewhat over the years, it’s actually a solid action film, and quite possibly the darkest sequel ever made for any major movie franchise.Īfter that, Mostow’s output seemed to slow to a crawl. One of the great thrillers of the 1990s, the film served as a breakthrough for director Jonathan Mostow, who would follow it up with the spectacular WWII submarine epic U-571 (2000), starring Matthew McConaughey, Bill Paxton, and Harvey Keitel, before vaulting into franchise land with Terminator 3: Rise of the Machines (2003). This month marks the long-awaited Blu-ray release of the 1997 hit Breakdown, in which Kurt Russell stars as a man whose wife (Kathleen Quinlan) is mysteriously abducted after their car breaks down in the middle of the desert.