Collateral (film)

When he was 17 years old, Australian writer Stuart Beattie took a cab home from Sydney airport and had the idea of a homicidal maniac sitting in the back of a cab with the driver nonchalantly conversing with him, trusting his passenger implicitly. Beattie drafted his idea into a two-page treatment titled "The Last Domino", then later began writing the screenplay. The original story centered around an African-American female cop who witnesses a hit, and the romance between the cab driver and his then librarian girlfriend. The final film has limited resemblance to the original treatment.[5]

Beattie was waiting tables when he came in to contact with Julie Richardson, whom he had met on a UCLA Screenwriting Extension course. Richardson had become a producer and was searching for projects for Frank Darabont, Rob Fried and Chuck Russell's company, Edge City, which was created to make low budget genre films for HBO. Beattie later pitched her his idea of "The Last Domino". Richardson pitched the idea to Darabont, who brought the team in for a meeting, including Beattie, and set up the project under Edge City. After two drafts, HBO passed on the project.[6]

At a general meeting at DreamWorks with executive Marc Haimes, Beattie mentioned the script. Haimes immediately contacted Richardson, read the script overnight, and DreamWorks put in an offer the following day.[7] Early drafts of Collateral's script set the film in New York City. Later revisions of the script moved the film's setting to Los Angeles.[8] Darabont, Fried and Russell would remain on as executive producers.[9][10]

In early versions of the film's development actors Russell Crowe and Adam Sandler were considered to portray Vincent and Max, respectively. Tom Cruise and Jamie Foxx were eventually cast.

Mimi Leder and cinematographer Janusz Kamiński were attached to the project at one point as the director.[11][12] Brazilian filmmaker Fernando Meirelles had initially agreed to direct, but eventually decided to exit as the production would require him to relocate to Los Angeles for eight months.[13] Meirelles described his vision for the film as being that of a comedy, and looked at telling it in a way similar to Martin Scorsese's After Hours.[14]

Upon Russell Crowe expressing interest in playing the role of Vincent, development on the film moved forward. Crowe got his The Insider director Michael Mann involved, but after constant delays, Crowe departed the project. Mann then approached Tom Cruise with the idea of him playing Vincent and Adam Sandler in the role of Max. Sandler later dropped out due to scheduling conflicts with Spanglish and was replaced by Jamie Foxx.[15] Beattie wanted the studio to cast Robert De Niro as Max, once again making him a taxi driver, though the exact opposite of Travis Bickle. The studio refused, insisting on a younger actor for the role.[16]

Cuba Gooding Jr. revealed in a 2018 interview he had turned down a part in the film due to concerns he would be miscast.[17] Mann's reasons for casting Foxx, with whom he worked with on Ali, was that he held a similar quality in his performances to Cruise. "I saw that [quality of Tom’s] in Jamie on In Living Color — his characters were so vivid. That’s why I went after him for [cornerman] Bundini Brown in Ali. Jamie starts with mimicry, but then he talks about ”putting it into the database,” so he can access a character once he's got it down".[18] To prepare for his role, Cruise worked covertly as a FedEx deliveryman. Mann stated the goal was for Cruise to not be recognized.[19]

Jada Pinkett Smith, cast in the role of Annie, spent time with an attorney to inform her performance.[20] Val Kilmer was originally cast in the film as Detective Fanning, but exited to star in Oliver Stone's Alexander, resulting in Mark Ruffalo taking on the role instead.[21][22] In a similar situation, Dennis Farina, initially cast as Agent Pedrosa, had to exit due to scheduling conflicts with the television series Law & Order, and was recast with Bruce McGill.[23] Javier Bardem was cast in what was described as "a small role" at the time.[24] Jason Statham made a small appearance in a role credited as "Airport Man". Louis Leterrier, co-director of the 2002 action film The Transporter, interpreted Statham's scene as a portrayal of his Transporter character Frank Martin.[25]

After three weeks of filming, cinematographer Paul Cameron left the project due to creative differences with Mann.[26][27] Dion Beebe was brought on to replace Cameron.[28] Mann chose to use the Viper FilmStream High-Definition Camera to film many of Collateral's scenes, the first such use in a major motion picture.[29] Mann had previously used the format for portions of Ali and his CBS drama Robbery Homicide Division and would later employ the same camera for the filming of Miami Vice.[30] The sequence in the nightclub was shot in 35 mm.[26]

Filming took place throughout Los Angeles, with Los Angeles International Airport and Koreatown used for setpieces, and filming was also done in Pico Rivera, California.[31]

The film opened on August 6, 2004, in 3,188 theaters in the United States and Canada and grossed approximately $24.7 million on its opening weekend, ranking number one at the box office.[34] It remained in theaters for 14 weeks and eventually grossed $101,005,703 in the U.S. and Canada. In other countries, it grossed $119,920,992 for a worldwide $220,926,695.[2]

Jamie Foxx received critical acclaim for his performance, and garnered an Academy Award nomination for Best Supporting Actor.

Collateral received positive reviews. On the review aggregator Rotten Tomatoes, the film has an approval rating of 86% based on 238 reviews, with an average rating of 7.5/10. The critical consensus states that "Driven by director Michael Mann's trademark visuals and a lean, villainous performance from Tom Cruise, Collateral is a stylish and compelling noir thriller."[35] On Metacritic, the film had an average score of 71 out of 100, based on 41 reviews.[36]

Stephen Hunter of The Washington Post praised the film and Cruise's performance. He summarized the film as "the best kind of genre filmmaking: It plays by the rules, obeys the traditions and is both familiar and fresh at once".[37] Roger Ebert praised the performances of Cruise and Foxx, calling Foxx's work a "revelation".[38] In addition to praising the performances of Cruise, Pinkett Smith, Mark Ruffalo and Javier Bardem, Mick LaSalle of the San Francisco Chronicle wrote of Foxx's performance: "Foxx can act. He's up to the role's demands, conveying fear, confusion and frustration, but more important the exhaustion and recklessness that can easily follow when someone's been scared for so long".[39]

Desson Thomson gave similar praise to Foxx, finding the actor "quietly pries the movie from Cruise's big-marquee fingers".[40] David Ansen of Newsweek praised the film, although he criticized its third act as "generic and farfetched".[41] Placing the film on his best of the year list, Richard Schickel of Time magazine praised the acting in addition to Mann's direction and Beattie's screenplay, despite finding logical inconsistencies in the plot and that it "does not have quite enough completely compelling incidents to sustain its considerable length".[42][43]

In a mixed review, Marrit Ingman of the Austin Chronicle gave positive remarks to Mann's film-making, but stated "There’s not much substance lurking beneath all the style, though the plot digresses into several awkward scenes intended to flesh out the characters".[44] David Edelstein of Slate magazine highlighted Foxx's performance as "terrific" and was favorable to the film's first act, but derided the rest of the film. "It’s too bad that halfway through, Collateral turns into a series of loud, chaotic, over-the-top action set pieces in which the existentialist Mann proves he’s lousy at action". Edelstein also criticized the performance of Cruise, referring to his performance as "robotic".[45]

Stephanie Zacharek of Salon magazine criticized Cruise's performance, finding that "Cruise's dignity rings stiff and false". Zacharek did praise the performance of Foxx, stating "Foxx inhabits his character so comfortably that he renders meaningless Vincent's babble about the tough, real world. Max is the one who lives in the real world, which is ultimately the point of the movie -- but it takes the picture a very long time to reach a conclusion that's evident from the start to any attuned viewer".[46]

Richard Roeper placed Collateral as his 10th favorite film of 2004.[47] In 2008, the film was voted as the 9th best film set in Los Angeles in the last 25 years by a group of Los Angeles Times writers and editors with two criteria: "The movie had to communicate some inherent truth about the L.A. experience, and only one film per director was allowed on the list".[48]