![]() "There was nothing I liked about it, except setting up the shots. "I didn't enjoy being around the other actors," Mellencamp says now. There were many moving – and, in some cases, autonomous – parts required in filmmaking, not to mention cast-member egos. He was used to directing his own ship, and a much smaller one at that. Making a movie in Indiana in the summertime when the fields are ripe and you can smell the corn? Good times." Prine told Mellencamp biographer Paul Rees that "those were probably some of the most fun weeks I've ever spent. Mellencamp fleshed the cast out with fellow singer-songwriter John Prine, family members and players from his band, including guitarist Larry Crane and bassist Toby Myers. They also signed off on the idea that the inexperienced Mellencamp - who told VH1 he'd also been offered the small role Brad Pitt took in 1991's Thelma & Louise - could take on the twin roles of director and star of the project.įilming began in Bloomington and Seymour, Ind., during the summer of 1990, with Mariel Hemingway playing Buddy Parks' loving-but-spurned wife, Claude Akins as the fictional singer's father and Dub Taylor as his grandfather. subsequently passed on the tale but Columbia Pictures picked it up in 1989, green-lighting a $3 million budget. McMurtry revamped the story to turn its protagonist, Buddy Parks, into a country-music star returning to his economically challenged home town, where he has an affair with a former girlfriend, played by Kay Lenz. He then reached out to Larry McMurtry, who wrote the novel and co-wrote the screenplay for The Last Picture Show. Mellencamp quickly got interest from Warner Bros. Influenced by favorite films such as Hud and The Last Picture Show, he drafted an initial screenplay titled Ridin' the Cage, a gritty look at small-town Midwesterners who'd grown up (paraphrasing Bruce Springsteen) to do what their parents had done. ![]() The idea for writing and making a movie came after the five-times-platinum Scarecrow firmly entrenched Mellencamp in pop music's upper echelon. 21, 1992 during an upward creative trajectory for Mellencamp, who'd hit big with American Fool, Uh-Huh and then Scarecrow.
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