A roundtable chat with producers Irwin and David Winkler of “The Mechanic”

Irwin and David WinklerHealthy father and son relationships are certainly more the exception than the rule at the movies. Even so, the murderous biological and surrogate father and son pairings in the original film “The Mechanic” and its action-packed update with Jason Statham and Ben Foster, are unusually problematic. It’s a tale, after all, about a junior hit-man learning from an older paid killer who has, in turn, killed the younger killer’s dad.

That, of course has pretty much nothing to do with two of the new version’s real-life father and son producers, Irwin and David Winkler. For the remake of the 1971 actioner, the pair have teamed up with another parent-and-offspring team, Irwin Winkler’s long-time producing partner, Bill Chartoff and his son, Robert. (For the record, there are a total of ten producers and five executive producers credited on the film.) Both individually and with Bill Chartoff, the elder Winkler has been involved with a remarkable number of good movies and a few genuine classics, starting with Sydney Pollack’s pitch-black Oscar winner, “They Shoot Horses, Don’t They?” and also including two of Martin Scorsese‘s signature works, “Raging Bull” and “Goodfellas.” Winkler and Chartoff also, of course, produced “The Mechanic,” the first time around when it was as much of a chilling look at sociopathy as it was an action flick.

Like any great producer, Irwin Winkler has had his share of interesting financial failures.  There was the ultra-culty early John Boorman film, “Leo the Last” and Martin Scorsese’s big budget 1977 disappointment “New York, New York.” Fortunately, there was also the occasional modest but high quality success like Bertrand Tavernier’s great 1986 love letter to jazz and jazz fandom, “‘Round Midnight.” He and Bill Chartoff were also key players in one of the most enduring franchises in film history, the one that started with a low-budget boxing drama called “Rocky.” Since 1991’s “Guilty by Suspicion,” Winkler has also occasionally directed. His most recent films include the musical Cole Porter biopic, “De-Lovely,” and the Iraq war drama “Home of the Brave,” which received a speedy burial.

For his part, son David Winkler has worked on a number of television movies as well as with his father on 2006’s “Rocky Balboa.” He also directed the 1998 drama, “Finding Graceland” starring Harvey Keitel.

I was personally anxious to talk to Winklers during a recent L.A. press junket for “The Mechanic” because of an oddball “only in L.A.” family anecdote. I was nevertheless beaten to the punch by an Italian reporter with a rather distinctive interviewing style who tended to dominate the discussion.

Read the rest of this entry »

  

You can follow us on Twitter @moviebuffs and on Facebook as well.

Related Posts

A roundtable chat with Kevin Kline of “The Extra Man”

1

A highly accomplished stage actor, trained at Julliard under the tutelage of such exacting instructors as the legendary John Houseman, Kevin Kline pretty much started his film career as one of the best of the best, a genuine “actor’s actor” and also something of an old fashioned movie star with the presence to match. His first movie role was opposite Meryl Streep in Alan Pakula’s 1982 Oscar-winning film version of “Sophie’s Choice.” That was followed by Lawrence Kasdan’s Oscar-nominated ensemble dramedy, “The Big Chill,” and a leading role opposite Denzel Washington in Richard Attenborough’s portentous 1987 apartheid drama, “Cry Freedom.”

Though that was followed up by a part in Kasdan’s lighthearted homage to classic westerns, “Silverado,” Kevin Kline’s comic gifts remained under-recognized until his utterly ingenious, deservedly Oscar-winning turn as the murderous and hilariously insecure and pretentious Otto in the farce classic, “A Fish Called Wanda.” After that Kline became one of the screen’s most reliable comic leading men with parts in such high-quality mainstream comedies as “Dave” and “In and Out,” was well as the occasional part in such hard-edged tragicomic dramas as “Grand Canyon,” again with Lawrence Kasdan, and Ang Lee’s “The Ice Storm.”

Kline, who recently completed a successful stage run in Edmund Rostand’s Cyrano de Bergerac opposite Jennifer Garner, has — like other outstanding actors of his generation — gracefully moved from the A-list to the art-house. Though once noted for turning down movie roles in favor of stage work — John Stewart reminded him of his “Kevin Decline” nickname on his recent “Daily Show” “Colbert Report” appearance — Kline has been a busy and hugely reliable film actor for decades. More recent roles include the screen’s first correctly gay Cole Porter in the 2004 musical biopic “De-Lovely,” Garrison Keillor’s radio detective Guy Noir in Robert Altman’s 2006 swan song, “A Prairie Home Companion,” Jacques in Kenneth Branagh’s version of Shakespeare’s “As You Like It,” and the 21st century’s version of Inspector Dreyfus opposite Steve Martin‘s Inspector Clouseau in the rebooted “Pink Panther” series.

Add to those the role of the suave but irascible platonic male escort Henry Harrison in Shari Springer Berman and Robert Pulcini’s adaptation of the Jonathan Ames novel, “The Extra Man.” Taking in a confused and nervous younger protegee (Paul Dano of “There Will Be Blood”), Harrison is an utterly reactionary self-made throwback to another time and place, and an ideal role for an actor gifted with the finest of old fashioned acting virtues.

Kevin Kline and Paul Dano in

Read the rest of this entry »

  

Related Posts