Lawrence Kasdan | |
|---|---|
 Kasdan at the 2015San Diego Comic-Con | |
| Born | Lawrence Edward Kasdan (1949-01-14)January 14, 1949 (age 76) Miami Beach,Florida, U.S. |
| Alma mater | University of Michigan |
| Occupations | |
| Years active | 1980–present |
| Spouse | |
| Children | |
| Relatives | Mark Kasdan (brother) |
Lawrence Edward Kasdan[1] (born January 14, 1949) is an American filmmaker. He wrote and directedBody Heat (1981),The Big Chill (1983),Silverado (1985),The Accidental Tourist (1988), andDreamcatcher (2003). Kasdan also wroteRaiders of the Lost Ark (1981) andThe Bodyguard (1992). Kasdan co-wrote fourStar Wars films:The Empire Strikes Back (1980),Return of the Jedi (1983),The Force Awakens (2015), andSolo: A Star Wars Story (2018).
Kasdan is known for updating old Hollywood genres—film noir, science fiction, the western—in a classical dramatic style with quick-witted dialogue, but dealing with contemporary social themes. As a director, he has worked with his own scripts, often directingWilliam Hurt.
Kasdan has been nominated for four Academy Awards: as a producer for Best Picture nomineeThe Accidental Tourist, for which he was also nominated for Best Adapted Screenplay, and for Best Original Screenplay for bothThe Big Chill andGrand Canyon (1991). He has often collaborated with his wife, Meg Kasdan, his brother,Mark Kasdan, and his two sons:Jonathan Kasdan andJake Kasdan. He has frequently castKevin Kline andWilliam Hurt in his films.
Kasdan was born inMiami Beach, Florida, the son of Sylvia, an employment counselor, and Clarence Kasdan, an electronics-store manager.[1] Kasdan isJewish.[2] His older brother isMark Kasdan, who co-wroteSilverado (1985) and producedDreamcatcher (2003), and he has two sisters.[3] Kasdan grew up inMorgantown, West Virginia.[4] "I felt very fortunate to have had a regular American childhood in the fifties," he said. "It was a safe place, where you owned the town if you had a bicycle."[5][better source needed]
His parents were both "thwarted writers."[6] His father, who died when Kasdan was 14, had wanted to be a playwright, and his mother claimed to have studied with novelist and playwrightSinclair Lewis at theUniversity of Wisconsin. She sold a few stories to "confessional magazines" in the 1950s, and later bought self-help books and typed up their contents with the dream of writing her own book one day. She also struck up conversations with strangers on the bus, saying it was all "grist for the mill" for future writing. "Looking back on it now," Kasdan wrote, "I wonder if maybe I owe her everything. Whether by nature or nurture, I became a writer."[7]
Many of Kasdan's movies were inspired by his "difficult childhood and home life," he wrote. "So, in my work, I've looked for something more stable or explored why growing up in my home was so upsetting."[8]
"We didn't have a lot of money and neither did anyone around us, and going to the movies was the happiest thing about my childhood," he said. "Movies weren't very big inWheeling in those days. We used to call up the theater to ask what time the show began, and they'd say, 'What time can you get here?'"[9] He particularly lovedThe Great Escape (1963) andThe Magnificent Seven (1960), both directed byJohn Sturges—movies that shaped his ideas of manhood and heroism. "Film made its values tangible for me in the ways that parents, school, Sunday School had not. I wanted to live in the world I found in the movies."[10]
In 1963, his brother Mark took him to seeDavid Lean'sLawrence of Arabia. They arrived a few minutes late, and Mark insisted that they kill six hours until the next showing. "I thought my brother was crazy. But when the show was over, I knew I had done the right thing. As I stumbled from the theater, having seen the whole movie, I had a new hero. It was notT. E. Lawrence, but David Lean".[11]
He graduated fromMorgantown High School in 1966. To earn money for college, he worked various jobs at a glass factory and the night shift at a supermarket in Wheeling, scraping meat from butcher machines.[9] He applied to theUniversity of Michigan because he was told it had the best-paying college writing contest in the country (theHopwood Award), and that the playwrightArthur Miller had paid for his studies by winning the award. Miller's teacher,Kenneth Thorpe Rowe, was still a professor there, and Kasdan studied drama writing with Rowe.[7]
Kasdan won the Hopwood Award four times between 1968 and 1970, winning a total of $2,000. "When I received the letter telling me that I had won Hopwood Awards in both fiction and drama, my life changed forever," he said. "It was the first sign the real world, the outside world, the big-time world, had given me that this was not just a hopeless dream. ... Even though I had many discouraging years after that, there was never a day after I received that letter that I doubted I would be able to make my way as a writer."[7]
While in college, Kasdan marched on Washington to protest the Vietnam War. He also made one short film. "Technically, it was very crude," he said. "It was a wry look at a professor I knew who was very interested in all the young female students—sort of a rough, humorous film about his fascination with one particular girl. It was shot on 16mm. I cut it and did the sound, but I was never a technically proficient student filmmaker."[12]
He was determined to become a director, and decided the best path was to write screenplays. He got intoUCLA's writing program and briefly moved to Los Angeles, but found the experience frustrating and moved back to Ann Arbor, where he worked in a record store and continued writing screenplays.[5]
He pursued a master's degree in education at the University of Michigan and graduated in 1971, with plans to support himself as a high-school English teacher until he broke into Hollywood. But he soon discovered that there were no high-school English teaching jobs. "It was almost as hard to get that kind of work as being a movie director," he said.[5] The experience he did have as a student teacher later proved useful on film sets: "You can control an unruly class at almost any level, but the more you yell, the less effective yelling becomes," he said. "That has influenced my approach to directing; for me, being hard is giving someone a look where another director might scream at them."[12]
Unable to find a teaching position, Kasdan took a job as an advertising copywriter at theW. B. Doner agency in Detroit—a profession he didn't enjoy but found success in, earning aClio Award for his first TV commercial, as well as an award from The One Show. His supervisor, Jim Dale, remembered Kasdan "always said he was better at writing for TV than for print, and that was certainly prophetic."[13] Kasdan called his five years in advertising "hellacious", and persisted in writing screenplays at night.[6]
The Bodyguard
Kasdan's sixth finished screenplay, written in 1975, was about a singer who falls in love with her bodyguard. WithThe Bodyguard he was able to get an agent, Norman Kurland, and he took an advertising job in Los Angeles to further justify a move to California. Kurland sent the script around town for two years, and it was rejected 67 times. "We couldn't even get him a job writingStarsky and Hutch,"[14] Kurland said, although Kasdan had no desire to write for television. He was hired to write a treatment for a low-budget feature forParamount, but the film was never made. He continued to write screenplays, including what he called an "un-producible historical" movie.[15]
The Bodyguard was finally optioned byWarner Bros. in 1977 for $20,000.[14] It was rewritten many times over the years, and attached to different actresses (includingDiana Ross andWhoopi Goldberg) whose characters had various occupations. Kasdan wrote it withSteve McQueen in mind as the bodyguard, Frank. In the original draft, the U.S. president Frank failed to save wasJohn F. Kennedy.Kevin Costner read the screenplay when Kasdan directed him inSilverado, the role that made him a star. In 1991, he asked Kasdan to makeThe Bodyguard with Costner in the title role. Kasdan had "messed around" with it so many times that he felt too burned out, and he was also preparing to directGrand Canyon—so he chose instead to produce it with Costner, and they hiredMick Jackson, who had just madeL.A. Story, to direct.[5]Whitney Houston was cast as superstar singer Rachel Marron.
Kasdan was not happy with the way the film turned out, "but I think it had nothing to do with Mick Jackson," he later said. "I think it had to do with the fact that I'm not a good person for having other people direct my screenplays ... and so I was very unhappy withThe Bodyguard. Kevin and I got very involved in the editing, which is not something I would normally do with any other director. I don't want people messing with my movie. But we were the producers and we had serious problems with it."[5]
Despite receiving "probably the worst reviews I've ever had," Kasdan said, the film was a huge box-office success, earning more than $411 million worldwide. "If I had directed that film it probably wouldn't have done anything like that business," Kasdan wrote.[5]
Continental Divide
WhileThe Bodyguard was being passed around town, Kasdan wroteContinental Divide—a script about a brash Chicago journalist who falls in love with a woman living in the mountains studying eagles, in the vein of an oldSpencer Tracy /Katharine Hepburn comedy. He came up with the outline while eating lunch on the lawn of theLos Angeles County Museum of Art.[12]
Kurland shopped it around, and took it toSteven Spielberg, who was on the dubbing stage forClose Encounters of the Third Kind (1977). Spielberg hadUniversal buy the script for $150,000 in October 1977, with a desire to serve as executive producer. "I was looking for a love story to do," Spielberg said. "Actually, it was a very intense bidding situation. There were four studios bidding for it and Universal made the highest bid. The script was wonderful. Larry is an excellent writer. He writes the sort of material we haven't seen around here for a long time. He writes about the '30s and '40s in a fascinating, exciting way. He loves old movies and draws on them for his work. He's exploring new territory based on old ground."[15]
The movie was eventually made several years later, starringJohn Belushi andBlair Brown and directed byMichael Apted. It came out on September 18, 1981, three weeks after the release of Kasdan's directorial debut,Body Heat.
According to Kasdan, the original script was "very different from the film which resulted. The script had a kind ofHoward Hawksian speed, momentum, hopefully wit about it. I don't think the film turned out that way, which was one of those painful experiences I had early on."[12]
Raiders of the Lost Ark
Spielberg's enthusiasm forContinental Divide led him to hire Kasdan to writeRaiders of the Lost Ark, which he was developing withGeorge Lucas. "I think that what they were looking for was someone who could writeRaiders in the same way that Hawks would have someone write a movie for him—a strong woman character, a certain kind of hero," Kasdan said.[12] In a now-famous meeting (with producerFrank Marshall also in the room), "George, Steven, and I talked for about 20 minutes. Then we stood up and shook hands, and George said, 'Let's make this movie.' I had just met the guy, and a few minutes later I'm in business with him."[9]
"George said, 'We're going to do a movie that's like the old serials,'" Kasdan recalled."'I don't know too much about it, but the hero is named after my dog, Indiana. I know the hero wears a fedora and a leather jacket and carries a whip.'" That the artifact would be the BiblicalArk of the Covenant was writer-directorPhilip Kaufman's idea. Kaufman got it from his orthodontist when he was 11 years old[5] (at one point, Kaufman was going to be involved with the screenplay. He received a "story by" credit).
The rest of the plot was hashed out in a brainstorm session with Lucas, Spielberg, and Kasdan:
We had a tape recorder going, and George essentially guided the story process and the three of us pitched the entire movie in about five days. And that's where the fantasy of all our pent-up, wet-movie dreams coalesced. Most of the time we were on our feet, trying to out-shout each other with ideas.[16]
They wound up with a hundred-page transcript, and Kasdan wrote the screenplay in Spielberg's office while the director was making1941. It took him six months.[5]
For the character ofIndiana Jones, Kasdan said he wanted to capture the essence of old Hollywood stars likeErrol Flynn,Burt Lancaster, andClark Gable. "One of my favorite actors isSteve McQueen," he said. "I loved the poetry in the way he moved—his stylized movement. I wantedRaiders to have that heightened reality. That's where I came together with George's love of serials and Steven's fascination with kinetic thrust."[17]
Lucas wanted the character to be more likeJames Bond, so Kasdan had to write a different version of the scene whereBrody goes to his house, he said. "George wanted Indy to be a playboy, so Jones was going to answer the door wearing a tuxedo. Then, when Brody went into the house, he would see a beautiful,Harlow-type blonde sipping champagne in Indy's living room. My feeling was that Indiana Jones' two sides (professor and adventurer) made him complicated enough without adding the playboy element."[17]
The film came out on June 12, 1981, and made more than $390 million internationally, winning five Academy Awards out of nine nominations. Kasdan eventually warmed to the finished film. "I look atRaiders now and I'm very proud of it," he wrote in 1999. "I think it's a terrific movie and I think Steven did a magnificent job with it."[5] He was later asked to writeIndiana Jones and the Temple of Doom, but declined because he didn't want to associate with the film; he perceived it as "horrible, mean and unpleasant" due to it being developed during a chaotic period in Spielberg's and Lucas's lives.[18] Several elements from Kasdan's earlierRaiders draft found their way in the prequel.[19] Kasdan semi-returned to the franchise in 2007 when he assistedDavid Koepp in writing some romantic dialogue forIndiana Jones and the Kingdom of the Crystal Skull.[20]
Star Wars: Episode V—The Empire Strikes Back
Lucas initially hiredLeigh Brackett, the sci-fi novelist who also wrote screenplays for Howard Hawks—includingThe Big Sleep (1946)—to write the sequel toStar Wars (1977). But Brackett died in March 1978, while the film was still in pre-production, and Lucas was dissatisfied with her script. He wrote the next draft himself, which established structure and twists close to the final film, but needed dialogue polishing. When Kasdan delivered his script forRaiders, Lucas asked him to rewriteThe Empire Strikes Back. Kasdan suggested he readRaiders first, but Lucas reportedly said: "If I hateRaiders, I'll call you up tomorrow and cancel this offer, but basically I get a feeling about people."[9]
Most of the plot elements and characters were already in place, but Kasdan helped in part make it darker than the firstStar Wars. "George was open to it and ready to have it happen," he said. "Over the threeStar Wars films, he saw a trajectory.The Empire Strikes Back was the second act, and traditionally, the second act is when things start to go bad. George had made his [most important] decision when he hiredIrvin Kershner to direct, even though Kershner and I were acting as his tools."[12]
WhenThe Empire Strikes Back came out on May 21, 1980, it was the first time Kasdan's name appeared in a movie's credits. He felt his main contribution to Lucas's series was developing character. "George is one of the good guys," Kasdan said in 1981. "But he and I have some disagreements, too. George thinks if you play the commercial movie game, a very expensive game, you have to play for big stakes."[21]
Star Wars: Episode VI—Return of the Jedi
Kasdan launched his directing career after writingThe Empire Strikes Back, and was uninterested in writing anotherStar Wars movie. But Lucas had supported him onBody Heat as an uncredited producer, so when Lucas asked him to write the screenplay for the third chapter (then titledRevenge of the Jedi), Kasdan felt obliged to repay him.[22]
He spent the summer of 1981 co-writing the shooting script with Lucas (based on a story by Lucas). "In both theStar Wars movies it's really George's story," Kasdan said. "I came intoEmpire after there was already a draft. OnJedi, George had done a draft, which we changed radically. Then he and I really collaborated on the script."[23]
Return of the Jedi came out on May 25, 1983, and made $475 million. Lucas had already publicly spoken about making both aprequel andsequel trilogy; the prequels he wrote and directed himself 20 years later, and theWalt Disney Company made episodes 7 through 9 after it purchasedLucasfilm in 2012. In 1981, Kasdan surmised that "they'll probably shoot the before-Luke trilogy next, about young Darth and young Ben. But with George, you can't be sure. For myself, I can only say this will be my lastStar Wars movie. On the other hand, you never know. I didn't think I'd be working on this one."[21] During theStar Wars prequels' development, Lucas constantly approached Kasdan to help him write them, but Kasdan resisted returning to the franchise,[24] opining that Lucas should do the prequels as he wished given the creative clashes Lucas had with him, Kershner andRichard Marquand during the original trilogy's development.[25] But Lucas thought it would be great for Kasdan to take a second pass at the screenplays.[26]
Star Wars: Episode VII—The Force Awakens
When Disney bought Lucasfilm with plans to make moreStar Wars films,Kathleen Kennedy, Lucasfilm's new president, asked Kasdan to be involved. "I said, 'I don't really want to ... I just feel like I've done this,'" he recalled. "They said, 'We want to do a movie about Han.' That got me. That was the only one that could possibly have gotten me."[24]
Kennedy had hiredMichael Arndt to writeEpisode VII, and she asked Kasdan if he would consult on that script as well. He always felt that "Han Solo is really the character that people find irresistible, notLuke," he said. "Luke is too good for people to invest in. Han is right out of the classic mold. He'sWilliam Holden. He'sJimmy Cagney. He'sHumphrey Bogart. Han is the one who is compromised and reluctantly forced to be altruistic and heroic."[8] He had wanted to kill Han off inReturn of the Jedi. "We're closing off the trilogy," he said. "And we want to lose somebody important. It would give some stakes to this thing. And George did not like it."[24] InThe Force Awakens, he and actorHarrison Ford finally got their wish.
Star Wars: The Force Awakens came out on December 18, 2015. It made more than $2 billion internationally, breaking the North American record for top-grossing film of all time.[27] In his review forTheHollywood Reporter,Todd McCarthy wrote: "One notably feels the hand of Lawrence Kasdan, who ... co-wroteThe Empire Strikes Back andReturn of the Jedi and, perhaps more significantly, authoredRaiders of the Lost Ark, the film this new one most resembles in terms of its incident and exuberance."[28]
Kasdan, Abrams, and Arndt won theSaturn Award for Best Writing forThe Force Awakens. This marked Kasdan's first win for aStar Wars film, after being nominated forThe Empire Strikes Back andReturn of the Jedi.
Despite not working in the following sequels, Kasdan later talked with Abrams, Lucas, andRian Johnson about the story for the saga's last episode,Star Wars: The Rise of Skywalker.[29]
Solo: A Star Wars Story
Kasdan wrote the screenplay for a Han Solo origin story—the one assignment with Disney and Lucasfilm he initially signed on for—with his son,Jonathan Kasdan, a writer and director. The younger Kasdan had had small roles in his father's movies sinceThe Big Chill, but they had never written a script together.
Solo: A Star Wars Story details the character's backstory: how he got his name, how he metChewbacca andLando Calrissian, and the beginnings of his internal battle between self-interested scoundrel and hero.Alden Ehrenreich was cast in the role Ford originated. The production was plagued by drama; most notably, the original directors—Phil Lord and Christopher Miller—were fired during the shoot and replaced byRon Howard. The film opened on May 25, 2018, and made just under $393 million worldwide (the lowest box-office returns for any live-actionStar Wars movie to date).[30] Kasdan later attributedSolo's underperformance to Lucasfilm "blowing it", after which he left theStar Wars universe as promised, not responding to any of Lucasfilm's subsequent attempts to woo him back, even sending him a messenger with a new script.[31]
After writingRaiders of the Lost Ark andThe Empire Strikes Back, Kasdan had the cachet to direct his own film.
Alan Ladd Jr., the head of20th Century Fox and a key player onStar Wars, gave Kasdan the deal—but by the time the script was finished Ladd was no longer at Fox. The new president,Sherry Lansing, put many of the existing deals in turnaround, including Kasdan's. Ladd startedThe Ladd Company in 1979, and offered to produceBody Heat on one condition: that an established director would "sponsor" the untested Kasdan. So Kasdan reached out to George Lucas.[5]
The producers wanted Kasdan to cast a star, but he insisted onWilliam Hurt, a stage actor who had just made his film debut inAltered States (1980). Kasdan cast another unknown,Kathleen Turner, as Matty, andTed Danson as one of Ned's colleagues. (Danson was offered the part of Sam Malone onCheers while filmingBody Heat.[32]) The heat-centric story was originally set in New Jersey, but an actors' strike delayed production until December, so the location was moved to Miami.[32]
Body Heat opened on August 28, 1981. It made more than $24 million domestically on a $7 million budget and was praised by the majority of critics.Variety's review called it "an engrossing, mightily stylish meller [melodrama] in which sex and crime walk hand in hand down the path to tragedy, just like in the old days. Working in the imposing shadow of the lateJames M. Cain, screenwriter Lawrence Kasdan makes an impressively confident directorial debut with a vehicle which could clinch star status for William Hurt."[33]
TheLos Angeles Film Critics Association Awards nominated Kasdan for Best Director, and the Writers Guild of America nominated his screenplay for aWGA Award.
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While editingBody Heat Kasdan had the idea for a large ensemble film, partly in reaction to the "claustrophobic" experience of working with just two actors in intimate settings.[5]
His lawyer's wife,Barbara Benedek, had begun writing screenplays (and was a story editor on two comedy TV series forABC), and Kasdan proposed co-writing with her. She was "enormously influential on the tone" of the script, he said, and they wrote characters who were composites of real people they each knew—as well as "a little bit of ourselves".[5]
Kasdan had trouble finding a buyer, because "no one believed that an ensemble film could be commercially successful. Hollywood always wanted you to have a protagonist, hopefully a white male who the audience could invest in, and possibly a sidekick or possibly a woman that he was involved with. When I presented them with a movie that had eight protagonists, they were only confused." He pitched it to "around seventeen different places," but they all passed.Johnny Carson had a deal to make movies atColumbia, and producerMarcia Nasatir convinced Carson to makeThe Big Chill.[5]
The ensemble cast included Hurt andKevin Kline, both of whom became regulars in Kasdan's directing career, as well asGlenn Close,Jeff Goldblum,Mary Kay Place,Tom Berenger, andJoBeth Williams. After four weeks of rehearsal, the film was shot in a real house in South Carolina, which had been used inThe Great Santini.John Bailey, husband of editor Carol Littleton, was the cinematographer. The '60s pop soundtrack was curated by Kasdan's wife, Meg. The album sold more than six million copies and is one of the best-selling soundtracks of all time.[34]
The Big Chill came out on September 30, 1983. It ran in theaters for six months, making more than $56 million on an $8 million budget, and received mostly praise, with some mixed reviews.[35]
The film was nominated forthree Academy Awards: for best original screenplay, best supporting actress (Close), and best picture. The screenplay was nominated for a BAFTA Award and a Los Angeles Film Critics Association Award, and it won the WGA Award. Kasdan earned aDGA Award nomination by the Directors Guild of America. He later said:
It was a kind of a lightning rod to controversy. I think I was surprised by everything that happened toThe Big Chill because it was so personal. It was so much about my life, Barbara's life, and my wife's life that when it became very popular I was surprised.[5]
Film criticF. X. Feeney wrote: "Kasdan fashioned a national conversation piece. People spoke thereafter of'The Big Chill Generation.' Films made by later generations, about those generations ... would have to endure being dubbed 'The Little Chill' by critics. (So, in a sense, Kasdan founded a new genre.)"[6]
Kasdan co-wroteSilverado's screenplay with his brother, Mark Kasdan. The story, set in 1880, is about a motley crew of cowboys who team up and set aside self-interest to protect a small town from a corrupt sheriff.[5]
He castKevin Kline for the second time, as lead cowboy Paden, along withScott Glenn,Danny Glover (who reunited with Kasdan inGrand Canyon), and Kevin Costner (who re-teamed with Kasdan for another western,Wyatt Earp).Brian Dennehy was cast as the sheriff, and Kasdan's son Jonathan and wife Meg both had bit parts.
The film shot in New Mexico during the winter of 1984, and an entire town set was built nearSanta Fe that was later reused in several films, includingWyatt Earp. During production some of the cast developed hypothermia, and Kasdan had to contend with both blizzards and flash floods.[5]
The film was so popular at its test screening in Seattle that Columbia rushed its release by several months, without arranging the usual marketing and merchandising efforts in time. It came out on July 10, 1985, and did decent business—$32 million on a $26 million budget—but Kasdan felt it would have done better with a more concerted release strategy.[5] The reviews were largely positive.[36]
The film earnedOscar nominations for best sound and best original score (composed byBruce Broughton). Kasdan won the Young Venice Award—Special Mention at theVenice Film Festival.
After makingSilverado, Kasdan passed onThe Untouchables (1987) because he didn't like the script; it was directed byBrian De Palma.[12] He had also been developingMan Trouble (1992), but disagreed with the producers overCarole Eastman's screenplay.[5] Then he was offeredThe Accidental Tourist, a novel byAnne Tyler, and despite its surface similarities toMan Trouble—both stories are odd-couple romances with a character who trains dogs—he "fell in love with it".[5]
John Malkovich had been developing the project, and hired theater directorFrank Galati to write a script.[37] When Kasdan took over, he wrote his own adaptation—ultimately sharing writing credit with Galati. Like many of Kasdan's own stories, this one was "about creating a new family to replace a dysfunctional one," he said.[8] For the lead, he cast Hurt for the third time.
Kasdan and Hurt reunited withBody Heat'sKathleen Turner, playing Macon's estranged wife. For the eccentric dog trainer, Muriel, Kasdan castGeena Davis, who won an Academy Award for Best Supporting Actress.[5]
The Accidental Tourist was a surprise hit when it came out on December 23, 1988. It made more than $32 million, and rode a wave of critical praise through the awards season. It won theNew York Film Critics Award despite sharp criticism from several critics—includingPauline Kael, who felt the film had no voice.[38]
The film earned two Golden Globe nominations (for Best Motion Picture - Drama and Best Score), a BAFTA nomination (Best Adapted Screenplay), andfour Oscar nominations: Best Original Score (John Williams), Best Adapted Screenplay, and Best Picture. Davis won an Oscar for her supporting role.
"I have sometimes been frustrated by the size of my audience, but not on that movie," said Kasdan. "I'm amazed we got as many people in to see it as we did. It was one of the most satisfying experiences I've ever had. I'm as proud ofThe Accidental Tourist as anything I've done."[12]
Kasdan wanted to do something "light and irreverent" after the grief-heavyTheAccidental Tourist, and John Kostmayer sent him a script based on a true story out of Pennsylvania: a woman tried to kill her husband multiple times over his infidelity, he survived all attempts, she and her accomplices went to prison, and when she got out the husband forgave her and took her back. "I was fascinated by that story," Kasdan said. "I thought it would make a wonderful film."[5]
It was the first film he directed from another writer's script, and starred Kline as pizzeria owner and serial cheater Joey, andTracey Ullman as his wife, Rosalie. The ensemble cast included Hurt,River Phoenix,Joan Plowright, andKeanu Reeves. The film was shot inTacoma, Washington.
In 1999, Kasdan wrote:
I have more regrets aboutI Love You to Death than anything I've done, because Kostmayer had written an odd and interesting script. It was very funny to me, but there were things in it that were ugly. In postproduction we started sneaking [test screening] it, and most of the sneak audiences hated the movie—despised it. They hated certain things, and I started taking those things out. We reshot the ending, added new scenes, and took out scenes that were difficult. I wanted to make the movie more popular, and that was weak, because it got worse and worse. As a result, I've never used those sneak preview cards since. It wasn't as if the studio was making me change things. I ruined the movie.[12]
I Love You to Death came out on April 6, 1990. It made $16 million, and reviews were largely negative or mixed.[39]
Now in his 40s, with his oldest son leaving for college, Kasdan began a screenplay about marriage and parenting. He said:
Seeing your children grow throws your own life into relief. They're a daily reminder that you're moving on because they're so clearly coming up from behind. That driving lesson [inGrand Canyon] is about more than the difficulty of making left turns in Los Angeles. Giving your son the wheel is about letting go ... and the threat of disaster in the most mundane actions.[40]
The screenplay, which he wrote with his wife, swelled into a larger canvas that dealt with race relations in Los Angeles and the existential crises of the era. On a $20 million budget, Kasdan cast two of his regular actors—Kline and Glover—along withSteve Martin,Mary McDonnell,Mary-Louise Parker, andAlfre Woodard. (The actors took smaller salaries in exchange for profit participation.)[40] The film follows separate but intersecting stories of multiple characters across Los Angeles's social and racial divides, and deals with themes of fate, death, relationships, the ethics of violence in filmmaking, and more. The score is byJames Newton Howard, who has worked with Kasdan on every film since.
Grand Canyon came out on December 25, 1991. The ensemble cast and social/generational commentary immediately drew comparisons toThe Big Chill, and reviews were mostly positive.
The screenplay was nominated for anAcademy Award, a Golden Globe, and a WGA Award. Some critics found the finale, which has the ensemble staring in awe at the actualGrand Canyon, to be a cop-out happy ending.
Within months of the film's release, the1992 Los Angeles riots occurred. "There was an enormous amount of press about the fact thatGrand Canyon had predicted the explosion of rage and violence," Kasdan said. "Anyone walking around L.A. at that time could feel it. The riots were a natural kind of explosion that anyone could have predicted."[5]
One of Kasdan's abandoned projects over the years was titledPair-A-Dice, written byBlade Runner (1982) screenwriterDavid Webb Peoples, which he developed for four years, with Costner set to star.[40] In 1992, Costner approached him with the script for a six-hour miniseries aboutWyatt Earp's life. "I told him that I was about to commit to another picture," Kasdan said. "[Costner] said, 'Why are you doing that? Why don't you doWyatt Earp? I said, 'I don't like the screenplay.' And he said, 'Well, then, write a new screenplay.'" Kasdan agreed on the condition that they shoot the following summer, which Costner accepted. Kasdan wrote a screenplay in three months.[5]
Kasdan was pleased with his screenplay—but less so Costner, who was still attached to the original miniseries concept. "Kevin and I were visualizing a 'Western Godfather,'" saidDan Gordon, who wrote the miniseries script. "It was to be two movies, in fact, centering on three families: the Earps and two organized crime families. Mike Gray, a bizarro mirror image of Earp, managed to get Tombstone, the richest town west of the Mississippi, deeded to his private company. It was a land grab worth $10 million to $20 million in 1880 dollars—and the only thing between him and that money was Wyatt Earp."[41]
Kasdan said:
At that point we probably should have called the whole thing off, but we didn't. Instead, we reached a kind of compromise script. I had never had that experience before, because everything that I had ever written I had just gone out and shot as is. Here I had this kind of hybrid. It was my script plus elements from his previous script.[5]
Kasdan ultimately shared writing credit with Gordon, who also served as an executive producer on the film.
I think it confused the whole situation, and if I had my wits about me I probably would have said, "Kevin, look, because we're very good friends let's preserve our friendship and not do this movie." Well, we preserved our friendship, but unfortunately we did do the movie.[5]
Surrounding Costner as Earp wereJoanna Going,Catherine O'Hara,Tom Sizemore, JoBeth Williams,Mark Harmon, andGene Hackman.Dennis Quaid lost 43 pounds on a supervised diet to playDoc Holliday, a performance that Kasdan called "the most satisfying part of the movie."[5]
Wyatt Earp was a more ambitious production than Kasdan's previous western,Silverado. It was shot in the summer of 1993 over the course of 19 weeks (with an entire week of rehearsals), on location in and around Santa Fe, New Mexico, with two massive sets portraying eight different Western towns, and a cast of more than 100 speaking roles and thousands of extras. It was shot on film in anamorphic format byOwen Roizman, the cinematographer onThe French Connection.[42]
"It's an epic film on an epic scale," Kasdan said. "It shows the building of the railroad and a span of Wyatt's life. So in many ways it presented the challenges I was looking for. It's a big bite of a movie and there are things in it that are as good as anything I've ever done."[5]
The film suffered at the box office—making $20 million on a $60 million budget—in part because ofTombstone, the concurrent film starringKurt Russell as Earp andVal Kilmer as Holliday.Tombstone's writer and original director,Kevin Jarre (who was eventually fired from the project), had actually planned to make an Earp story with Costner, but the two had different ideas about its tone and direction, and each went his own way.[43]Tombstone was in production at the same time, but released on Christmas Eve, 1993—six months beforeWyatt Earp.
"Tombstone hurt us," said editor Carol Littleton, "because it's a completely different kind of film, and it was a little more hip and it was not quite as serious."[44]
Meg Ryan, who at the time was married toWyatt Earp star Dennis Quaid, brought Kasdan a script she'd commissioned for herself. Written byAdam Brooks, it was about a woman who overcomes her fear of flying and goes to Paris to confront her cheating fiancé, and in the process falls for a French thief. Kasdan was drawn to the project, he said, because "I wouldn't have to write something new. I'd just done this really difficult movie and I thought, well, I'll go to France with my family for a while. I love France."[5]
He castTimothy Hutton as the cheating fiancé, Charlie, and Kline as Luc Teyssier, the thief.
French Kiss was released on May 5, 1995. It earned nearly $39 million in the U.S. and more than $101 million internationally.
Mumford (1999)
AfterFrench Kiss, Kasdan wrote a spec script for Disney calledSojourner—a large-scale fantasy film set in the 1930s about a father and son. "I love effects," he said, "but they very rarely are married to a story that interests me. So I wrote one of my kind of stories, one involving effects. It made for a very expensive project, requiring not just one but two movie stars." He went into pre-production on the film withMel Gibson attached to star—but then pulled the plug, and instead wrote the screenplay forMumford.[6]
The story is about a psychologist named Mumford with a secret past, who moves to atown called Mumford and starts treating its troubled citizens. Kasdan castLoren Dean in the title role, alongsideHope Davis,Jason Lee, Mary McDonnell, Alfre Woodard,Martin Short, and Ted Danson. It came out on September 24, 1999, and fared poorly at the box office, making only $4.5 million. Critical response was divided.
Dreamcatcher (2003)
Kasdan's most poorly received film wasDreamcatcher, an adaptation ofStephen King's2001 book. Written during King's recovery from being hit by a van in 1999, the story is about four friends and a boy with special powers, involving aliens, telepathy, and extreme body horror. King later said he wrote much of it onOxycontin.[45]
Kasdan co-wrote the adaptation withWilliam Goldman, screenwriter ofButch Cassidy and the Sundance Kid andThe Princess Bride. "If you read the book," Kasdan said, "the pain is all over the book."[46]
Dreamcatcher was produced byCastle Rock Entertainment and shot inBritish Columbia. The cast includedMorgan Freeman,Thomas Jane,Damian Lewis,Timothy Olyphant, andDonnie Wahlberg. It came out on March 21, 2003, and made $82 million worldwide.
Darling Companion (2012)
Nine years passed betweenDreamcatcher and Kasdan's next film,Darling Companion. During that time he adapted a script fromRichard Russo's novelThe Risk Pool, which he was developing withTom Hanks as the lead, as well as a few other aborted projects.[47] He eventually decided to make an independent film, based on an incident from his and Meg's own life, when their dog got lost in the mountains of Colorado.
Darling Companion was independently financed by his company, Kasdan Pictures, along withWerc Werk Works andLikely Story. Since it was made on a modest $5 million budget, the ensemble cast—which included Kline,Diane Keaton,Richard Jenkins,Dianne Wiest, andMark Duplass—worked for scale. Kasdan shot the film on digital for the first time, on location in Utah.[48] It came out on April 27, 2012.
As of 2020, Kasdan is working on a documentary about record label executiveMo Ostin, and the adaptation of a novel calledNovember Road.
"Directing is the greatest job in the world, but the process is so hard," he said in 1991. "Each picture is like a child, a huge investment of heart and work. I decided that I want to work a lot while I have the interest in and the energy for it. Then if the time comes when I'm not having fun, I can walk away."[40] As of 2022, Kasdan has directed only two feature films in 22 years.
As a screenwriter, Kasdan was influenced by classic English literature, plays, and the literary films of the 1940s, '50s, and '60s. He said:
If you're trained the way I was, it's classical dramatic training, in which you learn how plays have been constructed since they started writing plays. I think that has served me very well in Hollywood, because a lot of the people writing screenplays don't have a literary background. Many young screenwriters today come from television. It's not that they worked in television; it's that they grew up on television and they think the way narrative is presented on television is narrative, but it ain't. And so, if anything, I believe in classic dramatic construction, and I believe in the force and momentum that good narrative creates as it builds on itself.[23]
He said his scripts all begin with their characters:
Characters present themselves, and the story follows.Alvin Sargent [screenwriter ofJulia (1977) andOrdinary People (1980)] said a great thing to me. We were talking about how all of our inspiration always starts with character. Not plot. Not story. And that we wish it were otherwise; and that, in fact, the American movie tradition is about narrative. It's not about character. And he said, 'When I die, on my tombstone, it's going to say: 'Finally, a plot." I identified with that very strongly.[6]
Of his directing style, Kasdan said:
I think that my personality is shy, reticent, in some ways; I'm conservative—I don't wear flashy clothes. I think that's true of my style, too, not that I don't like things that are startlingly innovative. ... For me, the idea is, is the camera where you want it to be, not are you showing it off? ... What I admire aboutKurosawa is the Zen perfection of his camera placement, the rightness of it. That's the idea I'm striving for—but style is not something that drives my pictures.[12]
On working with actors, he said:
I'm drawn to a very strong, non-fussy, hopefully a non-absorbed, kind of acting. I want great listeners. They aren't in competition with the other actors in the frame. They're there to support and to make the other actor better. I'm interested in people who are interested in submitting themselves to roles, to a story, to knowing that sometimes the grander action is the wrong action, the showier action is the wrong action. Sometimes repose is the most appropriate response to something. My movies are cut and acted on the reactions, not the actions. I think that's where the secrets of life are revealed. Not necessarily in what we say, but how we react to what we hear.[5]
In 2012, Kasdan participated in theSight & Sound film polls. Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice. Kasdan picked the following, in alphabetical order:[49]
Kasdan has produced several films he did not direct:Cross My Heart (1987),Immediate Family (1989)—written by hisThe Big Chill co-writer Barbara Benedek—Jumpin' at the Boneyard (1991),Home Fries (1998),The TV Set (2006)—written and directed by Jake Kasdan—andIn the Land of Women (2007), written and directed by Jonathan Kasdan.
He has made several cameo appearances in his own films: as River Phoenix's lawyer inI Love You to Death, a director inGrand Canyon, a gambler inWyatt Earp, and a man walking a dog inDarling Companion. He played Jack Nicholson's psychiatrist inAs Good as It Gets (1997), directed byJames L. Brooks.
| Year | Title | Director | Writer | Producer | Notes |
|---|---|---|---|---|---|
| 1980 | The Empire Strikes Back | No | Yes | No | |
| 1981 | Raiders of the Lost Ark | No | Yes | No | |
| Body Heat | Yes | Yes | No | ||
| Continental Divide | No | Yes | No | ||
| 1983 | Return of the Jedi | No | Yes | No | |
| The Big Chill | Yes | Yes | Executive | ||
| 1985 | Silverado | Yes | Yes | Yes | |
| 1987 | Cross My Heart | No | No | Yes | |
| 1988 | The Accidental Tourist | Yes | Yes | Yes | |
| 1989 | Immediate Family | No | No | Executive | |
| 1990 | I Love You to Death | Yes | No | No | |
| 1991 | Grand Canyon | Yes | Yes | Yes | |
| 1992 | Jumpin' at the Boneyard | No | No | Executive | |
| The Bodyguard | No | Yes | Yes | ||
| 1994 | Wyatt Earp | Yes | Yes | Yes | |
| 1995 | French Kiss | Yes | No | No | |
| 1998 | Home Fries | No | No | Yes | |
| 1999 | Mumford | Yes | Yes | Yes | |
| 2003 | Dreamcatcher | Yes | Yes | Yes | |
| 2006 | The TV Set | No | No | Executive | |
| 2007 | In the Land of Women | No | No | Executive | |
| 2012 | Darling Companion | Yes | Yes | Yes | |
| 2015 | Star Wars: The Force Awakens | No | Yes | No | Also creative consultant & uncredited co-producer |
| 2018 | Solo: A Star Wars Story | No | Yes | Executive | |
| 2019 | Last Week at Ed's[50] | Yes | No | Yes | Co-directed with Meg Kasdan; documentary short |
Also uncredited wrote early screenplay forClash of the Titans (2010).
| Year | Title | Role | Notes |
|---|---|---|---|
| 1985 | Into the Night | Detective #2 | |
| 1990 | I Love You to Death | Devo's Lawyer | Uncredited |
| 1991 | Grand Canyon | Director in screening room | |
| 1994 | Wyatt Earp | Gambler | |
| 1997 | As Good as It Gets | Dr. Green | |
| 2012 | Darling Companion | Man on Street | Uncredited |
| Years | Title | Director | Executive producer | Notes | Network |
|---|---|---|---|---|---|
| 2022—2025 | Light & Magic | Season 1 | Yes | Documentary; directed 6 episodes | Disney+ |
| Title | Reception | Box office | |||
|---|---|---|---|---|---|
| Rotten Tomatoes | Metacritic | CinemaScore | Budget | Gross | |
| Body Heat | 98% (40 reviews) | 77 (11 reviews) | — | $9 million | $24 million |
| The Big Chill | 67% (36 reviews) | 61 (12 reviews) | — | $8 million | $56.4 million |
| Silverado | 76% (33 reviews) | 64 (14 reviews) | — | $23 million | $32.1 million |
| The Accidental Tourist | 81% (31 reviews) | 53 (12 reviews) | — | — | $32.6 million |
| I Love You to Death | 58% (24 reviews) | 45 (13 reviews) | C | — | $16.2 million |
| Grand Canyon | 77% (35 reviews) | 64 (15 reviews) | B+ | — | $40.9 million |
| Wyatt Earp | 44% (27 reviews) | 47 (20 reviews) | B+ | $63 million | $25.1 million |
| French Kiss | 48% (25 reviews) | 50 (14 reviews) | B+ | — | $102 million |
| Mumford | 57% (81 reviews) | 62 (33 reviews) | C+ | $28 million | $4.6 million |
| Dreamcatcher | 29% (180 reviews) | 35 (38 reviews) | C+ | $68 million | $75.7 million |
| Darling Companion | 22% (88 reviews) | 41 (38 reviews) | — | $12 million | $793 815 |
| Last Week at Ed's | — | — | — | — | — |
| Light & Magic (Season 1) | 100% (12 reviews) | — | — | — | — |
In addition to his four Oscar nominations, Kasdan received theAustin Film Festival's Distinguished Screenwriter Award in 2001, and theLaurel Award for Screenwriting Achievement from the Writers Guild of America in 2006. He has three honorary doctorates: in Humane Letters from theUniversity of Michigan (1983) and fromWest Virginia University (1999), and in Fine Arts from theAmerican Film Institute (2015).
On May 22, 2016, he was honored by theAtlanta Jewish Film Festival and ArtsATL.org as the inaugural recipient of their ICON Award for Contributions to the Cinematic Arts in a ceremony held at theWoodruff Arts Center.
Kasdan has been married to Meg Kasdan (née Mary Ellen Goldman) since November 28, 1971. They met at the University of Michigan, where they were both English majors. Their two sons,Jake Kasdan andJonathan Kasdan, are both involved in film as actors, writers, producers, and directors. He has three grandchildren.
While Meg grew up in a Jewish community in Detroit, Larry was raised in small towns in West Virginia where he felt "other" as the only Jew in his circle of friends. "People would say "I Jewed him down' or 'kike' but they didn't know the power that had over me," he recalled.
He wrote 'Silverado' with his brother Mark. Both of his sisters appear briefly in 'Grand Canyon.'
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