Fox has pacted with producer Bob Cooper for a drama project inspired by the story of Cathy Lanier, the newly appointed chief of police of Washington.
Tony Piccirillo (USA's Kojak) is writing the untitled project for Cooper's Landscape Entertainment and Fox TV Studio.
Lanier, a 39-year-old white single mother who dropped out of high school after getting pregnant at 14, became D.C.'s first female police chief and one of the youngest heads of the 3,800-member department dominated by black male officers. In addition to dealing with the city's high crime rate, Lanier also has to deal with about 100 other law enforcement agencies operating in D.C.
"Here's a white woman in a man's world and an African-American world, working with agency after agency in a complicated jurisdiction like Washington, D.C., and she's a single mom," Cooper said. "This seemed like a rich area to look at."
Cooper was a former HBO Pictures, TriStar and DreamWorks topper before segueing into producing through Landscape.
Tony Piccirillo (USA's Kojak) is writing the untitled project for Cooper's Landscape Entertainment and Fox TV Studio.
Lanier, a 39-year-old white single mother who dropped out of high school after getting pregnant at 14, became D.C.'s first female police chief and one of the youngest heads of the 3,800-member department dominated by black male officers. In addition to dealing with the city's high crime rate, Lanier also has to deal with about 100 other law enforcement agencies operating in D.C.
"Here's a white woman in a man's world and an African-American world, working with agency after agency in a complicated jurisdiction like Washington, D.C., and she's a single mom," Cooper said. "This seemed like a rich area to look at."
Cooper was a former HBO Pictures, TriStar and DreamWorks topper before segueing into producing through Landscape.
- 10/4/2007
- The Hollywood Reporter - Movie News
NEW YORK -- As such films as "Death and the Maiden" and "P.S. Your Cat Is Dead" have previously demonstrated, movies revolving around the fates of bound and gagged hostages don't really work on the screen. This debut feature from writer-director Tony Piccirillo, based on his own original play, is a static exercise that is primarily effective as a vehicle for its two leading actors. "The 24th Day" opened exclusively in New York's Village East Cinemas on May 14.
All too readily revealing its stage origins, the piece depicts the fateful encounter between Tom (Scott Speedman, "Felicity") and Dan (James Marsden, "X-Men"), two handsome young men who meet at a bar and proceed to Tom's apartment for a late-night rendezvous. But before the two can consummate their passion, Tom overpowers Dan and ties him to a chair. It seems that Tom found out 24 days ago that he is HIV positive, and because Dan is the only man he's ever slept with -- it was five years ago, and the promiscuous Dan has no memory of the event -- he's convinced that it was Dan who infected him. Tom's plan: to take a blood sample from his hostage, and if the results turn out positive, to cut his throat and watch him bleed to death.
As you might imagine, a lot of impassioned arguments ensue, as Dan, in between escape attempts, employs a variety of psychological approaches to reasoning with his captor. In the course of their evening-length wrangle, Tom, who is married, reveals the personal tragedy that has in part led him to committing this atypical act of violence.
What might have proved reasonably compelling onstage comes across as forced on film, with credibility taking a back seat to contrivance. Perhaps if the characterizations and dialogue had more depth, one might be able to overlook the work's artificial aspects. But little that ensues resonates with much force, and such digressions as the lengthy pop culture debate between the two men over their favorite "Charlie's Angels" feel derivative.
The actors invest their performances with the requisite intensity, but for the most part fail to surprise us with their choices. Sofia Vergara also makes a brief appearance as Dan's roommate, in a role that seems obviously tacked on for this film version of the play, which was previously presented in a Los Angeles production starring Noah Wyle and Peter Berg.
All too readily revealing its stage origins, the piece depicts the fateful encounter between Tom (Scott Speedman, "Felicity") and Dan (James Marsden, "X-Men"), two handsome young men who meet at a bar and proceed to Tom's apartment for a late-night rendezvous. But before the two can consummate their passion, Tom overpowers Dan and ties him to a chair. It seems that Tom found out 24 days ago that he is HIV positive, and because Dan is the only man he's ever slept with -- it was five years ago, and the promiscuous Dan has no memory of the event -- he's convinced that it was Dan who infected him. Tom's plan: to take a blood sample from his hostage, and if the results turn out positive, to cut his throat and watch him bleed to death.
As you might imagine, a lot of impassioned arguments ensue, as Dan, in between escape attempts, employs a variety of psychological approaches to reasoning with his captor. In the course of their evening-length wrangle, Tom, who is married, reveals the personal tragedy that has in part led him to committing this atypical act of violence.
What might have proved reasonably compelling onstage comes across as forced on film, with credibility taking a back seat to contrivance. Perhaps if the characterizations and dialogue had more depth, one might be able to overlook the work's artificial aspects. But little that ensues resonates with much force, and such digressions as the lengthy pop culture debate between the two men over their favorite "Charlie's Angels" feel derivative.
The actors invest their performances with the requisite intensity, but for the most part fail to surprise us with their choices. Sofia Vergara also makes a brief appearance as Dan's roommate, in a role that seems obviously tacked on for this film version of the play, which was previously presented in a Los Angeles production starring Noah Wyle and Peter Berg.
NEW YORK -- As such films as "Death and the Maiden" and "P.S. Your Cat Is Dead" have previously demonstrated, movies revolving around the fates of bound and gagged hostages don't really work on the screen. This debut feature from writer-director Tony Piccirillo, based on his own original play, is a static exercise that is primarily effective as a vehicle for its two leading actors. "The 24th Day" opened exclusively in New York's Village East Cinemas on May 14.
All too readily revealing its stage origins, the piece depicts the fateful encounter between Tom (Scott Speedman, "Felicity") and Dan (James Marsden, "X-Men"), two handsome young men who meet at a bar and proceed to Tom's apartment for a late-night rendezvous. But before the two can consummate their passion, Tom overpowers Dan and ties him to a chair. It seems that Tom found out 24 days ago that he is HIV positive, and because Dan is the only man he's ever slept with -- it was five years ago, and the promiscuous Dan has no memory of the event -- he's convinced that it was Dan who infected him. Tom's plan: to take a blood sample from his hostage, and if the results turn out positive, to cut his throat and watch him bleed to death.
As you might imagine, a lot of impassioned arguments ensue, as Dan, in between escape attempts, employs a variety of psychological approaches to reasoning with his captor. In the course of their evening-length wrangle, Tom, who is married, reveals the personal tragedy that has in part led him to committing this atypical act of violence.
What might have proved reasonably compelling onstage comes across as forced on film, with credibility taking a back seat to contrivance. Perhaps if the characterizations and dialogue had more depth, one might be able to overlook the work's artificial aspects. But little that ensues resonates with much force, and such digressions as the lengthy pop culture debate between the two men over their favorite "Charlie's Angels" feel derivative.
The actors invest their performances with the requisite intensity, but for the most part fail to surprise us with their choices. Sofia Vergara also makes a brief appearance as Dan's roommate, in a role that seems obviously tacked on for this film version of the play, which was previously presented in a Los Angeles production starring Noah Wyle and Peter Berg.
All too readily revealing its stage origins, the piece depicts the fateful encounter between Tom (Scott Speedman, "Felicity") and Dan (James Marsden, "X-Men"), two handsome young men who meet at a bar and proceed to Tom's apartment for a late-night rendezvous. But before the two can consummate their passion, Tom overpowers Dan and ties him to a chair. It seems that Tom found out 24 days ago that he is HIV positive, and because Dan is the only man he's ever slept with -- it was five years ago, and the promiscuous Dan has no memory of the event -- he's convinced that it was Dan who infected him. Tom's plan: to take a blood sample from his hostage, and if the results turn out positive, to cut his throat and watch him bleed to death.
As you might imagine, a lot of impassioned arguments ensue, as Dan, in between escape attempts, employs a variety of psychological approaches to reasoning with his captor. In the course of their evening-length wrangle, Tom, who is married, reveals the personal tragedy that has in part led him to committing this atypical act of violence.
What might have proved reasonably compelling onstage comes across as forced on film, with credibility taking a back seat to contrivance. Perhaps if the characterizations and dialogue had more depth, one might be able to overlook the work's artificial aspects. But little that ensues resonates with much force, and such digressions as the lengthy pop culture debate between the two men over their favorite "Charlie's Angels" feel derivative.
The actors invest their performances with the requisite intensity, but for the most part fail to surprise us with their choices. Sofia Vergara also makes a brief appearance as Dan's roommate, in a role that seems obviously tacked on for this film version of the play, which was previously presented in a Los Angeles production starring Noah Wyle and Peter Berg.
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.