Almost every actor, no matter how famous they get, has that one person they always turned to when they started out.
Or in the case of Ed Norton, the actor who assigned them roles by turning down projects. In an interview with YahooNorton revealed how the cast of Primal fear came together – and how Leonardo DiCaprio was the original choice To play Aaron Stampler.
DiCaprio had turned down the role, possibly because of it wasn’t specific enoughand the script wasn’t where it needed to be.
“The role wasn’t very fully formed. It wasn’t what it became in the film. It wasn’t so clearly defined as an outright cheat. Leonardo DiCaprio, who is a really good friend of mine, had passed it on. Oddly enough, something got me.” Weird done because it’s like a one-time career of course. But I thought Leo was great, I really thought he was one of the better young actors out there. I thought he was right. I said, “This is a mess.” It was a disaster. [Director Greg Hoblit] thought it was a mess, Richard [Gere] kind of thought it was a mess. But when I came up with it, everyone realized, ‘We really need to fix this.’ ”
It’s a writer’s nightmare to hear this, but Norton tells it Yahoo that he and his co-star Richard Gere ultimately created the role as we know it today and the twist of Primal fear.
That is, while it may seem like a diva stereotype that an actor would take control of their character would do or say this is not the scenario Norton describes – and it is often the case that casting a particular actor can lead a director and / or writer to see a character in a different light and the strengths of casting adjusts have discontinued. This often happens on television, when writers get to know actors over a long period of time and start creating material specifically for them.
As it sounds, Gere and Norton were most responsible for this Primal fear is the tone.
Gere spoke to Yahoo about how easy a thriller may be Primal fear could have been a “bad B-movie” if they hadn’t done everything right.
Sound is one of the most collaborative elements in filmmaking. Screenwriters set the tone on the page to get directors and actors excited about the story they want to tell. The directors set the tone on the set and the editors have the final say. When we talk about actors who “get the job,” that job is clay 99% of the time.
Not only did Norton get the contract, he did an independent study.