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With the dangerous good looks of his drinking buddy Leonardo DiCaprio and the outlaw simmer of a young Johnny Depp, he was seen as a potential superstar. But in the late Nineties, he was one of Hollywood’s pre-eminent bad-boys. He glittered menacingly as vampire villain Deacon Frost, who wants to break the centuries old covenant by which vampires keep a low profile and forbear from drinking the blood of every last human on the planet.ĭorff is today perhaps best known for his grizzled turn in the recent third season of True Detective. And when he and Snipes met there was instant chemistry.īut perhaps the biggest coup was casting spiky-haired heartthrob Stephen Dorff. Norrington, it turned out, was gung-ho about comic books. Death Machine had been a bit of a mess – but the action scenes were relentless and had been put together on a shoe-string. He’d enjoyed a low-budget sci-fi horror by the first time UK director Stephen Norrington, who had cut his teeth as a special effects artist on James Cameron’s Aliens. Nobody else in Hollywood seemed terribly interested. As Goyer predicted, Fincher had opted to do The Game with Michael Douglas instead. The next headache to be solved was finding the right director. Soon afterwards, Kris Kristofferson agreed to play his mentor, Whistler. He was on board as both star and co-producer, via his Amen Ra production company. “Mike DeLuca said ‘I’ll make it for $40m if you can get Denzel Washington, 35 if you can get Wesley Snipes, and 20 if you can get Laurence Fishburne,’” Goyer told EW. The issue was how much they would have to cough up for the budget. And they were fully onboard with Blade having an African-American star.
#SCARLET BLADE END GAME MOVIE#
Goyer pitched the movie as a “ Star Wars trilogy of black vampire films”. He started talking about the first act and what he wanted to do and I could see everybody just completely mesmerised and I knew right then we were gonna waste a year, which was basically exactly what happened.”
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But I know that you’re not gonna do it.’ We were going into a meeting with Mike De Luca and he couldn’t help himself. “So I said, ‘David, look, I would love to have you direct this movie. “He was finishing Seven at the time at New Line and he read the script and was like, ‘What’s going on with Blade? This is pretty good, I just have some different ideas about it.’” “I knew David Fincher from way before, we were friends,” Goyer would tell Entertainment Weekly. Which is how David Fincher, the hottest director in Hollywood on the back of Seven, came to read an early Blade script and put himself forward to direct. Goyer wasn’t just a top-notch writer with a bright future. And Arad had hired wunderkind screenwriter David Goyer, who had earned praise within the industry for his work on the Van Damme movie Death Warrant. New Line Cinema was on board, meaning it rather than Marvel, would take the bulk of the financial risks (as well as reaping any profits). An Israel Defence Forces commando turned hard-charging executive, he made it his priority to change Marvel’s disastrous record at the box office. But now the resurrected Marvel had a gung-ho new chief creative officer in Avi Arad. As early as 1992 Marvel was looking to develop a film, starring rapper LL Cool J. Vampires are split down the middle and cut off at the midriff with maximum squelchiness.īlade had been a long-term priority. What humour there is leans towards gross-out – such as when Blade slices a group of vampires with a bespoke killer boomerang before they’ve quite processed what’s happened. Snipes’s anti-heroic Blade is in no hurry to be likeable. Watch the film today and what is especially striking, though, is how lustily Blade resists the convention that would come to define the MCU. The action is relentless, the vampire special effects winningly creepy and the charismatic Snipes a force of nature as a tortured soul in mirrorshades, who lives only to kill vampires. This story of a “Daywalker”, half man-half vampire waging a one-person war against a secret army of blood-drinkers, struck up a deliciously bonkers tone from its opening scene in a nightclub, where the water-sprinklers sprayed blood on the dancers. Blade was, of course, remarkable in its own right and a deserved smash.