To Live and Die in L. A. Secret Service agent Gerald Petievich, who co- wrote the screenplay with Friedkin. The film features William Petersen, Willem Dafoe and John Pankow among others. Wang Chung composed and performed the original music soundtrack.
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The film tells the story of the lengths to which two Secret Service agents go to arrest a counterfeiter. Richard Chance and Jimmy Hart are United States Secret Service agents assigned as counterfeiting investigators in its Los Angeles field office. Chance has a reputation for reckless behavior, while Hart is three days away from retirement. Alone, Hart stakes out a warehouse in the desert thought to be a print house of counterfeiter Rick Masters. After Masters and Jack, his bodyguard, kill Hart, Chance explains to his new partner, John Vukovich, that he will take Masters down no matter what. The two agents attempt to get information on Masters by putting one of his criminal associates, attorney Max Waxman, under surveillance. Vukovich falls asleep on watch, and consequently they fail to catch Masters in the act of murdering Waxman.
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While Vukovich wants to go by the book, Chance becomes increasingly reckless and unethical in his efforts to catch Masters. While Chance relies on his sexual- extortion relationship with parolee/informant Ruth for information, Vukovich meets privately with Masters' attorney, Bob Grimes. Grimes, acknowledging a potential conflict of interest that could ruin his legal practice, agrees to set up a meeting between his client and the two agents, who engage Masters by posing as bankers from Palm Springs interested in Masters' counterfeiting services. Masters is reluctant to work with them, but ultimately agrees to print them $1,0.
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In turn, Masters demands $3. To get the cash, Chance persuades Vukovich to aid him in robbing Thomas Ling, a man whom Ruth previously told Chance is bringing $5. Chance and Vukovich intercept Ling at the train station and seize the cash in an industrial area. Ling's cover people follow them, though, open fire and accidentally shoot Ling. Chance and Vukovich try to evade them through the streets, freeways and even one of the flood control channels, before a final escape by going the wrong way on the freeway. The next day, the end of their daily briefing includes an FBI bulletin that Ling was its undercover agent, kidnapped, robbed and murdered while on a sting operation.
Only a generic description of the assailants and their vehicle is given. While Chance and Vukovich did not kill Ling, Vukovich is nonetheless consumed by guilt, while Chance is apathetic and focused solely on getting Masters. Unable to persuade Chance to come clean about their role in Ling's death, Vukovich meets with Grimes, who advises him to turn himself in and testify against Chance in exchange for a lighter sentence. Vukovich refuses to implicate his partner. Chance and Vukovich meet with Masters for the exchange.
After inspecting the counterfeit million, the agents attempt to arrest Masters and Jack, but Jack pulls a shotgun. Jack and Chance fatally shoot each other, and Masters escapes. Vukovich gives chase, going to a warehouse a previous informant had told them about. By the time he arrives, Masters has set fire to everything inside, destroying all evidence. Vukovich confronts Masters and during a brief struggle, Masters asks Vukovich why he did not take Grimes' advice to turn his partner in, revealing that Grimes was working on Masters' behalf all along. While Vukovich is stunned at the revelation, Masters grabs a board and knocks him unconscious. Masters then covers Vukovich with shredded paper and is about to set him on fire when Vukovich wakes up and shoots Masters.
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Masters drops his lighter and accidentally sets himself ablaze, while Vukovich empties his gun on the burning man, killing him. Vukovich visits Ruth as she packs up to leave L. A. He mentions Chance's death, deducing she had known all along that Ling was FBI. He knows Chance had left her with the remaining cash that his agency now wants back, but Ruth says she needed it to pay debts she owed. Vukovich declares that Ruth is working for him now, turning into the same . Half a page into his reading, Friedkin told him he had the part. The actor was drawn to the character of Chance as someone who had a badge and a gun and how it not only made him above the law, but also .
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The director agreed on the spot. The director admits that Petievich created the characters and situations and that he used a lot of dialogue but that he wrote the screenplay, not Petievich. He did not like to rehearse but would create situations where the actors thought they were rehearsing a scene when actually they were shooting a take. Friedkin did this just in case he got something he could use. To this end, he let scenes play out and allowed the actors to stay in character and improvise.
Try and keep them in the frame. If they're not in the frame, they're not in the movie. That's their problem. The actor told Friedkin that they should do the stunt anyway so the director proposed that they treat it like a rehearsal but have the cameras rolling and shoot the scene, angering airport officials. The filmmakers burned most of the fake money but some leaked out, was used, and linked back to the production. The son of one of the crew members tried to use some of the prop money to buy candy at a local store and was caught.
He offered to show the film to the Secretary of the Treasury and take out anything that was a danger to national security. That was the last he heard from the government. He came up with the idea of staging the chase against the flow of traffic on February 2. Chicago. He swerved back to his side of the road and for the next 2. He told stunt coordinator Buddy Joe Hooker that if they could come up with a chase better than the one in The French Connection then it would be in the film. If not, he would not use it.
Petersen did a lot of his own driving during this sequence and actor John Pankow's stressed out reactions were real. That is that the normal traffic in the scene has the drivers driving on their left in the left hand lanes (as in Britain) while the cars driving against the flow were driving on their right (as would be usual in North America). Post- production.
It went on to make $1. North America, well above its $6 million budget. The direction is the key. Friedkin has made some good movies ..
This is his comeback, showing the depth and skill of the early pictures. He has some of the qualities of a Steve Mc. Queen. Friedkin has so thoroughly mastered, it's the car chases and shootouts and eye- catching settings that are truly the heart of the matter. William Friedkin's evident attempt to fashion a West Coast equivalent of his 1. The French Connection is engrossing and diverting enough on a moment- to- moment basis but is overtooled .. Friedkin keeps dialog to a minimum, but what conversation there is proves wildly overloaded with streetwise obscenities, so much so that it becomes something of a joke.
Then again, perhaps it's unfair to hold this overheated and recklessly violent movie to the high standard established by Starsky and Hutch. The thing about it is, To Live and Die in L. A., for all its amorality and downright immorality, is a cracker- jack thriller, tense and exciting and unpredictable, and more grimy fun than any moralist will want it to be.
What they finally recorded has not only enhanced the film, it has given it a deeper, more powerful dimension. He was so taken with the album that he took one of the songs straight off the album, . Every song on the soundtrack, excluding the title song and . Only after Wang Chung saw a rough draft of the film did they produce the title song.
The album contained eight tracks. The album’s title song, . The DVD contains a new restored wide- screen transfer, an audio commentary featuring director Friedkin where he relates stories about the making of the movie, a half- hour documentary featuring the main characters, a deleted scene showing a distraught Vukovich bothering his soon- to- be ex- wife at her apartment, and the alternate ending Friedkin refused to use, in which the two Secret Service partners survive but are transferred to Alaska while their supervisor Bateman is promoted and takes credit for stopping Masters.
On February 2, 2. Blu- ray not containing all of the previous special features that were included on the DVD release. The complete list of bonus features are: NEW 4.
K Scan Of The Negative Supervised And Approved By William Friedkin, NEW . Hurricane Billy: The Stormy Life and Films of William Friedkin. New York: William Morrow & Company, Inc. ISBN 0- 6. 88- 0. To Live and Die in L. A. Special Edition DVD =.
Box Office Mojo. Retrieved August 8, 2. Chicago Sun- Times. Retrieved 2. 00. 8- 1. The New York Times. Retrieved August 8, 2. November 1, 1. 98. Retrieved August 8, 2.
Washington Post. Globe and Mail. April 1. 8, 2. 00. Retrieved 2. 00. 9- 0.
Staff DVD review. December 7, 2. 00. Accessed: August 8, 2.
Boucher, Geoff (August 3. Los Angeles Times. Retrieved 2. 00. 9- 1. Geffen Records. September 1. Archived from the original on 2. Retrieved 2. 01. 0- 0. Blu- ray. com. Retrieved July 2.
Retrieved September 2.
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