Navigation Bar - Text Links at Bottom of Page


About The Production
SLOW BURN is a tale of duplicity and deception that turns the standard notions of identity and perception upside down. "It's a story of chameleons,” says writer/director Wayne Beach. "The film plays games with identity and people who are not whom they seem to be.”

When District Attorney Ford Cole must solve a murder tied to his lover, Assistant D.A. Nora Timmer, his investigation is further complicated by the conflicting testimony of Luther Pinks, an enigmatic stranger who may or may not be telling the truth. In a matter of hours, Cole is launched into a labyrinth of shifting identities, betrayals and larger crimes, one which proves just how little he knows about who Nora really is, or where her loyalties lie.

"Every character in this movie is reinventing him or herself,” explains Beach. "For Nora, reinvention is a sport. Cole is a former street cop who's transformed himself into a D.A. and is on the road to becoming mayor. And Luther Pinks reinvents himself throughout the story as the need requires.”

For Beach, whose credits include the two Wesley Snipes films, ART OF WAR and MURDER AT 1600, SLOW BURN was an opportunity to write the kind of movie he most wanted to see. "I love mysteries like CHINATOWN, which are layered and open up into new rooms and new compartments,” says the writer. "SLOW BURN is a brain tease. It takes you places you don't expect to go and don't see coming.”

Beach spent five years writing and developing SLOW BURN before it came to the attention of renowned casting director and producer Bonnie Timmermann. Timmermann immediately reacted to the script and came on board as a producer. "The script was amazingly well-written, well-crafted and commercial, and it had great casting potential,” says Timmermann. 

Timmermann and Beach immediately agreed that Ray Liotta would be ideal for the role of Cole. Explains Beach, "Ray burns a hole in the screen. He has intensity and drive, and those qualities make you believe that Cole could pull himself up from street cop to mayoral candidate. I also wanted to show a new side of Ray: a complex, vulnerable and sexual side.”

Ray Liotta was flattered when Timmermann offered him the part, and ready to commit the moment he finished Beach's script. "I was drawn to this project because my character, Ford, is reactive,” says Liotta. "I usually play strong, passionate characters who go after other people, who know exactly what they are doing and why they are doing it. In SLOW BURN, I try to put together a puzzle as it unravels and realize that it unravels deeply into my personal life.”

"Ford sees the world as a series of questions for which he has all the answers,” continues Beach. "Then he meets Nora, who tantalizes and intrigues him. She's the lingering mystery in his life.”

While Liotta admits he is usually reluctant to work with first time directors, he had no qualms once he met Beach. "I liked Wayne,” says Liotta. "When he showed me his storyboards I saw how he had been living with this project. It was a long journey for him but also a passionate journey – and to me passion wins out in the long run.”

Beach was equally impressed with Liotta's dedication to his craft, as well as his commitment to the project. "Ray embarks upon a laser-like search for the truth of a character,” says the director. "He disciplines both his body and spirit to radiate the character's soul. From working out three hours a day to spending months researching the habits and world of his character, he inspired me with his devotion to his craft.” 

Following Liotta's involvement, Timmermann brought SLOW BURN to New York's GreeneStreet Films, an independent production company founded by John Penotti and Fisher Stevens, which quickly came on board. "We were attracted to the script because it's intelligent and requires some mental gymnastics,” says pro


Home | Theaters | Video | TV

Your Comments and Suggestions are Always Welcome.

2018 29,  All Rights Reserved.


Find:  HELP!