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About The Production
The genesis of a seamless thriller is never simple. Its growth from inspiration to the page to production usually follows a long, circuitous route. Fracture is no different.

"Thrillers are tough,” says producer Chuck Weinstock. "And when they start with a nice twist, as ours does, they're particularly tough – because at the end of the movie, you need to top that. We didn't want to close with some witless car chase, or a fight to the death on an abandoned pier. Throughout, we tried to construct a story that was grounded in character, which is always the solution: keep your characters honest, and sooner or later they'll give you the next twist.”

Fracture began its lengthy gestation at Castle Rock Entertainment, where Weinstock had an overall deal in place and was working with the studio's head of production, Liz Glotzer. For years, Weinstock had wanted to do something with writer Daniel Pyne, and when they finally met, Pyne told him he had the beginnings of an idea. "Dan said he wanted to make a movie about a guy who represents himself in court,” Weinstock says, "but with this catch – as a writer, he didn't want to be in the courtroom much.”

Weinstock spent another six years working on the story and eventually the project picked up speed with the addition of screenwriter Glenn Gers, director Gregory Hoblit and New Line Cinema, and together with Weinstock they continued the painstaking process of refining the story through to production.

"I was attracted by the notion that Chuck Weinstock and Greg Hoblit intended to make a ‘courtroom thriller' in which most of the fight between the antagonists is not in the actual courtroom,” says Gers.

"The hard work for me was getting out of the perfect crime because Dan Pyne made it a little too perfect,” Gers laughs, "and we had to protect that at all costs, even while working on character development and strengthening the plot. Dan's triangle of Crawford, Jennifer and Nunally, the clever set up, the crime, this intense puzzle that starts the story – that's what made me want to work on the film.”

As luck would have it, Gers' sister was working as a prosecutor in the Kansas City D.A.'s office when he began working on the project. A year later, life imitated art and she took a job in the private sector at a corporate law firm. Gers took the opportunity to use his sister as a reference guide, asking procedural questions and running story ideas by her.

"It was a strange little side light into Willy's moral quandary,” says Gers, "so I probed to learn what it was like making the transition into the private sector. But Willy is so wrapped up and enthralled with getting what he's always wanted in terms of this new job that he doesn't notice Crawford, so Crawford takes advantage of that weakness and sets his trap.”

Director Gregory Hoblit is well known for keeping the screenwriter within arm's reach during production, and Gers was no exception, spending months on set with the cast and crew.

"The script is the blueprint for the movie,” asserts Hoblit. "Once it gets on its feet in the hands of gifted actors, it becomes organic and takes on a life of its own. If the blueprint is good, you stick to its intentions pretty closely, making sure you hit every specific point.”

"This script is also a puzzle piece in terms of the emotional life of the characters,” Hoblit continues, "so we had to be very careful, yet still give the actors room to move. Glenn was great at understanding that. I don't think going in he anticipated that a scene could take such a left or right turn, but he quickly realized the special things that can happen with a story with when you let the moments happen with good actors. Our blueprint was first rate.”

Hoblit read more than 100 scripts before agreeing to direct Fracture. "It was the surprises you don't see coming,” he says w


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