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About The Production
While driving in Miami one afternoon in 1997, writer Eric Garcia was reflecting upon the way that we own property in America. "It occurred to me that there's very little that we truly own,” he explains. "Even when we say we're a homeowner, few of us actually are. The bank owns my house, and I'm nice enough to continue to pay them or they'll come and take it away. My mind took me from there to the world of health care, which is quickly falling off a precipice, and it wasn't a big stretch to imagine a world where we had to pay for our organs.”

Garcia put pen to paper and crafted "The Repossession Mambo,” a novel that told of a notso- distant future in which humans were desperate to stay young, vibrant and, if nothing else, alive. After he shared his manuscript with fellow screenwriter Garrett Lerner, Garcia found that Lerner liked the story so much he thought it would make an incredible film.

Relying upon Lerner's television background and ability to structure storylines, the writers crafted the screenplay together. Still, they didn't believe that anyone would make their then comedy into a movie. Explains Lerner: "The original story was fractured, and it needed structural work to become a movie. But I saw the movie as I read it. The images were so powerful and so funny and fresh. That level of dark comedy was along the lines of Pulp Fiction and Fight Club, but it had its own flavor.”

Adds Garcia: "We were able to keep the story very subversive, sick and twisted, but in a fun way. It was never a horror film. The original was always a comedy.”

Executive producer Valerie Dean read the script and contacted the writers to develop the project. To do so, Dean brought in filmmaker Miguel Sapochnik, who had previously worked as a director of shorts and music videos. The writers recognized in Sapochnik a man who understood their sensibilities, and together they developed the script. Sapochnik immediately understood Garcia and Lerner's dark humor and social commentary and helped the writers craft an action-thriller that kept the spirit of their work. "The story stayed with me because it was funny and had darkly comic social commentary,” he recalls, "but it didn't hit you over the head with it. Not only that, it was inherently entertaining.”

Producer Scott Stuber came on board to develop the project under his shingle, Stuber Pictures, which has a first-look deal with Universal. "I thought his short film, The Dreamer, was terrific and showed real imagination and a strong, specific visual style,” says Stuber. "Miguel had been developing the script, and when he first brought it to me, it was clear he had a great vision for the movie.” With the financing and filmmakers in place, it was time to bring together a talented cast and build the imagined world of the not-so-distant future.

Oscar®-nominated performer Jude Law responded to the screenplay for Repo Men soon after his representative advised that he read it. Law met with Sapochnik at the very early stages of development. "I was given the script by an agent when it was at a very early stage,” says the actor. "Over that year, having met Miguel and loving the originality of the script, I was fortunate enough to be a part of the piece's evolution.”

Much like Lerner felt when he first read Garcia's original manuscript, Law admits he was "immediately struck by the originality of the concept. I liked the dark humor mixed with a love story, a buddy movie and satire, and the challenge that juggling all those tones presented to me as an actor.”

Sapochnik, Stuber and the writers were thrilled with Law's enthusiasm to play protagonist Remy, the man who loses his heart but gains a soul. Garcia recalls: "Jude was always behind the script. We could have been spinning our whe


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