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Ted Demme
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Ted Demme’s Blow might have seemed a better film if it were released in a year that didn’t include Traffic. Like Traffic, it’s “on-message” with the current wisdom -- the War on Drugs isn’t working -- and tries to convey a broad, epic picture of the drug trade. It fails, if only because it’s built around a hero that, for all of Demme’s plodding effort, is profoundly unlikeable.
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It's been four years since Jonathan Demme's last film, "Beloved," opened to mostly poor reviews and a notoriously bad box office. Four years is a long time in filmmaker years, so one would imagine, given the high-profile disappointment of the film, that Demme was licking his wounds in its wake.
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Ms. Demme strode into the room wearing leather boots with high heels. "You don't have any cigarettes, do you?" she asked. She was practically concave, wearing black wool trousers that sagged and a tailored wool suit jacket over a white men's undershirt. Atop all this is a cloud of curly black hair that practically obscures a pale face with dark brown eyes. She does not smile.
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Demme called Donen to ask his permission. "It was so fast," he says. "(Donen) said, 'Fine, you've got my blessing.' He said, 'Just do me one favor, keep the character's name, Peter Joshua, because that's in honor of my two sons.' "
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[W]hile wishing Ms. Demme well, Mr. Brandman was not above questioning her personality. "There's an aroma of irrationality in this circumstance," he said. "This would not have come to an end if everyone could have co-existed and lived within the laws of the hotel, the community and made a profit. While someone may be able to attract certain celebrities, it does not mean that the rest of the moving parts don't have to move smoothly."
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"We were still in the cutting stages," Demme says. "Ted had come up to where I live in Rockland County (north of New York City), and we looked at a cut together a few weeks before he died.
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Ted Demme