Movie |
Sociopath | California
Cab driver Max picks up a man who offers him $600 to drive him around. But the promise of easy money sours when Max realizes his fare is an assassin.
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Cab driver Max picks up a man who offers him $600 to drive him around. But the promise of easy money sours when Max realizes his fare is an assassin.
Best Cinematography | 2005 | Paul
Best Cinematography | 2005 | Dion
Location Professional of the Year Features | 2004 | Janice
Director of the Year | 2004 | Michael
Best Cinematography | 2004 | Paul
2004 | Michael
Best Supporting Actor | 2004 | Jamie
Movie of the Year | 2005
Top Box Office Films | 2005 | Antonio
Best Supporting Actor | 2005 | Jamie
Cinematography | 2005 | Paul
Best Drama | 2005
Best Cinematography | 2005 | Paul
Best Achievement in Film Editing | 2005 | Paul
Best Performance by an Actor in a Supporting Role | 2005 | Jamie
Best Performance by an Actor in a Supporting Role in a Motion Picture | 2005 | Jamie
Best Editing | 2005 | Paul
Best Sound | 2005 | Myron
Best Screenplay Original | 2005 | Stuart
Best Performance by an Actor in a Supporting Role | 2005 | Jamie
Best Cinematography | 2004 | Dion
2005 | Michael
Outstanding Performance by a Male Actor in a Supporting Role | 2005 | Jamie
Best Director | 2005 | Michael
Best ActionAdventureThriller Film | 2005
Best Actor | 2005 | Tom
Best Director | 2005 | Michael
Best Writer | 2005 | Stuart
Best Edited Feature Film Dramatic | 2005 | Paul
Outstanding Achievement in Cinematography in Theatrical Releases | 2005 | Paul
Contemporary Film | 2005 | Christopher
Best Supporting Actress | 2005 | Jada Pinkett
Best Supporting Actor | 2005 | Jamie
Best Motion Picture Screenplay | 2005 | Stuart
Outstanding Motion Picture | 2005
Outstanding Supporting Actor in a Motion Picture | 2005 | Jamie
Outstanding Supporting Actress in a Motion Picture | 2005 | Jada Pinkett
Best Actor | 2005 | Tom
Best Sound Mixing | 2005
Best Film Editing | 2005 | Paul
Best Sound Editing | 2005 | Elliott
Best Director Miglior regia | 2005 | Michael
Best Actor Miglior attore protagonista | 2005 | Tom
Best Cinematography Miglior fotografia | 2005 | Paul
Best Editing Miglior montaggio | 2005 | Paul
Best Actor | 2005 | Tom
Best Sound Editing in Domestic Features Dialogue ADR | 2005 | Mary
Best Sound Editing in Domestic Features Sound Effects Foley | 2005
Best Villain | 2005 | Tom
Best Cinematography | 2005 | Paul
Sexiest Actor Acteur le plus sexy | 2005 | Tom
Best Director | 2005 | Michael
Best Film Editing | 2005 | Paul
Best Cinematography | 2005 | Paul
Best Sound Mixing | 2005
Best Sound Effects Editing | 2005 | Becky
Favorite Movie Drama | 2005
Best Actor in a Supporting Role Drama | 2005 | Jamie
Best Screenplay Original | 2005 | Stuart
Best Visual Effects | 2005 | John E.
Best Foreign Film | 2005
Best Overall Stunt by a Stunt Man | 2005 | Jalil Jay
Best Picture | 2004
Best Actor in a Supporting Role | 2004 | Jamie
Best Original Screenplay | 2004 | Stuart
Best Cinematography | 2004 | Paul
Best Film Editing | 2004 | Paul
Favorite Movie of the Year | 2004
Best Director of the Year | 2004 | Michael
Best Screenplay of the Year | 2004 | Stuart
Best Actor of the Year | 2004 | Tom
Best Supporting Actor of the Year | 2004 | Jamie
Best Music in a Movie | 2004
Best Action Sequence of the Year | 2004
Budget 65,000,000 USD
Box Office Collection 220,239,925 USD
Apple Music
Wynk
According to Michael Mann, Vincent is a man able to get in and out of anywhere without anyone recognizing or remembering him. To prepare for the movie, Tom Cruise had to make FedEx deliveries in a crowded Los Angeles market without anyone recognizing him.
Tom Cruise really fell when he stepped on the office chair. Michael Mann liked the anomaly so much that he left it in the film.
Australian screenwriter Stuart Beattie was only seventeen when he took a cab home from the Sydney airport. It was on that ride that he had the idea of a homicidal maniac sitting in the back of a cab, with the driver nonchalantly entering into conversation with him, trusting his passenger implicitly. Beattie drafted his idea into a two-page treatment. Later, when he was enrolled at Oregon State University, he fleshed it out into his first screenplay. Titled "The Last Domino", he put the script away, taking it out occasionally for revisions and re-writes over the following years.
Tom Cruise's tactical draw is so good in a scene from Collateral that it's used by experts in lessons for handgun training.
The seating of the two leads was crucial to certain scenes. For their more intimate exchanges, Tom Cruise would sit directly behind Jamie Foxx, out of his peripheral vision, making him more vulnerable and uncertain of his opponent.
"Vincent: Look in the mirror. Paper towels, clean cab. Limo company some day. How much you got saved? Max: That ain't any of your business. Vincent: Someday? Someday my dream will come? One night you will wake up and discover it never happened. It's all turned around on you. It never will. Suddenly you are old. Didn't happen, and it never will, because you were never going to do it anyway. You'll push it into memory and then zone out in your barco lounger, being hypnotized by daytime TV for the rest of your life. Don't you talk to me about murder. All it ever took was a down payment on a Lincoln town car. That girl,you can't even call that girl. What the fuck are you still doing driving a cab?"
"Vincent: Get with it. Millions of galaxies of hundreds of millions of stars, in a speck on one in a blink. That's us, lost in space. The cop, you, me... Who notices?"
