
If William Friedkin had retired in 1973, he’d still be remembered today for creating two of the most successful and influential films of that revered film decade with The French Connection and The Exorcist. Yet, while he may never have reached those incredible heights of success again (and really, most filmmakers are lucky to even do it once), the man can be counted on for expertly crafted thrillers like Sorcerer or To Live And Die In LA. In recent years, Friedkin has dedicated his talents to an unexpected late career shift as an opera director. Though his filmmaking focus is always entertainment, it’s very much for an adult audience and not necessarily Hollywood’s current demographic of choice. Fortunately, that hasn’t mean that the director is entirely absent from filmmaking these days.
Friedkin has made two films in the last five years that are intense and insane colorations with Pulitzer Prize winning playwright Tracy Letts. Together they adapted Letts’ gripping insect infestation/paranoid delusion play Bug in 2006 and this year they have returned with Killer Joe. The film premiered at The Toronto Film Festival and is a Southern Gothic comic thriller about blackmail, murder, and fried chicken forced entry starring Emile Hirsch, Thomas Haden Church, Gina Gershon, Juno Temple, and a psychotic Matthew McConaughey. Though not for the squeamish, this tale of insurance fraud and infidelity is one of the most batshit insane and pleasant surprises of the festival. Collider got the chance to chat with the legendary director about his latest film and dig out a few thoughts on his long career. Hit the jump for all the details.

You have to respect a film that goes completely bonkers. It doesn’t mean the movie becomes good, or every shortcoming is instantly forgiven. But if a movie’s going to fail, then you hope that it fails in a spectacular fashion. The true fiascos aren’t just train wrecks. They’re train wrecks that were hit by an atomic bomb. Up until the last twenty minutes, William Freidkin’s Killer Joe looks like it will just be a disappointing movie. It’s not tightly twisted enough to be an effective crime film, and it’s not funny enough to be a dark comedy, and the only saving grace is Matthew McConaughey’s performance. But then the train goes off the tracks, the warhead comes crashing down, and you have to tip your glass to the madness.

Thomas Haden Church has joined Matthew McConaughey and Emile Hirsch in William Friedkin’s dark comedy Killer Joe. As we previously reported, the film “centers on a brother (Hirsch) and sister combo who plot the death of their mother for the insurance money and hire “Killer Joe” Cooper, a cop and contract killer (McConaughey) to do the deed.” Variety doesn’t mention what role Church will play in the film.
Church was most recently seen in the comedy Easy A. After he shoots Killer Joe, Church will move on to the Cameron Crowe flick We Bought a Zoo starring Matt Damon (and possibly Amy Adams).

Matthew McConaughey and Emile Hirsch have signed on to star in William Friedkin’s black comedy Killer Joe. According to THR, the story “centers on a brother (Hirsch) and sister combo who plot the death of their mother for the insurance money and hire “Killer Joe” Cooper, a cop and contract killer (McConaughey) to do the deed.” I will only like this movie if, after accepting the contract, Killer Joe says, “Alright, alright…”
Filming is set to begin in November in New Orleans. It will be Friekin’s first feature film since 2006′s Bug. McConaughey will next be seen in the legal thriller The Lincoln Lawyer and he recently signed on to the drama The Headhunter’s Calling. Hirsch recently wrapped filming on the 3D sci-fi thriller The Darkest Hour.
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William Friedkin’s To Live and Die in L.A. is a classic of the 1980′s that has slipped under the radar, and was part of William Friedkin’s down period, where he no longer had the respect or honor that came from the Oscar winning French Connection or the mega-hit The Exorcist. And yet his films after those two are much more interesting and colorful, but the flop of Sorcerer and controversy of Cruising seemed to taint the director, and his best film was able to seem like a plea to be paid attention to again. William Peterson stars with Willem Dafoe in one of the best cop movies ever made. My review of To Live and Die in L.A. on Blu-ray after the jump.

Going back to the old masters, going back to the classics is always illuminating. Someone like Alfred Hitchcock knew how to frame a film. He knew where he was putting his camera, and why it was there. As in North by Northwest he achieved one of the great visual representations of sex. Cary Grant lifts Eva Marie Saint up to bed, and then a train enters a tunnel. Not exactly subtle, but undeniably brilliant. My review after the jump.
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