There is no writer who’s left as indelible a mark on screenwriting than the great Walter Hill. The Driver, The Getaway, Streets of Fire — all master-classes in the lean, efficient minimalist style that has become de rigueur for industry screenwriting. This alone would make a career — but Hill also doubles as a great filmmaker, his range extending from the cult (The Warriors) to the blockbuster (48 Hours). The man quite simply is one of the best and his absence from the big screen (2002’s Undisputed: his last credit) is a damn shame.
Today, Hill returns to the cineplex with the Sylvester Stallone hit-man-avenging-his-dead-partner-after-a-deal-gone-bad actioner Bullet To The Head (a film he most unfortunately didn’t write as well). Regardless — it’s great to see Walter Hill back on the marquee. In the following interview with Hill, he discusses directing another’s script, his mark on screenwriting, and the thematic undercurrent of his work. For the full interview, hit the jump.
For more on Bullet to the Head:
- Collider goes to the set of Bullet to the Head
- Jason Momoa Talks Body Count, His Sadistic Villain Character, and Axe Fights on the Set of Bullet to the Head
- Director Walter Hill Talks About Finally Working With Sylvester Stallone, Film vs. Digital, and Adapting the Graphic Novel on the Set of Bullet to the Head
- Sung Kang Talks Doing Action Scenes with Sylvester Stallone, Working with Walter Hill, the Film’s Humor, and More On the Set of Bullet to the Head
- Sarah Shahi Talks Learning How to Play Sylvester Stallone’s Daughter, Fake Tattoos, and More on the Set of Bullet to the Head