Patrick Dempsey - Flypaper #1: We can't wait to see him save the day! - Page 2

WalaBridget · 07-05-2010, 10:26 PM

Aww

This movie is lead by Patrick I'm really hoping it does well Box office wise and all. E&MOH both did well world wide mostly I'm hoping Flypapers does the same and maybe better hopefully

in a daydream · 07-05-2010, 10:35 PM

I think it's gonna do well

I know I, personally, will see it about 20983094839 times if Paddy's in it

And I'm gonna drag all my friends along with me

WalaBridget · 07-05-2010, 10:38 PM

Quote:

Originally Posted by noelle (View Post)

I think it's gonna do well

I know I, personally, will see it about 20983094839 times if Paddy's in it

And I'm gonna drag all my friends along with me

I will go see it for and drag my friends with me too

The hangover did great box office wise and it's written by the same writers of Flypaper so it could be great.

Eve_ · 07-06-2010, 03:03 PM

On set interview with Paddy

Part 1

Part 2

Aaaaaaahhh!! Paddy looks amazing!

I am so gonna looooove this movie!!!

WalaBridget · 07-08-2010, 09:48 AM

Judging by the way he talking about it should be a pretty good movie

Eve_ · 07-08-2010, 10:43 AM

It really does sound like a great movie. It's a little bit of everything, a comedy, thriller, romantic movie, action movie.... I love it!
And I think we're gonna see a different side of Patrick, judging from what I saw in those clips

Can't wait!

**PatrickDempseyRocks** · 07-08-2010, 02:16 PM

Really forward to seeing it now

Ashley seems so cool

in a daydream · 07-08-2010, 11:17 PM

Paddy seems really excited and impresed with it too

Eve_ · 07-19-2010, 11:04 PM

A different sort of Patrick Dempsey

Quote:

Romantic leading man films violent, darkly comic 'Flypaper' in Baton Rouge

The script for the Baton Rouge-shot bank-heist romp "Flypaper" is violent, intense, darkly comic -- what you'd end up with, one of its producers says, "if 'Dog Day Afternoon' and 'The Hangover' had an illegitimate child."

In other words, it's not exactly the kind of movie in which you'd expect to see Patrick Dempsey, the "Gray's Anatomy" actor whose big-screen résumé has to this point trended toward fluffier fare such as "Enchanted" and "Sweet Home Alabama."

But then, neither is it the sort of movie you'd normally associate with Rob Minkoff, the family-friendly director of Disney's "The Lion King" and "The Haunted Mansion." Or with "Hangover" scribes Scott Moore and Jon Lucas, who -- before that lost-weekend comedy caught fire at the box office last year -- had built their careers around such lighter-side films as "Four Christmases" and "Ghosts of Girlfriends Past."

But there they all were this month -- along with co-stars Ashley Judd, Tim Blake Nelson and Jeffrey Tambor -- on the film's Baton Rouge set. They all brought vastly different résumés, but most shared a common goal: to show they're more than the sum of their individual IMDB.com pages.

For Dempsey, the desire to prove he can play more than the dreamy-eyed lead in romantic comedies was so strong that he signed on to produce "Flypaper" -- his first major foray behind the scenes -- to make sure he got the gig.

"It's a nice character for me to play, to get away from how I've been pigeonholed and get a chance to show something else," Dempsey said during a break in shooting at the once-grand Bellemont hotel, which had been taken over by the production and turned into a makeshift soundstage. "I wouldn't be hired for a role like this unless I found the material, mainly because I haven't shown it -- and until you show it, people don't quite believe you can pull it off."

Minkoff said a major draw for him was the off-center intensity of the script, which Moore and Lucas wrote 12 years ago at the dawn of their writing partnership. But he said, he shares Dempsey's interest in stretching his artistic wings, and Hollywood's expectations.

"I think all of the people that are involved in this are getting an opportunity to do something that they wouldn't get to do under other circumstances," Minkoff said. "This isn't a typical studio movie, so we're all given a little more freedom to have fun and challenge ourselves."

In the film, Dempsey plays Tripp, a Woody Allen type who is neurotic, fussy, quirky -- and who just started taking meds to help get his head in order. He also happens to be secretly in love with a beautiful teller (Judd) at a local bank branch -- which complicates things when, during one of his visits to the bank, a pair of bank robbers stage a holdup.

Just when it looks like things couldn't get any worse, a competing gang of robbers show up for their own bank heist. One gang exhibits the hallmarks of professionals. The others? Total boobs by the name of Peanut Butter and Jelly.

"Basically, we get to stand around the movie and look stupid," said Peanut Butter actor Tim Blake Nelson ("O Brother Where Art Thou?").

Soon, though, the whole thing morphs into what Nelson describes as "a drawing-room-style murder mystery" as characters begin turning up dead and the realization sets in -- for Tripp and for the bank robbers -- that maybe the dual robberies weren't a coincidence.

"It's got like four or five genres going on at one time," Dempsey said. "It's a comedy, a dark comedy, it's a thriller, a whodunit, an action movie, a bank heist and a love story, all wrapped into one."

It's also got a legion of, as Nelson put it, "really weird characters in quite extreme situations. I think the best comedies have really, really high stakes and characters who aren't going to respond well in high-stakes situations -- and if this movie is anything, you can categorize it as that."

Minkoff said he's a fan of Coen brothers films, and he sees a similar sensibility in "Flypaper."

"It's funny but it's also in some ways very dangerous and intense," Minkoff said. "People get shot, killed; there's murder and mayhem. But it has a sense of humor."

After a rushed 30-day shoot -- all of it shot on sets built inside the cavernous Bellemont, save for two days of exteriors picked up on the streets of Baton Rouge -- the movie wrapped earlier this month. Producers hope to have it ready for the 2011 film-festival season and, assuming a distribution deal follows, an eye toward a release in early fall 2011.