While enjoying Mr. Butler’s most recent offering as star of Plane, I continued thinking about his credits as Producer.
LnD first noticed this role in his thriller Angel Has Fallen and so I was intrigued. Butler’s first major Producing credit came in 2009’s Law Abiding Citizen. That film cost $50 million and grossed $128 million worldwide. That’s a healthy start to a producing career. However, Butler isn’t a nominal Producer. He’s a role up your sleeves, develop the script, choose the cast and director type of Producer.
And it shows. The films he makes seem on the surface to be straight to streaming affairs. But as you watch them, you notice the craftwork and talent involved. For example, I was really enjoying some of the cinematography in Plane. There were these artistic shots, contemplative ones, that broke up the action. It showed a concern for and understanding of pacing. Would it surprise you, as it has me, that the film was shot by Cinematographer Brendan Galvin, Irish Society of Cinematographers, who lensed the classic, The Crying Game?
I watched a 15 minute behind the scenes video of Plane on YouTube and it reaffirmed my feeling. Every character, no matter how small a part, has developed a backstory for themselves. None of the players here are just phoning in their performance. Mike Colter, who plays Gaspar, an accused murderer and French Foreign Legion vet, has got all of the conflicting aspects of his character and those of Captain Brodie Torrance played by Butler, down pat. Even though his character is involved in some of the most gratuitous and even absurd violence, since, well since Violent Night, there is a lot of depth to the performance in the scenes where Colter can show his dramatic range.
As an involved Producer, Butler is tuned in to the story. He is thinking about what happened before and what is going to happen next. He works as a creative partner to the Director. It’s effective, because he chose the director in the first place. They have been partners on the film from its inception. It’s a chemistry that translates to the big screen. And on that note, I encourage you to watch Plane on as big a screen as possible. Not because the special effects are great, they are not. But because you want to watch the true pathos in these performances come through in as epic a way as possible.