ABOUT THE PRODUCTION
The genesis of a seamless thriller is never simple. Its growth
from inspiration to the page to production usually follows a long,
circuitous route. Fracture is no different.
"Thrillers are tough," says producer Charles Weinstock. "And when
they start with a nice twist, as ours does, they're particularly tough because
at the end of the movie, you need to top that. We didn't want to close with some
witless car chase, or a fight to the death on an abandoned pier. Throughout, we
tried to construct a story that was grounded in character, which is always the
solution: keep your characters honest, and sooner or later they'll give you the
Fracture began its lengthy gestation at Castle Rock Entertainment, where
Weinstock had an overall deal in place and was working with the studio's head
of production, Liz Glotzer. For years, Weinstock had wanted to do something
with writer Daniel Pyne, and when they finally met, Pyne told him he had the
beginnings of an idea. "Daniel
said he wanted to make a movie about a guy who represents himself in court," Weinstock
says, "but with this catch as a writer, he didn't want to be in the
Weinstock spent another six years working on the story and eventually the project picked
up speed with the addition of screenwriter Glenn Gers, director Gregory Hoblit and
New Line Cinema, and together with Weinstock they continued the painstaking process
of refining the story through to production.
"I was attracted by the notion that Chuck Weinstock and Greg Hoblit intended
to make a`courtroom thriller' in which most of the fight between the antagonists
is not in the actual courtroom," says Gers.
"The hard work for me was getting out of the perfect crime because Dan Pyne
made it a little too perfect," Gers laughs, "and we had to protect that
at all costs, even while working on character development and strengthening the
plot. Dan's triangle of Crawford, Jennifer and Nunally, the clever set up, the
crime, this intense puzzle that starts the story that's what made me want
to work on the film."
As luck would have it, Gers' sister was working as a prosecutor in the Kansas
City D.A.'s office when he began working on the project. A year later, life
imitated art and she took a job in the private sector at a corporate law firm.
Gers took the opportunity to use his sister as a reference guide, asking procedural
questions and running story ideas by her.
"It was a strange little side light into Willy's moral quandary," says
Gers, "so I probed to learn what it was like making the transition into the
private sector. But Willy is so wrapped up and enthralled with getting what he's
always wanted in terms of this new job that he doesn't notice Crawford, so Crawford
takes advantage of that weakness and sets his trap."
The Script is the Blueprint
Director Gregory Hoblit is well known for keeping the screenwriter within arm's reach during production, and Gers was no exception, spending months on set with the cast and crew.