Ascending the driveway of a sprawling home in the Hollywood Hills for a face-to-face interview with Martin Brest, the legendary — and legendarily reclusive — director of “Beverly Hills Cop” and “Mi…
for “Gigli.” After some vetting — he had never before spoken publicly about what went wrong with the last of those movies — Brest agreed to sit down with for an extended conversation about his work, and the stories that still burn inside him, whether or not there’s anyone in Hollywood willing to pick up a torch on his behalf.
There were a lot of stars attached to “Beverly Hills Cop” at various points in its development. Was Eddie Murphy involved when you started?No, it was Stallone. I was fired off “WarGames,” and I went through a very dark personal period. I felt my nascent career was over. And Don Simpson and Jerry Bruckheimer wanted me to do this movie starring Sylvester Stallone. For some reason, while no one else in the business would recognize me at all, they really pursued me.
But once we had cast him, it was really hard to find somebody to complement him, and everybody wanted to play the part. It was a role that we needed people to read for it because it was really a question of micro-chemistry. Charles Grodin came in, and I remembered a scene in “Heaven Can Wait” where he just turned to another character, it was a deadpan reaction that knocked me off my chair. I remember thinking at the time, “He’s doing nothing.
Now, what happened was the assistant cameraman fucked up the focus. What they used to do in those days was, if an assistant cameraman fucked up the focus a little bit and thought the take was going to be unusable, he would whack the focus really out so the whole thing just turned into a fog to show that he was declaring it unusable. He had done that while Chris was having the peak moment of the scene but he didn’t say anything, and Chris kept going.
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