Cinema Experts

"The worst thing you can do to a filmmaker is to walk out of his film and go, "That was a nice movie." But if you can cause people to walk out and then argue about the film on the sidewalk ... I think we're all seeking dissension, and we love to affect an audience."
Haggis is the son of Ted and the late Mary Haggis, onetime owners of London Ontario's former Gallery Theatre at 36 York Street where the younger Haggis cut his teeth in theater production, directing, and playwriting in the early 1970s. He attended St George's Public School, HB Beal Secondary School, and Fanshawe College in London before leaving for Los Angeles in 1975 to follow his dream of writing television and movie scripts. According to his father Ted, it was 'three years two months and 10 days' before his son sold his first TV script (father Ted had been sending his son Paul $100 a week during these lean years during which Paul landed odd jobs including moving furniture).
As a television writer/producer, he created or co-created the series Walker, Texas Ranger, Due South, Family Law, and the celebrated, if quickly cancelled EZ Streets. In 1989, he received two Emmy awards for his work on the show thirtysomething-one as a writer, and another as a producer. He returned to television in the spring of 2007, after NBC picked up a 13-episode order for his crime drama, The Black Donnellys. The show was canceled by NBC on May 14, 2007. HDNet will air the remaining six episodes and Haggis is in talks with the network to pick up season two.
In addition to directing multiple episodes of the above-mentioned television shows, Haggis has directed several feature films and written several successful screenplays. Red Hot, his directorial debut, had a limited video release in 1993.
Around the turn of the century he came into his own as both a writer and director in films. As a film writer, he received an Oscar nomination for Best Adapted Screenplay for 2004's Million Dollar Baby, directed by Clint Eastwood, which won four Oscars, including Best Picture.
His second directorial effort performed equally as well. Crash, which he co-wrote, directed and co-produced debuted in September 2004 at the Toronto Film Festival. Lions Gate Films purchased the distribution rights for $3 million and released it internationally in May of 2005 to mostly positive reviews, with Ebert & Roeper giving it "two thumbs way up" and Roger Ebert naming it the best film of the year.
The film was nominated for six Academy Awards, including Best Picture, Best Director and Best Original Screenplay categories. He won an Academy Award for Best Original Screenplay and the film itself received the Academy Award for Best Picture. Overall, he has won two Academy Awards and been nominated for four. He lost the directing prize to Ang Lee for Brokeback Mountain, but he became the only man in history to have penned two consecutive Best Picture Oscar-winners.
Haggis' fourth film as a feature film director, which he also wrote, is entitled Honeymoon with Harry and is scheduled for release in 2008 although production has yet to commence.
Haggis also adapted, for director Eastwood, James Bradley's book Flags of Our Fathers, about the Battle of Iwo Jima. The film was released on October 20, 2006.
Haggis was hired in August 2005 to revise the screenplay for the James Bond film, Casino Royale, which was also released late in 2006. The original screenplay had been written by Neal Purvis and Robert Wade, based on the novel by Ian Fleming. Haggis has confirmed that he will return to polishing the script for the follow up, under the working title of Bond 22. He was asked to direct but declined.
He received a fifth Academy Award nomination for his role in writing Letters from Iwo Jima, alongside Japanese writer Iris Yamashita.

“It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something.”
"Crash" is a complex movie with a simple premise: set in Los Angeles it follows 8 main characters (and many, many more supporting) from all walks of life and races whose lives intersect at some point during one 24 hour period. These people are all different yet all alienated, to the point of breaking, so much so that when they come together, things explode.
The complexity of the film comes from the encounters between characters and their tangled lives and worlds. Haggis' screenplay is so intricate and delicately written I couldn't begin to try to summarize the actual plot line (which destines this article to be kind of vague), but everyone meets everyone else at some point in the film (and there are a whole lot of characters). Sufficed to say these meetings are variably intense, casual, fleeting, dangerous, but they all effect the participants in profound and provocative ways, causing lives to find enlightenment or swerve violently, and watching it all unfold is mesmerizing because Paul Haggis (Oscar Nominated writer of Million Dollar Baby) made the film meaty with messy characters and topics and stories to chew and hurtle along with.
The all-encompassing theme of the film is racism, and it is dealt with bluntly, honestly, and without reservation. Every single character participates in the perpetuation of the ugly cycle but also suffers because of it. Where racism makes for an interesting enough subject for an already provoking and fairly experimental film, it's only the catalyst for a deeper, resounding story of redemption and the universality of our lonely situation which the movie becomes during its second hour. It switches from a somewhat depressing contemplative amalgamation of moments about racism in everyday life and how destructive it is, to a throbbing, intense web of choices and consequences - life and death, vivifying or soul killing - and the chance at redemption.
Following their actions in the first hour of the film, everyone meets a fork in the road or is given a second chance of some sort. Some take it, some don't, but regardless, by the end of the movie everyone has changed. This is what gives the movie wings during its second hour, makes it interesting, keeps you guessing and on knife's-edge. It also gives the characters depth and souls and shows that despite perceived and upheld differences, when it comes down to it we aren't different (which we see in a shattering scene between Ryan Philippe and Larenz Tate after Tate notices that he and Philippe have the same St. Christopher statue), in fact we desperately need each other. It's one of the few films I've seen where everyone is at fault somehow and yet there are no villains. It makes it hopeful, particularly with something as ugly as racism: everyone's fallible, but everyone has the capacity for good and nobility. That said, each of these character's inner struggles makes for all the conflict and resolution you need.
A talented ensemble drives the film, sharing almost equal amounts of screen time, but the folks who really stood out and had my full attention each time were Terrence Howard (plays a TV director), Matt Dillon (as a patrol cop), Sandra Bullock (a rich housewife), Don Cheadle (a detective), and Michael Peña (a locksmith). These five gave deeply, deeply felt performances portraying a wide range of emotions and personal situations, giving souls - alone, yearning, and searching in a world that doesn't seem to care-- to shells of imperfect people. But the actors triumph in little moments of human contact: a glance, an embrace, a pause, a smile, a wince, things that breath the film to life and with simple visuals give it profundity. This is beautifully illustrated in a small scene between the downward spiraling Jean (Sandra Bullock) and her maid after she's begun to realize all her problems may not be about the two black guys who car jacked her, but her own life.It's impressive, with his debut Haggis made a film that magically maintains a storytelling balancing act about people's lives that almost seamlessly flows, takes an honest look at racism with an understanding of mankind, a belief in redemption, and even hope. As I walked out of the theater into the rainy night it resonated with me and colored my thoughts as I made my way through the crowds of unknown fellow people filling the cinema. That's about all I can ask for in a film… 10/10