That improvisation also guided KOIN newscaster Jeff Gianola’s appearance in The Hunted. “This is the kind of filmmaking he likes: immediate, almost instinctual.” “ kind of knows where things are going but then will create scenes based on what he sees-like a tracker in a way,” Choe says. In The Hunted, which is 20 years old this month, Bonham is conscripted to apprehend a wayward super-soldier and former trainee (del Toro) who’s afflicted with such pervasive PTSD that he’s taken to living outdoors and ritually murdering Oregon hunters. “For Friedkin, the chase is the essence of cinema,” says Steve Choe, associate professor of critical studies at San Francisco State University’s School of Cinema and author of ReFocus: The Films of William Friedkin, which considers his filmography from stone-cold classics ( The Exorcist) to gradually appreciated masterpieces ( Sorcerer) to late-career cap feathers ( Killer Joe). It’s also a line of import coming from a filmmaker, William Friedkin, whose fame originated with one of the greatest concrete-jungle pursuits ever: The French Connection (1971). It’s one of the most knowing lines in The Hunted (2003), in which Bonham tails a fugitive Benicio del Toro through our cityscape as though it were a forest. Bonham (Tommy Lee Jones), dolefully gazing at downtown Portland sidewalks from a courthouse window. “It’s a wilderness,” mutters FBI master tracker and knife fighter L.T. The Hunted (IMDB) By Chance Solem-Pfeifer Februat 5:35 pm PST
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