Man on the Train (2011 film)
From Wikipedia, the free encyclopedia
| Man on the Train | |
|---|---|
| Directed by | Mary McGuckian |
| Produced by | Martin Katz Mary McGuckian |
| Starring | Donald Sutherland Larry Mullen Jr. |
| Cinematography | Stefan von Bjorn |
| Edited by | Matthew Booth |
| Music by | Larry Mullen Jr. and Simon Climie |
Release date |
|
| Countries | Canada Ireland |
| Language | English |
Man on the Train is a 2011 Canadian-Irish crime-drama film directed by Mary McGuckian, starring Donald Sutherland and Larry Mullen Jr. It is an English-language remake of the 2002 French film of the same name.
An elderly professor and a mysterious stranger whom the professor has invited to his house are each very envious of the life of the other.
Cast
- Donald Sutherland as The Professor
- Larry Mullen Jr. as The Man
- Graham Greene as Sado
- Tony Nardi as "Loco"
- Kate O'Toole as Vivienne
- Carlo Rota as Max
Production
Filmed in April 2010, it was shot "under the radar" over a 17-day period in the towns of Orangeville and Dundas, Ontario. Because of Mullen's fame as a member of the rock band U2, there was no pre-publicity surrounding his participation in the project, with only Sutherland mentioned in local news coverage.[1][2]
Upon the film's release, Mullen told the media that he proceeded with making his acting debut after his bandmate, Bono, was hospitalized with a back injury. "Had Bono not hurt his back, it is unlikely I would have made this film," he told the Daily Mirror newspaper in May 2011. "I hope I would have done something else, but you never know. We had a period off - it was only a couple of weeks, but it was enough to take the film on. When you see what's on the screen, it looks like a EUR7million movie, but it's a lot less than that. It's a shoestring budget - we could only shoot for 17 days."[3]
Mullen also told the film website Collider that "Overall, it was incredibly difficult. It didn’t come easy, necessarily, but when I looked back at it, I didn’t look as terrified as I actually was. From my day job, everything you do, you have an opportunity to look at and re-assess and change. With this, I could do everything except change it. It was there. It was on film. I couldn’t go back and say, “Sorry, can I redo that bit?” That was, “Oh, shit!,” but also, “Well, it is what it is. I decided to do this and take it on the chin, if it goes wrong.” The fear, in some ways, was what propelled me. I was afraid, and I didn’t want to get it wrong. I wanted to be better, and I was constantly trying to be better, but I wasn’t quite sure what I was trying to be better at. I had no framework. There was nothing for me to bounce back on. It wasn’t like I could call Donald over and say, “Hey, Donald, how was that? Was that okay for you? Should we have had the light this way?” I had no idea. I was wandering around, getting in the way and standing in the wrong places."[4]
