Talk to almost any director who has got his hands on one and he will tell you how it brought with it a torrent of opportunities – scripts, funding, marriage proposals, that sort of thing.For Alexander Payne, it didn’t quite pan out that way.A pair of young Americans, Nat Faxon and Jim Rash, had already completed a screenplay and the British director Stephen Frears, who, Payne says, “had been flirting with the idea of directing it”, had recently bowed out of the project.Payne saw his chance to take on “a good solid, painful, absurd human story, set in a cool place” – and leapt into the breach.It is now a firm front-runner for next month’s Academy Awards. The project that he and his regular screenwriting partner Jim Taylor embarked on in 2006 seemed just the thing to capitalise on their Oscar triumph, at once both more ambitious and tonally of a piece with what they’d done before.“But first of all, the rest of that year, 2005, was…” He takes a gulp of coffee and allows his eyes to roll skywards in a weary pantomime of defeat. Provisionally titled Downsizing, it was conceived, says Payne, as “a sort of broad-canvas social satire that would need a lot of special effects and a budget heading towards $100 million”.
And maybe also because I am happy as I’m ageing to stretch a bit more.” This isn’t to say that The Descendants lacks a funny bone.Clooney's film quickly disappeared from theaters, topping out at $5.8 million.In terms of , Damon's other 2017 film, the expensive epic bombed in the U. with $45.1 million but took in $354.6 million globally, thanks in large part to grossing $170.9 million in China.“These things happen.” By this point, he was, he says “just so desperate to make a film” that he set aside his “epic masterpiece” and turned to the first script he could get his hands on.
Two years earlier his production company had taken an option on the rights to The Descendants, a debut novel by Hawaiian writer Kaui Hart Hemmings.
, but the movie is doing miniature-like business at the year-end holiday box office.