Flesh and Bone (1993)

R | 127 mins | Drama, Romance | 5 November 1993

Director:

Steve Kloves

Writer:

Steve Kloves

Cinematographer:

Philippe Rousselot

Production Designer:

Jon Hutman

Production Companies:

Mirage Productions, Spring Creek
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HISTORY

       The surname of John Schrimpf is misspelled in end credits as "Shrimpf."
       According to the 12 May 1992 DV, writer-director Steve Kloves was obligated to bring his screenplay for Flesh and Bone to Twentieth Century Fox, as part of a two-picture deal signed with the development of his successful 1989 debut feature, The Fabulous Baker Boys (see entry). However, Fox decided to pass on the project, which was then considered by TriStar Pictures, Paramount Pictures, and Warner Bros. Pictures. Although married producing partners Mark Rosenberg and Paula Weinstein had their Spring Creek production offices located on the Warner Bros. studio, the project ultimately landed at Paramount. An 8 Jun 1992 DV article noted that the production reunited Rosenberg, Weinstein, and Kloves with The Fabulous Baker Boys executive producer Sydney Pollack, who reprised his role through his company, Mirage Productions.
       The 7 Jul 1992 DV announced the casting of then-married couple, Meg Ryan and Dennis Quaid, who previously worked together on Innerspace (1987, see entry) and D.O.A. (1988, see entry). A 10 Aug 1992 Var news item stated that James Caan was cast as “Roy Sweeney” after Paul Newman turned down the role.
       Although a 21 Sep 1992 Var production chart listed a 1 Oct 1992 start date, production notes in AMPAS library files confirmed that principal photography began 5 Oct 1992 in a farmhouse outside of Austin, TX. Locations also included a dance hall in Gruene, a bowling alley in Blanco, and horse trails in Wimberly. Following the trajectory of the two leading characters, the production spent three ...

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       The surname of John Schrimpf is misspelled in end credits as "Shrimpf."
       According to the 12 May 1992 DV, writer-director Steve Kloves was obligated to bring his screenplay for Flesh and Bone to Twentieth Century Fox, as part of a two-picture deal signed with the development of his successful 1989 debut feature, The Fabulous Baker Boys (see entry). However, Fox decided to pass on the project, which was then considered by TriStar Pictures, Paramount Pictures, and Warner Bros. Pictures. Although married producing partners Mark Rosenberg and Paula Weinstein had their Spring Creek production offices located on the Warner Bros. studio, the project ultimately landed at Paramount. An 8 Jun 1992 DV article noted that the production reunited Rosenberg, Weinstein, and Kloves with The Fabulous Baker Boys executive producer Sydney Pollack, who reprised his role through his company, Mirage Productions.
       The 7 Jul 1992 DV announced the casting of then-married couple, Meg Ryan and Dennis Quaid, who previously worked together on Innerspace (1987, see entry) and D.O.A. (1988, see entry). A 10 Aug 1992 Var news item stated that James Caan was cast as “Roy Sweeney” after Paul Newman turned down the role.
       Although a 21 Sep 1992 Var production chart listed a 1 Oct 1992 start date, production notes in AMPAS library files confirmed that principal photography began 5 Oct 1992 in a farmhouse outside of Austin, TX. Locations also included a dance hall in Gruene, a bowling alley in Blanco, and horse trails in Wimberly. Following the trajectory of the two leading characters, the production spent three weeks traveling through the following small towns in West TX, which are listed in onscreen acknowledgments: Big Lake, Coupland, Cuero, Monahans, Pecos, Stanton, Temple, and Valley Springs. Principal photography concluded just before Christmas 1992, after spending a week filming at a motel in Marfa, TX.
       Flesh and Bone opened 5 Nov 1993 to largely positive reviews, with several critics owing the film’s success to the strength of Kloves’ screenplay and the performances by the cast, particularly that of then-little-known actress, Gwyneth Paltrow, in her role as “Ginnie.”
      End credits include the dedication: “In Memory of Mark Rosenberg.” Rosenberg served as the film’s producer and died 6 Nov 1992, before production was completed. Acknowledgments also state: “Footage from Home Shopping Network provided by Home Shopping Network, Inc., All rights reserved”; “Footage from ‘Family Feud’ courtesy of Mark Goodson Productions, Inc., All rights reserved”; and, “Filmed entirely on location in Texas.” End credits also include the statement: "The producers wish to thank Texas Film Commission, Office of Governor Ann W. Richards; Marlene Saritzky & Tom Copeland; Texas Department of Transportation; Texas Department of Public Safety; the people of Big Lake, Coupland, Cuero, Marfa, Monahans, Pecos, Stanton, Temple, Valley Springs, and Austin, Texas; Nagra Corporation/Danny Grimes; and Omni Austin Hotel/Diane Currier.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
12 May 1992
---
Daily Variety
8 Jun 1992
---
Daily Variety
7 Jul 1992
---
Hollywood Reporter
2 Nov 1993
p. 10, 14
Los Angeles Times
5 Nov 1993
Calendar, p. 1, 12
New York Times
5 Nov 1993
Section C, p. 10
Variety
10 Aug 1992
---
Variety
21 Sep 1992
---
Variety
8 Nov 1993
p. 26
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANIES
PRODUCTION TEXTS
Paramount Pictures Presents
A Mirage/Spring Creek Production
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
Addl 2d asst dir
DGA trainee
PRODUCERS
Co-prod
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
Anastas N. Michos
Cam op
1st company grip
Jack English
Chief lighting tech
1st asst cam
2d asst cam
Still photog
2d company grip
Grip
Asst chief lighting tech
Lighting tech
Lighting tech
Rigging gaffer
Addl 2d asst cam
Addl 1st asst cam
Cam loader
Video playback eng
Cam car op/Grip
Cam crane provided by
Cam crane op
Cranes and dollies by
Cam package by
Cam package by, Victor Duncan-Dallas
Lighting & grip package by
ART DIRECTORS
Prod des
Art dir
Asst art dir
Art dept coord
Storyboard artist
FILM EDITORS
Film ed
Film ed
Asst ed
Asst ed
Negative cutter
SET DECORATORS
Prop master
Set dec
Lead set dresser
Asst set dec
Scenic chargeperson
Const coord
Asst prop master
Prop asst
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Prop buyer
Greensperson
Greensperson
Scenic foreperson
Scenic painter
Scenic painter
Scenic painter
Scenic painter
Prod painter
Const foreperson
Const foreperson
Const foreperson
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
COSTUMES
Asst cost des
Set costumer
Ward asst
Ward asst
Ward asst
Ward buyer
Ward buyer
MUSIC
Mus scoring mixer
Asst eng
Orch mgr
Mus preparation
Mus rec and mixed at
Mus rec and mixed at
Mus clearance
Mus consultant
SOUND
ADR voice artist
ADR voice artist
ADR voice artist
ADR voice artist
ADR voice artist
ADR voice artist
ADR voice artist
ADR voice artist
ADR voice artist
ADR voice artist
ADR voice artist
Sd mixer
Supv sd ed
Re-rec mixer
Re-rec mixer
Cableperson
Supv ADR ed
Supv Foley ed
Sd eff ed
Sd eff ed
Sd eff ed
Sd eff ed
Dial ed
Dial ed
Dial ed
Dial ed
1st asst sd ed
Asst ADR ed
ADR mixer
Foley mixer
Foley artist
Foley artist
Post prod sd and sd ed provided by
Dolby Stereo consultant
VISUAL EFFECTS
Spec eff supv
Spec eff coord
Spec eff asst
Spec eff asst
Spec eff asst/Make-up
Titles & opticals by
Title des by
MAKEUP
Makeup artist
Makeup artist
Hairstylist
PRODUCTION MISC
Risa Bramon-Garcia
Casting
Casting
Loc mgr
Prod coord
Prod accountant
Prod assoc
Post prod supv
Voice casting
Casting assoc
Texas casting by
Extras casting
Unit pub
Asst prod coord
1st asst accountant
Accounting asst
Assoc prod accountant
Post prod accountant
Asst to Mr. Quaid
Asst to Mr. Caan
Asst to Mr. Kloves
Asst to Mr. Rosenberg
Asst to Mr. Rosenberg
Asst loc mgr
Asst loc mgr
Craft service person
Craft service person
Craft service person
Transportation coord
Transportation capt
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Charles Griffith
Driver
Driver
Driver
Animal wrangler
Teacher
Loc asst
Loc asst
Loc asst
Key prod asst
Set asst
Set asst
Set asst
Set asst
Prod office asst
Prod office asst
Prod office asst
Prod office asst
Michael A. Benson
Prod office asst
Post prod office asst
Catering services provided by
Catering services provided by
Catering services provided by
Travel services provided by
NY
Cam car provided by
STAND INS
Stunt double "Roy"
Stunt coord
COLOR PERSONNEL
Col timer
SOURCES
SONGS
Music from "The Untouchables" original T.V. series, written by Nelson Riddle, William Loose, Jack Cookerly, Emil Cadkin; "Bad To The Bone," written by George Thorogood, performed by George Thorogood & The Destroyers, courtesy of EMI Records Group/EMI Records, under license from CEMA Special Markets; "Sometimes You Just Can't Win," written by Smokey Stover, performed by George Jones, courtesy of Liberty Records, under license from CEMA Special Markets; "Lilita," written by Bill Bernstein, performed by Desert Star Boys; "Papa Come Quick (Jody & Chico)," written by Billy Vera, Rick Hirsch & Chip Taylor, performed by Gwyneth Paltrow; "Blue Moon," written by Richard Rodgers & Lorenz Hart; "Blue Moon Revisited," written by Margo Timmins & Michael Timmins, performed by The Cowboy Junkies, courtesy of BMG Music Canada, Inc.; "Stardust," written by Hoagy Carmichael & Mitchell Parish, performed by Willie Nelson, courtesy of Columbia Records, by arrangement with Sony Music Licensing.
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
5 November 1993
Premiere Information:
Los Angeles opening: 5 Nov 1993; New York opening: week of 5 Nov 1993
Production Date:
5 Oct--late Dec 1992
Copyright Info
Claimant
Date
Copyright Number
Paramount Pictures Corporation
8 December 1993
PA677934
Physical Properties:
Sound
Dolby Stereo® in selected theatres; DTS in selected theatres
Color
Lenses
Filmed with Panavision® Cameras & Lenses
Prints
Prints by Deluxe® Laboratories
Duration(in mins):
127
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
32492
SYNOPSIS

One summer evening, Texas farmers Sarah and Clem Willets take in a young boy named Arlis Sweeney, who claims to have gotten lost in their wheat field. After everyone has gone to bed, Arlis steals the family’s valuables. When Clem catches him, Arlis’s father, Roy, shoots the couple and their young son dead, leaving the Willets’ infant daughter orphaned in her crib. Years later, Arlis works as a vending machine supplier traveling throughout Texas. One night, he stops by a bar and watches as a bachelor party eagerly anticipates the arrival of a stripper. Before she can begin her routine, however, the stripper vomits on the groom and passes out. The bartender asks Arlis if he can bring the unconscious woman back to his motel and find out where she lives. In the morning, Arlis learns her name is Kay Davies, and takes her to breakfast before dropping her at the bus station. Reluctant to part company, he offers to drive Kay to her friend’s house in Bayview. On the way, Kay reveals she has no friend in Bayview, but is actually married and accepted the stripping job because she was recently robbed and unable to get home. Unbothered by her lies, Arlis continues driving to the Davies’ residence, and Kay is furious to discover that her husband, Reese, has left the house in disarray. A few moments later, a man arrives to pick up pieces of furniture Reese sold without her knowledge. When Reese returns, Kay confronts her husband, who hits her face. He attempts to leave, but Kay holds him at gunpoint until he admits he already lost the furniture money in a poker game. In revenge, ...

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One summer evening, Texas farmers Sarah and Clem Willets take in a young boy named Arlis Sweeney, who claims to have gotten lost in their wheat field. After everyone has gone to bed, Arlis steals the family’s valuables. When Clem catches him, Arlis’s father, Roy, shoots the couple and their young son dead, leaving the Willets’ infant daughter orphaned in her crib. Years later, Arlis works as a vending machine supplier traveling throughout Texas. One night, he stops by a bar and watches as a bachelor party eagerly anticipates the arrival of a stripper. Before she can begin her routine, however, the stripper vomits on the groom and passes out. The bartender asks Arlis if he can bring the unconscious woman back to his motel and find out where she lives. In the morning, Arlis learns her name is Kay Davies, and takes her to breakfast before dropping her at the bus station. Reluctant to part company, he offers to drive Kay to her friend’s house in Bayview. On the way, Kay reveals she has no friend in Bayview, but is actually married and accepted the stripping job because she was recently robbed and unable to get home. Unbothered by her lies, Arlis continues driving to the Davies’ residence, and Kay is furious to discover that her husband, Reese, has left the house in disarray. A few moments later, a man arrives to pick up pieces of furniture Reese sold without her knowledge. When Reese returns, Kay confronts her husband, who hits her face. He attempts to leave, but Kay holds him at gunpoint until he admits he already lost the furniture money in a poker game. In revenge, Kay loads their upright piano into Arlis’s truck and storms out. Once she sells the piano, she and Arlis continue along his supply route and check into a motel. Kay compliments Arlis on his appearance and notices a small, star-shaped tattoo hidden under his hairline, which his father gave him as a boy. She apologizes for the chaotic circumstances of their meeting, but Arlis insists he likes her. That evening, Kay seduces him, and they make love. In the middle of the night, Arlis answers a knock at the door and sees a young woman named Ginnie standing in the rain. She claims her car has broken down, and Arlis decides to help her even though he recognizes her as a vagrant thief. In the car, he discovers his estranged father, Roy, sitting in the backseat with two bullets in his back. As Arlis tends to his wounds in the motel bathroom, Ginnie warns Kay that all men eventually turn out to be “evil.” Over breakfast, Roy explains that he recruited Ginnie to steal for him after a business partnership went awry. Once the couples part ways, Ginnie drives past the former Willets farmhouse. Roy lies that the property has been haunted ever since a Mexican man murdered the family. When Kay learns that Reese has filed for divorce, she takes Arlis out for a steak lunch to celebrate. Later, while Kay sleeps, Arlis notices she carries a family photograph, and recognizes the Willets as the people in the picture. Kay reveals that she was raised by her aunt and uncle, who claimed her parents and brother died in a car accident. While Arlis is away replenishing his stock, Roy instructs Ginnie to pick up Kay from her motel room and bring her to the Willets house. Ginnie drops hints about their destination to the motel clerk, and Arlis later follows. Once he catches up to them, Roy sends the women outside and tells Arlis he immediately noticed Kay’s resemblance to her dead mother, prompting him to realize she was the abandoned baby. Roy calls his son “stupid” and blames him for blundering the Willets robbery, but Arlis refuses to forgive his father for committing murder. When Roy decides to let his son tell Kay the truth about her parents, Arlis shoots him in the chest. Kay and Ginnie hear the gunshot and run back to the house. Ginnie kisses Roy’s cheek, steals his pocketwatch, and leaves. Returning Kay to the motel, Arlis tells her to stay as long as she needs, but refuses to explain why Roy summoned her to the house. He ends their relationship by telling her he maintains relationships with other women in other cities while he travels. They kiss goodbye, and Arlis drives off into the distance.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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