The Safdie’s 48 Hrs remake
The AV Club reports that Josh Safdie revealed at one point, he, his brother Benny and their writing partner Ronald Bronstein were set to remake 48 Hrs. at Paramount with Jerrod Carmichael attached. In 2019, at the time Uncut Gems was released, Safdie told the publication that their script for the remake had evolved into more of an original story. According to Sadie, “Walter Hill came to a Gems screening. I’d heard that he had seen Good Time and was a fan of that. He really liked Uncut Gems, too. The Driver is one of my favorite movies. 48 Hrs is great, but The Driver is his masterpiece. And I said, ‘Let’s just get this out of the way immediately. We’re not remaking your movie.’ And he said, ‘Okay. It’s weird, I watch these two movies and think that these guys are not short on original ideas. Like, why would they need to do a remake?’ [Laughs.] So what happened was, we wrote a few drafts for the studio, and it just wasn’t a remake. We tried, but I just don’t know how to do it. Maybe the general structure was kind of 48 Hrs. And there was a cop and an inmate. But it’s going to be re-shifted into something original.”
Paramount passes on the original script
Recently, Safdie revisited the 48 Hrs. remake story on Deadline’s Crew Call Podcast and said that after their script became something original, Paramount passed on them. He explained, “We wrote a remake of 48 Hrs for Paramount, and they read it, and they were like, ‘This isn’t a remake, what is this? This is an original film.’ We’re like, ‘Sorry, we tried.’”
Josh Safdie’s Marty Supreme
The Safdie brothers have ventured off into their separate projects and Josh Sadfie’s Marty Supreme is due for Christmas. Our Chris Bumbray raved about the film with a 10 score and his review exclaiming, “Through it all, Safdie’s command of the audience is impressive, with him making the film such an intense experience I felt like I was in the midst of a drug-fuelled binge while watching it. He keeps your pulse pounding, and it’s the kind of movie one is tempted to immediately revisit after the credits roll. For me, it’s the movie of the year, and if film as a form seems to be dying off, at least there are guys like Safdie around who still deserve their place in the pantheon of great directors.”
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