After making his debut on the scripts with “The Cutting Edge” of 1992, a pleasant figure skating riff on “The Taming of the Shrew” by Shakespeare “with DB Sweeney and Moira Kelly, Tony Gilroy quickly established himself as a Hollywood screenwriter to look at. Although he only received praise dispersed for having delivered an extreme adaptation Captivating of “Dolores Claiborne” by Stephen King and by writing the medical thriller of “extreme measures” of “extreme measures”, plotted, ” His major rewriting of “The Devil’s Advocate”, “ Who transformed a project that is difficult to spine into a shameless box-office stroke, placed it on the city’s A-List list.

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Although Gilroy had no singular voice like his best paid peers Shane Black, Joe Eszterhas and Daniel Waters, he was very appreciated by the filmmakers for his mind, his sense of the structure of narration and his lack of precious. He was not above DIY on the stupid “Armageddon” of Michael Bay or “Bait” by Antoine Fuqua, who was probably because a) The money was good and b) he knew more fulfilling studio projects like “The Bourne Identity” was in sight.

Like many successful writers, Gilroy also wanted to direct. He bounded straight out with His masterpiece “Michael Clayton” (which earned him Oscar nominations for the best director and the best original script) and followed this two years later with the “massively underestimated” Duplicity “comedy” with Julia Roberts and Clive Owen. He then returned to the IP cinema in 2012 with the disappointing “The Bourne Legacy” before diving back into the obligation “Rogue One” by Lucasfilm. As Gilroy said about his work on the prequel “Star Wars”“”[T]Hey was in such a marsh […] They were so terrible and terrible that everything you could do was to improve their position. “”

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Pulling a minor successful miracle with “Rogue One” led Gilroy to prequel to his prequel with two television seasons acclaimed by criticism in “Andor”. Now that this bittersweet saga is over, Gilroy is ready to make an original film for adults that takes place squarely on earth … and what he has chosen to write and realize could surprise you.

Since “Michael Clayton” is widely considered as Gilroy’s best work as a writer and director, there was a certain hope that he would again summon the spirit of Alan J. Pakula and eliminate another paranoid thriller by Crackerjack. Consider this hope completely and completely wiped out: Gilroy’s first film after spending the best part of a decade in this galaxy far, far will be a drama on a musician.

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In an exclusive interview with Ben Pearson de / film, Gilroy revealed that his next film is “a film on movie music, on the score and musicians and musicians of notation”. Trlilogy fans of the “Star Wars” suite should be particularly intimate to know who features in this film. As Gilroy said to Pearson:

“It is a cellist. Oscar Isaac will play the cellist. He is a cellist who returns to Los Angeles from a very heavy studio, a third -generation family of music. He returned to Los Angeles for a few months to do sessions on films. […] It is [about] Why he returned and why he left, and whatever […] It was really nice to go back and write a film. I wrote very quickly. I was in very good shape and I wrote much more strongly than I would probably have done it five years ago. “”

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It would be the “Behemoth!” Project we heard about for the first time last March. There were no details on the plot at the time and, now that we know them, there is no need to be a need for secrets. This and above all resembles a family drama, but I have to wonder if Gilroy will be addressed to the miserable working conditions in which the rating musicians are currently working. According to An article by Vanity Fair in 2022The best composers force their musicians to work for long hours and, sometimes, to write the real clues themselves. As an amateur of cinema music for life, he is a huge disappointment, so it would be cool if Gilroy highlighted this type of behavior.

This could, of course, be too important for Gilroy Bord, especially if it is a more intimate character study. We will have to wait and see, but, for the moment, it is comforting to have Gilroy again making films on ordinary human beings.