Is Death Wish taking place in the 70s as you have it?
CARNAHAN: It will feel like it’s taking place in the 70s. Let’s put it that way. In the same way that inNo Country for Old Men, there’s really only one reference to it being 1980. Hopefully it will feel like that. I don’t want it to be so specific you can pinpoint it to a time like 2012 or 2013. That will certainly be a challenge. And it’s also portraying L.A. as a walking city, which we’ve kind of never done. To treat it was the same sprawl that New York was treated in the first film.
How long before you start shooting?
CARNAHAN: I don’t know. I’m pretty rigorous about the drafts I turn in. I don’t turn in something that’s so ungodly they go, “What the hell is this?” I’m not trying to turn a Dostoyevsky, this tome of thousand of pages, but it’s probably bigger than it needs to be right now, so I have to do a little editorializing, a little finessing. But the action is there. It’s short and ugly and violent, but it’s characters I’m interested in. The simplicity of violence versus the complexity of vengeance is what that movie’s about.
How much are you looking back at the original version of Death Wish?
CARNAHAN: I’m not. I thought it was important to have my own ideas and let that idea inspire the story. I think you get into trouble when you start having to get too—his name is Paul Kersey, I’m not going to change that—but I’ve changed some other things, but beyond that are spoilers that I shan’t be revealing at this time. I think everybody’s going to be pleased.
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[DWISH]