One Night Stand is a 1997 American drama film written and directed by Mike Figgis. The film stars Wesley Snipes, Nastassja Kinski, Kyle MacLachlan, Ming-Na Wen and Robert Downey Jr. The first draft of the screenplay was written by Joe Eszterhas, who had his name removed from the project following Figgis's rewrite.
Plot
The film is narrated by Max Carlyle. Max lives in Los Angeles, where he has a successful career directing television commercials and is happily married to Mimi, with whom he has two children. While visiting New York City, Max meets Karen by chance after missing a flight; circumstances keep bringing them together over the course of the evening, and they end up spending the night together. When he returns home, Max seems distant and unhappy, though Mimi can't tell why and Max won't say. A year later, Max and Mimi fly to New York to visit his close friend Charlie, who is near death from AIDS. Max meets Charlie's brother Vernon and is introduced to his new wife—Karen. Facing Karen sends Max into an emotional tailspin, and he realizes that he must tell Mimi the truth about his indiscretion.
Cast
Production
Development and writing
The film was based on a script by Joe Eszterhas then at a career peak due to the success of Basic Instinct (1992). In 1994, Eszterhas sold a four-page outline for One Night Stand to New Line Pictures for $2.5 million, with an additional $1.5 million to be paid once filming had started.
"No one has ever paid this for a movie idea," said Eszterhas' agent Guy McElwaine. The previous record was $1.6 million (against $3.4 million) paid to Eszterhas by producer Jon Peters to adapt a book about John Gotti for Columbia Pictures.
Part of the appeal of the deal was Adrian Lyne was attached to direct. Lyne would be paid $250,000 to help develop the script and have a final fee of $7 million.
Robert Shaye of New Line said, "With Joe Eszterhas and Adrian Lyne, you're more than investing in an idea, you're investing in a film with a world- class screenwriter and director who can attract world-class talent." Shaye said he regarded the pitch as "a completed package [rather] than notes on a piece of paper."
Eszterhas says the film was based on the break up of his marriage. When the couple in the film have a one-night stand, "They talk, they have sex, they make love, and I distinguish between the two things. It's not just the sex, it's to do with the heart, not the glands. Now I am 50, I am sure of the difference."
Eszterhas handed in his script in early 1995. According to the Los Angeles Times, his "first draft certainly wasn't the sort of script you'd want to give Bob Dole for bedtime reading. Its first 65 pages are given over to an Olympic decathlon-style sexual encounter between the couple, with almost as much trash talk about sex as sex itself."
Pre-production
Lyne decided to drop out to helm the remake of Lolita (1997). New Line then approached Mike Figgis who was coming off Leaving Las Vegas. Figgis agreed to direct the film for a fee of around $2.5 million if he could rewrite the script and shoot the film in an informal style, using multiple cameras and allowing improvisation.
"I expect people will look at me like I've defected to the Fascist Party," said Figgis of working on an erotic thriller. "But I'm not going to be swayed by popular opinion. Joe's script had something that was a lot less formulaic than the other scripts I was seeing."
Figgis said he was attracted to the idea of making a big budget film because he could "have a reasonable budget for the music and control of the music" for the first time in his career, and final cut of the film.
New Line's President Mike De Luca said Figgis' reworking of material "fine with us, because [Mike] has a vision of how to bring the most to the material. We wanted an American 'Last Tango in Paris,' a film that explores sexual politics and hypocrisy. Joe's script was about the couple's relationship. Mike's version focuses more on the consequences."
Figgis changed the scripts significantly. The Times said "reading the scripts is like hearing two different versions of the same song, one by Eddie Van Halen, the other by Wynton Marsalis."
Figgis changed key characters and added a subplot about a friend who is dying of AIDS. "A good friend of mine died of AIDS and it had a powerful effect on me," says Figgis. "To me, the character was a catalyst, someone who'd influence the other people in the film."
Eszterhas felt the script had changed so much he asked for his name to be taken off the credits. During filming he said "I have a lot of respect for Mike, so I'm very curious to see how the film will turn out."