Lynne Ramsay is a tremendously talented director, as anyone who has seen her films We Need to Talk About Kevin and Ratcatcher can tell you, which makes the latest ripple in her career quite a bummer: When production began Monday on her latest film, the Natalie Portman-fronted Western Jane Got a Gun, Ramsay was nowhere to be found. Deadline broke the story, reporting trouble right up to the start date. Ramsay still hasn't issued comment on the matter, but the film's producers have already lined up a replacement in the form of Gavin O'Connor, director of Warrior and Tumbleweeds (and the pilot of The Americans).
Deadline branded Ramsay's departure a "SHOCKER," but it's not as rare as you'd think. Despite the intense work of developing a picture and preparing it, filmmakers have frequently walked away from pictures before—or even during—production. Below, I've collected a few examples.
Gone With the Wind
George Cukor was one of the most competent and reliable craftsmen of Hollywood's golden age—and already had made a reputation as such by the time he was handed the reins of the highly anticipated film version of Gone With the Wind. (His credits at the time included Dinner at Eight, Little Women, David Copperfield, Camille, and The Women.) So it wasn't much of a surprise when he got the gig; what was shocking was when he left the picture three weeks into production. He issued a joint statement with super-producer David O. Selznick, explaining their parting of ways thus: "As a result of a series of disagreements between us over many of the individual scenes of Gone With the Wind, we have mutually decided that the only solution is for a new director to be selected at as early a date as is practicable." The reasons for his exit remain the object of gossip, ranging from script clashes with Selznick to personality problems with Clark Gable, but the film carried on under the hand of Victor Fleming (who was pulled from Wizard of Oz, still in production; King Vidor took over for Fleming) and, after Fleming had something of a breakdown, studio hand Sam Wood (who would later direct for the Marx Brothers). And Cukor bounced right back—the following year, he nabbed a Best Director Oscar nomination for The Philadelphia Story.
This 1943 Western was ostensibly a retelling of the Pat Garrett/Billy the Kid tale, but it was really about something else entirely: Jane Russell's rack. The busty beauty was plucked out for stardom by producer Howard Hughes, who famously designed an intricately engineered bra to highlight Ms. Russell's considerable, erm, assets. Director Howard Hawks, who thought he was hired to make an oater, started eying the door. As he later explained, "I had a chance to do Sergeant York with [Gary] Cooper, so I said to Hughes, 'You've always wanted to direct, why don't you finish this thing?'" Hughes took him up on the offer, and though Hawks directed a few scenes that ended up in the final cut, Hughes is credited as the sole director for the controversial picture.
Cat on a Hot Tin Roof
Few writer-director partnerships were as fruitful as that of Tennessee Williams and Elia Kazan, the famed stage director who mounted several productions of Williams' works on Broadway, and directed his Baby Dolland A Streetcar Named Desire for the screen. Kazan directed the original 1955 stage production of Cat on a Hot Tin Roof (starring Ben Gazzara and Barbara Bel Geddes), and was widely presumed to be on board for the film version. But he ultimately passed, because he couldn't convince the scribe to rewrite the third act (and bring Big Daddy back into the action). The film was ultimately directed by Richard Brooks, who also helmed the film version of Williams's Sweet Bird of Youth (another work originally directed on stage by Kazan).
The third film in the Alien series, which marked the feature debut of David Fincher, was a troubled production from the outset—even before Fincher came on board. In fact, the franchise's producers originally plucked another rising young talent to helm: Vincent Ward, who had made a visionary (yet low-budget) effort in his native New Zealand called The Navigator: A Medieval Odyssey. Ward's concept for the film (explained in detail in this terrific Empire write-up) was to set it on a "wooden planet" in a distant past. Alien III got a greenlight with Ward as director; designs were worked up, pre-production began, sets were built, and a release date of Easter 1990 was set. But as the project grew bigger and more tangible, Ward started getting notes about his script and vision of the story that were progressively more broad and conceptual. Finally, when he was summoned to the office of a key Fox executive and told that the Wood Planet, his entire hook, was being jettisoned, he walked. "It was a weird situation to find myself in," Ward told Empire. "I'm one of those people who like to see things through. I don't mind compromising if it will improve the story. But you're dealing with people where it's not known as a 'film'—it's called a 'franchise'. So you don't want your Kentucky Fried Chicken or your McDonald's to look different. You gotta have the same colored walls, and the doors in the right place..." Ward went on to make the critically acclaimed Map of the Human Heart and What Dreams May Come.