Abel’s Promise writer-director, Anthony Crossen, sat down with us to discuss what motivated him to conjure this unique story…
AC: “Abel’s Promise came from an issue I think is underrepresented in the movies: men in pain. (Laughing) I guess all my movies deal with men in pain. My first feature script, Pieces of Silver, is an action-horror yarn, but at its root it’s about teen rage, feeling unloved and lost after your parent’s divorce. In OP Winchester, a screenplay about Soldiering in Afghanistan, the main character is plagued by his father’s death when he was a kid. His search for a replacement dad comes to a head at the end, where he has to decide to move past his hang ups, to move on with his life.”
Why haven’t we heard of these other movies?
AC: “Well, Pieces of Silver is out there, but it was my first script. OP Winchester has been optioned before. It’s currently under option.”
Why aren’t there more films dealing with men in pain?
AC: “There have been some [films]. Nick Cage won that Oscar for Leaving Las Vegas, a character in obvious pain. Christopher Nolan deals with men’s pain in the Batman series, Inception, and most recently, Man of Steel. But for the most part, we never go too deep, and it’s always overshadowed by fantastic violence. Remember Die Hard? That John McClane guy was agonizing over his wife, but the issue was quickly swept aside as the action unfolded. The violence seems to come from a place motivated by the filmmakers trying to tell a cool story.
“My point of view comes from personal experience, three combat deployments. When you’re confronted with being away from your loved ones for a year, and the realities of ‘kill or be killed…’ I experienced a fundamental switch in my psyche regarding boundaries I thought I’d never personally cross.
“I’ve been blown up. I’ve experienced death in combat. Very quickly, my mission became survival, to get back home in one piece. I decide that nothing, absolutely nothing would get in the way of that, so long as I had the tools and maintained the initiative to make it happen. I suddenly found it easy to do the inexplicable. I thank God I never had to put a bad guy down, never in a protracted fire fight. There are always consequences to violence. But I can tell you from personal experience, it would not have been a problem.
“Anyway, I wanted to examine that with Abel’s Promise. In the first act, Abel Polaski’s switch has already been flipped. We learn, as the story unfolds, what caused that switch to flip, and what he does to preserve his family.”
AC: “Thank you.”