TMC
04-07-2021, 04:14 AM
https://film.avclub.com/edward-james-olmos-on-his-blade-runner-ad-lib-and-why-s-1846579268
Miami Vice (1984-1989)—“Lieutenant Martin Castillo”
AVC: You hesitated to sign on to Miami Vice because you worried about being tied to a long network contract for a network show would prevent you from doing things like The Ballad Of Gregorio Cortez, or later, movies like American Me.
EJO: And Stand And Deliver, which was right in the middle of Miami Vice. I shot that in 1987, and we were shooting Miami Vice from 1984 through 1989. I did another movie during that period of time. They gave me a nonexclusive contract, which is unheard of. I’m very thankful that they did. I told Michael Mann, “I really can’t do your show. I would love to, but I can’t because sign an exclusive contract. But if you want to use me for four or five episodes, please do.” And he said, “Well, no, they want you to be exclusive.” They were going to pay me a lot of money, and I still said no. Finally they came back and said, “Okay, you got it. You have a nonexclusive contract and you have creative control of your character.” I said, “Okay. And I’ll take the last offer you made, which was for the most money.” [Laughs.] It was quite an experience. I was so grateful for the security; Michael told everyone “Hey, Edward has creative control of his character.”
Miami Vice (1984-1989)—“Lieutenant Martin Castillo”
AVC: You hesitated to sign on to Miami Vice because you worried about being tied to a long network contract for a network show would prevent you from doing things like The Ballad Of Gregorio Cortez, or later, movies like American Me.
EJO: And Stand And Deliver, which was right in the middle of Miami Vice. I shot that in 1987, and we were shooting Miami Vice from 1984 through 1989. I did another movie during that period of time. They gave me a nonexclusive contract, which is unheard of. I’m very thankful that they did. I told Michael Mann, “I really can’t do your show. I would love to, but I can’t because sign an exclusive contract. But if you want to use me for four or five episodes, please do.” And he said, “Well, no, they want you to be exclusive.” They were going to pay me a lot of money, and I still said no. Finally they came back and said, “Okay, you got it. You have a nonexclusive contract and you have creative control of your character.” I said, “Okay. And I’ll take the last offer you made, which was for the most money.” [Laughs.] It was quite an experience. I was so grateful for the security; Michael told everyone “Hey, Edward has creative control of his character.”