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** When the director had earlier read the script, he felt that it was rather similar to the films ''Film/TheKiller'' and ''Film/TheProfessional'', while actually visualizing that Creator/ChowYunFat and Creator/JeanReno could be perfect square-off leads. Creator/FranchisePictures didn't find either Chow and Reno financially viable though.
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** When the director had earlier read the script, he felt that it was rather similar to the films ''Film/TheKiller'' ''Film/TheKiller1989'' and ''Film/TheProfessional'', while actually visualizing that Creator/ChowYunFat and Creator/JeanReno could be perfect square-off leads. Creator/FranchisePictures didn't find either Chow and Reno financially viable though.
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Although this film was a disaster, it wasn't exactly a Star-Derailing Role for either Liu or Banderas. They both were able to quickly rebound with more successful project
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* StarDerailingRole: The film also did serious damage to the careers of Creator/AntonioBanderas and Creator/LucyLiu[[note]]while Liu's roles in ''[[Film/CharliesAngels2000 Charlie's Angels: Full Throttle]]'' and ''Film/KillBill'' came after ''Ecks vs. Sever'', they were projects she had signed on for before the film's release[[/note]]. The former was able to recover by providing the voice of [[Franchise/{{Shrek}} Puss in Boots]] while Liu would recover by returning to TV and becoming the leading woman on ''Series/{{Elementary}}''.
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* CreatorBacklash: Wych Kaosayananda disowned the film and claims to hate it. On the producer's interference with the film and his reaction with how it turned out, he stated:
-->Well, I'll try to explain this as best as I can: I did my first cut which as I understood it was just that-my first cut which was the script as shot and fine tuned. There were scenes I wasn't sure of, but liked. And we also tested the movie; One scene in particular lost the audience and the experience wasn't very good. It was a little heavy on melodrama, and I own that. I loved the scene, but also was afraid it wouldn't work and could easily be cheesy. But again, I honestly felt that was what the tests were for, and I was wrong. We didn't score well and based on that test, two producers who I was already having issues with for various reasons basically just took over the movie. I found out as I was on my way to the editing room two days after the test screening and just a day after having a big meeting with Creator/WarnerBros executives and marketing people, who were terrific by the way. By the time I got to the edit suites, my editor was Caroline Ross, a wonderful person and a great editor, was also fired and replaced, after all those hours and weeks I spent with her. And I wasn't too pleased to say the least. So, after consulting with my agents at CAA, it was decided it was best to just walk away quietly and they'd focus on getting my next job. I still had a great relationship with the executives at Warner Bros. I had things in development with Fox 2000 and Creator/{{RKO}} and we'd just move on. The problem was, I couldn't. I'd shot an old school actioner in 2002 with the Creator/SteveMcQueenActor classic ''Film/{{Bullitt}}'' as my template. My DP and I had specific needs to be met with the way we shot it, especially when it came to all the action scenes I choreographed while working with Joel Kramer - one the best stunt coordinators in his field. But despite our best efforts, the movie was butchered to the point where certain shots were flipped because the edit no longer made sense. And yes, this also affected the sequencing and pacing of the action - it was horrible to watch. Just so you know, I had only ever seen the theatrical cut once with no audio, during the colour grade with Julio, my DP. At the premier I waited until the movie had been playing for thirty minutes before taking my seat. I did this because I knew the movie was bad. I pretty much hyperventilated for the whole evening.
-->Well, I'll try to explain this as best as I can: I did my first cut which as I understood it was just that-my first cut which was the script as shot and fine tuned. There were scenes I wasn't sure of, but liked. And we also tested the movie; One scene in particular lost the audience and the experience wasn't very good. It was a little heavy on melodrama, and I own that. I loved the scene, but also was afraid it wouldn't work and could easily be cheesy. But again, I honestly felt that was what the tests were for, and I was wrong. We didn't score well and based on that test, two producers who I was already having issues with for various reasons basically just took over the movie. I found out as I was on my way to the editing room two days after the test screening and just a day after having a big meeting with Creator/WarnerBros executives and marketing people, who were terrific by the way. By the time I got to the edit suites, my editor was Caroline Ross, a wonderful person and a great editor, was also fired and replaced, after all those hours and weeks I spent with her. And I wasn't too pleased to say the least. So, after consulting with my agents at CAA, it was decided it was best to just walk away quietly and they'd focus on getting my next job. I still had a great relationship with the executives at Warner Bros. I had things in development with Fox 2000 and Creator/{{RKO}} and we'd just move on. The problem was, I couldn't. I'd shot an old school actioner in 2002 with the Creator/SteveMcQueenActor classic ''Film/{{Bullitt}}'' as my template. My DP and I had specific needs to be met with the way we shot it, especially when it came to all the action scenes I choreographed while working with Joel Kramer - one the best stunt coordinators in his field. But despite our best efforts, the movie was butchered to the point where certain shots were flipped because the edit no longer made sense. And yes, this also affected the sequencing and pacing of the action - it was horrible to watch. Just so you know, I had only ever seen the theatrical cut once with no audio, during the colour grade with Julio, my DP. At the premier I waited until the movie had been playing for thirty minutes before taking my seat. I did this because I knew the movie was bad. I pretty much hyperventilated for the whole evening.
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* CreatorBacklash: Wych Kaosayananda quickly disowned the film and claims to hate it. On film, singling out the producer's interference with the film and his reaction with how it turned out, he stated:
-->Well, I'll try to explain this as best as I can: I did my first cut which as I understood it was just that-my first cut which was the script as shot and fine tuned. There were scenes I wasn't sure of, but liked. And we also tested the movie; One scene in particular lost the audience and the experience wasn't very good. It was a little heavy on melodrama, and I own that. I loved the scene, but also was afraid it wouldn't work and could easily be cheesy. But again, I honestly felt that was what the tests were for, and I was wrong. We didn't score well and based on that test, two producers who I was already having issues with for various reasons basically just took over the movie. I found out as I was on my way to the editing room two days after the test screening and just a day after having a big meeting with Creator/WarnerBros executives and marketing people, who were terrific by the way. By the time I got to the edit suites, my editor was Caroline Ross, a wonderful person and a great editor, was also fired and replaced, after all those hours and weeks I spent with her. And I wasn't too pleased to say the least. So, after consulting with my agents at CAA, it was decided it was best to just walk away quietly and they'd focus on getting my next job. I still had a great relationship with the executives at Warner Bros. I had things in development with Fox 2000 and Creator/{{RKO}} and we'd just move on. The problem was, I couldn't. I'd shot an old school actioner in 2002 with the Creator/SteveMcQueenActor classic ''Film/{{Bullitt}}'' as my template. My DP and I had specific needs to be met with the way we shot it, especially when it came to all the action scenes I choreographed while working with Joel Kramer - one the best stunt coordinators in his field. But despite our best efforts, the movie was butchered to the point where certain shots were flipped because the edit no longer made sense. And yes, this alsoaffected the sequencing film's editing and pacing of pacing. During the action - it was horrible to watch. Just so you know, I had only ever seen the theatrical cut once with no audio, during the colour grade with Julio, my DP. At the premier I waited until the movie had been playing for thirty minutes before taking my seat. I did this because I knew the movie was bad. I pretty film's premiere, he deliberately showed up half an hour late and "pretty much hyperventilated for the whole evening."
-->Well, I'll try to explain this as best as I can: I did my first cut which as I understood it was just that-my first cut which was the script as shot and fine tuned. There were scenes I wasn't sure of, but liked. And we also tested the movie; One scene in particular lost the audience and the experience wasn't very good. It was a little heavy on melodrama, and I own that. I loved the scene, but also was afraid it wouldn't work and could easily be cheesy. But again, I honestly felt that was what the tests were for, and I was wrong. We didn't score well and based on that test, two producers who I was already having issues with for various reasons basically just took over the movie. I found out as I was on my way to the editing room two days after the test screening and just a day after having a big meeting with Creator/WarnerBros executives and marketing people, who were terrific by the way. By the time I got to the edit suites, my editor was Caroline Ross, a wonderful person and a great editor, was also fired and replaced, after all those hours and weeks I spent with her. And I wasn't too pleased to say the least. So, after consulting with my agents at CAA, it was decided it was best to just walk away quietly and they'd focus on getting my next job. I still had a great relationship with the executives at Warner Bros. I had things in development with Fox 2000 and Creator/{{RKO}} and we'd just move on. The problem was, I couldn't. I'd shot an old school actioner in 2002 with the Creator/SteveMcQueenActor classic ''Film/{{Bullitt}}'' as my template. My DP and I had specific needs to be met with the way we shot it, especially when it came to all the action scenes I choreographed while working with Joel Kramer - one the best stunt coordinators in his field. But despite our best efforts, the movie was butchered to the point where certain shots were flipped because the edit no longer made sense. And yes, this also
