‘Beverly Hills Cop’ Director Mark Molloy Initially Declined Jerry Bruckheimer’s Offer Until ‘Axel F’ Came Along
Mark Molloy, the director of the latest installment in the “Beverly Hills Cop” series, shares insights on bringing back the essence of the ’80s to modern cinema and his unique approach to reviving the beloved franchise. Notably, both Molloy and producer Jerry Bruckheimer have steered clear of watching the third “Beverly Hills Cop” movie, which has been widely considered a low point in the series.
Molloy, known for his work on numerous Apple commercials, joins a lineage of filmmakers like Tony Scott and Michael Bay, whom Bruckheimer discovered through their work in advertising. Despite his humility, Molloy’s journey into filmmaking echoes that of Scott and Bay, particularly with Bruckheimer’s history of recruiting talent from the commercial and music video sectors.
When Molloy first received an offer from Bruckheimer, he was enthusiastic but found himself initially rejecting several scripts that didn’t resonate with him. It wasn’t until he read the script for “Beverly Hills Cop: Axel F” that he felt an immediate connection.
“My agent told me that Jerry Bruckheimer wanted to speak with me, and I was thrilled,” Molloy recounts. “However, the scripts he initially sent didn’t feel right until I read ‘Axel F.’ I was hooked after just 20 pages.”
Embracing the nostalgia of the Eddie Murphy-led franchise, Molloy incorporated elements that fans of the original films would appreciate. During filming, he played the soundtrack from the original movies on set to capture the right mood and pace.
In preparation for his directorial debut, Molloy revisited Martin Brest’s 1984 original and Tony Scott’s 1987 sequel, while consciously avoiding the third installment and the unaired 2013 CBS pilot. This decision was partly to maintain a fresh perspective and to subtly acknowledge the third film’s lackluster reception through a line in “Axel F.”
“I wanted a fun nod for the fans,” Molloy explains, referring to Joseph Gordon-Levitt’s character commenting on Axel’s 1994 escapades with “Not your finest hour.”
One significant addition to “Axel F” is the introduction of Axel Foley’s daughter, Jane Saunders, played by Taylour Paige. Unlike previous concepts that involved Axel’s son, Jane’s character adds a fresh dynamic, as she remains immune to Axel’s charm.
“She’s his kryptonite,” says Molloy. “Her strength and ability to see through Axel’s antics brought a new challenge to the character.”
Reflecting on the transition from directing commercials to a feature film, Molloy appreciates the opportunity but remains grounded about the differences in the filmmaking landscape today compared to the ’80s and ’90s.
Molloy’s approach to the film’s visual style includes nods to Tony Scott’s signature use of magic hour and a commitment to capturing the character of Los Angeles. He sought to balance the action and comedy that defined the original films, emphasizing the importance of character-driven storytelling.
Working with Eddie Murphy, Molloy focused on creating an environment that allowed Murphy to excel, emphasizing the evolution of Axel Foley over the past 40 years.
“Eddie and I discussed how Axel has changed,” Molloy notes. “We didn’t want to pretend he’s still in his twenties. He’s a father now, and that has brought new layers to his character.”
On the decision to focus on Axel’s daughter instead of his son, Molloy found the script’s existing direction compelling and never questioned the change.
Incorporating nostalgic elements, including the franchise’s iconic music, was crucial for Molloy. He used the soundtrack extensively during filming to ensure the right tone and emotional resonance.
Reflecting on the film’s cameos and Easter eggs, Molloy shares fun anecdotes, like Christopher McDonald’s cameo and the recreation of the famous stakeout scene with Axel, Rosewood, and Taggart.
Molloy’s commitment to authenticity extended to the film’s action sequences, favoring practical effects and in-camera shots to create a genuine sense of danger and immediacy.
“There’s a real sense of danger in ’70s and ’80s action films that I wanted to capture,” he explains. “We shot everything on location to maintain that visceral feeling.”
With “Axel F” receiving positive feedback, Molloy remains optimistic about the possibility of another sequel, emphasizing the need for a strong script to continue the franchise’s legacy.
