Nowhere to be found in the script, the line sounds so right that you wonder if Sly has just thought it up himself.

You know it’s time for the special moment that defines Hollywood Tough Guy cinema-the action hero’s epiphany-when a man can voice the depth of his rage in only one way: with a wisecrack. Stallone flicks his arm, as if casually brushing away a huge glob of blood. Sly roars like a wounded lion, leaping forward, rocking his adversary with a furious punch to the jaw. With their doubles watching, Stallone and Snipes try out a new move, where Snipes slashes at Stallone’s arm with a knife. On the set, the fight rehearsal continues. Seeing them on the set, Stallone’s rippling muscles encased in a tiny tank top, Silver’s couch-potato girth hidden under baggy pajama-style shirts and slacks, they even look like the classic Hollywood buddy movie team-Sly supplies the brawn, Silver brings the big mouth. Embarking on a $45-million movie, perhaps it was time to share the high-rolling risk with a heavyweight partner. With Stallone coming off some box-office duds (“Oscar,” “Stop Or My Mom Will Shoot”) and Silver still bruised from the mega-flop “Hudson Hawk,” both men may have needed a little psychological reassurance. They are the Twin Towers of action movies, working together for the first time. After three stints as “Rambo,” five as “Rocky” and a high-wire act in “Cliffhanger,” Stallone, at 46, could be the world’s longest-running action hero.īut if anyone can match Sly dollar for dollar at the box-office, it’s Silver, who has produced the hit “Lethal Weapon,” “Die Hard” and “Predator” action franchises. The brainstorming session continues with Brambilla standing on the sidelines, deferring to the real powers on the set-Stallone and Silver. I’d rather hold that idea till the very end.” “But we aren’t that far into the fight yet. “That’s good, Sly,” says Silver, who’s been nervously checking his watch. “Like you jumping on top of me, coming right down on my throat, going for the coup de grace. “We should have such a flurry of punches that we actually look tired of hitting each other. “Pow! Pow! Pow!” he grunts, delivering savage blows to an imaginary adversary. He bounds across the set, bobbing and weaving, pantomiming a flurry of punches, the Hermes Pan of fight-to-the-death choreography. “Don’t you think it has a nice feel to it?”īut Stallone is already blocking out a new version of the fight. We’re not building enough momentum.”īrambilla shrugs. (My character) comes in for the kill too soon. “But the hand motion gets a little too frenetic. “This is all pretty good,” he says diplomatically.

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