# A Simple Plan (film)

A Simple Plan is a 1998 neo-noir crime thriller film directed by Sam Raimi and written by Scott B. Smith, based on Smith's 1993 novel. The film stars Bill Paxton, Billy Bob Thornton, and Bridget Fonda. Set in rural Minnesota, the story follows brothers Hank (Paxton) and Jacob Mitchell (Thornton), who, along with Jacob's friend Lou (Brent Briscoe), discover a crashed plane containing $4.4 million in cash. The three men and Hank's wife Sarah (Fonda) go to great lengths to keep the money a secret but begin to doubt each other's trust, resulting in lies, deceit and murder.
Development of the film began in 1993 before the novel was published. Mike Nichols purchased the film rights, and the project was picked up by Savoy Pictures. After Nichols stepped down, the film adaptation became mired in development hell, with Ben Stiller and John Dahl turning down opportunities to direct it. After Savoy closed in November 1997, the project was sold to Paramount Pictures. John Boorman was hired to direct, but scheduling conflicts led to his replacement by Raimi. An international co-production between the United States, United Kingdom, Germany, France and Japan, the film was financed by Mutual Film Company, its investors and Newmarket Capital Group, which allocated a budget of $17 million. Principal photography began in January 1998 and concluded in March after 55 days of filming in Wisconsin and Minnesota. The score was produced and composed by Danny Elfman.
A Simple Plan premiered at the 1998 Toronto International Film Festival, where it was met with critical acclaim. The film's appearance at the festival preceded a limited release in the United States on December 11, 1998, followed by a general release in North America on January 22, 1999. It underperformed at the North American box office, grossing $16.3 million, but was critically acclaimed, with reviewers praising various aspects of the film's production, including the storytelling, performances and Raimi's direction. A Simple Plan earned multiple awards and nominations, among them two Academy Award nominations, one for Best Supporting Actor (Thornton) and one for Best Adapted Screenplay (Smith).

## Plot

Hank is a humble accountant at a feed mill in Wright County, Minnesota with a pregnant wife, Sarah. One morning, Hank, his wayward brother Jacob and their friend Lou Chambers stumble upon a crashed airplane in the woods. Inside is a dead man and a bag containing $4.4 million in $100 bills. Lou and Jacob persuade him not to turn the money in, so Hank proposes keeping the money at his house until spring when the snow melts and the plane is found. If at that point missing money isn't raised, they will share the loot. Seeing their truck on the side of the road, Sheriff Carl Jenkins stops by and chats, and Jacob blurts something relating to the plane. Trying to pursue it, Carl just gets double-talk. Carl leaves and the three men make a pact to keep the secret, but Hank breaks it and tells Sarah.
She suggests Hank replace a small portion of the money to avoid suspicion when the plane is found. Hank takes Jacob along to do so. Farmer Dwight Stephanson happens by on snowmobile. Thinking their cover is blown, Jacob bludgeons Dwight. Believing Dwight is dead and wanting to protect his brother, Hank begins finding a place to stash his body. When Dwight comes to, Hank eventually suffocates him then drives the snowmobile and body off an embankment to make it appear like an accident.
Having learned from Jacob about Dwight's murder, Lou drunkenly demands his portion of the money from Hank and playfully alludes that he might go to the authorities if he's unsatisfied. After Sarah gives birth to their daughter, Hank confronts Jacob about Lou and asks who he'll side with if it comes to that. Jacob is hesitant but affirms his loyalty to Hank.
Soon after, Sarah learns that the money was a ransom for a kidnapped heiress. She convinces Hank to frame Lou for Dwight's murder by getting him drunk, tricking him into falsely confessing to the killing, and recording the confession. Though Jacob goes off-script, the two acquire Lou's confession. When he realizes he's been duped, Lou pulls a gun on Hank and a shootout ensues, with Jacob shooting Lou dead. Lou's wife Nancy shoots at Hank; he shoots her dead. Hank and Jacob tell the police a domestic quarrel has ended in murder-suicide.
Because of Jacob's mention of hearing a plane, Carl calls the brothers to answer questions from FBI Agent Neil Baxter who is in search of it. Sarah urges Hank not to. Fed up, Hank plans to return all the money to the plane but is stopped after Sarah rants to him about their meager lifestyle. As Hank meets Carl and Baxter to search for the plane, Sarah discovers Baxter is not a real FBI agent and alerts Hank, who steals a revolver from Carl's desk. The four men split up in the woods to search for the plane. When Carl finds it, Hank tries to warn him that Baxter is a phony, but Baxter kills Carl before he can react. Baxter demands Hank retrieve the money from the plane. Hank shoots Baxter.
Hank starts to concoct another story to tell the authorities, but Jacob balks, saying he cannot live with all that they have done. He proposes that Hank kill him and frame Baxter as a more believable story. When Hank refuses, Jacob puts a pistol to his own head. Realizing he is trapped and that Jacob is right, Hank kills Jacob with Baxter's gun.
Hank is cleared of wrongdoing by real FBI agents, who reveal that some of the serial numbers of the ransom bills had been recorded, and they will just wait for any marked money to be spent to track down the culprit. Unable to determine which bills have been marked, Hank returns home and burns the money in the fireplace against Sarah's pleas.
In a closing narration, Hank says that only on rare days are he and Sarah not haunted by their memories of the events.

## Cast

* Bill Paxton as Hank Mitchell
* Billy Bob Thornton as Jacob Mitchell
* Bridget Fonda as Sarah Mitchell
* Brent Briscoe as Lou Chambers
* Gary Cole as Vernon Bokovsky / FBI Agent Neil Baxter
* Jack Walsh as Tom Butler
* Chelcie Ross as Sheriff Carl Jenkins
* Becky Ann Baker as Nancy Chambers
* Tom Carey as Dwight Stephanson

## Production
### Development

After Scott B. Smith had published a short story for The New Yorker, the magazine's fiction editor learned of his then-unpublished novel A Simple Plan before reading it and forwarding it to an agent. Shortly thereafter, Smith learned that Mike Nichols was interested in purchasing the film rights. Nichols spent a weekend reading the book, before contacting Smith's agent and finalizing a deal the following Monday morning. Nichols purchased the rights for his production company Icarus Productions for $250,000, with an additional $750,000 to come later from a studio interested in pursuing the project. Smith's manuscript of A Simple Plan was optioned for development at an independent film studio, Savoy Pictures. Nichols later stepped down from the project, due to scheduling conflicts with a planned film adaptation of All the Pretty Horses.
After learning of A Simple Plan from Nichols, Ben Stiller joined the project and signed a two-picture directing deal with Savoy. He spent nine months working on the script with Smith. During preproduction, Stiller had a falling out with Savoy over budget disputes. Unable to secure financing from another studio, Stiller left the film.
In January 1995, John Dahl was announced as director, with Nicolas Cage set to appear in a starring role, and filming likely to start during the following summer in the southern hemisphere or in Canada during the following winter. In November 1995, following a series of box office failures, Savoy announced that it was retreating from the film industry. The studio was later acquired by Silver King Broadcasting/Home Shopping Network, whose chairman, Barry Diller, put A Simple Plan up for sale. This resulted in both Dahl and Cage leaving the production.
The project was purchased by Paramount Pictures, where producer Scott Rudin hired John Boorman to direct the film. Boorman cast Bill Paxton and Billy Bob Thornton in the respective leading roles of Hank and Jacob Mitchell. The film marked Paxton and Thornton's second on-screen collaboration after One False Move (1992). Paxton learned of the novel A Simple Plan from his father five years before securing the role of Hank. He stated, "... for five years, there was a whole list of actors and directors who kind of marched through it. Billy Bob and I were set to do these roles in 1997, and then it fell apart. That was the cruelest twist for an actor, to get a part you dreamed you'd get and then they decide to scrap the whole thing."
Boorman took part in location scouting, and filming was set to begin during the first week of January 1998. When a second investor left the project, Paramount refused to fully finance the $17 million production itself. Although Boorman was able to secure financing, the studio feared that filming would not be finished before the end of winter. Boorman ran into scheduling conflicts, and left the film. Paramount then hired Sam Raimi, who saw the film as an opportunity to direct a character-driven story that differed from his earlier works, which were highly stylized or dependent on intricate camera movements. Raimi did not have time to scout locations due to studio constraints. He relied on the previous areas visited during Boorman's involvement. Rudin considered casting Anne Heche as Hank's wife Sarah Mitchell. In December 1997, it was announced that Bridget Fonda had secured the role. The film marked her second collaboration with Raimi after Army of Darkness (1992).
The film was co-financed by Mutual Film Company and Newmarket Capital Group as part of a joint venture that was formed by the two studios. Mutual's international partners—the United Kingdom's BBC, Germany's Tele-München, Japan's Toho-Towa/Marubeni and France's UGC-PH—also financed the production in exchange for distribution rights in their respective territories and equity stakes on the film on a worldwide basis. Paramount acquired the North American distribution rights.

### Writing

   Ben [Stiller] really taught me how to write a script. I don't know that he ever explicitly said it, but by imagining the script as a verbal description of a movie, the movie that I wanted the book to be. That's very simple, but it really was the key to everything for me—just imagining what was on the page. I was shortchanging the visual in my script, concentrating on dialogue, which I imagine is a very common first-time screenwriter's mistake, and to suddenly just do it visually opened up everything for me.
The original script that Smith had written for Nichols was 256 pages long, the equivalent of a four-and-a-half hour film. Smith kept Nichols's suggestion of having the story take place in Minnesota, rather than in Ohio, where the book is set. The Minnesota Film Board joined the project and remained involved throughout principal photography. After the novel was published, Nichols left the project during the script's early draft stages. When Stiller became involved, he and Smith spent nine months rewriting the screenplay.
For the adaptation, certain visual changes were made from the 335-page novel. Smith explained that one change involved the discovery of the crashed plane. His script had Lou Chambers "throwing [a] snowball to uncover the plane ... In the book, they're just walking and they find it." Rudin wanted to change the focus of the story to Hank and Jacob, and ordered Smith to shorten the screenplay to 120 pages. Smith explained, "I had to work to make Hank a more rational character, less evil." The shortening of the script also resulted in the character of Sarah having a smaller role, and Jacob's involvement being much larger than in the book. After Billy Bob Thornton was cast as Jacob, Smith omitted the character's overweight appearance from the novel. Smith described the film adaptation as being less violent than the book, explaining that it was Raimi's decision "to be more restrained [and] bring out the characters."

### Filming
#### Principal photography

Filming was scheduled to begin in Delano, Minnesota, but the production was forced to temporarily relocate to northern Wisconsin for enough snow to shoot. Principal photography began on January 5, 1998. The film marked production designer Patrizia von Brandenstein's second collaboration with Raimi, after The Quick and the Dead (1995). She found the weather difficult during filming, as she had to await good conditions to complete the necessary exterior work. Describing the overall look of the film, she stated, "We created a muted black-and-white color scheme to suggest a morality tale, the choices given between right and wrong." The production began shooting in Ashland and Saxon, Wisconsin, where most of the film's exterior shots were filmed. An actual plane, with one side cut open, was one of two planes used to depict the crashed aircraft.
The production returned to Minnesota, where it was plagued by a lack of snow. To solve this problem, the filmmakers assembled a special effects team to create a combination of real snow and fake synthetic snow that was made from shaved ice.$^{:2}$ The home of Lou Chambers and his wife Nancy was filmed in an abandoned house in Delano, which cinematographer Alar Kivilo described as "a very difficult [filming] location with very low ceilings and no heating". Brandenstein and the art department were tasked with designing the set inside the home.
The interior of the crashed plane was filmed on a soundstage. A second plane, designed to have frosted windows, was attached to a gimbal, about five feet off the ground. To match the interior with footage shot in Wisconsin, the art department built a set with real trees and a painted backdrop. To depict Hank being attacked by a flock of crows inside the plane, puppets were used to attack Paxton as he appeared on screen, while two live crows were used to attack an animatronic replica of the actor. A separate soundstage was used to create two sets depicting the interiors of Hank's home. Principal photography concluded on March 13, 1998, after 55 days of filming.

#### Cinematography

   This is a change of pace for me because the film is not about shots, but the performance within the frame. I wanted the camera work to be invisible and just allow the actors to tell this very thrilling story.
Director of photography Alar Kivilo stated that, upon reading the script, his first approach to making the film "was to make the look simple, allowing the characters to tell the story." He was influenced by the visuals of In Cold Blood (1967), the work of photographer Robert Frank and photographs taken during location scouting in Delano, Minnesota. Kivilo originally wanted to shoot the film in widescreen using the anamorphic format, but decided against it due to the lack of lenses available and the film's restricted budget. He shot the film using Panavision Platinum cameras with the company's Primo series of prime lenses. He used Eastman Kodak 5246 250ASA Vision film stock for all of the daylight scenes and tungsten-balanced 5279 Vision 500T film stock for the night scenes.
Despite the intense weather conditions, Kivilo believed that the overcast skies created a "gray, somber, stark look." He also chose not to use any lighting for daytime exterior scenes. For exterior scenes shot during sunnier filming days, computer-generated imagery (CGI) was used to re-create the overcast skies and counter any inconsistencies caused by the falling snow. In depicting the shootout in Lou's home, Kivilo's intent was to "keep things quite sketchy in the lighting and not be clear about exactly what was happening." The camera department lit a China ball from the ceiling to depict a dimly lit kitchen light that would reveal Nancy holding a shotgun. Flash photography guns were used to depict the muzzle flashes during the shootouts.

### Music

The score was produced and composed by Danny Elfman, who was drawn to the film after learning of Raimi's involvement; the film marks his third collaboration with the director. The instruments included alto and bass flutes, re-tuned pianos and banjos, zithers, and hand drums. The soundtrack album, titled A Simple Plan: Music from the Motion Picture Soundtrack, was released on January 26, 1999. AllMusic's William Ruhlmann wrote, "There are occasional moments that suggest the composer's more characteristic approach, but his writing is in the service of a smaller, if still intense cinematic subjects, and it is appropriately restrained."

#### Track listing
## Release

A Simple Plan premiered at the 23rd Toronto International Film Festival on September 11, 1998. On December 11, 1998, the film opened in limited release at 31 theaters, and grossed $390,563 in its first week, with an average of $12,598 per theater. More theaters were added during the limited run, and on January 22, 1999, the film officially entered wide release by screening in 660 theaters across North America. The film ended its North American theatrical run on May 14, 1999, having grossed $16,316,273, below its estimated production budget of $17 million. The film was released on VHS and DVD on June 22, 1999, by Paramount Home Entertainment.

## Reception
### Critical response

Reviewing the film during the Toronto International Film Festival, Glen Lovell of Variety compared it to Fargo (1996), writing, "The key differences are in emphasis and tone: Fargo is deadpan noir; A Simple Plan...is a more robust Midwestern Gothic that owes as much to Poe as Chandler." In an "early review" of the film prior to its limited release, Roger Ebert and Gene Siskel gave the film a "Two Thumbs Up" rating on their syndicated television program Siskel and Ebert at the Movies. In a later episode, Ebert ranked A Simple Plan at number four on his list of the "Best Films of 1998". Siskel, writing for the Chicago Tribune, said that the film was "an exceedingly well-directed genre picture by [Raimi] ... [who] does an excellent job of presaging the lethal violence that follows. From his very first images we know that bodies are going to start to pile up." Ebert also named Bill Paxton as his suggested pick for the Best Actor nomination at the 1999 Academy Awards.
John Simon of the National Review wrote, "the dialogue and characterization are rich in detail, and the constant surprises do not, for the most part strain credibility".
Online film critic James Berardinelli praised the acting, and commended Thornton's performance as "the most striking that A Simple Plan has to offer." After Paxton's death in February 2017, Matt Zoller Seitz of RogerEbert.com cited the actor's performance as Hank to be the best in his career, stating that "The film might constitute Paxton's most sorrowful performance as well as his most frightening ... an outwardly ordinary man who has no idea what kind of evil he's capable of."
Owen Gleiberman of Entertainment Weekly described the film as being "lean, elegant, and emotionally complex—a marvel of backwoods classicism." Janet Maslin of The New York Times called it a "quietly devastating thriller directed by [Raimi] ... who makes a flawless segue into mainstream storytelling." Edward Guthmann of the San Francisco Chronicle wrote, "for Raimi, whose mastery of visual effects has driven all of his previous films, A Simple Plan marks a tremendously successful break from the past. He's drawn lovely, complex performances from Paxton and Thornton and proven that he can work effectively—and movingly—in a minor emotional key."
In a negative review, Richard Schickel of Time stated, "There's neither intricacy nor surprise in the narrative, and these dopes are tedious, witless company." Schlomo Schwartzberg of Boxoffice felt that the film "clutters up the story with unnecessary acts of violence and murder, and mainly stays on the surface, offering little more than cheap jolts of melodrama."
In an interview with Empire Magazine, Sam Raimi gives his opinion about the lukewarm box-office reception and the Fargo comparisons:
   “I don't think it was overshadowed by [Fargo]. It just didn't get a big release. Maybe people didn't like it as much as they could have.“
Review aggregator Rotten Tomatoes reveals 91% of 74 reviews of the film were positive, with an average rating of 8.3/10. The website's consensus calls the film "A riveting crime thriller full of emotional tension." Another review aggregator, Metacritic, assigned the film a weighted average score of 82 out of 100, based on 28 reviews from mainstream critics, indicating "universal acclaim".

## Accolades

| Award | Category | Recipient(s) | Result |
| Academy Awards | Best Supporting Actor | Billy Bob Thornton | Nominated |
| Academy Awards | Best Screenplay – Based on Material Previously Produced or Published | Scott B. Smith | Nominated |
| Awards Circuit Community Awards | Best Adapted Screenplay | Scott B. Smith | Nominated |
| Blockbuster Entertainment Awards | Best Actress – Suspense | Bridget Fonda | Nominated |
| Blockbuster Entertainment Awards | Best Supporting Actress – Suspense | Becky Ann Baker | Nominated |
| Boston Society of Film Critics Awards | Best Supporting Actor | Billy Bob Thornton | Won |
| Boston Society of Film Critics Awards | Best Supporting Actress | Bridget Fonda | 3rd Place |
| Boston Society of Film Critics Awards | Best Cinematography | Alar Kivilo | Nominated |
| Chicago Film Critics Association Awards | Best Supporting Actor | Billy Bob Thornton | Won |
| Chicago Film Critics Association Awards | Best Screenplay | Scott B. Smith | Nominated |
| Chicago Film Critics Association Awards | Best Original Score | Danny Elfman | Nominated |
| Chlotrudis Awards | Best Supporting Actor | Billy Bob Thornton | Won |
| Cognac Crime Film Festival | Special Jury Prize | Sam Raimi | Won |
| Critics' Choice Movie Awards | Best Picture | Best Picture | Nominated |
| Critics' Choice Movie Awards | Best Supporting Actor | Billy Bob Thornton (also for Primary Colors) | Won |
| Critics' Choice Movie Awards | Best Screenplay – Adaptation | Scott B. Smith | Won |
| Dallas–Fort Worth Film Critics Association Awards | Best Picture | Best Picture | Nominated |
| Dallas–Fort Worth Film Critics Association Awards | Best Supporting Actor | Billy Bob Thornton | Won |
| Edgar Allan Poe Awards | Best Motion Picture Screenplay | Scott B. Smith | Nominated |
| Golden Globe Awards | Best Supporting Actor – Motion Picture | Billy Bob Thornton | Nominated |
| Las Vegas Film Critics Society Awards | Best Score | Danny Elfman | Won |
| Los Angeles Film Critics Association Awards | Best Supporting Actor | Billy Bob Thornton | Won |
| National Board of Review Awards | Top Ten Films | Top Ten Films | 9th Place |
| National Board of Review Awards | Best Screenplay | Scott B. Smith | Won |
| National Society of Film Critics Awards | Best Supporting Actor | Billy Bob Thornton | 3rd Place |
| Online Film & Television Association Awards | Best Supporting Actor | Billy Bob Thornton | Won |
| Online Film & Television Association Awards | Best Screenplay – Based on Material from Another Medium | Scott B. Smith | Nominated |
| Online Film & Television Association Awards | Best Drama Score | Danny Elfman | Nominated |
| Online Film Critics Society Awards | Best Supporting Actor | Billy Bob Thornton | Won |
| Online Film Critics Society Awards | Best Adapted Screenplay | Scott B. Smith | Nominated |
| San Diego Film Critics Society Awards | Best Supporting Actor | Billy Bob Thornton | Won |
| San Diego Film Critics Society Awards | Best Adapted Screenplay | Scott B. Smith | Won |
| Satellite Awards | Best Actor in a Supporting Role in a Motion Picture – Drama | Billy Bob Thornton | Nominated |
| Saturn Awards | Best Action/Adventure/Thriller Film | Best Action/Adventure/Thriller Film | Nominated |
| Saturn Awards | Best Supporting Actor | Billy Bob Thornton | Nominated |
| Screen Actors Guild Awards | Outstanding Performance by a Male Actor in a Supporting Role | Billy Bob Thornton | Nominated |
| Southeastern Film Critics Association Awards | Best Supporting Actor | Billy Bob Thornton | Runner-up |
| USC Scripter Awards | USC Scripter Awards | Scott B. Smith (author/screenwriter) | Nominated |
| Voices in the Shadow Dubbing Festival | Special Jury Prize | Gianni Williams (for the dubbing of Billy Bob Thornton) | Won |
| Writers Guild of America Awards | Best Screenplay – Based on Material Previously Produced or Published | Scott B. Smith | Nominated |