Between takes, Bauer usually lit a cigarette and kibbitzed with the crew or his younger brother, Ernie, who travels with him, keeping a running journal of his work. "He sort of keeps me in line," said Bauer.
Fiorentino smiled, but didn't say much, as she headed for her trailer, located at the base camp past several fenced-in horse corrals.
Theirs aren't household names. But it can be said that both Bauer and Fiorentino are "hovering" on the edge of stardom/recognition.
Bauer played Al Pacino's likable buddy-accomplice in "Scarface," then went on to star as a lothario who turns himself into a married woman's dream lover in "Thief of Hearts." The latter fizzled, Bauer believes, because producers Don Simpson and Jerry Bruckheimer (the "Flashdance"-"Top Gun" team) lost interest after embarking on "Beverly Hills Cop." Said Bauer: "They got themselves a new toy--Eddie Murphy. Which was OK. It's just that 'Thief of Hearts' still needed a lot of attention."
Following "Wildfire," Bauer hopes to portray the late Jim Morrison. He has already sung on stage with two former members of the Doors. And he stars in the HBO movie, "Sword of Gideon," playing an Israeli commando. It begins airing late this month.
Fiorentino fairly stole the shaky show in the teen films, "VisionQuest" (her screen debut) and "Gotcha." And in Martin Scorsese's "After Hours," she got great notices with her casual portrayal of the kinky girl in black see-through netting (who contributes to Griffin Dunne's nightmarish night).
"Wildfire" has a kind of '40s feel to it, with its melodramatic edge and its cast of attractive performers.
At first Bauer was confused over whether the characters actually consummate their relationship during the reunion. He was relieved to learn that they do indeed--"but we're not going to shoot it." It's hinted at.
As originally scripted by King, the relationship was steamy. But producer Tokofsky convinced him to go subtle: "No matter how one looks at it, if a woman is married and has two children, you will totally lose your audience if she has an explicit sexual affair," the producer said.
To hear the film makers optimistically tell it, "Wildfire" could push Bauer and Fiorentino into the major leagues. Said Tokofsky: "I think they both sense that this is the kill, this is the big moment, as artists. You know, I can't say for sure what the film will do, overall. But I think it's going to make these actors. I tell you what, if it doesn't work, they'll both have to reshape and rethink their careers."
"I've seen all kinds of antics in this business," said Tokofsky. "I've seen every routine. My feeling is, 'Go ahead, do it. Embarrass yourself. And then, let's get back to work.' That's been my attitude."
Tokofsky has spent more than 30 years in the industry. He's a former Columbia Pictures vice president. ("Funny Girl," "Oliver!," "A Man for All Seasons" and others were produced under his aegis.) He's a former agent (to stars including Steve McQueen, George Segal and Robert Blake). He's been an independent producer. (He did the cult comedy "Where's Poppa?") Now partnered with businessman Stanley R. Zupnik (a real estate and horse-breeding tycoon from Maryland) in Zupnik Enterprises, Tokofsky is overseeing a six-picture slate, including "Wildfire."
He was amused to be asked about a brief rift with supporting actor Will Patton, who plays Fiorentino's husband. (And who was described by many of his co-workers as "a New York stage actor.") It happened when Patton initially balked when asked to wear a pair of Nikes on camera. (Tokofsky was going to show the shoes in exchange for T-shirts, jackets and running shoes that Nike provided for the production members.) Tokofsky reminded Patton that he'd asked to be able to leave the location for a visit with his girlfriend. Tokofsky was convincing: No Nikes, no time off. So Patton wore the Nikes.
Shortly afterward, Patton was a no-show at a party Tokofsky gave.
Then there were the rifts with Fiorentino.
They were more or less symbolized by a massive floral bouquet, which Fiorentino sent Tokofsky after filming had wrapped. "Speaking as someone who sends a lot of flowers, I'd say it had to have cost at least $300," said Tokofsky.
He went on to offer some cautionary words for would-be stars: "You can't be a star in this business without cooperation. Unless you make the best efforts, you're hurting yourself."
According to what a reporter heard and saw on the set and was told in interviews later, Fiorentino steadfastly refused to pose for a photographer from the photo syndicate Sygma who had been specially hired by the production for two weeks. Each time Francois Duhamel tried to snap a shot, Fiorentino either pulled her hair over her face or turned away. (She did, however, pose willingly for Calendar's photographer.)
Nor would she consent to be interviewed for the film's video press kit or the standard production notes.
