Formerly the man behind the man-director Guy Ritchie, to be exact-producer Matthew Vaugh had enough of being the quiet one and grabbed hold of the wheel to direct his first feature-the smart and edgy gangster thriller, “Layer Cake” (2005). Despite expectations that he would fall flat on his face, Vaughn instead made a sharp movie that caused critics to swoon with delight. More polished and sophisticated than Ritchie’s comic heists, “Layer Cake” marked Vaughn’s emergence as a filmmaking force to be reckoned with. Even before the film opened in U.S. theaters, Hollywood considered him a hot prospect, seeking him out to direct “The Man from U.N.C.L.E.”. Not bad for a guy once derisively called Mr. Schiffer for his high-profile marriage to supermodel, Claudia Schiffer.
Born in Beverly Hills, California, Vaughn was educated at Stowe School in Buckingham, England. Taking a year off between Stowe and university, he traveled the world on a Hard Rock Café tour and landed back in Los Angeles… read more
Formerly the man behind the man-director Guy Ritchie, to be exact-producer Matthew Vaugh had enough of being the quiet one and grabbed hold of the wheel to direct his first feature-the smart and edgy gangster thriller, “Layer Cake” (2005). Despite expectations that he would fall flat on his face, Vaughn instead made a sharp movie that caused critics to swoon with delight. More polished and sophisticated than Ritchie’s comic heists, “Layer Cake” marked Vaughn’s emergence as a filmmaking force to be reckoned with. Even before the film opened in U.S. theaters, Hollywood considered him a hot prospect, seeking him out to direct “The Man from U.N.C.L.E.”. Not bad for a guy once derisively called Mr. Schiffer for his high-profile marriage to supermodel, Claudia Schiffer.
Born in Beverly Hills, California, Vaughn was educated at Stowe School in Buckingham, England. Taking a year off between Stowe and university, he traveled the world on a Hard Rock Café tour and landed back in Los Angeles, where he began working as an assistant to a director. He returned to London, attending University College London where he studied anthropology and ancient history. But the film bug had taken hold and he returned to Los Angeles to start his career. He quickly realized, however, that everyone in town was trying to do the same thing, so he crossed back over the Atlantic to make a name for himself in England-only to realize that the Brits had no film industry. Still, Vaughn got himself started at 25 by producing a little-seen thriller, “The Innocent Sleep” (1995), starring Annabella Sciorra and Michael Gambon.
Though “The Innocent Sleep” faired poorly at the box office, it managed to attract a bit of critical acclaim. Then a mutual friend of a friend of Guy Ritchie gave Vaughn a script for “Lock, Stock and Two Smoking Barrels” (1999); the two met over expensive coffee and quickly agreed to do the film, though financing took a headache-inducing 15 months. Though a long and arduous process-one that can make or break relationships-Vaughn and Ritchie came through at the end as friends and business partners. The film-a gangster comedy about four East End lads whose poker scam against a local gangster (P.H. Moriarty) backfires, resulting in a plot to rip off a gang of ganja farmers that only makes matters worse-toured the international festival circuit and reaped considerable reward at the box office.
With the clout earned from “Lock, Stock and Two Smoking Barrels,” Vaughn produced “Snatch” (2001), Ritchie’s return to the crime-ridden East End streets where a motley crew of miscreants, second-rate thugs and international gangsters chase an 86-karat diamond stolen from Antwerp. Though not as fresh as their previous effort, “Snatch” benefited from an unrecognizable-verbally, at least-Brad Pitt as an Irish street fighter to make a handsome sum internationally. Vaughn and Ritchie (as producer only) then put their muscle behind “Mean Machine” (2002), a British knock-off of “The Longest Yard” (1974) about a group of inmates who play the prison guards in a football match (soccer to us Yanks) that promises a hefty payday for a bookie inmate (John Forgeham) owed money by the captain of the inmate squad (former footballer Vinnie Jones made famous in “Lock, Stock” and “Snatch.”) Directed by first-timer Barry Skolnick, “Mean Machine” lacked the verve and originality of Vaughn’s previous producing efforts.
In what marked a decisive turning point in both career and future business relations, Vaughn and Ritchie embarked on a remake of Lina Wertmüller’s “Swept Away” (2002)-a career move that both probably wish they had never made. Starring Ritchie’s pop icon wife, Madonna, the film was stripped of the social and political commentary that made the original worthwhile, reducing it to a limp erotic romance that did nothing but stir contempt toward the characters. Rapped by critics for its irritating tone, poor acting and lack of story, “Swept Away” earned five Razzie Awards in 2002, including Worst Picture and Worst Actress for Madonna. According to tabloids, Vaughn and Ritchie had a falling-out over the film and speculation was rampant that the two would dissolve their partnership. Both denied the rumors, stating publicly that they remained friends.
Vaughn’s next project was “Layer Cake,” a directing opportunity that arose thanks to Ritchie’s desire to direct another film, the Vegas caper-comedy, “Revolver” (lensed in 2005). Expectations were low, but they soon changed when critics saw that Vaughn had directed a taut and entertaining gangster flick about a retiring drug dealer (Daniel Craig) forced to find the daughter of a kingpin’s friend while delivering a large quantity of Grade A ecstasy. Vaughn’s directing style was decidedly more lush in look and mature in tone than Ritchie’s, thus setting the stage for furture turns at the helm. Hot off the critical success of “Layer Cake,” Vaughn was tapped by 20th Century Fox to helm “X3,” the third instalment of the superheroic “X-Men” franchise, but shortly after coming aboard the director dropped out, reportedly to spend more time with his family. —TCM
