The difference now was that he had a tidy $17m budget to play with and could scale up his vision considerably. For his next trick, Kelly planned to fuse several different genres, and expectations were unsurprisingly stratospheric. Little was Kelly aware that he had set the bar way too high and the media, who take almost as much pleasure from heralding heroes as they do celebrating their subsequent failures, placed him on a lofty pedestal, perched precariously between their cross hairs. The thing about being the cock of the walk is that it customarily concludes in clucking and plucking, should your next egg hatched be at all irregular. With justice now served, suddenly Kelly was considered the man with the plan. However, eventually life went on and gradually audiences discovered what is widely regarded as one of the greatest movies of its decade, if not an entire generation. With the whole of America, and indeed the world, in a state of intense shock, it was deemed insensitive to market a film which hit so close to home and, as a result, it mustered a measly $7.3m at the box-office. The crowd were in raptures, word duly spread, and a theatrical release was planned for October of the same year. When Donnie Darko was unleashed on an unsuspecting Sundance audience on Januit appeared as though the stars were aligning for its fresh-faced director, Richard Kelly.
Never let it be said that timing is anything less than everything.
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