Lead: Paramount Pictures’ planned Face/Off sequel has lost director Adam Wingard, who departed the project last summer by mutual agreement, leaving the studio to seek a new filmmaker for the follow-up to John Travolta and Nicolas Cage’s 1997 hit. The move opens the sequel as an active assignment at Paramount while other filmmakers submit their concepts. Wingard had been attached since 2021 after an earlier 2019 development that involved producer Neal Moritz and writer Oren Uziel. The original film grossed roughly $240 million worldwide and earned an Oscar nomination for sound effects editing.
Key Takeaways
- Adam Wingard exited the Face/Off sequel last summer; the departure was described to The Hollywood Reporter as a mutual parting.
- Face/Off 2 is now an open assignment at Paramount, with multiple filmmakers reportedly pitching their visions to the studio.
- Development on a related project stretches back to 2019 when Neal Moritz was reported to be producing and Oren Uziel writing a remake.
- Wingard was hired in 2021 to direct a sequel he co-wrote with Simon Barrett; he later promoted progress on the script in 2024 interviews.
- The original 1997 Face/Off earned approximately $240 million globally and received an Academy Award nomination for sound effects editing.
- Wingard’s next scheduled release is the A24 thriller Onslaught, starring Adria Arjona, Dan Stevens, Drew Starkey and Rebecca Hall.
Background
The Face/Off property returned to Hollywood development conversations in 2019 when longtime franchise producer Neal Moritz and Paramount began exploring a remake, with Oren Uziel brought on to write. Two years later, the studio shifted course toward a sequel and tapped Adam Wingard—known for The Guest and Blair Witch (2016)—to direct from a screenplay he co-wrote with frequent collaborator Simon Barrett. That timeline placed Wingard on the project in 2021 amid an industry trend of revisiting 1990s franchises.
John Woo’s 1997 Face/Off, starring John Travolta and Nicolas Cage, combined high-concept action with a striking identity-swap premise and performed strongly at the box office, earning about $240 million worldwide and a technical Oscar nomination. Paramount’s interest in a follow-up reflects both the original’s commercial track record and the studio calculus that legacy titles offer built-in audience recognition. Over the last several years, the project’s shape and personnel shifted as the studio navigated script iterations and attaching filmmakers.
Main Event
According to The Hollywood Reporter, Wingard and Paramount agreed last summer to part ways, leaving the director’s chair open for Face/Off 2. The departure was not presented as acrimonious; sources described it as mutual, and the studio has signaled it will entertain pitches from other directors. Collider first reported news of Wingard’s exit, which THR later confirmed through industry contacts.
Wingard had publicly expressed enthusiasm about the sequel’s script during 2024 interviews while promoting Godzilla x Kong: The New Empire, calling the screenplay an exciting and unexpected continuation of the original’s premise. His other recent credits include tentpole entries in the MonsterVerse—Godzilla vs. Kong and Godzilla x Kong: The New Empire—demonstrating his facility with large-scale genre filmmaking, a likely reason Paramount initially courted him.
Paramount’s immediate course is to review pitches and proposals from filmmakers interested in taking over the project; insiders say the studio wants a director who can balance the original’s high-concept hook with contemporary action filmmaking. The timeline for any new hire, or for production to begin, has not been announced, and studio officials have not released a public statement beyond confirming the amicable separation to trade outlets.
Analysis & Implications
Wingard’s exit changes the project’s momentum and could push back production schedules. With the director gone, Paramount must either greenlight another attached filmmaker’s vision or reopen a wider creative search, which typically prolongs development. The open-assignment status also invites competing treatments, increasing the chance the sequel’s tone and approach will differ significantly from the iteration Wingard was developing.
From a commercial perspective, Paramount retains a valuable asset: Face/Off’s brand recognition and its 1997 box-office footprint. However, studios weigh the benefits of familiar intellectual property against audience appetite for reboots and sequels; finding a director who can both honor the original and offer a fresh angle will be critical to securing theatrical returns. Wingard’s track record with action tentpoles suggested one strategic direction; his departure creates an opportunity for a director with a different sensibility to redefine the project.
Artistically, a new auteur could change character focus, thematic emphasis, or the sequel’s relationship to the original—ranging from direct continuation to a looser thematic successor. That variety of potential outcomes is attractive to some creatives but raises questions for fans expecting a faithful follow-up. For talent attachment, the studio’s choice of director will influence casting appetites, financing partners, and international distribution plans, all of which affect commercial prospects.
Comparison & Data
| Title | Release Year | Global Box Office (approx.) | Notable Recognition |
|---|---|---|---|
| Face/Off | 1997 | $240 million | Oscar nomination (sound effects editing) |
This table highlights the original film’s commercial and awards footprint, which underpins Paramount’s continued interest in developing a sequel. Contemporary sequels often aim to exceed legacy box-office benchmarks, but achieving that depends on creative vision, marketing, and release strategy.
Reactions & Quotes
Industry outlets reported the departure first and then sourced confirmation from studio contacts; trades framed the split as mutual and procedural rather than contentious.
“Both sides mutually agreed to part ways on the project.”
The Hollywood Reporter (trade outlet)
“I think the script is really awesome,”
Adam Wingard, quoted in a 2024 interview
Those concise statements capture the public-facing narrative: Wingard had praised the screenplay in earlier interviews, yet the collaboration with Paramount concluded without a continued directing attachment. The limited public comments leave the specifics of creative differences or scheduling factors largely undocumented.
Unconfirmed
- No public, verifiable explanation has been released detailing the specific reasons for Wingard’s departure.
- Names of other directors actively in talks with Paramount for Face/Off 2 have not been confirmed by the studio or represented parties.
- The final status of the screenplay Wingard co-wrote with Simon Barrett—whether it will be used, revised, or shelved—remains unclear.
Bottom Line
Adam Wingard’s exit makes Face/Off 2 a reopened creative opportunity for Paramount and interested filmmakers. While the studio holds a property with proven commercial pedigree, the project’s ultimate shape will depend on the next director’s approach, script revisions, and the studio’s strategic priorities for release and marketing.
For fans and industry watchers, the key milestones to monitor are: which director Paramount hires (if any), whether the existing screenplay is retained, and whether a production timeline is announced. Those decisions will determine whether the sequel aims for a faithful continuation of the 1997 original or a new reinterpretation designed for contemporary multiplex audiences.
Sources
- The Hollywood Reporter — entertainment trade reporting that confirmed Wingard’s departure (trade outlet).
- Collider — initial report credited with first flagging Wingard’s exit (entertainment news).