From high-stakes heists to heart-stopping showdowns, The Fix keeps audiences on the edge of their seats with its relentless pace and nail-biting suspense. As alliances shift and betrayals mount, Tucker and his team must confront their own demons while racing against time to complete their mission and secure the ultimate prize, their own redemption.

Ex-CIA Paramilitary officer Tucker (Zachary Levi) leads a team of disgraced and disillusioned ex-CIA operatives in search of millions in cash that were lost during the hijacking of the American embassy in Tehran in 1979. Working from a questionable tip of his old mentor and recruiter, Larry (Liam Neeson), who’s now quickly slipping into dementia, the rogue operation turns out to be a life changing mission for this band of brothers. As Tucker’s team embarks on a perilous journey into the heart of Iran, navigating a labyrinth of deceit and danger at every step, the web of intrigue tightens around them, and the stakes soar to unimaginable heights, pushing the team to their limits and testing their resolve.

GUY MOSHE’S VISION STATEMENT

“Everything we hear is an opinion, not a fact. Everything we see is a perspective, not the truth.” ― Marcus Aurelius, MEDITATIONS
By now, I have written and directed three films, each of them with its own singular vision. I have also produced many other films and written a few more. And yet, The Fix is the first time in my career that I finally decided to go back to this other world I was part of to try to say something worthy about why
we fight.
The central idea for the film came from Bazzel Baz, himself a veteran of the CIA’s special operations group. Baz was told a similar story to the one Tucker hears from Larry by a couple of older operatives he knew. There is indeed a forgotten hidden fortune in some wall of an undisclosed location in Tehran. There was even a real thought to go get it…
There is some quiet comfort in a life filled with missions. You wake up in the morning with a clear sense of purpose. And because you very often deal with life and death, it also seems important enough to push any other thoughts out of your mind. That clarity is addictive. An endless chase of goals that cease to matter other than the chase itself, and the suppressed fear that one day they’d be gone – what use is an arrow without a target?
Talking with Baz, I immediately saw the opportunity in his idea to capture that paradox… Imagine the personification of an arrow in its flight. That’s the kind of serene feeling those of us who volunteered for a special ops service were hooked on… But it’s a high that is entirely dependent on the existence of a target. An enemy. Unlike with other addictions, this one comes with a lot of social admiration and gratitude. I loved that feeling when I was in it. I loved feeling invincible and unafraid of death. It’s a Godly feeling. But looking back on it, as a father of three sons, I don’t wish it on my kids. And if I was ever going to tell this story I wanted this to be the main theme of it. That a warrior defines himself way more in opposition to evil than in the service of good. And because of it he is tainted. His field of view is at once narrowest and most intimate in the moment before hitting his target and drawing blood. The moment you strike your enemy is also the moment you see him most clearly, and in a way the people that launched you on this path never will. If they did, they might have been able to find an easier path to peace. Might have appreciated life more.
That’s what I realised when thinking about The Fix. That a self-serving mission could act as the perfect wakeup call in this tale. Because there’s no way to hide the real motivation behind the typical patriotic ideals. I wanted to tell a story about a group of guys both myself and Baz know so well, who, because they are cut off from their fix without any preparation, have to go on one last mission to make sure they don’t ever miss it again. As always, they begin by focusing on the task at hand. Namely, getting the money. But this time, they finally learn their lesson. Their real mission is making this mission their last. And to do that, they’ll need to focus on the flight of the arrow and not the target as it were…
Needless to say, this film is very personal to me. As a father, I grapple with the film’s central question on a daily basis. I am at once proud of the man I became, and grateful to characters such as Larry that have shaped me; and at the same time, I am ashamed of buying into it too eagerly in my youth, actively
rebelling against what they taught me to be.
I think that’s what I love about the script, that it doesn’t shy away from the weightier and/or different perspectives of the intricate plot, while also being careful not to present any of them as the truth itself. In my life, that was the lesson that made me into a man, the realization that if there is an absolute truth
somewhere, perhaps it’s God’s own perspective of things, but certainly not of any mortal man…
And at the same time, I still know and believe there are some things worth fighting and dying for… In a nutshell, that’s the one quality that unites all the characters in this tale. And it is itself the reason why we fight…

The Journey Begins

Writer-director-producer Guy Moshe is known for The Fix (2026), LX 2048 (2020) and Bunraku (2010). He was first introduced to the material for The Fix by Marina Grasic when they produced Catherine Hardwicke’s film Prisoner’s Daughter together. She had a sense that he was the right person to transform the existing material into a film worth making. Collaborating alongside Wendy Sweetmore and blessed by Bazzel Baz, Guy brought the project to long time producing partner Matthew G. Zamias, whom he had collaborated with since 2003.

Zamias had recently started the company Astral Future specifically for building projects like this and agreed to finance development for the picture, based upon Guy’s vision for the rewrite of the existing screenplay. Together Moshe and Zamias felt strongly that a screenplay that a globe-trotting action thriller with both espionage and heist elements was exactly what the international sales driven independent film market was seeking. Zamias then joined Sweetmore and Grasic to package the project driven by Moshe’s
directorial vision.

Moshe set off to write the screenplay with Mark Bacci, whom he and Marina had met on “Prisoner’s Daughter”. Upon the creation of a strong first draft, the team begin scouting potential locations that could accurately reflect the locations in the screenplay, where the characters inhabited far flung locales like Kabul during the American evacuation of Afghanistan, Paris, the sea and mountains of Azerbaijan, Iran (Tehran and Rasht), Istanbul and finally the United States.

Moshe, Zamias, Sweetmore and Grasic then set off to scout Tunisia, Istanbul and Athens, each offering its own flavor of how the locations of the film, excluding the United States, could be best served. Tunisia especially was enticing for the prologue of the film set in Afghanistan but ultimately it was decided that we needed to find a location that could offer as many different looks as possible.

Moshe found that in the country of Georgia, where both the city of Tbilisi and the mountains of Kazbegi were extremely enticing, as was the allure of shooting in locations that had very rarely been utilised in “Western” cinema. Moshe also felt that the local team, led by an old friend in Shalom Eisenbach, could rise to the challenge of what promised to be a grueling shoot. Moshe had experienced a similar grind during the making of his second film, “Bunraku” which was made in Romania, a relatively inexperienced territory for major productions at that time. Based upon his visit, the team started building a two-territory plan, to shoot in Georgia (the country) and Atlanta, Georgia (the state).

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