A gunman ties up an actor and locks him in his dressing room just before a performance. He also puts a bomb with a 90-minute timer next to the actor. Then, he goes to a room above an LA plaza and draws a bead on the actor's lover, international arms dealer, Liberty Wallace. Calling himself "Joe," he calls her cell phone, demonstrates that a rifle is pointed at her, and tells her to cuff herself to a hot-dog cart nearby (the cuffs are there). Over the next 90 minutes, the story unfolds: as a result of his daughter's death, he wants a public debate on the Second Amendment. As Liberty begins to bond with Joe on the phone, he gets some truths from her - and his revenge. Written by
"LIBERTY STANDS STILL" was ripped off by "PHONE BOOTH," not the other way around!
"Liberty Stands Still" was the original phone-booth-style movie, actually coming out over a year before the much more popular film, "Phone Booth," did. "Liberty" premiered at the Palm Springs International Film Festival on January 18, 2002 and was released very soon thereafter. "Phone Booth," on the other hand, premiered at the Toronto Film Festival on September 10, 2002; got it's first US showing at the South By Southwest Film Fest on March 11, 2003; and and wasn't officially released to the US public until April 4th, 2003--well over a year after "Liberty Stands Still" played in theaters.
Who copied who? I don't know. All I know is that the idea for this type of 'phone booth' thriller movie first appeared to the public with "Liberty Stands Still" in early January, 2002 (maybe even a little before). Who knows when or with whom the idea originated? Maybe Joel Schumacher was sitting on the "Phone Booth" story for a decade before he started trying to get it made. But, as far as I can see, his film is likely to have copied "Liberty Stands Still," not the other way around.
If anyone knows otherwise or has evidence one way or the other, please post who first had the idea and your evidence for why you believe so. This is just a likely assumption. I don't know for sure.
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