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 AUGUST
is the story of two brothers, Tom and Joshua Sterling (Josh Hartnett
and Adam Scott) whose Internet start-up, Landshark, is as hot as a New
York City summer – only this is the summer of 2001, their company is in
lock up, its stock price is plunging and, in a few weeks, the world
will change forever.
- View the movie trailer
But right now Tom is living the hedonistic life of an Internet star,
the kind we of guy we might have seen profiled on 60 Minutes II: he
dates multiple women, drives a bitchin' '69 Camaro convertible and
hangs out at a new club called Bungalow 8. But, like an emo version of
Patrick Bateman, it somehow never seems to matter that Tom is not quite
able to explain what his company actually does.
We learn this from an early scene in AUGUST. It's a business meeting to
which Tom shows up late – his brother Joshua has had to explain that
Tom’s not really into mornings – but nonetheless mesmerizes the
potential clients with the idea that what they want is "E. Pure E. Not
'e-commerce.' Not 'e-business.' Not 'click-and-mortar,' dear God,
please not that...You want 'E.' Pure 'E.' Not old, not tired, not
stepped on. Not a gram of 'E' and ten grams of baby laxative. 'E.'"
Tom Sterling is a true showman, a demigod in a cult – and culture – of personality.
Back at the office Tom is confronted by his COO Melanie Hanson (Robin
Tunney) with the news that without some fast cash, Landshark will soon
be underwater. The scene has Melanie sitting at Tom’s desk – she is the
grown-up in this situation, after all – yet it concludes with a sexual
flourish that brings their relationship back down into the dot.com
sandbox. Regardless of Melanie’s warning, at dinner later that night
Tom asks Dylan, his CFO, to look into his acquisition of a Gulf Stream
jet, convinced that Landshark can't afford to risk appearing like they
can’t afford it ("Bezos has one. Fucking Bezos!" Tom says.)
At the same restaurant Tom runs into Sarrah (Naomie Harris), a beautiful, no-nonsense woman with whom he clearly has a past.
The next day Melanie informs Tom that their main client is about to
file for bankruptcy and that Landshark stock is in the toilet. She
starts to suggest cutbacks and layoffs "but then there's the whole
perception thing," she admits. She also mentions that there is interest
in Landshark from a corporate raider named Barton Ogilvie (David
Bowie), but the catch is that Tom will have to give up about fifty
percent of the company. This is unacceptable to Tom and he throws
everyone out of his office.
Tom finds his brother Joshua at the Pussycat club, a strip joint with
an old-school pinball machine at which they play while Tom asks Joshua
to put his personal money back into the company. The brothers step
outside to argue, Tom reminding Joshua that Tom has always been good
with money, while Joshua, without saying yes or no, tells Tom "Just
because I'm smart doesn't mean I'm stupid" as he concludes the
discussion by descending into the subway.
That night Tom stops by his parents' Brooklyn brownstone for dinner. He
brings an expensive bottle of wine that fails to impress his father,
David (Rip Torn), but be becomes truly infuriated when his dad presses
him on what Landshark really does. In a speech that may sum up for many
the business-culture ethos of the pre-9/11 era (and remind others of a
similar movie speech about "plastics"), Torn's character rips into the
employees he observed on a visit to Landshark who sit at their Ikea
desks, play solitaire on their computers and eat Oreos all day.
"Now it's been a long day," Tom's father David says, "I'll give you
that. Ten in the morning 'till ten at night, seven days a week. But I'm
sorry – why would anyone give you a million dollars, just to watch you
sit around and eat Oreos?"
"Dad, add some zeroes, OK? Add two of them. That's what we're talking
about here," Tom shoots back, demonstrating at once the depth of his
denial and the degree to which he has totally missed his father’s point.
Tom repairs to a Manhattan lounge where Sarrah is working as a
bartender. Tom waits for Sarrah to finish work, shares a late supper
with her and walks her home, but she gently rejects his advances. Tom
ends at another bar where he picks a fight with a dot.com drone who
ends up kicking Tom’s ass.
The next morning Tom shows up to the office, bearing his battle scars,
while Melanie figures out quickly that he not only hasn't prepared to
give an important speech that day at e-Symposium, but that he has also
forgotten about the engagement entirely. At the symposium Tom's
scruffy, unwashed appearance only enhances his reputation as the enfant
terrible of the Internet. As Melanie and Joshua watch from the Green
Room, Tom's magnetic performance – all style and philosophy and no
practical content – mesmerizes the crowd by comparing Landshark’s
impact to the slicing-of-the-eyeball scene that opens CHIEN ANDALOU
followed by a litany of all that is over.
Later, Tom has successfully manipulated Sarrah back into his life with
an invitation to his loft for dinner. When she arrives, we learn that
Sarrah, a student of architecture, had designed the interior of the
loft, which means that Tom has been living surrounded by a constant
reminder of this smart and beautiful woman: no wonder he desperately
wants her back. They eat dinner and talk about a flattering Wired
magazine cover story on Tom that Sarrah read while she was away in
Europe. Tom thinks to ask Sarrah what she is doing, and promises to
attend an exhibition of her architectural work the following day. They
sleep together.
The next morning Tom, Melanie and Dylan meet with a lawyer for Barton
Ogilvie, who makes it clear that Ogilvie is interested in acquiring a
significant stake in Landshark, otherwise why waste each other's time.
Pouting like a child, Tom rubs his finger over a blemish on the
conference table as Melanie assures the lawyer they will be at the
meeting at 9:00am sharp the next day.
Later, Tom drives his convertible to the gallery showing Sarrah's work.
He is on time, but he doesn't go in: he sits in his car, either stewing
in his own professional humiliation or paralyzed by the idea of
actually growing closer to Sarrah. In any case, when he walks in five
minutes before the end of the show Sarrah doesn't hide her
disappointment, and she dismisses him from her life.
Tom, Melanie and Dylan are on time and dressed for their audience with
Barton Ogilvie, whose Saville Row morning suit and cane make Tom's
outfit look like it came from the boy's department at Sak's. Tom begins
the meeting talking about mutual happiness, but Ogilvie cuts to the
chase: he knows he can destroy Landshark with a whisper, and he isn't
interested in the company unless he gains a controlling stake and Tom
agrees to step down. In a rare display of loyalty, Tom agrees,
insisting that his brother, Melanie and Dylan remain and
well-compensated. Ogilvie agrees.
Back at the Pussycat Lounge and over a game of old-school pinball,
AUGUST ends where it begins – with two brothers talking about starting
a company together.
ABOUT THE PRODUCTION
If you spend a little time with Austin Chick you will get to know a
movie director who is sexy, self-assured and slyly funny, bristles at
the idea of compromise and is maybe just a little bit angry.
His first film, XX/XY, was released by IFC and starred Mark Ruffalo in
the memorable role of Coles, a New York City player entwined in a three
way love affair with two Sarah Lawrence women. Years later, not yet
married but in a committed relationship, the player comes of age when
he learns the emotional cost of his actions.
If you've seen that film, chances are during your encounter with Chick
you may find yourself opening up to him about your own past romantic
exploits.
"Yes, that happens a lot," he laughs. "Particularly during the casting of XX/XY, I heard the craziest stories."
The tone of the second scene in Chick's sophomore effort, AUGUST, might
have taken place in the same emotional universe as his debut: devoid of
dialogue, the scene begins in a restroom at a white-hot, brand new
nightclub on the far west side of Manhattan. The film’s hero, Tom
Sterling (Josh Hartnett), is in the bathroom with a beautiful woman. He
stands at the sink, looking into the mirror while she sits on the
toilet. They may or may not know each other; they may or may not have
just had a sexual encounter. In any case Tom leaves the bathroom. As he
glides through the club, empty except for a few semi-conscious
revelers, he looks at his ringing phone but does not answer it. He
steps out onto the street, swallowed by what Jay McInerny referred to a
couple of decades ago as "the dawn’s surly light."
McInerney and his literary contemporary, Brett Easton Ellis, may not be
the worst cultural touchstones with whom to begin a discussion of
AUGUST: their portraits of 80s era young adults navigating Gordon
Gekko's New York and Michael Ovitz’ Los Angeles resonated with a
yet-to-be represented generation in the same way AUGUST might.
With AUGUST, Chick has directed a movie that could finally portray of
these elusive X Y Zs just as they came into their own, buoyed in equal
parts by the Internet’s limitless freedom to create and lots and lots
of money, both real and imagined.
"Before shooting, the producers and I talked a lot about representing a
kind of lost generation," Chick says. "In terms of age, I feel like Tom
Sterling is a little young to be included in Gen X, but the explosion
of the Internet at the turn of this century was a pivotal moment in our
recent history, especially if you think about what has happened to us
economically.
"So I'm not sure Tom represents an entire generation," Chick continues,
"but I do think the character represents a typically contemporary
American attitude. That 'because I'm American and young and understand
money I can just sort of bully my way through any situation and it will
turn out to my advantage.' It's not so different from George Bush's
attitude going into Iraq: fast talking, full of shit, 'I may have
nothing to back up what I am saying but through my own power of spin I
can force this through.'
"It's hubris."
Chick introduces us to the character on a market analyst talk show,
only he is not in the studio, he is connected to the host (Ron Insana)
via his own web-cam, complete with headset and a slight time delay, as
was the fashion of the era, as if he were talking to us from outer
space.
"In the first few minutes of the movie we wanted to set up the idea
that Tom Sterling is a new kind of rock star. The archival news footage
from early 2001 leads into his appearance on TV and establishes the
time period – Tom Cruise and Nicole Kidman have just split up, Clinton
is on his way out and George W. is being sworn in. It establishes
Sterling as newsworthy – as something of a celebrity in his own right –
but also introduces the idea that he’s at the forefront of the dot.com
boom."
"We tried to set all that stuff up as quickly and efficiently as
possible – in just a few minutes – because this is really the story of
his fall. He’s at the edge of a precipice, a cocky young entrepreneur
whose empire is about to come crashing down."
Chick at this point offers that Insana was "totally cool to work with.
He was really into it and had all sorts of stories about real-life
personalities of the era."
Chick recalls that the Los Angeles producer David Levy had optioned
Howard A. Rodman's screenplay, several years ago when it was called
SILICON ALLEY.
Per Rodman, he had been inspired by a memory of the1948 Abe Polonsky
film FORCE OF EVIL, about a fast-talking lawyer for the numbers racket
and his more responsible brother. After looking at the classic, Rodman
"knew then and there" that he wanted to write a "Romulus and Remus
story: two brothers who build a city -- and what comes after."
"The second glimmer of what was to become AUGUST," Rodman continues,
"arrived a few weeks later, as I spoke with an old college chum who'd
become a 'millionaire on paper.' His company was losing money hand over
fist; there was no discernible product; no one even tried to describe
what the company did—and yet the more money it lost, the more enviably
it was perceived. This was a brave new world, and with it, a brave new
language: M.O.P. Burn rate. Click and mortar. Portal play. Lockdown.
Silicon Alley."
But, once written, SILICON ALLEY languished a bit. "The world it
described was just 'yesterday' enough not to have the edge of
immediacy," Rodman admits, "until David Levy helped re-conceive it as a
period piece, conflating the collapse of the dotcom bubble with the
fall of the Twin Towers. With his help, the piece became deeper, more
resonant: what we were now glimpsing was a lower Manhattan world that
would soon cease to exist. These were, in their glory and confusion,
the final days before September 11: hence, AUGUST."
"At the time David brought me the script, I thought it beautifully
captured this very specific moment in recent New York history," Chick
said, "but also our history as a nation. Those years were a turning
point. Just prior to 9/11 in New York and Silicon Valley there was this
ridiculous idea of money, because most of that money wasn't real, and
there was this crazy decadence as the market crashed down around
everyone. Howard captured that really well."
"It was Austin's brilliant work with actors on XX/XY that really just
knocked us all out," says Rodman. "Austin proved to be an invaluable
collaborator, always pushing us to deeper work. In the back-and-forth
Austin was particularly helpful with the character of Sarrah, who'd
been more of a cipher in the original draft and whom he re-rendered as
a fuller and more soulful being."
Chick and Rodman worked on the script back and forth for about a year,
brought on New York producer Charlie Corwin's Original Media (HALF
NELSON), and after hiring XX/XY casting director Ellen Parks, started
looking for actors, a process that would last almost another year.
AUGUST got a big boost at the end of 2006 when it was read by Josh
Hartnett's agent. At this point things moved quickly: AUGUST became
fully financed when the Manhattan based company 57th & Irving
joined Original Media on the project, and production began in New York
in mid-April of 2007.
"It's really different from anything Josh has done before," Chick said
recently. "He's played a lot of passive characters, and I wondered if
he could play this type of cocky, aggressive prick. We talked about it
a lot. Josh had his own reservations and knew it would be a big
challenge, but we eventually got to the point where we both got
comfortable."
"I think it's really interesting to see Hartnett in a role that allows
him to play against his natural boyish charm," Chick observes. “The
contrast between Tom Sterling's arrogance and Josh Hartnett's inherent
likeability brings a unique kind of character-based tension to this
movie."
Chick is equally excited about his casting choice for what he calls the
"spine" of the movie: Adam Scott and what he brings to the main
characters' fraternal bond.
"Adam is a phenomenal actor and a great guy to work with and I’d work
with him again in a second," says Chick, who met Scott a number of
years ago, after Scott portrayed Howard Hughes’ publicist in THE
AVIATOR and had a memorable role in ART SCHOOL CONFIDENTIAL. "I have
become a huge fan of the HBO series 'Tell Me You Love Me’ because of
Adam’s work in it, playing yet another completely different type of
character."
"There was a lot of pressure to cast names in these roles, but I was
able to get Adam into a room with Hartnett and they were great
together," Chick explains. He also offers a favorite moment in the
movie, when Tom berates his brother for apologizing in a meeting. "Josh
slapped Adam’s head really hard, much harder than Adam expected, and
you can see it in the movie," Chick says while flashing a huge smile.
Chick gives credit to Hartnett for coming up with the idea of Naomie
Harris to play Sarrah, Tom Sterling’s former girlfriend who comes back
into his life. Audiences will recognize Harris from her work opposite
Cillian Murphy in 28 DAYS LATER and in the PIRATES OF THE CARRIBEAN
franchise. “I’d never met her but thought she was great in TRISTAM
SHANDY, says Chick. “She projects a really vibrant inner life and a
sense of being both grounded and open that a lot of young Hollywood
actresses can’t.”
“We don’t have a lot of time to develop that relationship,” Chick
continues. “AUGUST is really the story of two brothers, but these other
storylines are just as important – Tom’s relationship with his dad, the
business, and with Sarrah – four elements that all had to be drawn
together. To make the audience care about the romantic relationship you
needed to clearly establish what role he’s played in her life and she
in his, and the value that her approval has for him. She’s someone who
knew him before he sold his soul.
I also felt it was important for the audience to see him through the
eyes of someone who’s not involved in the Internet world. What makes
her feel like a strong character is that she has her own interests
separate from him. That’s a lot to put on an actress and Naomie pulled
it off with grace, beauty, vulnerability and, ultimately, strength.”
When asked about working with Rip Torn, a veteran actor known for work
in such studio films as the MEN IN BLACK franchise and as the main
character in Ira Sachs’ Sundance Grand Jury prize winner FORTY SHADES
OF BLUE, Chick tows a relatively diplomatic line.
“Working with Rip there was never a dull moment. He screamed and
yelled, hurled insults – mostly at me – he even stormed off the set at
one point. He definitely kept me on my toes. And from one take to the
next it was completely different – he’s hollering one take, laughing in
another, and then inexplicably singing the next. But, man, when you cut
it all together he’s amazing. The performance feels totally coherent
and he’s just absolutely fascinating to watch. He has perhaps the most
important speech of the film and I can watch it over and over again.”
“I learned something from David Bowie,” Chick continues, explaining
that he shot Bowie’s scenes in AUGUST after Torn had completed his, and
that Bowie had worked with Torn way back in the mid 70s, on the Nicolas
Roeg movie THE MAN WHO FELL TO EARTH. “Bowie had asked how Rip was, and
I diplomatically answered that Rip had kept us on our toes,” Chick
says. “Then Bowie tells me that Rip had been just as crazy over three
decades ago. According to Bowie, Rip had warned Roeg, ‘If you treat me
like a dog, I’ll bite you like a dog.’ Rip didn’t bite me, but he sure
barked a lot.”
# # #
A rich golden patina seems to bathe the exterior scenes of AUGUST,
while interiors seem to be photographed with a crisp, businesslike
attention to detail.
“We shot on 500 speed Fuji movie stock and in anamorphic wide screen,
which takes a lot of light,” explains Chick. “We underexposed
everything by a stop, which reduces contrast and saturation, so we
brought some of that back in post. Overall the movie has a slightly
faded look which I really like.”
“I wanted to shoot wide screen mainly because it’s a great format to
depict loneliness. You get a sense of how isolated the character is
when he is presented in wide screen. My DP Andrij Parekh (HALF NELSON)
and I watched a couple of wide screen movies before shooting AUGUST.
Most influential was that early John Boorman film, POINT BLANK with Lee
Marvin (remade with Mel Gibson as PAYBACK) about a guy who is
double-crossed by his best friend during a robbery and left for dead.
He comes back and all he wants is his $60,000, but his friend has run
off with his wife, so he’s totally alone. Most people think of wide
screen as best suited to the endless vistas of Westerns, but POINT
BLANK is, like our film, mostly interiors, and both of our heroes
really are alone up there.”
One early exterior shot in AUGUST is a tracking shot whose vista
culminates in a skyline dominated by the twin towers of the World Trade
Center. People who attended the Sundance Film Festival in 2002 might
recall a common dilemma faced by a number of filmmakers, particularly
New York filmmakers, that year: do I leave that great shot of the
towers in my film or do I somehow try to take it out?
Chick may be the first Sundance filmmaker since 2002 who has had to
figure out how to incorporate the World Trade Center back into a shot,
actually into three shots.
“Of the very few people who have seen this movie, not all of them
noticed the Twin Towers when they show up,” Chick observes, “and that’s
all to the good.”
“I knew it would be a bit of a balancing act. There were a few mentions
of the towers in the script to remind audiences of the precise period
in which action takes place, but I certainly did not want to make what
happens to them a plot point and I didn’t want their presence to be
exploitative. I wanted the tension to come from the relationships, not
the fact that 9/11 is around the corner.”
The composite shots were created in post-production by Ari Levinson, a
film student at USC. The Twin Towers are visible late in the film,
through the windows of the lobby of Ogilvie’s building before Tom’s
humbling encounter, and WTC building 7, which was destroyed on 9/11, is
visible in the last exterior as Joshua crosses the street to meet his
brother inside the Pussycat Lounge.
Chick admits that he “stole a lot” for his first film, by which he means shooting exteriors in New York City without a permit.
“The script for AUGUST didn’t have that many exteriors, but we scouted
them really carefully for period reasons. And while the budget for
AUGUST was certainly larger than what it cost to get XX/XY made, it was
still a really, really hard shoot. We had more money but, because we
were working with the unions, less time. The trade-off was that we had
a great crew. I really liked everyone we worked with.”
Chick recalls an attempt to conserve time by stealing some shots of Hartnett driving around Manhattan.
“We finished early with David Bowie,” he explains, “so we decided to
knock off some stuff of Josh driving down the West Side Highway and
around the Village. By total coincidence we parked in front of [the
trendy restaurant] The Park, where the police commissioner happened to
be celebrating his birthday. The place was swarming with off duty cops,
who immediately saw we had no permit, no police escort, and they shut
us down. They told us we had to wait for an escort but we were losing
the light fast. So I took Josh aside, pointed out the police
commissioner and said ‘Go kiss the guy’s ass a little. See if you can
butter him up. The sun is going down and the light is beautiful right
now. If we wait any longer we’ll never get this shot.’ So Josh went
over and introduced himself, said hello, chatted with the guy a bit and
we were on our way. “’Go ahead and make your movie,’ they said.”
ABOUT THE CAST
JOSH HARTNETT (Tom Sterling) was born in San Francisco and raised in
Minneapolis, Minnesota. He first came to audiences' attention as
"Michael 'Fitz' Fitzgerald" in the television series "Cracker". He made
his feature film debut in 1998, co-starring with Jamie Lee Curtis in
HALLOWEEN: H20 for Miramax. That same year, he received an MTV Movie
award nomination for Best Breakthrough Performance. Also in 1998, Josh
starred in THE FACULTY directed by Robert Rodriguez, again for Miramax.
In 1999 he starred in Paramount Classics critically acclaimed black
comedy THE VIRGIN SUICIDES opposite Kirsten Dunst, Sofia Coppola's
directorial debut.
In 2001 Hartnett hit a stride by starring in three features. He
portrayed the antagonist in the Lions Gate Film O, a modern day version
of Othello. His portrayal of the dark and dangerous character, Hugo,
earned him widespread praise. He then landed a role in the Jerry
Bruckheimer blockbuster PEARL HARBOR which earned over $1 billion
dollars worldwide for Disney. He segued to Morocco where he starred in
Sony’s BLACK HAWK DOWN for director Ridley Scott, again, a Jerry
Bruckheimer production. The film, which was based on Mark Bowden's 1999
nonfiction novel of the same name, told the story of an ill-fated U.S.
Humanitarian mission in Somalia which took place on October 3. 1993. In
2002 the National Theater Owners awarded him with the ShoWest 2002 Male
Star of Tomorrow Award.
Josh starred in MGM's WICKER PARK opposite Diane Krueger and Rose Byrne
for director Paul McGuigan, Miramax’s SIN CITY for director Robert
Rodriguez, and MOZART AND THE WHALE written by Ron Bass (a love story
between two people with Asperger's Syndrome). Recently he starred in
LUCKY NUMBER SLEVIN with Morgan Freeman and Bruce Willis for The
Weinstein Company and THE BLACK DAHLIA for director Brian De Palma.
Hartnett recently starred in RESURRECTING THE CHAMP opposite Samuel L.
Jackson, directed by Rod Lurie, and in Sony’s 30 DAYS OF NIGHT for
director David Slade.
Additional film credits include HOLLYWOOD HOMICIDE, 40 DAYS AND 40 NIGHTS, BLOW DRY, TOWN AND COUNTRY, and HERE ON EARTH.
NAOMIE HARRIS (Sarrah) is one of London’s most promising imports,
Naomie Harris takes on Hollywood with an innate acting ability,
strength, and beauty that emanates on-screen. She achieved leading lady
status in the critically acclaimed thriller 28 DAYS LATER, and has
continued to grow with numerous blockbuster projects.
Harris recently received a 2007 BAFTA Award nomination for the Orange
Rising Star Award for her performance in PIRATES OF THE CARIBBEAN: DEAD
MAN’S CHEST.
Harris recently reprises her role as Tia Dalma, the gypsy queen –
playing a more key role, in PIRATES OF THE CARIBBEAN: AT WORLD’S END
opposite Johnny Depp, Orlando Bloom, Geoffrey Rush and Keira Knightly.
Harris is currently in production on the Original Media film, AUGUST,
from director Austin Chick. Harris stars as the female lead, spunky
no-nonsense Sarah, opposite Josh Hartnett. AUGUST centers on two
brothers fighting to keep their start-up company afloat on Wall Street
during August 2001, a month before the 9/11 terrorist attacks.
This past summer, Harris starred the blockbuster smashes PIRATES OF THE
CARIBBEAN: DEAD MAN’S CHEST and MIAMI VICE, opposite Jaime Foxx and
Colin Farrell. Other recent film credits include the critically
acclaimed TRISTRAM SHANDY: A COCK AND BULL STORY and Brett Ratner’s New
Line film, AFTER THE SUNSET, with Pierce Brosnan, Salma Hayek, and
Woody Harrelson.
Brought up in North London, Harris has studied acting since she was
nine years old. She graduated from Cambridge University (Pembroke
College) and went on to train at the prestigious Bristol Old Vic
Theatre School (Alumni include Daniel Day-Lewis, Brian Blessed, Miranda
Richardson, and Jeremy Irons).
Complementing her training in 2000, Harris spent her first year out of
drama school doing theatre before auditioning for director Danny Boyle
in 2001 and securing the co-lead (Selena) in 28 DAYS LATER. Harris then
went on to play Clara in the Channel 4 adaptation of Zadie Smith’s
Whitbread winning novel “White Teeth,” and then starred with Matthew
Macfayden (Spooks) as Maggie in Peter Kosminsky’s two-part political
docudrama ‘The Project” for the BBC. Since then Harris has starred
opposite Colin Firth and Mena Suvari in Marc Evan’s film TRAUMA.
Harris currently resides in London.
RIP TORN (David Sterling) With his upcoming performance in the film
adaptation of Chekhov’s “The Sisters,” and with the praises still
ringing from his work as King Louis XV in Sophia Coppola’s MARIE
ANTIONETTE as well as in the Sundance Film Festival prize winner 40
SHADES OF BLUE. , Rip Torn is at the top of his game. And a very
distinguished game it is and has been.
Nominated for an Oscar for Robert Radnitz and Martin Ritts’ CROSS
CREEK, as well as being an Emmy, Obie, an American Comedy Award and
Cable Ace multi-award winner, Torn is widely regarded as one of the
great dramatic actors of film, theatre and television. His recent
performances in comedy have been earning him awards (Emmy and others)
for over a decade. These include such box office hits as Paramount’s
YOURS, MINE AND OURS with Dennis Quaid, DODGEBALL with Ben Stiller and
Vince Vaughn, and the MEN IN BLACK series. His portrayal of Artie, the
acerbic talk show producer on Garry Shandling's classic “The Larry
Sanders Show,” became one of TV’s most beloved comedy characters and
won him an Emmy in 1996 for Best Supporting Actor in a Comedy Series,
two Cable Ace Awards as Best Actor in a Comedy, the American Comedy
Award and six consecutive Emmy nominations. Recent big screen comedy
roles include ZOOM, a Revolution Film and Sony release which teams him
with Tim Allen and Courtney Cox, as well as Dreamworks animated comedy
BEE MOVIE which he voices with Jerry Seinfeld, Renee Zellweger and
Robert Duvall, as well as the animated feature CAT TALES.
In the independent film world, Torn has starred in such acclaimed
features as WHERE THE RIVERS FLOW NORTH and the cult classics THE MAN
WHO FELL TO EARTH, PAY DAY, and HEARTLAND. His luminous stage career
includes many Obie awards, including one for his portrayal of Brick in
the Broadway production of Tennessee Williams’ “Cat on a Hot Tin Roof”.
More recently, he triumphed in Eugene O'Neill's “Anna Christie” and in
Horton Foote’s “The Young Man From Atlantis”. Through his own stage
company, he recently directed his daughter, Angelica, and son, John, in
John Paul Alexander's “Strangers in the Land of Canaan” at the Actors
Studio, an organization of which he is a career-long member. He has
also directed films such as THE TELEPHONE starring Whoopi Goldberg, and
RIO FRIO starring Kris Kristofferson.
As a stage director, Torn was responsible for productions of “Richard
III,” Murray Schisgal's “Walter” and Jerome Kilty's “Look Away” (the
latter starring Geraldine Page and the poet Maya Angelou). He has also
directed and performed in "Two By Chekhov" for PBS, as well as in
Shaw's “The Village Wooing”. He produced McClure's “The Button” and
“Spider Rabbit” and introduced James Baldwin’s work to Broadway,
presenting “Blues For Mr. Charlie” at the Actors Studio Theatre. He
directed, co-produced and performed in THE BEARDING OF A PRESIDENT, a
documentary collaboration with Barbara Kopple and Marc Weiss. Torn was
also a consultant on Kopple's Oscar-winning documentary feature, HARLAN
COUNTY USA.
With his distinctive voice and interpretations, Rip Torn is one of the
most in-demand voice-over artists. THE FIRES OF KUWAIT, which he
narrated, won the Best Documentary Oscar.
EMMANUELLE CHRIQUI (Morela Sterling) most recently completed YOU DON’T
MESS WITH THE ZOHAN opposite Adam Sandler for Columbia Pictures. ZOHAN
hits theatres in May of 2008. Next year, Chriqui will also be seen in
the independent film PATRIOTVILLE starring opposite Justin Long. This
past year she also filmed the independent feature TORTURED in which she
stars opposite Laurence Fishburne. Chriqui is best known as 'Sloane' on
HBO's "Entourage." Her other television credits include recurring roles
on "The O.C." and the HBO series "Unscripted" from George Clooney and
Steven Soderbergh. Born in Montreal and raised in Toronto, Chriqui
currently splits her time between Los Angeles and New York.
ANDRE ROYO (Dylan Gottschalk) For a fifth season, Andre Royo will
portray series regular, ‘Bubbles,’ on HBO’s critically acclaimed show
“The Wire.” His television credits include such diverse shows as
Lifetime’s “Strong Medicine,” “CSI: Miami,” “Cuts,” and “Law and Order:
Special Victim’s Unit.”
From small to big screen, Royo first appeared in John Singleton’s
SHAFT, followed by independent feature, G, with Blair Underwood. On the
film festival circuit, Royo’s work received praise at the 2001 American
Black Film Festival for BIG BANK TAKE LITTLE BANK, and in 2004, at the
Pan African Film Festival for his writing and acting in ANDRE ROYO’S
BIG SCENE. In 2005, he appeared in JESUS CHILDREN OF AMERICA, a short
film directed by Spike Lee and showcased at the Cannes Film Festival.
Royo has participated in several Off Broadway Theater groups, including
the troupe of professional and amateur actors that performed “The 24
Hour Plays.” In addition, his directorial debut “In The Last Car,” won
the Audience Award at the Downtown Urban Theater Festival and was an
official entry in the Hip-Hop Theater Festival. This October, Royo will
hit the stage once again to perform at the Public Theatre in the
LAByrinth Theatre Company’s, “A View from 151st St.” Andre Royo
currently resides in Los Angeles.
ADAM SCOTT (Joshua Sterling) A dynamic young actor, Adam Scott has
crafted a distinguished career in theatre and television and is quickly
becoming one of the finest newcomers to hit the big screen.
Adam is currently shooting the comedy STEP BROTHERS, co-starring Will
Ferrell and John C. Reilly for director Adam McKay and producer Judd
Apatow. The film focuses on three spoiled guys who become stepbrothers
after their single parents get hitched.
In addition, Adam stars in the highly anticipated HBO series “Tell Me
You Love Me” which features an ensemble cast and premieres in September.
Adam recently appeared in the blockbuster comedy KNOCKED UP, directed
by Judd Apatow. He will soon be seen in THE GREAT BUCK HOWARD opposite
John Malkovich. This previous year, Scott appeared in the dramatic
thriller FIRST SNOW, directed by Marc Fergus and co-starred Guy Pearce,
the dark comedy CORPORATE AFFAIRS for director Dan Cohen, and the
romantic comedy WHO LOVES THE SUN starring with Lukas Haas and Molly
Parker for director Matthew Bissonette.
Prior to that, Adam appeared in ART SCHOOL CONFIDENTIAL with John
Malkovich and Anjelica Huston, directed by acclaimed filmmaker Terry
Zwigoff, for Sony Pictures Classics. Additional feature film credits
include THE RETURN, THE MATADOR opposite Pierce Brosnan, Greg Kinnear,
and Hope Davis and New Line Cinema’s romantic comedy, MONSTER-IN-LAW,
directed by Robert Luketic and starring Jennifer Lopez and Jane Fonda.
In addition, Adam portrayed Johnny Meyer, Howard Hughes' smarmy press
agent in Miramax’s Oscar-winning film THE AVIATOR, alongside Leonardo
Dicaprio, Cate Blanchett, John C. Reilly and Alec Baldwin for legendary
director Martin Scorsese. Adam was previously seen in the Warner Bros.
action feature TORQUE; Carl Franklin's HIGH CRIMES; the independent
black comedy TWO DAYS; Christopher Haifley's independent film RONNIE;
STAR TREK: FIRST CONTACT and numerous independent films including
Robert Mickelson's OFF THE LIP; Jonathan Kahn's GIRL; Ted Melfi's
WINDING ROADS; David McKay's THE LESSER EVIL; Lawrence Trilling's
DINNER & DRIVING, and Derek Simonds' SEVEN AND A MATCH.
In a notable two-episode stint on HBO's acclaimed "Six Feet Under,"
Adam played the role of Ben Dooley, a public defender and boyfriend to
Michael C. Hall's character, David Fisher. Additional television
credits include "Law & Order,” "Veronica Mars,” Ken Cameron's
"Payback," an ABC movie-of-the-week with Mary Tyler Moore and Ed Asner,
“Wasteland," "Party of Five," “Murder One," “NYPD Blue," and "E.R."
Scott’s stage credits include roles in “Uncle Bob,” a two man show with
Austin Pendleton in Los Angeles, New York and Edinburgh; Richard
Greenberg's “Everett Beekin” for South Coast Repertory; “Romeo and
Juliet” at the California Shakespeare Festival in Berkeley; “Dealer's
Choice” and “Buffalo Hunters” for The Mark Taper Forum; “Beirut” for
Gardner Stage; “Water and Wine” for the Met Theatre; and “Bloody
Poetry” for the Globe Theatre.
ROBIN TUNNEY (Melanie Hanson) Robin Tunney studied acting at the
Chicago Academy for the Arts, spending her summer performing in such
plays as "Bus Stop" and "Agnes of God". She moved to Los Angeles at the
age of eighteen and shortly landed roles in such television shows as
"Life Goes On,” "Class of '96" (recurring), "Law & Order,” HBO's
"Dream On,” and the ABC mini-series “J.F.K.: Reckless Youth” in which
she played Kit Kennedy. THE CRAFT (1996) was Tunney's first film lead
though she has appeared in many supporting roles. Additional film roles
have included JULIAN PO, VERTICAL LIMIT, CHERISH, HOLLYWOOD LAND, and
THE ZODIAC. Most recently, she has played the role of Veronica Donovan
in the Fox television series “Prison Break.”
ABOUT THE FILMMAKERS
Austin Chick (Director) comes from a background in painting. After two
years at Sarah Lawrence, he then spent 18 months hitchhiking around the
country, followed by two weeks living on an Indian reservation in South
Dakota, and a few weeks living in Scheofield Barraks on Ouahu posing as
a private in the US Army. He went on to study filmmaking at Purchase
College, graduating in 1998.
Chick’s first feature XX/XY, starring Mark Ruffalo, premiered in
Dramatic Competition at Sundance `02. It was released in theaters by
IFC Films in 2003, and played across the United States to widespread
critical acclaim. Through Senator International it has been distributed
worldwide.
Chick has since worked as a producer on BEFORE THE DEVIL KNOWS YOU’RE
DEAD, with Sidney Lumet directing. Released in the fall of `07, the
film stars Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei, and
Albert Finney.
Other projects in the works include LOVE IS EASY, a bittersweet
dramatic-comedy about foibles of the heart, a revenge thriller titled
GRRLS AGAINST BOYS, and a dark psychological thriller set in the
Hamptons.
Howard A. Rodman (Writer) wrote two films that are premiering at the
2008 Sundance Festival: his original screenplay AUGUST, and SAVAGE
GRACE, based on the nonfiction book by Steven M. L. Aronson and Natalie
Robins.
SAVAGE GRACE, from Killer Films, is directed by Tom Kalin and stars
Julianne Moore, with Stephen Dillane and Eddie Redmayne. AUGUST,
produced by Original Media and directed by Austin Chick, stars Josh
Hartnett with Adam Scott, Naomie Harris, Robin Tunney, Rip Torn, and
David Bowie.
These will be Rodman’s second and third Sundance films: his adaptation
of the Joseph Mitchell classic JOE GOULD'S SECRET, starring Ian Holm
and Stanley Tucci, was the Opening Night selection of the 2000 Sundance
Festival, and was subsequently released by October/USA.
On the small screen, Rodman wrote several of the episodes of the
Showtime anthologies FALLEN ANGELS and THE HUNGER, writing for
directors Tony Scott, Steven Soderbergh, and Tom Cruise. These garnered
him two separate Cable Ace nominations for Best Writing. (Rodman's own
directorial debut, NO RADIO, was also seen on Showtime.) More recently,
Rodman wrote a one-hour dramatic pilot for HBO, entitled “213,” for
producers George Clooney, Grant Heslov, and Steven Soderbergh.
In addition to the multiple outings for Soderbergh [who repaid the
favor by giving sleazy characters in both TRAFFIC and THE UNDERNEATH
the name of "Mr. Rodman"], Rodman has also worked with Errol Morris,
Chantal Akerman, Peter Bogdanovich, David Lynch, Maurice Sendak,
Rodrigo Garcia, David Siegel & Scott McGehee, John McTiernan, and
Clive Barker.
His novel, DESTINY EXPRESS, from Atheneum, appeared in 1990 and was
favorably reviewed in THE NEW YORK TIMES BOOK REVIEW and elsewhere.
Among the blurbs was one from Thomas Pynchon, who described the book as
"daringly imagined, darkly romantic--a moral thriller." The novel was
published in England by André Deutsch and was also issued, in
translation, in France, Germany, Italy, and Japan. It was just
republished in Italy by Sartorio.
Rodman's original screenplay, "F.," was chosen by PREMIERE magazine as
one of "Hollywood's Ten Best Unproduced Screenplays." It was also
excerpted in the “best unproduced screenplays” issue of WRITTEN BY.
Since his undergraduate days as editor-in-chief of The Cornell Daily
Sun, Rodman has written much journalism, including stints as West Coast
Editor of Millimeter and as a monthly columnist for The Village Voice.
He has written Op-Ed pieces for The New York Times and The Los Angeles
Times. More recently, his profiles of magician Ricky Jay and film
editor Dede Allen have appeared in the pages of Los Angeles magazine.
His voice-over commentary graces several Claude Chabrol DVDs from
Pathfinder Video, and he's written the liner notes for the Criterion
edition of THE FALLEN IDOL. His short fiction and essays have appeared
in recent issues of Black Clock. His political writings can be read at
http://www.huffingtonpost.com/howard-a-rodman/.
He founded the WGA/w Independent Caucus, which he currently co-chairs,
and served for ten years on the Board of Directors of the Independent
Feature Project/West [now FilmIndependent].
Rodman is a frequent moderator at events for the WGA, the AFM,
Sundance, the City of Lights/City of Angels Film Festival, the LA
Cornell Alumni Association, and the Santa Monica Museum of Art. He
conducted a Master Class presentation at the University of Texas at
Austin, and led the SACEM workshops in Vittel and Rochefort, France, as
well as Sundance Labs in Parati, Brazil, and Wadi Feynan, Jordan.
Rodman has been profiled in Salon, LA Weekly, and the WGA's Written By
magazine; has been interviewed by The New York Times, iFilm, and
indieWIRE; and has been a guest on KCRW's The Treatment with Elvis
Mitchell and the NewsHour on PBS. Rodman was, with the late Kurt
Vonnegut, Jr., a featured speaker at the 125th Anniversary celebration
of The Cornell Sun.
He is a Professor (and former Chair) of Screenwriting at the USC School
of Cinematic Arts; an Artistic Director and Creative Advisor to
Sundance Institute Writing Labs and currently serves on the Board of
Directors of the Writers Guild of America, west.
He lives in Los Angeles with his wife, the writer and USC professor
Anne Friedberg, their son Tristan, their dog Nemo. Their house, the
1957 John Lautner "Zahn Residence," has been widely published. Their
work with Lautner in restoring it was chronicled in the February 2002
issue of DWELL magazine.
Charles Corwin (Producer) is a New York born and raised multi media
producer who was named one of VARIETY’s 10 Producers To Watch in 2006.
In 2002, Charles Corwin co-founded Original Media to produce unique
stories for film, television and alternative media. His film credits
include THE SQUID AND THE WHALE, A GUIDE TO RECOGNIZING YOUR SAINTS and
HALF NELSON.
THE SQUID AND THE WHALE premiered at the 2005 Sundance Film Festival
where it won awards for Best Director and Best Screenplay. The film was
released by Samuel Goldwyn Films and Sony Pictures in October 2005. It
has since been nominated for 6 Spirit Awards (including Corwin for Best
Picture), 3 Golden Globes (including Corwin for Best Picture) and 1
Academy Award.
HALF NELSON premiered at Sundance in 2006. The film went on to receive
multiple nominations and awards including Best Picture at the Gotham
Awards, 5 Independent Spirit Award nominations (including Best Picture)
and won awards for Best Actor and Best Actress, and 1 Oscar nomination
for Best Actor (Ryan Gosling). A GUIDE TO RECOGNIZING YOUR SAINTS also
premiered at Sundance in January of 2006 where it won Best Director and
Best Ensemble Cast and went on to win Critics Week at the Venice Film
Festival. The film was also nominated for 3 Independent Spirit Awards.
Corwin is also currently producing multiple series for television and
original content for digital distribution.
Clara Markowicz (Producer) has spent the past 10 years in the world of
entertainment. After having cultivated her production talents on a
number of high-profile special events, television shows, and music
videos, Clara Markowicz founded Original Media with her partner Charlie
Corwin in 2001. As a Managing Partner of Original Media, Clara not only
runs operations at the company, but supervises the production of all
in-house projects such as "Miami Ink" and "La Ink" for TLC, "Storm
Chasers" for Discovery, and "Crusty's Dirt Demons" for Fuse. The
company has produced the films THE SQUID AND THE WHALE, A GUIDE TO
RECOGNIZING YOUR SAINTS and HALF NELSON. Clara and Charlie were named
by Variety as one of the "10 Producers to Watch" in 2006.
Elisa Pugliese (Producer) is an executive producer on
Nanette Burstein's AMERICAN TEEN which will premiere at the 2008
Sundance Film Festival. She developed and produced Mary Stuart
Materson's directorial debut THE CAKE EATERS with Kristen Stewart,
Aaron Stanford and Bruce Dern. THE CAKE EATERS premiered at the Tribeca
Film Festival and recently won audience awards in Fort Lauderdale and
Michigan. She is also an executive producer on Chai Vaserhelyi's I
BRING WHAT I LIVE; THE STORY OF YOUSSOU N’DOUR (currently in
post-production) and is in development on HAM LAKE, starring Sam Rosen,
with Josh Hartnett attached as a producer as well as in a supporting
role. She started in the industry as an actress with extensive
experience in New York City with theater companies such as Naked
Angels, Malaparte, and The Atlantic, and in television and film
appearing in “Law and Order”, “Oz”, “School of Rock” and “Kinsey”. She
serves on benefit committees for New York Women in Film and Television,
amFAR, and Spirituality for Kids.
David Guy Levy (Producer) had his first experience as a producer with
the feature film SEXUAL DEPENDENCY, shot on location in Bolivia and New
York. SEXUAL DEPENDENCY made its world premiere at Locarno, where it
was given the Fipresci Award by the International Film Critics
Federation. The film was then featured in numerous festivals, including
Telluride, Toronto, and Hamptons, and ultimately became Bolivia's
official selection for the Academy Awards. David followed this
experience by founding Periscope Entertainment in 2004, with the
mission to keep producing thought provoking cinema and quality
entertainment. In 2005, David went on to produce LYING, starring Chloe
Sevigny, Jena Malone and Leelee Sobieski. The film went on to be an
official selection of the Cannes Film Festival in 2006. His upcoming
projects include LONDON FIELDS, adapted from the book by Martin Amis.
Patrick Morris (Executive Producer) comes from a diverse background in
the financial industry. He began his career in sales and marketing at
Pillette Investment Management, a quantitative research firm. From
there, he went to Institutional Sales at Deutsche Bank, and
subsequently to Blaylock Partners and to Pulse Trading. Most recently,
he was in institutional sales at Natexis Bleichroeder. He has brought
his investment background and his passion for film to 57th &
Irving. Patrick Morris is owner of 57th &
Irving Productions in NYC. He is an executive producer on Nanette
Burstein's AMERICAN TEEN which will premiere at the 2008 Sundance Film
Festival. He is also an executive producer on THE CAKE EATERS with
Kristen Stewart, Aaron Stanford and Bruce Dern and an executive
producer on Chai Vaserhelyi's I BRING WHAT I LIVE; THE STORY OF YOUSSOU
N’DOUR.
Roshelle Berliner (Production Designer) has been involved as a
Production Designer on a number of films within the past few years.
Films such as JOSHUA and DIGGERS have received a measure of festival
success, followed by a limited nationwide release. Her most recent
films premiering at Sundance include CHOKE, AUGUST and QUID PRO QUO.
She has a fine arts degree from Parsons School of Design which led to
the start of her career as a Production Designer . Roshelle’s approach
as a designer is to keep the sets looking natural while still
maintaining the demands for high production value.
Pete Beaudreau (Editor) grew up in New York and received a BFA in Film
from Purchase College. Following school, Pete began assisting and
editing at Washington Square Films for directors Peter Sillen and Jeff
Feuerzeig. Pete soon met director Cory Mcabee which led to editing his
first feature film THE AMERICAN ASTRONAUT, screening at the 2001
Sundance Film Festival. From there he went on to collaborate with
Austin Chick, editing his directorial debut XX/XY. Pete has since
edited several features including ROOM directed by Kyle Henry which
screened at both the 2005 Sundance Film Festival and at the Cannes Film
Festival, and NEVER FOREVER directed by Gina Kim, which screened at the
2007 Sundance Film Festival. His recent projects include GARDENER OF
EDEN, which premiered at the 2007 Tribeca Film Festival, directed by
actor Kevin Connolly. Pete lives in New York City.
Andrij Parekh (Cinematographer) Andrij studied cinematography at the
FAMU film school in Prague and at NYU's Tiscsh school of the Arts,
where he received his MFA in 2003. Of Ukrainian and Indian descent,
Andrij was nominated for the 1998 Eastman Excellence in Cinematography
Award, apprenticed on THE YARDS (2000) with Harris Savides (GERRY, THE
GAME), and is a recipient of the 2001 & 2003 ASC Heritage Award for
Cinematography. Andrij has shot eleven features to date– including
SONOS DE PIEXE (Director Kirill Mikhanovsky), NOISE (Director Henry
Bean), HALF NELSON & SUGAR (Director Ryan Fleck & Anna Bowden).
His films have played at many international festivals, including
Cannes, Sundance & Tribeca. Andrij was named one of Filmmaker
magazine’s “25 New Faces of Independent Film,” was included as one of
Variety magazine’s “10 Cinematographers to Watch” and the Hollywood
Reporter’s “Next Generation-Crafts” Article. He is currently shooting
and producing COLD SOULS with creative collaborator and partner Sophie
Barthes.
ADDITIONAL CREW
Co-Producer/Unit Production Manager JONATHAN SHOEMAKER
Assistant Unit Production Manager TONY HERNANDEZ
First Assistant Director ADAM ESCOTT
Second Second Assistant Director DEREK WIMBLE
Camera Operator MANUEL BILLETER
1st Assistant Camera TOSHIRO YAMAGUCHI
2nd Assistant Camera STEPHEN KOZLOWSKI
Camera Loader NICK DEEG
Stills Photographer JESSICA MIGLIO
Camera Intern IAN McALPIN
Art Director FREDDA SLAVIN
Art Department Coordinator ALYSSA MOTCHWILLER
Set Decorator KELLY BURNEY
Leadman PETER DUNBAR
On Set Dresser GABRIEL DAGLISH
Set Dresser JOANNA HARTELL
Set Dresser HENRY KAPLAN
Charge Scenic DAN KJECKAS
Camera Scenic CATHY WASSYLENKKO
Construction Coordinator RICHARD TENEWITZ
Key Construction Grip RICHIE DOWGIN
Wardrobe Supervisor LAURA STEINMAN
Set Costumer FELICITY GIFFORD
Additional Costumer BRYAN MATHISON
Wardrobe P.A. NATASHA NOORVASH
Wardrobe Interns MIDGE DENTON
ANNE WOOD
Sound Mixer LARRY LOWINGER
Boom Operator AARON RUDELSON
BRYANT MUSGROVE
Sound Utility ADAM SANCHEZ
Video Playback DEVIN DONEGAN
Gaffer STEVE CALITRI
Best Boy Electric ERIC BONCHER
Electricians SHAWN GREENE
ROB VUOLO
Key Grip RON MORALES
Best Boy Grip ADAM HALL
Dolly Grip JESSICA BENNETT
Grips TIM FERRAER
RANDY SALO
Production Coordinator JOSHUA HUFFMAN
Assistant Production Coordinator THALIA HARITHAS
Production Accountant SARAH RUBENSTEIN
Accounting Clerk IVONE REGO
Key Make-up Artist LEO WON
Make-up Artist DAVID PRESTO
Make-up Artist for Mr. Bowie FIONA STILES
Key Hair Stylist FABIAN GARCIA
Hair Stylist SHANNON HARRINGTON
Hair Stylist for Mr. Bowie ALAIN PINON
Property Master PAUL WEATHERED
Assistant Property Master TYLER KIM
Property Master (prep) YOLAN FISHER
Script Supervisor DIANE HOUNSELL
Clearances Coordinator TOM GANJAMIE
Location Manager JOSEPH STEPHANS
Assistant Location Manager SANDRA WESTWOOD
Location Scouts NATHANIEL BRAEUER
MATTHEW KANIA
Unit PA LUKE MARION
Parking Coordinators LEO DRIVER
RODNEY TAIT
Assistant Editor JASON BARNES
Post Production Supervisor STUART MACPHEE
Key Set Production Assistant BORYAN JOVANOVICH
Set Production Assistants JARED CAULIFFE
PATRICK BEVILACQUA
JAMES CONABOY
CHRISTINA WALKER
KEITH MARLIN
Office Production Assistants NICHOLAS BRYAN
JOHN SKIDMORE
Production Office Interns CAROLINE AXELROD
JOHN KOSALOS
CAROLYN MAO
STEVEN REAL
ERIN SULLIVAN
Assistant to Austin Chick MEGAN GEORGE
Assistant to Charlie Corwin STACY FRANKEL
Assistant to Clara Markowicz ADAM NEUHAUS
Post Production Intern CAROLYN MAO
Casting Associate KIM MOAREFI
Casting Assistant DARYL EISENBERG
Extras Casting AMERIFILM CASTING INC.
MEREDITH JACOB MARCIANO
Extras Casting Associates ERIN MAYHUGH
ADAM VINCENTZ
Caterer GOURMET TO U LLC
Transportation Captain KEVIN FLYNN
Drivers CHRIS DEFEO
JOE PAPROTA
RALPH DEVIVO
MIKE CANALE
GEORGE CAMPBELL
Supervising Sound Editor BOB HEIN
Dialogue Editor BRIAN BOWLES
Sound Effects Editor GLENFIELD PAYNE
DAVE PATERSON
Foley Recordist JAY PECK
RYAN COLLISION
ADR Recordist DAVE BOULTON
Re-recording Mixer ROBERT FERNANDEZ
BOB HEIN
Visual Effects Supervisor AARON VALEN
Matte Painter JAIME JASSO
Visual Effects by LEONID STUDIOS
Matchmover NICHOLAS ALEXANDER
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