New York is in turmoil, the age of capitalism is drawing to a close end. Eric Packer,

a high finance golden boy, dives into a white limousine. while a visit from the

President of the united States paralyses Manhattan, Eric Packer has one obsession:

getting a haircut at his barber’s at the other end of the city. As the day goes by,

chaos sets in, and he watches helplessly as his empire collapses. Also he is sure that

someone is going to assassinate him. when? where? He is about to live the most

decisive 24 hours of his life.



what immediately strikes one when watching COSMOPOLIS is that David Cronenberg has once again taken up

the challenge of making the film of the impossible-to-adapt book, and in doing so expands and enhances a unique

body of work haunted by themes that were considered obsessive or marginal when he started out but «recount»

the world like no other directors’ movies.

After the feats that are his NAKED FEAST, inspired by william S. Burroughs, and CrASH, based on J.g. Ballard,

here is Cronenberg’s vision of Don DeLillo’s novel, «Cosmopolis» — its «externalization» in some way. DeLillo

said of this prophetic and hellish take on where the world is headed that he has concentrated on a literary sphere

all the voices heralding the catastrophe that was to come and is now upon us. Cronenberg echoes this approach

by creating a cinematic space that combines genres and literally bowls the audience over. You come out groggy,

unsure where you are. what you can be sure of is that Cronenberg has always been a visionary. Yes, the man

has always had within him «parasite murders» that gradually transform him into a mutant irredeemably gnawing

at society. wall Street’s golden boys are the latest result of this mutation, and they will finish off the disease-ridden

body of the «Cosmopolis». — François GueriF, Director of the rivages noir collection.



DiD you know Don Delillo’s novel?


No, I hadn’t read it. Paulo Branco and his son Juan Paulo came to suggest that I adapt it

for the screen, Paulo told me: «My son thinks you are the one who should make the film». I

knew other books by DeLillo, and I knew Paulo and the many great films he has produced,

so I thought: it’s worth taking a look. This is quite unusual for me, since I generally prefer

to come out with my own projects. But because of these two, I said OK and took the book.

Two days later, I had read it and I called Paulo to say: «All right, I’m in».


you wanteD to write the screenPlay yourself?


Definitely. And you know what? I did it in six days. That’s unprecedented. In fact, I started

typing down all the dialogues from the book on my computer, without changing or adding

anything. It took me 3 days. when I was done, I wondered: «Is there enough material for

a film? I think so». I spent the next three days filling up the gaps between dialogues and

just like that, I had a script. I sent it to Paulo, who first said: «You’re rushing it». But in the

end he liked the script and off we went.


what convinceD you that the novel coulD be turneD into a film,

anD that you wanteD to Direct it?


The amazing dialogues. DeLillo is famous for it, but the dialogues in Cosmopolis are

especially brilliant. Some dialogues are said to be «Pinteresque», a la Harold Pinter, but

I think we should also talk about «DeLillesque» dialogues. Except Pinter is a playwright,

his virtuosity as a dialogist is more obvious, but as far as novels are concerns, Don’s work

clearly shows exceptional expressive power.


what was your take on Don Delillo’s worlD?


I had read several of his books, «Libra», «underworld», «running Dog»… I really like his

work, even if it’s all-American. I am not American, I am Canadian. It is really different.

Americans and Europeans think of Canadians as better behaved and slightly more sophisti

cated versions of Americans, but it is far more complicated than that. In Canada, we didn’t

have a revolution, slavery, or a civil war, here only the police and the army carry guns, we

don’t share such civilian armed violence at all, and we have a deep sense of community,

and of the necessity to provide everyone with a minimum income. Americans regard us as

a socialist country! It is somewhat different with DeLillo’s books, because I can grasp his

vision of America, he makes it understandable and I can relate to it.


both the novel anD the film take Place in new york, but in slightly

Different ways. the book gives meticulous geograPhical Details,

while the film is more abstract.


In the novel, Eric Packer’s limousine crosses Manhattan from East to west along 47th Street.

Many places described in the book don’t exist anymore, this New York has become partly

imaginary. To me, even if the book is unquestionably set in New York, it is a very subjec

tive New York, we are actually in Eric Packer’s mind. His version of the city is mostly cut

off from the realities of the street, he doesn’t really understand the people or the city itself.

Therefore I thought it was legitimate to settle for a more abstract vision, even though it is

really New York that you can see unfolding behind the car’s windows.


a DecaDe has PasseD between the writing of the novel anD the

making of the film. DiD you think of it as a Problem?


I didn’t, because the novel is surprisingly prophetic. And while we were making the film,

things happened that were described in the novel, rupert Murdoch received a pie in the

face, and of course there has been the «Occupy wall Street» movement, after we finished

shooting. I had to change very few things to make the story contemporary, the only diffe

rence is we used the Yuan instead of the Yen. I don’t know if DeLillo has stock accounts but

he should: he has a remarkably perceptive vision of what is going on and how things are

going to turn out… The film is contemporary, while the book was prophetic.


you reaD a book Differently when you know that you might

turn it into a film.


Yes indeed. It had never happened to me, I don’t read books thinking: Could this make a


film? It is not what I usually look for, I just read a lot because I enjoy it. It would spoil the


fun. But this time, I found myself making two things at once, reading both as the reader of


a good novel and as a director wondering if there is enough material for a film. Of course,


afterwards, once there is an adaptation, you get a fusion between the sensibility of two


authors, in this case DeLillo and myself. It was the same thing with Ballard or Stephen King.


It is like making a child, you need two people, and the film turns out looking a little bit


like both of its «parents», or it is like Marxist dialectics. Indeed I couldn’t but think a little


about Marx while making the film, if only because you can hear the first sentence from the

«Communist Manifesto» in it, «a spectre is haunting the world»…


only now it’s not euroPe, it’s the worlD you’re talking about…


Sure. But here is an important topic, one that I had never really tackled before: money.

The power of money, the way it shapes the world. In order to deal with it, I didn’t need to

make thorough research into the world of finance. Its agents are everywhere to be seen.

They are on television, in documentaries, in the papers. They do and say what DeLillo

wrote, their behavioural patterns are just like Eric Packer’s. To me, the reference to Marx

isn’t trivial. In the «Communist Manifesto», Marx writes about modernism, about the time

when capitalism will have reached such a degree of expansion that society will go too fast

for the people, and when the impermanent and the unpredictable will rule. In 1848! And

this is exactly what you get to see in the film. I often wondered what Karl Marx would have

thought about the film, because it shows a lot of things he had foreseen.


what Do you mean by «filling uP the gaPs» between Dialogues?


After three days, my dialogues were «in limbo», I had to figure out how to make them

happen in the limousine. Therefore I had to describe the limo in detail: where does Eric sit?

where are the others? what is happening in the streets? In what kind of setting does the

cream pie attack occur? And so on. It is mostly practical stuff, like choosing settings and

props, but it does shape the film. I have never written a screenplay for another director, so

when I write, I always have the directing in my mind. To me, a script is also a plan for my

crew and the actors, and a production tool too. You have to think of all that at once, what

kind of information will the set designer, the prop designer or the costume designer need?

what are the financial consequences of such and such option? Etc.



among the changes you maDe, there is that scene at the enD of

the book when eric Packer finDs himself on a film set…


Yes, I soon as I read it, I thought: it’s not really happening, it is only in Packer’s mind. I don’t

believe it. And I couldn’t see myself filming dozens of naked bodies in a street of New York.

I am wary of films within films. It can be interesting, but only when it’s called for. It is one

of the main cuts I made from the book, together with the bags lady, the homeless woman

they find in the car when coming back from the rave party. I shot the scene, but afterwards

I thought the situation was unlikely, artificial, so I edited it out.


anD of course you also cut the chaPters in which benno levin

intervenes within the story, before the final meeting.


It wouldn’t have worked in the film. we would have needed a voice-over or one of these

devices which often generate poor results. I preferred to save it all for the meeting between

Packer and him, the final sequence, which is very long: 20 minutes. 20 minutes of dialo

gues! It is a choice, the kind of choices you have to make to turn a novel into a film. Then

again, when a script is over, I still don’t know what kind of film I am going to make. I am

often asked if the outcome is up to my expectations, but I have no expectations to begin

with. It would be absurd to devise a kind of blueprint or an ideal, and to try and match it

as closely as possible. Only the countless steps in the making of a film can make it what it

is in the end. And it’s all for the best. This is why I don’t make storyboards: everybody just

tries to recreate what was drawn. That is not my idea of cinema. I need to be surprised, by

myself and by the others. Starting with the actors, of course. But even with Peter Suschitzky,

the cinematographer I have been working with since 1987, we are always trying out new

things and trying to surprise each other. It’s more fun that way.


how DiD you choose the settings?


Strangely enough, 47th street in New York looks quite like some streets in Toronto. we

created the space of the film by putting together genuine elements from New York with

others from Toronto, where we were filming the interior shots. we couldn’t shoot the whole

film inside a real limo, we had to recreate some scenes in the studio so that we could move

the camera around. Therefore, what you see in the foreground behind the car’s windows

are mostly rear projections. The main thing is the limo itself, which is not so much a car as a

mental space: being inside the limo is being inside Eric Packer’s head. This is what matters.


insiDe the «ProusteD» limo. the worD Doesn’t aPPear in the french

translation…


really? It is in the novel, though, it is a neologism made up by DeLillo as a reference to

Proust, who had his room corklined. DeLillo invented the verb «to proust». I’m not sure

many people will understand the allusion, but I didn’t want to explain it, anyway I think the

word generates some questioning, a distortion. It’s just as well. we did some hard thinking

about the inner fittings of the car, which looks just like any other limo from the outside. The

kind of throne on which Packer sits isn’t really plausible, but it epitomizes the balance of

power, the predetermined relationship between the master of the place and his guests.

Many fittings come from the book, including the marble floor.


in the book, there are screens on which he sees himself in the

future… just like he sees his own Death in the glass of his watch

at the enD. you DiDn’t keeP this element.


I tried to, we shot scenes in which he sees himself a little bit further in time. But it looked

fake, to me it was just a trick. I thought that you either make a big deal of it, underlining

it more, or you just drop the whole thing. If Eric Packer sees the future, it becomes a main



feature of the character, and somehow I have already tackled this issue in DEAD ZONE.

we kept only one sentence from this whole idea of anticipation, «why do I see things that

haven’t happened yet?», because it has to do with the fact that he is a billionaire.


how was the casting Process?


Interestingly, as was already the case for A DANgErOuS METHOD, the actors weren’t

those I had in mind to begin with. Both times, it was part of the permanent reinvention of

the film. For COSMOPOLIS, at first Colin Farrell was to play the main part, and Marion

Cotillard was to play Elise, Eric Packer’s wife. Then, Farrell had a conflicting schedule and

Marion Cotillard was pregnant. So I changed the script, adjusting it to a younger actor,

which is more faithful to the book, and of course his wife also had to be younger. It’s much

better this way. The real problem is when you have made funding arrangement based on

the name of an actor and he walks away – it’s not an artistic problem, it’s a money problem.

But this wasn’t really an issue for us.


DiD you think of robert Pattinson right away?


Yes. His work in TwILIgHT is interesting, although of course it falls within a particular fra

mework. I also watched LITTLE ASHES and rEMEMBEr ME, and I was convinced he could

become Eric Packer. It is a heavy part, he appears on each and every shot, and I don’t

think I have ever made a film on which the same actor literally never leaves the frame. The

choice of an actor is a matter of intuition, there are no rules or instructions about it.


for this film, you’ve teameD uP again with most of the PeoPle you

usually work with, like Peter suschitzky, or comPoser howarD

shore, who has written music for all your films, starting with

the brooD, thirty-three years ago. DiD you have any sPecial requirements

for the music this time?


Howard Shore was one of the first persons I sent the script to. It had two characteristics.

First, it featured music, like songs from Sufi rapper Brutha Fez, or Erik Satie. Also, there was

a huge amount of dialogues, which is quite challenging for the score, especially when dia

logues are subtle and you just cannot put trumpets all over them. we needed a music that

was discreet but still capable of establishing certain tones. Howard worked with Canadian

band Metric, singer Emily Haines uses her voice like an instrument, in a subtle way that

perfectly met our needs.


you insisteD that your actors shoulD say their lines exactly as

they were written…


Yes I did. You can make a film in a way that allows the actors to improvise, great directors

have successfully done it, but I have a different perspective. I don’t think it is the actors’ job

to write dialogues. Especially for this film, since the dialogues, by Don DeLillo himself, were

the reason why I wanted to make it in the first place. That being said, the actors still had

broad leeway, tone and rhythm were entirely up to them. It was particularly interesting for

robert Pattinson, on whose limo various characters turn up, played by very different actors.

It brought him to act differently depending on which actor was opposite him.


DiD you try to shoot the film chronologically?


As much as possible. It was the case for almost all the scenes within the limo. Paul giamatti

came at the end, and the last scene we shot is the final scene in the film. Sometimes there

were practical impediments, but for the most part, I managed to respect chronology better

than on my previous films. given that the story unfolds in a single day, but following a

complex evolution, it was especially beneficial to work that way.



DAVID CrONENBErg

SELECT FILMOgrAPHY



Director


Cosmopolis (2012)

a DanGerous methoD (2011)

eastern promises (2007)

at the suiCiDe oF the last Jew in the worlD at the last Cinema in the worlD (2007)

a history oF ViolenCe (2005)

spiDer (2002)

Camera (2001)

eXistenZ (1999)

Crash (1996)

m. ButterFly (1993)

nakeD lunCh (1991)

DeaD rinGers (1988)

the Fly (1986)

the DeaD Zone (1983)

ViDeoDrome (1983)

sCanners (1981)

the BrooD (1979)

Fast Company (1979)

raBiD (1977)

the italian maChine (1976)

shiVers (1975)

lakeshore (1972)

Fort york (1972)

in the Dirt (1972)

sCarBorouGh BluFFs (1972)

winter GarDen (1972)

Don Valley (1972)

Jim ritChie sCulptor (1971)

tourettes (1971)

letter From miChelanGelo (1971)

Crimes oF the Future (1970)

stereo (1969)

From the Drain (1967)

transFer (1966)




how DiD the Project to aDaPt cosmoPolis come about?


I wasn’t behind it. In 2007, Paulo Branco invited me to take part in the Estoril Film Festival,

which he coordinates in Portugal. He likes to have people from outside the cinema industry,

such as writers, painters or musicians, to sit in the jury, and it is indeed a very pleasant

experience to talk about films that way. On this occasion, he told me about the project;

actually, it was his son Juan Paulo’s idea in the first place. He had already optioned the

rights to the book. I knew his career as a producer, the impressive list of great filmmakers

he has worked with, so I said yes. Then the question of the director arose, and I think Juan

Paulo is again the one who suggested David Cronenberg. Next thing I knew, Cronenberg

was on board and it was a done deal, in the best possible way. It all happened very

quickly, actually.


DiD you reaD the scriPt?


Yes I did, and it was incredibly close to the book. Of course, Cronenberg cut out a few

scenes that couldn’t work out, but it is totally faithful to the spirit of the novel. Of course, I

had no intention to make comments when I read it, it had become a Cronenberg film. It is

my novel, but it is his film, there is no question about it. Then, last March, I saw the film in

New York once it was completed. I was really impressed. It is as uncompromising as it can

possibly be. I liked it from the very beginning, from the opening credits: what an amazing

idea to start with Jackson Pollock, and to finish with rothko, for that matter. And the final

scene, with robert Pattinson and Paul giamatti, is just mind-blowing!


what DiD you think about aDaPting this very novel for the

screen?


Throughout the years, there have been many proposals to adapt several of my books, but

they have never come through. I thought that adapting COSMOPOLIS would be particu

larly tricky, since most action is confined within a car, which doesn’t translate well to the

screen. But not only did Cronenberg respect that, he also shot in the limo some scenes that

originally happened elsewhere, like the sequence with Juliette Binoche, for instance.


there is a ParaDox about your books: although crammeD with

references to cinema, they seem imPossible to aDaPt to the screen.


You are right, but I just cannot explain it. I thought that «Libra» or «white Noise» could

easily be turned into films, but apparently it is very complicated. I don’t know why. Anyway,

don’t expect me to take care of it myself and write a screenplay.


cinema Plays a large Part in your books, but harDly ever by

means of a reference to a Particular film or filmmaker. it is more

the iDea of cinema than such or such moDel or Personality.


Indeed, what matters is more a cinematographic sensibility than some films in particular.

I grew up in the Bronx, we used to watch westerns, musicals, gangster flicks – at that

time I didn’t know what a film noir was. Then I moved in to Manhattan, and I discovered

Antonioni, godard, Truffaut, the great modern European directors, and also Japanese

directors, starting with Kurosawa. To me it was a revelation: the magnitude of such films

equalled that of the greatest novels! Many people think that in the 1960s I quit my job in

an advertising company to write my first novel. Not at all: I just quit so I could go to the

movies every afternoon. Only afterwards did I seriously take up writing.


then you wrote americana, the story of a man who haPPens to

quit his job in the meDia inDustry to Direct a film…


Exactly! (He laughs) And since then, as I live close to New York, I keep discovering many

new films that have become impossible to watch in a theatre anywhere else in the united

States. At some point in my life I lived in greece, for three years, and I was film-starved,

many good films weren’t shown there, I really missed it. Otherwise, I have kept a close

look on what has been happening in the cinema industry, and I think that lately THE TurIN

HOrSE by Bela Tarr, THE TrEE OF LIFE by Terrence Malick or MELANCHOLIA by Lars von

Trier have been real milestones.


in your novels, there aren’t only numerous references to cinema,

characters who want to make films, lost films or secret films,

etc. there is something quite cinematograPhic in the narration

itself, for instance the trajectory of the boy anD the baseball at

the beginning of unDerworlD is comPoseD as a film sequence.


It is because when I write, I need to see what is happening. Even when it is just two guys

talking in a room, writing dialogues is not enough. I need to visualize the scene, where

they are, how they sit, what they wear, etc. I had never given much thought about it, it

came naturally, but recently I became aware of that while working on my upcoming novel,

in which the character spends a lot of time watching file footage on a wide screen, images

of a disaster. I had no problem describing the process, that is to say to rely on a visualiza

tion process. I am not comfortable with abstract writing, stories that look like essays: you

have to see, I need to see.


you are italian-american. have you felt a Particular kinshiP

with the generation of great italian-american Directors that

maDe its breakthrough in the 1970s, anD with which you were

contemPorary?


I really liked MEAN STrEETS. I grew up in the Bronx and Scorsese in Lower Manhattan, in

Little Italy, but we shared the same language, the same accents and the same behaviours.

Needless to say I was familiar with troublemakers like robert De Niro’s character, I even

knew some of them very well. But the most significant experience probably dates back

further. I was very young when I saw MArTY by Delbert Mann, which takes place where

I used to live, in the Italian part of the Bronx. The film was shown in Manhattan, so there

were eight of us guys, packed in a car to go and watch it. The opening scene takes place

in Arthur Avenue. It was our place! Seeing our street, the shops we patronized, there in a

movie theatre, that was amazing. It was as if our very existence was acknowledged. we

never would have thought that somebody would make a film in those streets.


how DiD you react when you hearD that DaviD cronenberg was

to aDaPt your novel?


I was delighted. I missed a few of his earliest films, but at least since DEAD rINgErS, I

have seen them all. I am particularly fond of CrASH and ExISTENZ, and of course A

HISTOrY OF VIOLENCE. At first I wondered if it was the kind of material he usually worked

with. I didn’t think so, but I thought it could be a good thing, an opportunity for him to

tackle the subject in an original way. Anyway I was sure he could make the content of the

book visually stunning, in a way that would surprise everybody, including myself. I had no

idea what he was up to, but I knew it wouldn’t be conventional.



haD you seen his version of nakeD lunch?


Yes, that’s impressive! Exactly the kind of surprise I was hoping for regarding COSMOPOLIS.


was it when you met with DaviD cronenberg?


Yes, he was in Estoril as well. But we didn’t talk much about the project to adapt the book,

I wanted to keep out of it. we talked a bit about the fact that it would be shot mainly in

Toronto, I could see that he knew what he was doing, and it was fine by me. we probably

talked about the leading actor, but this person finally couldn’t make it. Later on, when

Paulo told me about robert Pattinson, I thought that at last, my fourteen-year-old niece

would look up to me.


DiD you visit the set?


No. I was offered to, but I didn’t find it useful. I have already been on film sets, it’s really

boring. You spend most of your time waiting.


sPeaking of film location, new york is so imPortant in the novel,

weren’t you somewhat worrieD to know that most of the shooting

was to take Place elsewhere?


The important thing is that it happens inside a limousine. It is like a world itself, with several

intrusions of various kinds, visitors, or an angry mob. This is what really matters. Besides,

shooting elsewhere gives the film a more general dimension, of course it is New York, but

it is more the idea of “the great contemporary city” we are dealing with, which is perfectly

fine.


the book was PublisheD in 2003, the film will be releaseD in 2012,

weren’t you afraiD that this interval was going to be a Problem?


Interestingly enough, when the film was almost done, the «Occupy wall Street» movement

came out, somewhat striking a chord with what the film is about. I think it is only the begin

ning, there is going to be more of it. Vija Kinski, Eric Packer’s Chief of Theory (played

by Samantha Morton in the film), explains to her boss that those protesters are the direct

offspring of wall Street and capitalism, and that they contribute to refresh and readjust

the system. They help wall Street redefine itself in the face of a new context and a bigger

world. In my opinion, this is precisely what is happening: «Occupy wall Street» hasn’t

reduced the astronomical bonuses raked in by corporate executives.


what was your reaction when you first saw the film? DiD you

finD new elements that weren’t in the book?


I was thrilled. There are also very funny moments, and I was really impressed by the whole

ending, it takes the film to another level. what happens between Eric Packer and Benno

Levin, the character played by Paul giamatti, is marked by their mutual respect, something

that was in the book but which is more palpable in the film. Indeed, David made the right

decision in cutting two interventions by Benno Levin before they meet. Those two inserted

chapters fitted the novel, not the film.



the Dialogues are almost all yours. how Does it feel to hear them?


It is the strangest thing! These are my words, but they take on another life. I wrote this

conversation about art that Eric and the character played by Juliette Binoche have, but

somehow it felt like I was discovering it, or even understanding it for the first time.


one of the most imPortant asPects of the book is the way things,

anD the worDs assigneD to them, become outDateD anD are left

behinD, following a Process of accelerateD obsolescence. Packer

keePs saying «Does this thing still exist?», «how can we still use

such a worD?», «“comPuter“, it’s such a DateD worD», etc.


That’s true, and in the novel he has a particular perception of time which projects him

ahead, he sees what is going to happen next. This aspect has almost disappeared from the

film. For this book, I paid much attention to time, to the way money shapes our perception

of time. They say «time is money», but in this context, money is time. This idea is also in

the film, only in different ways.


your name aPPears in the closing creDits for a song in the movie.


Yes, I noticed that! It is because of the lyrics I wrote for the Sufi rapper in the book, which

were also used in the film. This launches the beginning of a new career for me as a rap

lyricist… I couldn’t be any prouder.




DON DELILLO

BIBLIOgrAPHY



Don Delillo has established himself as a worldwide cult writer. he has received the most prestigious

literary awards, including the national Book award, the pen/Faulkner award for his body of work

and the Jerusalem prize.


bibliograPhy


Great Jones Street (2011)

Point Oméga (2010)

Falling Man (2008)

Cosmopolis (2003)

The Body Artist (2001)

Libra (2001)

Underworld (1999)

White Noise (1999)

Players (1993)

Mao II (1992)

Americana (1992)

The Names (1990)



Plays


Love-Lies-Bleeding (2006)

Valparaiso (2001)




were you familiar with Don Delillo’s novel?


No. But I had read some of his other novels. I first read the screenplay David Cronenberg

sent me, and then the novel. One is incredibly true to the other, it is faithful in a way that

seems impossible, for a novel that seemed impossible to adapt. But even before reading

the book, what impressed me the most about the script was the quick-paced rhythm and

the unrelenting tension.


what was it about this film that aPPealeD to you the most?


Cronenberg, obviously! I have played in only a few films, and none of them came close

to what I expected working with him would be like. I wasn’t disappointed… I knew he

would be very creative, and that it would be a real experience. And I was appealed by

the writing of the script, like a kind of long poem. And a mysterious poem too. usually

when you read a script, you quickly know what it is about, where it is going, how it will

end, even if there might be unexpected or sophisticated twists and turns in the plot. But this

time it was completely different, the further I read, the less I could figure out where it was

leading, and the more I wanted to be a part of it. It doesn’t fit any film genre whatsoever,

it is in a league of its own.


when you first reaD the scriPt, DiD you see yourself in the role,

coulD you imagine what it woulD look like visually?


Not at all. The first time I spoke to David, it is exactly what I told him, that I didn’t visualize

anything, and he thought it was a good thing. Besides, I think that at this point, he wasn’t

thinking much ahead, it all evolved in a progressive, organic way, starting from the text,

towards the many visual choices that shape the film. It is a living process. Even during

the first week of shooting, we were all still wondering what the film would look like once

finished. It was fascinating, I felt like the film was fashioning itself.


now that it’s Done, is the film much Different from the scriPt, or

on the contrary DiD you stick to what was written?


It is hard to say, because the film acts on different levels. I’ve seen it twice, the first time I

was amazed by its farcical side, which I knew was there during the shooting, but which

was unexpectedly apparent. The second time, the gravity of what was at stake prevailed.

Both times, there was an audience attending, but the reactions were wide-ranging, from

laughter to tension over the dark side Cosmopolis also has. Despite its complexity, I was

amazed by the way it reaches a wide range of emotions.


in your oPinion, who is eric Packer? how woulD you Describe

him?


To me, Eric is someone who feels like he belongs to another reality, who lives as if he was

born on an other planet, and who tries to discover in which reality he should be living. In

fact, he doesn’t understand the world as it is.


yet he has enough unDerstanDing of the worlD to make a fortune

in it.


Sure, but in a very abstract way. Banking, broking or speculating are disconnected acti

vities, he has done well in them, not as a genuine specialist or a mastermind, but rather

thanks to a kind of instinct, something much more mysterious, with the help of algorithms

not unlike magical formulas. You can see in the film, as well as in the book, that his ap

proach of financial data tends to project him in the future, so much so that he doesn’t know

how to live in the present anymore. He probably grasps the workings of the real world

somehow, but only in peculiar and obscure ways.


DiD you talk about it with DaviD cronenberg?


A bit, yes, but he liked me to search for something unexplained and unexplainable. He

particularly liked it when I played without really knowing what I was doing, and as soon

as he felt that I was making up chains of cause and effect, or coming out with a logical

explanation for Eric’s behaviour, he would interrupt the take. It was a very odd kind of

directing, entirely based on feelings rather than ideas.


how DiD you PrePare for the Part?


David doesn’t like rehearsals. we didn’t talk much about the film before the shooting. And

I only met the other actors on set, during production. I discovered them as they appeared,

literally, on Eric Packer’s limousine. And it was quite pleasant. From the beginning of the

shooting, I sort of lived inside the film, and inside the car: I was always there, it was my

home, and I welcomed the other actors in my space, sitting tight on this kind of captain’s

chair, with everybody visiting me. Being used like that to this environment felt particularly

comfortable. Everyone else had to adapt to what was basically my world.


DiD you have an inPut about your character’s looks or warDrobe?


I did, but the thing is he had to have a neutral look, we tried to avoid the most obvious

or stereotyped features of rich businessmen or traders. The only discussion was about the

choice of the sunglasses at the beginning, I searched for the most indefinable pair, one that

wouldn’t say anything about the character.


what Difference Does it makes to shoot scenes as much as Possible

in scriPt orDer?


It is really important, it has a cumulative effect that shapes the film. At first, nobody really

knows what the tone of the whole film will be – well, maybe David (Cronenberg) does, but

he won’t let it show. For the crew, it is this cumulative effect, as the character reveals more

about himself, which slowly builds the identity of the film. It also allows the character to

loosen up while his life is falling apart.



one of the Particularities of the Part is that, one by one, you get

to meet many Different actors. how Does it feel?


when I agreed to make the film, the only actor already on board was Paul giamatti, which

I found was great. Then, it was both magical and slightly scary to see Juliette Binoche,

Samantha Morton, Mathieu Amalric… show up like that. Each of them brought a different

tone. It wasn’t easy for them either, all the more so as David expects the actors to transform

their acting, to let go of their habits. It was challenging for them, in such a short time. As

for me, I was sort of settled in this world, in tune with its rhythm, but the others had to get

used to it right away. Actually, some made up very creative things while we were shooting.

Notably Juliette Binoche, who came out with an unbelievable number of acting options.


woulD you say that there were various styles of acting, esPecially

Due to the Different nationalities involveD, or that everyboDy

enDeD uP fitting cronenberg’s moulD?


Oh no, there were different sensibilities, and I think that David was eager for that.

Paradoxically, this diversity is emphasized by all the characters being supposedly

American, except for Mathieu Amalric. Such diversity is congruent with New York, where

almost everybody seems to come from a different place, and where the mother tongue of

so many people isn’t English. Of course, the film doesn’t aim for realism, including about

the city of New York, it never insists on a precise location. But having actors with different

backgrounds mirrors New York, just as it contributes to the strangeness and abstraction of

the film.


as far as you are concerneD, DiD you have any references in minD,

maybe other actors to Draw insPiration from?


Quite the opposite, actually, I tried to steer clear of any possible reference. I especially

didn’t want to remind the audience of other films about wall Street, financers, rich bankers,

etc. It was more about finding the right a state of mind than relying on usual attitudes or

acting effects.


Do you remember cronenberg having any Particular DemanDs,

focusing on certain Points when working together?


He insisted that we had to say the dialogues exactly as they were written, to the letter. He

wouldn’t tolerate any variation. The screenplay depends to a large extent on rhythm, we

had to comply with that as far elocution was concerned. He was positive about that, so he

made very little takes, which I found quite scary. On Paul giamatti’s first day on set, Paul

delivered in one breath his character’s long monologue, certainly the longest line in the

whole film, and David shot it in a single take. It was done, we moved on. I was enthralled

with Paul’s performance, with David’s promptness, and with the way he looked so sure the

take was good.


DiD you like working this way, scruPulously Delivering Dialogues

as they were written?


It created something I wasn’t familiar with, which is precisely what motivated me the most

about making this film. I had never been asked anything like that, usually scripts aren’t

followed scrupulously, they are just a foundation and actors are supposed to make them

their own. In my previous films, dialogues were flexible. This time, it was like acting in a

play: when you play Shakespeare, you cannot rephrase the lines.


inciDentally, the limousine is a bit like a stage somehow.


Absolutely. And in such a setting, it is possible to shoot one scene or another, which means

you have to be ready to play several of them. I spent a lot of time learning all the lines, for

the first time since I started out as a stage actor, quite a long time ago now. It creates a

tension, you have to remain on the alert, which is for the best… Even though it forced me

to live the life of a recluse during the shooting: I had to know the part, remember dozens

of pages and stay focus. But actually it is quite a pleasant feeling. It’s better than on most

sets, where everything is fractioned.


what was the most Difficult thing for you about the shooting?


It was disturbing to play a character who doesn’t go through an obvious evolution or

follow a predictable path. Actually he does, it is even a hell of an evolution, although

not in the way we usually get to see characters change. But David completely controlled

this dimension. I have never worked with a director so much in control of his film, who

considers himself fully in charge of each and every aspect of it, knowing exactly what he

wants, every step of the way. At first I found it unsettling, but gradually I felt more and more

confident and relaxed.



rOBErT PATTINSON

FILMOgrAPHY



actor


the twiliGht saGa: BreakinG Dawn – part 2 by Bill Condon (2012/post-production)

Cosmopolis by David Cronenberg (2012)

Bel ami by Declan Donnellan & nick ormerod (2012)

the twiliGht saGa: BreakinG Dawn – part 1 by Bill Condon (2011)

water For elephants by Francis lawrence (2011)



the twiliGht saGa: eClipse by David slade (2010)


rememBer me by allen Coulter (2010)

the twiliGht saGa: new moon by Chris weitz (2009)

twiliGht by Catherine hardwicke (2008)

little ashes by paul morrison (2008)

how to Be by oliver irving (2008)

the haunteD airman by Chris Durlacher (2006/tV movie)

harry potter anD the GoBlet oF Fire by mike newell (2005)

l’anneau saCrÉ by uli edel (2004/tV movie)




PrODuCEr

working as a producer since 1979, with more than 250 films to his credit, paulo Branco has established

himself as a major figure in the european independent cinema industry.


For more than 30 years, paulo Branco has worked with such talented and exceptional directors as manoel

de oliveira, João César monteiro, pedro Costa, alain tanner, wim wenders, Jerzy skolimowski, andrzej

Zulawski, sharunas Bartas, raùl ruiz, Christophe honoré, Cédric kahn, olivier assayas, philippe Garrel,

laurence Ferreira Barbosa, lucas Belvaux, Chantal akerman and Jacques rozier, to name a few.


Cosmopolis by David Cronenberg is the 53rd film he brings to Cannes, where 27 films he produced have

already been shown as part of the official selection: 11 films in Competition, 7 out of Competition and 9 in

the un Certain regard section.


paulo Branco is also an international distributor and seller in France and portugal, where he is one of the

main distributors. since 2008, he has been coordinating the lisbon & estoril Film Festival.



robert Pattinson

juliette binoche

sarah gaDon

mathieu amalric

jay baruchel

kevin DuranD

k’naan

emily hamPshire

samantha morton

Paul giamatti


eriC paCker

DiDi FanCher

elise shiFrin

anDrÉ petresCu

shiner

torVal

Brutha FeZ

Jane melman

ViJa kinski

Benno leVin



DireCteD By

sCreenplay By

BaseD on a noVel By

CinematoGrapher

proDuCtion DesiGner

eDiteD By

Costume DesiGner

musiC Byline proDuCer

CastinG By

proDuCeD By


eXeCutiVe proDuCers


proDuCtion


in CoproDuCtion with


in assoCiation with


with the partiCipation oF


a CoproDuCtion


DaviD cronenberg

DaviD cronenberg

Don Delillo

Peter suschitzky asc

arv greywal

ronalD sanDers cce ace

Denise cronenberg

howarD shore

josePh boccia

DeirDre bowen cDc

Paulo branco

martin katz

gregoire melin

eDouarD carmignac

renee tab

Pierre-ange le Pogam

alfama films

ProsPero Pictures

kinologic films (Dc)

france 2 cinema

telefilm canaDa

talanDracas Pictures

france televisions

canal+

rai cinema

rtP

ontario meDia DeveloPment corPoration

astral meDia the harolD greenberg funD

jouror ProDuctions

leoParDo filmes


france - canaDa


© 2012 – Cosmopolis proDuCtions inC. / alFama Films proDuCtion / FranCe 2 Cinema


interviews for the press book by Jean-michel Frodon.



65 Cannes film festival

(C) MBN 2012

Return

LAWLESS

PRODUCTION NOTES

LAWLESS



PRODUCTION NOTES



LAWLESS PRODUCTION NOTES


· Front Credits – page 2


· Synopsis – page 5


· About the Production – page 7


· Cast Biographies – page 20


· Crew Biographies – page 27


· End credits – page 33


CREDITS



1



THE WEINSTEIN COMPANY/YUK FILMS AND BENAROYA PICTURES PRESENTS



AN ANNAPURNA PICTURES PRODUCTION

A DOUGLAS WICK/LUCY FISHER PRODUCTION

A BLUMHANSONALLEN FILMS

PRODUCTION


SHIA LaBEOUF

TOM HARDY



GARY OLDMAN



MIA WASIKOWSKA



JESSICA CHASTAIN



JASON CLARKE



DANE DeHAAN



and

GUY PEARCE

Screenplay By



NICK CAVE

Directed By

JOHN HILLCOAT



Based on the book

“The Wettest County In The World”

by Matt Bondurant



PRODUCED BY

Douglas Wick, p.g.a.

Lucy Fisher, p.g.a.



PRODUCED BY

Megan Ellison



2



PRODUCED BY


Michael Benaroya


EXECUTIVE PRODUCER

Dany Wolf



EXECUTIVE PRODUCERS

Rachel Shane

Jason Blum

Scott Hanson



EXECUTIVE PRODUCERS

Cassian Elwes

Laura Rister



EXECUTIVE PRODUCERS

Robert Ogden Barnum

Ted Schipper



EXECUTIVE PRODUCERS

Randy Manis

Ben Sachs



DIRECTOR OF PHOTOGRAPHY

Benoit Delhomme, AFC



PRODUCTION DESIGNER

Chris Kennedy



EDITED BY

Dylan Tichenor, ACE



COSTUME DESIGNER

Margot Wilson



MUSIC BY

Nick Cave

Warren Ellis



MUSIC SUPERVISORS

David Sardy

Jordan Tappis



CASTING BY

Francine Maisler C.S.A.

Kathleen Driscoll-Mohler



3



CO -PRODUCERS

John Allen

Matthew Budman



CO -EXECUTIVE PRODUCERS

Clayton Young

James Lejsek



SYNOPSIS


‘We control the fear, you understand? Without the fear, we are all good as dead.’


4



Acclaimed director John Hillcoat (THE ROAD, THE PROPOSITION) delivers a thrillingly vivid slice

of American outlaw history in his epic gangster tale, LAWLESS. LAWLESS is the true story of the

infamous Bondurant Brothers: three bootlegging siblings who made a run for the American Dream in

Prohibition-era Virginia. Based on author Matt Bondurant’s fictionalized account of his family, “The

Wettest County in the World,” the film gathers an ensemble of gifted, dynamic new-generation stars –

Shia LaBeouf, Tom Hardy, Jessica Chastain, Jason Clarke, Mia Wasikowska, Dane DeHaan – alongside

two of the finest actors of their generations, Guy Pearce and Gary Oldman. A riveting, intense story of

crime and corruption, loyalty and love, brutality and tenderness, LAWLESS is a rich addition to the

American gangster canon.


In the mountains of Franklin County, Virginia, the Bondurant brothers are the stuff of legend. The

eldest, Howard (Jason Clarke), managed to survive the carnage of the Great War, but he returned home

unmoored by what he had seen and done. His brother Forrest (Tom Hardy) nearly died from the

Spanish Flu that took his parents. He beat back death with a quiet strength and ferocious, visceral

invincibility that came to define him. Jack (Shia LaBeouf) is the youngest sibling, impressionable,

sensitive, smart. Times are tough and jobs are scarce, but the Bondurants are entrepreneurs and have

built a thriving local business by concocting an intense and popular brand of moonshine. But Franklin

County’s bootlegging days are about to end with the arrival of Special Deputy Charlie Rakes (Guy

Pearce) from Chicago. The new “law” Rakes brings is lethal and corrupt and will challenge everything

the brothers have built and represent. But while the rest of the county gives in to Rakes’ ruthless

crackdown, the Bondurants will bow to no one.


As the family rallies to fight Rakes, the fraternal dynamic shifts. Jack’s ambitions and enterprises alter

the balance of power between the brothers as he careens into manhood. Dreaming of expensive suits,

fast cars and beautiful women, Jack starts his own bootlegging operation, with his friend Cricket (Dane

DeHaan) helping him to soup up cars and build stills – even against Forrest’s wishes. Jack starts to

prosper, even selling his moonshine to Floyd Banner (Gary Oldman), the big city gangster he idolizes.

The lives of the Bondurants are soon complicated by the appearance of two beautiful women: the exotic,

steadfast Maggie (Jessica Chastain), who brings a secret past with her and catches the eye of the guarded

Forrest -and the quiet, pious Bertha (Mia Wasikowska), who slowly warms to Jack’s charms and

channels her own rebellious streak.


5



Jack’s confidence however soon trumps his good sense, and the consequences will test the brothers’

loyalty and endangers them all. Determined to do whatever is necessary to fight for what is theirs, the

Bondurants take up arms and confront the corrupt forces of the law in a faceoff to determine who

controls the wettest county in the world.


ABOUT THE PRODUCTION


The notorious gangster Al Capone observed that “Prohibition has made nothing but trouble,” and


6



“I am like any other man. All I do is supply a demand.” While his bailiwick was Chicago by way of

Canada, the Bondurant brothers in Virginia would have heartily agreed. Brazen rebels, the Bondurant

boys – Howard, Forrest and Jack – ran a flourishing family bootleg business in Franklin County,

Virginia, where the hills glowed orange from the light of countless illegal stills.


“The Wettest County in the World” began when Matt Bondurant decided to write a fictional

account of the very picaresque exploits of his paternal grandfather Jack and grand-uncles Forrest and

Howard. Though his novel is inspired by true events, it isn’t entirely factual. As he writes in the

author’s note, “The basics of this story are drawn from various family stories and anecdotes, newspaper

headlines and articles and court transcripts … However, this historical information does not help us fully

understand the central players in this story, at least in terms of their situation or what their thoughts

were; all involved are now deceased and little record exists. There are no letters, and my grandfather and

his brothers did not keep diaries. My task in writing this book was to fill in the blank spaces of known

record. There are family stories … and these memories and stories are vague, and often specious at best,

mixed with several decades of rumor, gossip and myth … My intention was to reach the truth that lies

beyond the poorly recorded and understood world of actualities.”


The book, published in 2008, garnered rhapsodic reviews and won two early, ardent fans in Red

Wagon producers Douglas Wick and Lucy Fisher. Says Wick, “The book was overflowing with

moments of hard men and their softness; fierce, violent behavior intertwined with silent moments of

desire and longing; vivid flesh-and-blood pain mixed with legends of indestructibly. You could not read

the book without imagining performances.” Rachel Shane, executive vice-president at Red Wagon

Entertainment alerted her bosses to the book prior to its publication, and Red Wagon quickly secured the

movie rights to the novel. Bondurant was thrilled; his tale was already a “dramatic reimagining” and the

notion of a filmmaker and screenwriter further exploring the material excited him.


“There wasn’t a whole lot of information available to me to write a non-fiction piece so I took

several of the principal events that are verified as happening and strung them together like a

constellation, using some things I knew about the brothers, along with pictures and documents, to create

lives for them. I knew my grandfather when I was a young man but I certainly didn’t know him as an

18-year-old, so there’s a lot of artistic license that I took. I knew the movie would take that one step

further and that seemed natural,” Bondurant says.


Meanwhile, Red Wagon executive Shane approached director John Hillcoat. Says Shane, “John’s

previous work on THE PROPOSITION was incredibly visceral and dramatized violence in a way I had

never really seen before. You could also see the care he takes with his actors through the specificity of


7



their performances, and how he loves creating worlds that are similar to ours, but also very alien. I knew

John would bring everything we needed to take this book to film and it would be a very happy

marriage.”


Hillcoat realized “The Wettest County in the World” offered an opportunity to tackle two of his

favorite genres in an intrepid and innovative way.


“I loved the world of the novel. I love westerns, but I was actually looking for a gangster movie.

I had really struggled with that over the years because there are so many fantastic gangster movies, I was

hard pressed to find one with anything new to say. And this was new. It was like a western as well as a

gangster film. I hadn’t seen a gangster film in the rural landscape since BONNIE AND CLYDE. And

moonshine has mostly been treated in comedies like SMOKEY AND THE BANDIT. This was based

on a true story, which was incredible. It felt vivid and alive and unique. So that was really it for me,”

Hillcoat says.


Hillcoat enlisted his old friend and frequent collaborator since art school, Nick Cave, to write the

screenplay and the music, as he did on THE PROPOSITION. On a Hillcoat/Cave project, the script and

the music are always intertwined at the project’s inception and evolve together. Because LAWLESS is

set in the backwoods of Virginia, the main characters’ speech has a special, almost musical cadence,

which Cave incorporated into the dialogue, as if it were a musical score.


“Nick’s songs are really narrative-driven, which of course lends itself to screenplays but more

than that, I think all films have a musicality to them,” says Hillcoat. “There’s a rhythm to the way Nick

writes, to the dialogue, the way scenes unfold. It’s subtle thing but it’s definitely there. With

LAWLESS, we talked about adapting the novel -it’s the first time he has adapted a book -but we also

talked about the score, what sort of music it would be. When Nick writes the material and the music,

it’s a very organic process. The music comes first, and then the script, and then the music again.”


Bondurant was especially pleased that John Hillcoat and Nick Cave would bring his book to the

screen. “I am John Hillcoat fan; I loved THE PROPOSITION and THE ROAD. And I’m a fan of Nick

Cave’s music and writing, so I was super-excited when I heard he was writing the script. He did some

really amazing work with the adaptation, and I’m flattered that he retained quite a bit of my language. I

was incredibly honored to have John and Nick adapt my work,” Bondurant says.


Shia LaBeouf joined the team soon after Hillcoat and Cave, taking on the role of the youngest

Bondurant -smart, sensitive, forward-thinking Jack. The next two years would prove a rollercoaster

ride of near-starts and disappointing setbacks, but LaBeouf never wavered in his commitment to

LAWLESS, even as his star rose further with the TRANSFORMERS franchise.


8



LaBeouf was drawn to the project for myriad reasons, not the least of which was John Hillcoat.

“I’m a fan, I would show up to do anything with John,” the actor enthuses. “John’s films are all very

visceral and honest. He is a truth-seeker, incredibly intelligent and has a great visual style. He lets shots

breathe; it’s old-school, John Ford vista-type stuff. He knows how to tell the story in one frame and he

lets that frame do the work. It’s a style of working I hadn’t experienced before, and I was very excited

by it.”


LaBeouf was also captivated by Bondurant’s novel and the seminal period of American history it

explored. He delved into the history of bootlegging, its specific relationship in Virginia to the legacy of

coal mining, the socioeconomics of the region, particularly the religious and racial schisms. Above all,

the role of Jack intrigued LaBeouf. Jack, enterprising and eager, has to find his way, not only as

resourceful young bootlegger but also within the Bondurant clan, as the power dynamic between the

three brothers begins to shift. Jack experiences a spectrum of emotions throughout the course of the film

as, essentially, he grows up.


“I had never played a part like this before. This is a boy becoming a man in many ways. He has

his first drink of moonshine, his first kiss,” LaBeouf observes. ”The film is also about a family going

through combustion. They’re dealing with many problems all at once; meanwhile, the power balance is

shifting from Forrest and Howard to Jack. When you first meet Jack, he’s full of empathy; he lives on a

farm and he can’t watch his brothers kill a pig. That empathy is hindering his criminal career, and this is

a family of criminals. During that time, bootlegging was the only avenue available to many poor and

disenfranchised people. All they had was their skills. For the Bondurant family, their talent was for

making liquor.”


He adds that Jack has a fascination for the bootleggers, specifically the Chicago-style gangsters

and that admiration informs much of the character’s drive and ambition. “Jack comes from a new

generation. He was seeing these Robin Hood-type characters fighting against the government,

specifically Prohibition, and succeeding. These were the new Americans. Guys who came from the

bottom of the barrel and were able to muscle their way into some kind of foundation where they could

not only support their families but their entire communities. This family was spearheading this

revolution at the time. The bootlegger was the superhero of that period, especially to someone in his

twenties, like Jack,” LaBeouf notes.


LaBeouf was not yet a major international star when Hillcoat caught the young actor’s

performing in the 2006 independent drama A GUIDE TO RECOGNIZING YOUR SAINTS.

Remembers the director, “I thought, who the hell is that kid? Then I saw him in DISTURBIA and again


9



I thought his performance was amazing. Then came TRANSFORMERS, and even as he was

surrounded by special effects and robots, Shia managed to create a compelling, three-dimensional

character. So I thought he was really interesting and it would be great to see him do something more

unexpected. Shia had the range to play Jack, who experiences every single emotion, from rage and

despair to total joy and happiness. And I could easily see him as a young man in the Prohibition era. He

was very interested, he was very passionate when I met him and continued to be throughout, so I knew

this was the guy. And I am pretty particular about casting.”


Meanwhile, LaBeouf had been looking for opportunities to work with acclaimed English actor

Tom Hardy. The two had struck up a friendship after LaBeouf sent Hardy a fan email about his

arresting performance in the crime biopic BRONSON, and had begun forwarding scripts back and forth

to one another. LaBeouf sent Bondurant’s novel to Hardy, followed by Cave’s screenplay. Hardy loved

them both, and proved to be ideal casting for the role of quiet, fearless and fearsome Forrest Bondurant.


Hillcoat was also keen to work with Hardy, whose reputation as an exceptional talent preceded

him. “I kept hearing about this incredible guy called Tom Hardy. I started watching his work, and I was

awestruck -he was amazing. I could also see Tom and Shia as brothers. And Tom’s take on the

character was quite audacious -he saw Forrest as the matriarch and the patriarch of the family, in the

wake of their parents’ deaths. He wanted to explore Forrest’s softer side and play him in a quiet,

contained way. By taking on the roles of the mother and the father of this family, he was really

responsible and very caring, especially towards his brothers. But because of the time and the culture, he

is unable to articulate it. Tom’s approach was very much about the different emotional textures there

were to Forrest and how distilled and controlled he was. It was a unique and fascinating attitude towards

the character,” Hillcoat notes.


With LaBeouf and Hardy in place, the casting process steamed forward. Attracting financing,

however, was proving to be a struggle, says producer Lucy Fisher “Our material was intrinsically

original and idiosyncratic. It was a portrait of three brothers, violent outlaws with fierce family ties; at

the same time, it was lyrical and romantic. It didn’t fall into any easy category.”


In the end, it take two years of dedicated work before Red Wagon found the creative,

enthusiastic production support they were looking for. In 2011, Annapurna Pictures, a new production

company headed by Megan Ellison, and Benaroya Pictures, headed by Michael Benaroya, signed on to

finance LAWLESS and produce with Wick and Fisher.


Finding the right combination of actors had been a complicated and lengthy process, but

Hillcoat, Fisher, and Wick agree that each of the actors who would ultimately bring the Bondurant tale


10



to life was the perfect artist for the job.


“It’s a weird thing about films; it’s almost like alchemy,” Hillcoat muses. “You’re playing

around with all these ingredients and sometimes there’s this combination that finally comes together

that’s the perfect one. There were earlier combinations that would have made a different film and would

have been amazing and special too, I’m sure. But I do feel like we found the ideal group in the end. It’s

tricky with an ensemble because it’s a real balancing act so as soon as one person drops out, it may not

be just a matter of replacing them. It’s the combination of people, how they work against the different

energies and qualities that they have.”


Australian actor Jason Clarke completes the sibling trio as Howard, the eldest Bondurant. Often

drunk and woefully unreliable, Howard is outsized in every way, perhaps a reaction to an inner turmoil

he is ill-equipped to handle.


“In terms of the violence in him, everything with Howard was projected outward, kind of like a

tsunami; whereas with Forrest it was completely controlled and internal. They were polar opposites as a

force and Jason completely identified all of that within his character. At one point, the script had

changed the eldest brother from Howard to Forrest, and Jason put forward a strong case for Howard as

the firstborn. And it had to do with Howard’s sense of guilt and shame. Because in those times and in

that world, the eldest brother would become the patriarch of the family after the father passed away. But

Howard was kind of a fuck-up, this messed up guy that couldn’t really occupy that position. It’s

agonizing for him, the fact that he’s not there for his brothers. And these brothers really love each other

and would do anything for each other. We wanted to explore those dynamics and we changed the script

for Jason and cast him because of his argument,” Hillcoat explains.


As an Australian, Clarke was deeply familiar with both Hillcoat and Cave’s work, and was eager

to work with them. One of several Australians in front of and behind the camera, he did not know

Hillcoat or Cave prior to joining the movie but of course was a big fan and student of both.


“It was just a great script. And also being Australian, I am of course a longtime Nick Cave fan

and I knew of John’s work -‘The Proposition’ and ‘Ghosts of the Civil Dead’ -and even his original

projects from his film school days. He was always a guy who I thought had a unique, visual voice.


After I read the script, I thought, yep, these guys are going to do this well. It’s a dense, fascinating piece

of storytelling and these are the right guys to make it. And then when I found out the caliber of the other

people involved -it was a no brainer,” Clarke says.


Clarke’s expectation of Hillcoat’s process and style happily proved to be true. And Clarke had a

personal connection to the filmmakers and the material.


11



“His visual sense is really particular and he is a gentle open man who is constantly looking and

thinking in a unique way. Plus they shot ‘The Proposition’ in a place called Winton where I was born.

Not many people have been there, let alone shot there,” he says. In fact, Clarke drew on his life in

Winton to inform his character.


“Jason came from the country. He grew up in the outback and was used to rural violence, which

he drew on and worked out in so many ways … like he had leg weights on to help give Howard this heft

as he walked. He explored moonshine -as they all did except for Tom. Tom is more controlled than that,

true to his character,” Hillcoat notes.


Clarke believes that Howard considers his relationship with his brothers to be the only thing of

value in his life; for this haunted man, his love for his brothers is his only redeeming quality. He credits

his onscreen ‘brothers” LaBeouf and Hardy, for helping him make the fraternal bonds real.


“Howard has a story and a conflict that can only be answered in the film, not off screen, not by

some big event but by what’s going on with him and his brothers,” Clarke explains. “And my

relationship with Shia and Tom, on and off-camera, was great from day zip. We are the type of actors

who develop character through our interactions. As soon as I was onboard, Shia sent out some texts and

pictures and it was just a let’s get stuck in it attitude, which is how I like to work. Tom is a very

ferocious actor, in terms of his pursuit of character and truth and the choices that he makes. Both of

them give you so much to work with that it makes your job easier.”


Romantic love is also key to the story of LAWLESS, which lyrically depicts the longing and

tenderness that is a much a part of the brothers’ world as violence and ferocity. Jessica Chastain plays

the enigmatic Maggie, who breezes into the Bondurants’ world like an exotic bird assured of finding her

place. But Maggie is fleeing her own troubled past, which ultimately will crash into her new life.


Maggie was a tricky role to cast; like Forrest, she is keenly observant and chooses when and

what she will reveal. Hillcoat describes what he was looking for: “We needed to find a Maggie that had

a real maturity, who was a real woman and complicated. Because she has a history that we don’t really

know about -she comes from Chicago, she’s damaged in a way that Forrest is also damaged and that’s

why they gravitate to one another. So we needed to find someone who had that emotional depth to

convey that connection without too much being said. She also needed incredible strength because in fact

she is the strongest character in the film -she’s stronger than all the brothers. So we needed someone

who had real gravitas, who could stand up to all these alpha males but who is also appealing and has this

warmth.” Benoit Delhomme, Hillcoat’s cinematographer, suggested that he meet with Jessica Chastain,

at the time mostly known for her stage work. A single meeting was all it took to convince the director


12



he had found his Maggie. After watching some of her film work, he knew he had struck gold.


Chastain was already a Hillcoat admirer and she was immediately hooked by LAWLESS. “I

thought the script was dynamic and shocking and great,” she remarks. “What really drew me to the

character was the love story between Maggie and Forrest. I liked the idea that they were two damaged

people who have one shot at happiness. That was very moving. ”Having won the role, Chastain

immersed herself in research, with topics ranging from Chicago gun molls to the Depression and

moonshine.


Chastain shared most of her screen time with the three brothers and enjoyed them immensely.

“The casting is amazing. The three of them look like brothers to me and even act like them. They play-

fought and joked -really stupid ‘guy’ jokes -and it was wonderful to see their dynamic together. Shia

was so prepared all the time, such a professional, it was really exciting to see him in this role. I worked

with Jason before and he is fantastic as Howard. It’s such a huge metamorphosis, I’ve never seen him do

anything like this. And Tom, who I have most of my scenes with, for me, it was just another level of

acting.”


Mia Wasikowska plays Bertha, a member of the Dunkards, a conservative Christian sect, who

nonetheless attracts Jack Bondurant’s attention and affection. She eventually responds in kind, in

complete defiance of her family and clan.


“I liked Bertha because she was a really independent spirit and I admired the journey that she

went on. And the creative team was so incredible, from John to the cast and crew. John is a great actors’

director. He is so collaborative and trusting and so open to hearing all of your ideas and everything you

have to offer,” Wasikowska says. Besides researching the Dunkard and Mennonite religious sects, the

actress took mandolin lessons to prepare for her role.


Hillcoat had met Wasikowska years before through mutual friends and had long been impressed

by her talent and uncanny maturity. Like her onscreen romantic interest, she possessed both the talent

and look necessary for the role. “Mia had the perfect face and bearing for someone in that religious sect.

She had studied ballet for a long time so she had that elegant, strict posture; She is a really skilled

actress with a immense range.,” Hillcoat says.


The influence of these two female characters, Maggie and Bertha, and their relationships with the

Bondurants, was pronounced in Bondurant’s novel and became a critical theme in LAWLESS. “I like

the contrast of having strong women in a gangster movie; that’s not very common in contemporary

cinema,” Hillcoat observes.. “The relationships in the story were very special and fresh. The

relationship of the three brothers, the relationship between Forrest and Maggie was very complicated,


13



unusual and very modern. Whereas Jack and Bertha were timeless, all about youth and innocence. And

there was the fact of Bertha, a girl from a strict, closed religious community, getting involved with wild

bootleggers – it was fascinating.” Hillcoat explains.


As Jack seeks to prove himself in the moonshine racket, he relies on the mechanical ingenuity of

his childhood friend Cricket. Played by rising young star Dane DeHaan, Cricket is gentle soul who is

effectively Bondurant brother number four. Like his friend Jack, Cricket has an entrepreneurial spirit

and a progressive attitude about the moonshine trade. His drive and ingenuity is even more impressive

because he has suffered permanent disfigurement from a childhood case of rickets. To get a feel for the

kind of pain and obstacles Cricket must experience every day, DeHaan spoke to a doctor about rickets

and decided to literally walk in Cricket’s shoes. “I felt I needed shoes that would make it look like my

feet were flush on the floor even though my legs were bent. So we had a lot of costume fittings to craft

these boots and make them accurate. When I wore them, my feet on the inside were on an angle but

when you see them on screen, it will look like my feet are flat on the ground. Consequently, when I

walked around all day wearing the boots, my feet were at an angle. When I was doing my scenes, they

were completely crooked and I was putting my weight on the wrong parts of my feet. At the end of a

work day, I was in a lot of pain -I was definitely feeling Cricket’s pain.”


Hillcoat credits his longtime and “fantastic casting director” Francine Maisler with introducing

him to DeHaan -and praises DeHaan for elevating the character beyond a mere caricature. “Dane’s

completely nailed the part in his audition tape. It was just like, ‘oh, there’s Cricket.’ He had a very hard

role to pull off. The hillbilly character is so entrenched in popular culture that there is real baggage to it

and Dane had the brunt of it. There was the fact that his character had rickets; the fact that he had this

huge spirit and was actually extremely bright. I remember someone talking about Appalachia, which

has a long history of incredible poverty and is very isolated from the rest of the world and yet there are

people there who with the right education and opportunities, they could have done extraordinary things they

DID extraordinary things within that world. And Cricket is one of those people; he basically

invents Nascar. Nascar actually came out of the running of the moonshine and outrunning the law.

One might think at first glance Cricket was insubstantial and dumb, but Dane beautifully conveyed

Cricket’s heart and his intelligence,” Hillcoat says.


LAWLESS marks the third collaboration between Hillcoat, Cave and their fellow Australian,

Guy Pearce, following THE PROPOSITION and THE ROAD. Pearce was delighted to rejoin his

colleagues, particularly with a role as juicy as Charlie Rakes, the corrupt, sadistic Chicago lawman who

is determined to break the Bondurant clan.


14



The actor appreciated Cave’s stylistic flair in creating Rakes. “In typical Nick Cave fashion,

Rakes was a character with very specific quirks and details. He’s very particular in his judgment of

people, which shows when he first arrives in the town. His disdain for people like the Bondurant boys

was a wonderful thing to play. I think he oozes utter contempt for them and their mere existence,”

Pearce explains.


Rakes is a fastidious, narcissistic fellow and his very particular look reflects it. It included

pristine attire, a massive part separating shiny, slicked-back ebony hair, and a distinct and disturbing

lack of eyebrows. This bold appearance also exemplifies the working relationship between Hillcoat and

Pearce. “I did have quite a hand in the look of Rakes,” Pearce allows. “Obviously, it was a collaborative

process. John is very interested in making characters memorable and he has a wonderful imagination, so

it was satisfying working with him on this character. I feel the haircut, the shaved eyebrows and the

dying of the hair were all great ways to express the vanity of the man. Rakes also has a disdain for all

things grubby and dirty in a physical sense, and yet is so disgusting as a personality.”


Both Hillcoat and Pearce relished the notion of Pearce playing such a nefarious, complicated

character. “I loved the idea of Guy playing a villain and I knew he was capable of it -at this stage in his

career, he is capable of playing anything.”


Somewhere in the zone between good guy and bad guy lies Chicago gangster Floyd Banner, who

is both a foe and a friend to the Bondurants. Given that Floyd Banner is a fleeting presence in the film,

Hillcoat required an actor who could convey the charisma and bravado that would impress a young

bootlegger like Jack – and he counted himself lucky when Gary Oldman signed on for the role.


“Gary Oldman is one of the great actors of his generation. He’s incredibly precise actor and yet

he also has this undeniable power. I was trying to think of a Chicago gangster who would have this as

well as have a real pizzazz, which Gary certainly possesses. I hadn’t seen him do a character quite like

that before, and I like to try to find people who nail the character but also bring something fresh to it.

Gary lived up to every bit and we were all very excited to have him,” Hillcoat says.


Fans of Hillcoat and Cave will notice Floyd’s lieutenant Gummy Walsh, played by Noah Taylor,

who last worked with the filmmakers on THE PROPOSITION. Cave himself makes an appearance in

LAWLESS as a gangster. Unfortunately his bootlegging days -and scenes in the movie -are numbered

to one.


LAWLESS shot for 43 days around Peachtree City, Georgia, a suburb outside of Atlanta. The

location proved to be a boon for the production for many reasons, including a broad spectrum of

buildings dating back to the Prohibition era or earlier. Notes executive producer Dany Wolf, “Sadly,


15



there has never been a huge economic rebound in most of the small towns in Georgia, so it was fairly

easy for us to find buildings that existed from the late 20s, 30s. A lot of them were in good condition

and a lot of them had been abandoned. We really had our choice of different properties.” The Cotton

Pickin’ Fairgrounds, a rarely used facility in Gay, Georgia, became a kind of backlot for the production,

offering a wealth of unrenovated period buildings.


Another notable location included the Red Oak Creek Bridge, the longest covered bridge in

Georgia. Built in the 1840s by freed slave Horace King, it is still in use today and provided a stark

backdrop for an operatic shoot out in the movie. The historic town of Haralson, Georgia became Rocky

Mountain, Virginia, where an awestruck Jack first glimpses his idol Floyd Banner. Cricket’s Aunt

Winnie’s home was an actual rickety wooden cabin that was so period-correct that it also contained a

cache of clothing from the 1920s and 1930s. Costume designer Margot Wilson salvaged the garments

and used them as wardrobe for some of the extras.


Production designer Chris Kennedy built the main set, Blackwater Station, a rambling wooden

building where the Bondurants’ live and conduct business, legal and otherwise. He based his design on

a photograph taken in the Virginia Mountains, showing an old barn that had been turned into a gas

station. “I was quite taken by the notion of the transition from the old world to the new,” Kennedy

explains. He imagined how the developments of the 19th and 20th Centuries would have changed the

way Blackwater Station was used. “My idea was that this family has been living here for over 100

years, and initially the area was very remote. Then the road got put through, with some passing traffic,

so they started a blacksmith shop and then it became an overnight inn. Then as automobiles became

more common, it became a gas station and a general store. Of course the Bondurants run a moonshine

operation, so it’s a front for all of that.”


Kennedy’s main color palette was muted earth tones, punctuated with occasional with pops of

color. The goal was be true to the period as well as the story. “It’s all natural timber and earth tones;

newspapers, which the Bondurants use as wallpaper, brings a little color. The idea was that we’re in a

world that is really hand-made, from timber and found materials sourced from the location. The strong

primary colors we see, whether in the form of a gas pump, a red sign or colored magazine pages stuck

on a wall, those represent the civilized world on the outside,” Kennedy says.


Photography was key inspiration when it came to the look of the film. Given the film’s setting

during the Great Depression, the photography of the WPA (Works Progress Administration) was a

natural resource. But it wasn’t the well-known black and white images by Walker Evans, Dorothea

Lange that most influenced the filmmakers, says Hillcoat. “The real turning point for us came when we


16



discovered a book called ‘Bound for Glory: America in Color,’ which features color photography from

the Great Depression. Another key reference was the great Southern photographer William Eggleston

and the organic types of colors he used -he is a master of color photography. Overall, the look of the

film owes much more to photography than film.”


They hewed closely to the colors that were prevalent at the time, whether in clothing, advertising

or exterior paint. “It was a more limited palette simply because the manufacturing capacity didn’t

exist,” Hillcoat explains. “So in advertising, there’s a technical reason that certain colors became more

familiar, the same with the color of clothes. It was a more limited palette because of what they could

print or dye,” Hillcoat notes.


Much of the color in several scenes, in fact, comes from Jessica Chastain’s Maggie. In vibrant

crimsons, purples and turquoises, with her porcelain skin and red hair, she is an exotic bird who flies

into the Bondurants’ lives. Says costume designer Margot Wilson, “Maggie was the flower who comes

into the story, who introduces another world into the brothers’ lives. Jessica’s costumes were informed

by her beautiful red hair, and we picked strong colors that were completely different than the boys’

colors. She was a wonderful canvas.”


Wilson created distinct looks for each of the brothers. “I wanted to set the Bondurant boys in a

world of their own, as opposed to the gangsters or other bootleggers. So their colors were very earthy,

quiet colors that worked with the landscape and the sets. I set their wardrobe in the late 1920s even

though the film is set in the 1930s because they live in the country and they’re not the kind to follow

fashion. Jack starts out in the backwoods but he is on a mission to make more money and improve

himself. So his clothes change as he becomes closer to the gangsters of the time. Howard’s just

Howard; He’s drunk and pretty much stays the same. I put Forrest in a cardigan; it has a quietness and

an old feel about it that reflected Forrest’s stillness quite well.”


In his sharply tailored suits and ever-present gloves, Pearce’s villainous Rakes stands out like

the intruder he is. Says Wilson, “Rakes is very self-conscious about what he wears and what he looks

like. I wanted a very angular silhouette for Rakes, to make the separation clear. He is not from this

world and he has come to destroy it.”


As Bertha, Wasikowska was costumed in the nondescript dresses, bonnets and aprons worn by

the Dunkards. That finally changes when LaBeouf’s Jack gives her a yellow dress.


Remarks the actress, “Margot’s amazing. I always say the costumes are the last piece of the

puzzle to figure out who your character is and it really gave me an idea of who the Dunkards are, how

they lived. And the yellow dress was beautiful -I loved it. I would wear that dress myself in life.”


17



Hillcoat and his cinematographer Benoit Delhomme shot the film digitally, with the Alexa

camera -a first for both of them. “Benoit and I jumped off a cliff together on this which is shooting

with the Arri Alexa. There’s been this quick kind of shift and we had a choice of being one of the last to

shoot on film or one of the first to shoot this new camera,” says Hillcoat. “The big turning point was

that we had a lot of night scenes and a very tight schedule. We didn’t want to light it at night; we

wanted to see the detail in the woods. The amazing thing about the Alexa -we did side by side tests -is

that you have this incredible latitude between stops and you can film beyond what even our eyes can

see. Plus it had a softer quality than the other digital cameras.”


Although the film is set in the 1930s, Hillcoat sees parallels between that era and this one,

particularly in the Bondurants’ fierce independence and their distrust of the government, personified by

the new “law,” Deputy Rakes. “There are many parallels -it was a time of immense unrest. There’s the

economic Great Depression and whatever we have now. There were environmental upheavals; there

were devastating dust storms, which we reference in the film. There was an incredible imbalance

between the rich and the poor. I’d say the corruption and the helplessness of people trying to do the

right thing and getting stomped on by greater, more powerful, cynical forces is even more pronounced

now. The introduction of modern technology; now it’s the digital and Internet age but then it was the

machine gun, the fast car. It was the beginning of the modern media, with the influence of the radio.

Then, there was this crazy law called Prohibition, which is not unlike the insane situation with Mexico

and the cartels -in terms of who is benefiting by outlawing certain substances, who is controlling it and

who is making the money,” Hillcoat says.


One of the ways Hillcoat and Cave underscore the similarities between then and now is through

the music. They mash-up genres and artists and periods and create a signature sound for film.

“The hills of Virginia were full of poor white AND black people. Which is why I think the music from

that era is so rich -there’s this interesting cross-pollination between the blues and gospel of the African

American people with the country music of that area, which was Scots Irish,” remarks Hillcoat. “So we

have Ralph Stanley, a country bluegrass singer, singing ‘White Light, White Heat’ by the Velvet

Underground, which is about drugs. We sort of looked at moonshine like meth is right now. We have

Emmylou Harris sing ‘The Snake Song’ by Townes Van Zandt, which I thought was Forrest’s song.

He’s kind of like a snake but it’s a love song -he’s got that contrast. We deliberately took musicians like

Ralph Stanley and Emmylou Harris to sing songs that aren’t standards from that era but have qualities

that are reminiscent. It’s a dynamic, eclectic mix -old Nashville people combined with old punks. It’s

got a raw, kinetic energy. Not unlike the Bondurants.”


18



ABOUT THE CAST


Shia LaBeouf (Jack)


19


Shia LaBeouf has quickly become one of Hollywood’s most sought-after actors. His natural talent and

raw energy have secured his place as one of Hollywood’s leading men.

LaBeouf starred in TRANSFORMERS: DARK OF THE MOON, which marked his third turn as the

enterprising and heroic Sam Witwicky audiences have come to know and love. From the original

TRANSFORMERS, released in 2007 (which earned over $700 around the world in theatrical release

and became the highest grossing DVD of the year); to the second installment in 2009,

TRANSFORMERS: REVENGE OF THE FALLEN, (which garnered global receipts upwards of $836

million,) Sam continuously finds himself in the middle of a life and death struggle between warring

robot legions on earth.


LaBeouf recently completed production on the political thriller THE COMPANY YOU KEEP, opposite

Robert Redford, who also directs. The thriller is centered on a former Weather Underground activist

who goes on the run from a journalist who has discovered his identity. LaBeouf is currently in Romania

shooting THE NECESSARY DEATH OF CHARLIE COUNTRYMAN, opposite Evan Rachel Wood.


LaBeouf starred opposite Michael Douglas in the WALL STREET: MONEY NEVER SLEEPS.

Directed by Oliver Stone, LaBeouf played a young investment banker who forges an alliance with the

infamous 80s trader Gordon Gekko, in order to stop a hostile takeover. In 2008, he starred in the highly

anticipated fourth installment of Steven Spielberg’s INDIANA JONES series, INDIANA JONES AND

THE KINGDOM OF THE CRYSTAL SKULL, opposite Harrison Ford; teamed with director D.J.

Caruso’s for a second time on the thriller EAGLE EYE, co-starring Michelle Monaghan, Rosario

Dawson and Michael Chiklis; and appeared with Julie Christie and John Hurt in the Anthony Minghellascripted

segment of NEW YORK I LOVE YOU, a romantic anthology.


Additional film credits include the popular thriller DISTURBIA; the Oscar® nominated animated film

SURF’S UP; A GUIDE TO RECOGNIZING YOUR SAINTS, which won Best Ensemble Cast at the

Sundance Film Festival; Emilio Estevez’s acclaimed drama BOBBY; THE GREATEST GAME EVER

PLAYED; I, ROBOT; CONSTANTINE; CHARLIE’S ANGELS: FULL THROTTLE; and HBO’s

“Project Greenlight” feature THE BATTLE OF SHAKER HEIGHTS, produced by Matt Damon and

Ben Affleck. In 2003 he made his feature film debut in the comedy HOLES, based on the best-selling

book by Louis Sacher.


In 2007, he was named the Star of Tomorrow by the ShoWest convention of the National Association of

Theater Owners, and in February 2008, he was awarded the BAFTA Orange Rising Star Award, which

was voted for by the British general public. In addition, he was nominated for four Teen Choice Awards

for TRANSFORMERS, winning the Breakout Male Award, the Teen Choice Award for Movie Actor in

a Horror/Thriller for his performance in DISTURBIA, as well as a Scream Award. In 2004, he was

nominated for the Young Artists Award for Leading Young Actor in a Feature Film and the

Breakthrough Male Performance at the MTV Movie Awards for his performance in HOLES.


On television, LaBeouf garnered much praise from critics everywhere for his portrayal of Louis Stevens

on the Disney Channel’s original series “Even Stevens.” In 2003, he earned a Daytime Emmy award for

Outstanding Performer in a Children’s Series for his work on the highly rated family show.


Tom Hardy (Forrest)


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Tom Hardy has quickly become one of Hollywood’s most sought-after actors. He most recently

appeared in Christopher Nolan’s critically hailed INCEPTION, alongside Leonardo DiCaprio, Joseph

Gordon-Levitt, Cillian Murphy, Tom Berenger, Ken Watanabe, Michael Caine, Marion Cotillard and

Ellen Page. The film centers on a corporate espionage thief who secretly extracts valuable information

from the unconscious mind of his targets while they are dreaming. The film was released in July 2010

and became the 24th highest grossing film of all time.


Hardy rejoined Nolan on THE DARK KNIGHT RISES. He plays the villain role of Bane opposite

Christian Bale, Anne Hathaway, Joseph Gordon-Levitt and Gary Oldman.


Other films include WARRIOR, opposite Joel Edgerton, the story of two estranged brothers facing the

fight of a lifetime, an inspirational action drama from director Gavin O’Connor (MIRACLE); also THIS

MEANS WAR, directed by McG. The story centers on two CIA agents and best friends (Hardy and

Chris Pine) who fight over the affections of Reese Witherspoon’s character. In addition, Hardy stars in

the Cold War thriller, TINKER, TAILOR, SOLDIER, SPY with Colin Firth and Gary Oldman.


In 2009, Hardy won a British Independent Film Award for Best Actor for his work in the title role of the

2008 thriller BRONSON. His film credits also include Guy Ritchie’s action comedy ROCKNROLLA,

with Gerard Butler, Thandie Newton, Idris Elba, Mark Strong and Tom Wilkinson; Sofia Coppola’s

MARIE ANTOINETTE; and the crime thriller LAYER CAKE, with Daniel Craig.


Hardy hails from England and began his screen career when he was plucked straight from London’s

Drama Centre for a role in HBO’s award-winning World War II miniseries “Band of Brothers,”

executive produced by Tom Hanks and Steven Spielberg. He went on to appear in the features BLACK

HAWK DOWN, directed by Ridley Scott; STAR TREK: NEMESIS; Paul McGuigan’s THE

RECKONING, alongside Willem Dafoe and Paul Bettany; and DOT THE I, from first time

writer/director Matthew Parkhill.


On television, Hardy earned a BAFTA TV nomination for Best Actor for his performance in the HBO

movie “Stuart: A Life Backwards.” He also portrayed Heathcliff in the 2009 ITV production of

“Wuthering Heights.” Additional credits include the telefilms OLIVER TWIST, A FOR

ANDROMEDA, SWEENEY TODD, GIDEON’S DAUGHTER and COLDITZ, as well as the BBC

miniseries “The Virgin Queen,” in which he starred as Queen Elizabeth’s lover Robert Dudley.

Hardy has also starred in numerous plays in London’s West End, including “Blood” and “In Arabia

We’d All Be Kings,” winning the Outstanding Newcomer Award at the 2003 Evening Standard Theatre

Awards for his work in both productions. For the latter play, he was also nominated for a 2004 Olivier

Award. In 2005, Hardy starred in the London premiere of Brett C. Leonard’s “Roger and Vanessa,”

under the direction of Robert Delamere. He and Delamere also run a theater workshop/gym called

Shotgun at London’s Theatre 503.


Jason Clarke (Howard)


Jason Clarke has emerged in the U.S. with a slate of performances in both television and film, having

most recently been cast in a coveted role in Baz Luhrmann’s adaptation of THE GREAT GATSBY.

Clarke will star opposite Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, and Isla Fisher as

George Wilson, the cuckolded husband of Myrtle (Fisher) and the man who brings the story to its

climax. The film is set to be released by Warner Bros. in November 2012.


21



Clarke can also be seen in TEXAS KILLING FIELDS in September when the film premieres at the

Venice Film Festival, followed by a release in October.


Clarke first came to America’s attention in the critically acclaimed dramatic Showtime series,

“Brotherhood” where he played Tommy Caffee, an ambitious Rhode Island politician who navigates the

treacherous worlds of local politics and organized crime. He most recently starred in Shawn Ryan’s

(“The Shield”) acclaimed crime-drama, “The Chicago Code” on FOX. Clarke starred as Veteran

Chicago Police Detective Jarek Wysocki who leads the special unit fighting against the corruption.


Previously, Clarke also starred in several high profile films including Michael Mann’s PUBLIC

ENEMIES opposite Johnny Depp; Oliver Stone’s WALL STREET: MONEY NEVER SLEEPS,

opposite Shia Labeouf and Michael Douglas; and Paul W.S. Anderson’s DEATH RACE.


In the world of independent films, Clarke also starred in Jada Pinkett Smith's directorial debut, THE

HUMAN CONTRACT; David Schwimmer’s TRUST, opposite Clive Owen and Catherine Keener;

YELLING TO THE SKY, directed by Victoria Mahoney; and SWERVE, directed by Craig Lahiff.


In his native Australia, Clarke starred in Phillip Noyce's RABBIT PROOF FENCE, as well as BETTER

THAN SEX and PARK STREET. In television, Clarke worked opposite Geoffrey Rush in the series

“Mercury.”


Clarke graduated from the Victorian College of the Arts in Melbourne and also has extensive credits in

theater, both as an actor and a director.


Jessica Chastain (Maggie)


Jessica Chastain has emerged as one of Hollywood’s most sought after actors of her generation.

Born and raised in Northern California, Chastain attended the Juilliard School in New York City. While

there she starred in “Romeo and Juliet” and went on to receive glowing reviews for her performances in

“The Cherry Orchard,” opposite Michelle Williams at Williamstown; and Richard Nelson’s “Rodney’s

Wife,” opposite David Strathairn off-Broadway at Playwright’s Horizons.


This year she is a lending her voice to DreamWorks Animation’s MADAGASCAR 3: EUROPE’S

MOST WANTED, releasing on June 12th. Chastain will voice the character of Gia the Jaguar.


Chastain starred opposite Brad Pitt and Sean Penn in the drama TREE OF LIFE, written and directed by

Terrence Malick for River Road Productions. The story concerns the loss of innocence as seen through

the eyes of the son of the characters played by Chastain and Pitt. The film was shot in Texas in early

2008 and released in May 2011.


Chastain also starred as the female lead in Miramax’s THE DEBT, alongside Helen Mirren and Sam

Worthington. Chastain is an Israeli Mossad agent sent on a mission to apprehend the WWII Nazi

surgeon from the concentration camp who tortured Jewish prisoners. Production took place in Budapest

and Tel Aviv.


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Chastain can be seen in Ami Mann’s feature film, TEXAS KILLING FIELDS. This psychological

thriller is based on true events that took place in a small Pennsylvania town in 1973. In this project

Jessica stars alongside Sam Worthington and Chloe Moretz.


Chastain is best known for her role as Celia Foote, an insecure Southern lady constantly trying to fit in

with the high society women who reject her on Dreamworks’ THE HELP, adapted from the best-selling

Kathryn Stockett novel. The story centers on black maids working in white households in the early

1960s in Jackson, Miss. Viola Davis, Emma Stone, Bryce Dallas Howard and Octavia Spencer are

among the cast. The film released in August 2011. Chastain can also be seen playing the character

Virgilia in CORIOLANUS, a film adaptation of Shakespeare’s tragedy. The film, shot in Belgrade,

Serbia in 2010, also stars Gerard Butler and Ralph Fiennes.


In 2009, Chastain played the role of Desmonda in the classic play “Othello,” opposite Phillip Seymour

Hoffman. Directed by Peter Sellars, the project ran beginning in Vienna, then Germany and finishing in

New York.


At the senior class Juilliard showcase, Chastain landed a coveted talent deal with Emmy award winning

executive producer and writer John Wells, the show runner of “E.R.” and “The West Wing” and

producer of WHITE OLEANDER. After completing a pilot for John Wells and director PJ Hogan (MY

BEST FRIEND’S WEDDING), Chastain returned to the stage in the Los Angeles Wadsworth Theatre

production of “Salome,” where Academy Award winners Estelle Parsons (director) and Al Pacino handpicked

her to play the title role opposite Pacino Continuing the collaboration, producer Barry Navidi

commenced the film version, WILD SALOME, directed by Pacino, where they filmed behind the scenes

and portions of the play’s production.


Chastain’s stage work in “Salome” received enormous critical attention and led to her landing the

dynamic title role in Dan Ireland’s JOLENE, opposite Rupert Friend, Frances Fisher, Dermot Mulroney

and Michael Vartan. This adaptation of the E.L. Doctorow (“Ragtime”) short story “Jolene” depicts a

young woman’s odyssey of relationships over the course of ten years. Chastain won the Best Actress

Award at the 2008 Seattle Film Festival for this role.


In 2011, Chastain received several nominations and awards for her work in THE HELP, TAKE

SHELTER, TREE OF LIFE, THE DEBT, CORIOLANUS and TEXAS KILLING FIELDS. Her

nominations include the LA Film Critics, BAFTA, Critics Choice, Golden Globe, Screen Actors Guild

as well as an Oscar nomination for Best Supporting Actress for THE HELP.


Chastain currently lives in California.


Mia Wasikowska (Bertha)


In a short amount of time, Mia Wasikowska has established herself as a rising star of the big screen. A

trained ballerina turned actress, Wasikowska has been challenging herself as a performer since the age

of 9.


Wasikowska made her debut to US audiences as the tormented and suicidal teen Sophie in HBO’s series

“In Treatment.” Directed by Rodrigo Garcia, “In Treatment” focused on the relationship between a

therapist (Gabriel Byrne) and his patients. In recognition of her performance, Wasikowska was honored


23



by the Los Angeles based organization Australians in Film (whose Host Committee includes Cate

Blanchett, Naomi Watts, Nicole Kidman and Hugh Jackman, among others) with the Breakthrough

Actress Award. The series was also nominated for a Golden Globe Award for Best Drama Series.


In January 2009, Wasikowska was seen in a supporting role in the film DEFIANCE. Based on a true

story, three Jewish brothers (Daniel Craig, Liev Schrieber and Jamie Bell) escape from Nazi-occupied

Poland into the Belarusan forest where they encounter a village of Russian resistance fighters.

Wasikowska plays Chaya, a young villager who builds a relationship with one of the brothers. The war

film, directed by Ed Zwick was distributed by Paramount Vantage.

In October 2009, Wasikowska appeared in a supporting role in Fox Searchlight’s film, AMELIA,

starring Hilary Swank and Richard Gere for director Mira Nair. Wasikowska portrayed Elinor, a young

fan of Earhart whose motivations for building a relationship with Earhart are questioned by her reliable

friend George (Gere). During the same month, Wasikowska shared the screen with Hal Holbrook in the

independent picture THAT EVENING SUN, directed by Scott Teems. Wasikowska earned an

Independent Spirit Award nomination for Best Supporting Actress for her performance as a naïve

Tennessee teenager.


In 2010, Wasikowska starred as the title character in ALICE IN WONDERLAND, Tim Burton’s

retelling of the Lewis Carroll classic. The Disney live and 3-D animated film co-starred Johnny Depp,

Anne Hathaway, Michael Sheen and Alan Rickman. The same summer, Wasikowska co-starred in the

Academy Award-nominated film THE KIDS ARE ALL RIGHT with Annette Bening, Julianne Moore

and Mark Ruffalo. The Lisa Cholodenko film was also recognized with an Independent Spirit Award

and Golden Globe Award for Best Film. In the Focus Features film, Wasikowska portrayed the teenage

daughter of lesbian parents who sets out to find her sperm donor father.


In September 2011, Wasikowska tackled the lead role in JANE EYRE, director Cary Fukunaga’s screen

adaptation of Charlotte Bronte’s classic novel. The film released to worldwide critical acclaim, praising

the performances of Wasikowska and Michael Fassbender (as Rochester).

In May 2011, Wasikowska starred in another lead role in the Gus Van San-directed film RESTLESS

alongside Henry Hopper. Produced by Imagine Entertainment with Bryce Dallas Howard, Wasikowska

is Annabel, a terminally ill girl who falls in love with a death-obsessed teenage boy. The script was

penned by first-time screenwriter Jason Lew. An official selection of the 2011 Cannes Film Festival,

RESTLESS was released by Sony Classics.


Wasikowska ended the year co-starring opposite Glenn Close and Janet McTeer in the Roadside

Attractions drama ALBERT NOBBS. The period drama gave Wasikowska the opportunity to re-team

with her “In Treatment” director Rodrigo Garcia.


Guy Pearce (Charlie Rakes)


From an early age, Guy Pearce was drawn to acting. He first learned his craft as a member of various

theatrical groups in his hometown of Geelong, Victoria in Australia. Within days of graduating high

school, he landed his first professional acting job on the popular Australian TV show “Neighbours.”

More theatre and television roles followed but it wasn’t until his remarkable performance in Stephan

Elliott’s international cult hit THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, that

his talents were truly recognized.


24



Since then, Pearce has emerged as one of the cinema’s most versatile and respected talents. He stars in

Ridley Scott’s upcoming epic sci-fi thriller PROMETHEUS, with Michael Fassbender, Charlize Theron

and Noomi Rapace. He has starred in such films as the Oscar-winning L.A. CONFIDENTIAL,

MEMENTO, THE COUNT OF MONTE CRISTO, THE TIME MACHINE, TRAITOR, THE

PROPOSITION, FIRST SNOW and FACTORY GIRL.


More recently, he appeared in the Oscar-winners THE HURT LOCKER and THE KING’S SPEECH, as

well as DON'T BE AFRAID OF THE DARK, LOCKOUT, and the Australian crime thriller ANIMAL

KINGDOM. In 2011 Pearce won and Emmy® award for his portrayal of Monte Beragon in Todd

Haynes’ adaptation of "Mildred Pierce" for HBO. He has twice worked with John Hillcoat, on THE

PROPOSITION and THE ROAD. Additional film credits include BEDTIME STORIES, with Adam

Sandler; DEATH DEFYING ACTS, with Catherine Zeta Jones; SEEKING JUSTICE, with Nicholas

Cage; 33 POSTCARDS; and IN HER SKIN, alongside Sam Neill and Miranda Otto. He recently

completed writer/director Drake Doremus’ next untitled feature, opposite Amy Ryan and Felicity Jones.


Gary Oldman (Floyd Banner)


A worldwide presence in major motion pictures for twenty years, Gary Oldman is known to millions as

Sirius Black (Harry Potter’s Godfather), Commissioner Jim Gordon (Batman’s crime-fighting partner),

Dracula, Beethoven, Lee Harvey Oswald, Joe Orton, Sid Vicious, and also the terrorist who hijacked

Harrison Ford’s AIR FORCE ONE. He also starred in Luc Besson’s THE PROFESSIONAL and THE

FIFTH ELEMENT; in THE BOOK OF ELI; and also as Dr. Zachary Smith in LOST IN SPACE.


Highly regarded as one of foremost actors of his generation, and an internationally known, iconic figure,

he has the distinction of appearing in more successful films than any other artist spanning the past

eighteen years, and additionally has appeared in more than one of the top ten highest grossing films in

history including, not one, but BOTH of the most successful film franchises in history. Oldman is the

recipient of the 2011 Empire Icon Award, awarded for a lifetime of outstanding achievement.


He has appeared in the following HARRY POTTER films: HARRY POTTER AND THE PRISONER

OF AZKABAN, HARRY POTTER AND THE GOBLET OF FIRE, HARRY POTTER AND THE

ORDER OF THE PHOENIX and HARRY POTTER AND THE DEATHLY HALLOWS: PART II. He

also appeared in the Christopher Nolan’s BATMAN BEGINS and THE DARK KNIGHT, and stars in

the upcoming THE DARK KNIGHT RISES.


As master spy George Smiley, Oldman creates yet another acclaimed iconic character in the film version

of John Le Carre’s TINKER, TAILOR, SOLDIER, SPY, a performance which earned him an Oscar

nomination as Best Actor, and also a British Academy Award nomination as Best Actor.


Oldman began his acting career in 1979, appearing in a number of plays and working from 1985 through

1989 at London’s Royal Court. His early BBC films were Mike Leigh’s MEANTIME and THE FIRM,

by the late Alan Clarke. Feature films were Alex Cox’s SID AND NANCY; Stephen Frears’s PRICK

UP YOUR EARS; Tom Stoppard’s ROSENCRANTZ AND GILDENSTERN ARE DEAD; STATE OF

GRACE; Oliver Stone’s JFK; Francis Ford Coppola’s BRAM STOKER’S DRACULA; ROMEO IS

BLEEDING; Tony Scott’s TRUE ROMANCE; MURDER IN THE FIRST; IMMORTAL BELOVED;

and Roland Joffe’s THE SCARLET LETTER..


25



In 1995, Oldman and manager/producing partner Douglas Urbanski formed a production company,

which produced Oldman’s directorial debut, the highly acclaimed NIL BY MOUTH. The film won nine

of seventeen major awards for which it was nominated. It was selected to open the main competition for

the 1997 50th Anniversary of the Cannes Film Festival, where co-star Kathy Burke won the award for

Best Actress. The same year Oldman won the prestigious Channel Four Director’s Prize at the

Edinburgh Film Festival, in addition to winning the British Academy Award (shared with Douglas

Urbanski) for Best Film and the BAFTA for Best Original Screenplay.


In 2000, Oldman and Urbanski produced THE CONTENDER; Oldman co-starred alongside Joan

Allen, Jeff Bridges, Christian Slater and Sam Elliott; the film received several Academy Award

nominations. During the past eighteen years, Oldman has appeared in ten films that have opened in the

number one box office position; the films in which he has appeared have a cumulative gross in the

billions and billions of dollars.


Dane DeHaan (Cricket)


In just three years, Dane DeHaan has made a formidable impression on film audiences and is currently

one of the industry’s most sought after actors of his generation. DeHaan recently starred in 20th Century

Fox’s box office hit, CHRONICLE, about three teenagers who develop superpowers and chronicle their

experience on video.


DeHaan recently completed filming independent film, KILL YOUR DARLINGS, directed by John

Krokidas and loosely based on the life of poet Allen Ginsberg. DeHaan portrays Ginsberg’s friend,

Lucien Carr, who documented their years together at school. The film tells the story of the 1944 murder

that brought together a young Ginsberg, Jack Kerouac and William S. Burroughs, played by Daniel

Radcliffe, Ben Foster and Jack Huston, respectively. In 2011, Last DeHaan completed the Derek

Cianfrance’s THE PLACE BEHIND THE PINES, opposite Ryan Gosling, Bradley Cooper and Eva

Mendes.


DeHaan is best known for his portrayal of Jesse on HBO’s critically acclaimed drama series “In

Treatment,” and he starred in the third season of the series alongside Gabriel Byrne. His performance

was lauded as a “revelatory breakthrough” by Variety and “brilliant” by the Chicago Sun Times.


In 2010, DeHaan received an Obie Award for his performance the critically acclaimed Off-Broadway

production of “The Aliens,” directed by Annie Baker. A Rattlestick Theatre production, “The Aliens”

was given the prestigious honor of Play of the Year by The New York Times. DeHaan made his

Broadway debut in 2008 with “American Buffalo.”


DeHaan began his film career under the direction of two-time Oscar nominee John Sayles and opposite

Chris Cooper in AMIGO, released by Variance films in 2011. A graduate of the University of North

Carolina School of the Arts, he currently resides in Los Angeles.


ABOUT THE FILMMAKERS



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John Hillcoat (Director)


John Hillcoat grew up in America, Canada and Britain. A career in Fine Arts led to enrollment at

Swinburne Film School in Australia, where he produced celebrated shorts. He went on to a successful

career directing and editing music videos for such artists as Nick Cave, INXS, Crowded House, Depeche

Mode, Robert Plant, and Muse, for which he won several international awards and an Australian

Recording Industry Award for Best Director. John’s first commercial (Levi’s “To Work”) won two

AICP awards and four Cannes Lions including best director.


After three years researching maximum security prisons in America and Australia, Hillcoat co-wrote

and directed his first feature film, GHOSTS OF THE CIVIL DEAD. The film was nominated for nine

Australian Film Institute Awards. His follow up film, released in 1998, TO HAVE & TO HOLD, is set

in the jungle of Papua New Guinea and starred Tcheky Karyo and Rachel Griffiths.


Hillcoat’s next feature film, THE PROPOSITION, starred Guy Pearce, Ray Winstone, Danny Huston,

John Hurt and Emily Watson. The film is an Australian Western set in remote outback Australia and

was released in 2006. It was nominated for twelve Australian Film Institute Awards and won four. It

was also nominated for nine IF Awards (The People’s Choice Awards) and won four including Best

Film. The movie went on to win numerous other international awards.


His next film was THE ROAD, based on Cormac McCarthy’s best-selling, Pulitzer Prize-winning

novel. It starred Viggo Mortensen, Charlize Theron, Robert Duvall, Guy Pearce and newcomer Kodi

Smit McPhee in a post-apocalyptic adventure in which people are pushed to the worst and the best that

they are capable of -a future in which a father and his son are sustained by love. Hillcoat received a

Golden Lion nomination for Best Director at the Venice Film Festival for his work on THE ROAD.


Nick Cave (Screenwriter/Composer)


Nick Cave is a highly regarded, innovative musician, rock star, composer and screenwriter. A longtime

friend and creative collaborator of John Hillcoat, he wrote the script for the Hillcoat-directed film

THE PROPOSITION (2005). He is the front man for Nick Cave and the Bad Seeds and Grinderman,

and his songs have been used in the SCREAM movies, SHREK 2, HARRY POTTER AND THE

DEATHLY HALLOWS and many others.


Nick Cave and Warren Ellis (Composers)


Nick Cave and Warren Ellis have been playing together for more than seventeen years, with The Bad

Seeds, Grinderman and Dirty Three. More recently they have been collaborating on soundtracks for

films such as THE PROPOSITION (2005), THE ASSASSINATION OF JESSE JAMES BY THE

COWARD ROBERT FORD (2007), THE ENGLISH SURGEON (2007), THE GIRLS OF PHNOM

PENH (2009), THE ROAD (2009), DIAS DE GRACIA (2011), and WEST OF MEMPHIS (2012); as

well as Gísli Örn Gardarsson’s acrobatic theatrical productions of “Woyzeck” (2005), “Metamorphosis”

(2006) and “Faust” (2009).


27



LAWLESS (2012) marks their third collaboration with John Hillcoat.


Lucy Fisher (Producer)


Lucy Fisher, the former vice chairman of the Columbia Tri-Star Motion Picture Group, is an award-

winning motion picture producer and co-head of Red Wagon Entertainment. Fisher and her Red Wagon

partner Douglas Wick are renowned for their classy commercial fare and for working with some of the

most accomplished filmmakers in the world. Next up for Fisher and Wick in fall 2011 is the much

anticipated Baz Luhrman-directed THE GREAT GATSBY, starring Leonardo DiCaprio, Tobey

Maguire, Carey Mulligan. Joel Edgerton Jason Clarke, and Isla Fisher.


During Fisher’s tenure as vice chairman at Sony, the studio broke all-time industry records for biggest

domestic and worldwide grosses with films she supervised, which included MEN IN BLACK, MY

BEST FRIEND’S WEDDING, AIR FORCE ONE, JERRY MAGUIRE, AS GOOD AS IT GETS, and

STUART LITTLE. After leaving the executive suite, Fisher partnered with Oscar®-winning producer

Douglas Wick (GLADIATOR, WORKING GIRL), and together they produced a wide range of movies:

from MEMOIRS OF A GEISHA to STUART LITTLE 2.


Before moving to Sony, Fisher served for 14 years as executive vice president of worldwide production

at Warner Bros., where she developed and supervised a diverse range of commercially successful,

critically acclaimed films, including THE FUGITIVE, THE COLOR PURPLE, GREMLINS, THE

GOONIES, MALCOLM X, THE BRIDGES OF MADISON COUNTY, SPACE JAM, EMPIRE OF

THE SUN, THE OUTSIDERS, and THE WITCHES OF EASTWICK. She served as vice-president of

production at Twentieth Century Fox, before being named head of worldwide production for Francis

Ford Coppola’s Zoetrope Studios.


In addition to her creative achievements, Fisher is considered a pioneer for women and working mothers

in the entertainment industry. She was the driving force behind the on-site Warner Bros. Studio

Children’s Center, which opened its doors in 1992, and has since provided care for over 2000 children

and served as a prototype for day care centers at other studios.


Fisher’s many awards include the Producer’s Guild of America’s, David O. Selznick Achievement

Award in Theatrical Motion Pictures, The Hollywood Film Festival “Producer of the Year” award, the

Hollywood Award for Outstanding Achievement in Producing, the Crystal Award from Women in Film,

Premiere Magazine’s Icon Award, the Jewish Image Awards’ Industry Leadership Award, and Friends

of Cancer Research Advocacy’s “Lifetime Achievement Award.” She has also been listed as one of

Fortune magazine’s 50 Most Powerful Women in American Business.


A cum laude graduate of Harvard, Fisher currently serves a member of the Harvard Board of Overseers

and is also an advisor to the Harvard Office of the Arts. In addition Fisher founded the Peter Ivers’

Artist-in-Residency Program at her alma mater, which annually brings cutting edge artists to the

campus.

After their youngest daughter was diagnosed with juvenile diabetes, Fisher and Wick co-founded

“CuresNow,” an organization which promotes regenerative medicine and stem cell research and was

critical in bringing the issue of stem cell research to national attention. She served as co-chairman of

The California Stem Cell Research and Cures Initiative (Prop 71), which was passed in the November

2004 election, and is now responsible for awarding $3 billion to stem cell research in the state of


28



California.


Douglas Wick (Producer)


Douglas Wick and his Red Wagon Entertainment, known for its classy commercial fare, have earned

more than $2 billion at the box office as well as 20 Oscar nominations. Wick’s GLADIATOR, directed

by Ridley Scott, won 5 Academy Awards®, including Best Picture for Wick, a Golden Globe for Best

Picture, AFI’s Movie of the Year, the MTV Movie Award for Best Movie, the Producers Guild’s

Motion Picture of the Year Award, and BAFTA’s Best Picture.


In 2001, Wick teamed with Lucy Fisher, former vice chairman of Sony’s Columbia Tri-Star Motion

Picture Group to join him as co-head of Red Wagon. Next up for Fisher and Wick in fall 2012 is Baz

Luhrman’s much-anticipated THE GREAT GATSBY, starring Leonardo DiCaprio, Tobey Maguire,

Carey Mulligan, Joel Edgerton, and Isla Fisher; it will be released by Warner Bros.


Wick garnered a Golden Globe for Best Picture and an Academy Award nomination for his first

producing effort, WORKING GIRL, directed by Mike Nichols. The many other films Wick produced

include STUART LITTLE, GIRL INTERRUPTED, (which won Angelina Jolie both an Academy

Award and a Golden Globe for her breakthrough performance); the espionage thriller SPY GAME,

pairing Robert Redford and Brad Pitt; the original teen witch sensation THE CRAFT; Paul Verhoeven’s

HOLLOW MAN; and WOLF, directed by Mike Nichols, starring Jack Nicholson and Michelle Pfeiffer.


Together Wick and Fisher have produced a range of acclaimed movies including STUART LITTLE 2,

JARHEAD, PETER PAN, and MEMOIRS OF A GEISHA.


After graduating cum laude from Yale University, Wick began his career as a production assistant for

filmmaker Alan Pakula. He earned his first credit as associate producer on Pakula’s STARTING

OVER.


Wick’s many awards include the NATO ShoWest Producer of the Year, Hollywood Film Festival’s

Producer of the Year, the PGA’s Lifetime Achievement Award in Motion Pictures Award, Hollywood

Film Festival’s Outstanding Achievement in Producing Award, George Pal Memorial Award, PGA

Motion Picture Producer of the Year Award, Saturn Award, Santa Barbara International Film Festival’s

Producer of the Year, and the Los Angeles Father of the Year Award.


In addition to his work in the entertainment industry, Wick is the co-founder of “CuresNow,” an

organization that promotes regenerative medicine and stem cell research. He co-chaired Prop 71, the

successful initiative which now generates 3 billion for Stem Cell research in the state of California. He

has served on the Board of Trustees for the Center for Early Education in Los Angeles, as well as on the

Board of Directors for the Producers Guild of America.


Cassian Elwes (Producer)


Wikipedia calls Cassian Elwes (Producer) one of the most important figures in independent cinema.

Elwes began his producing career with 1983's OXFORD BLUES, starring Rob Lowe and Ally Sheedy,

and quickly went on to make another 29 films, including MEN AT WORK, with Emilio Estevez and

Charlie Sheen; and THE CHASE, with Sheen.


29



In 1995, Elwes joined William Morris and headed William Morris Independent for 14 years. His first

effort was the long stalled project THE ENGLISH PATIENT, which won best picture that year. He

quickly followed up with such indie hits as SLINGBLADE and THE APOSTLE, both of which were

nominated for multiple Oscars, and MONSTER'S BALL, which won the Oscar for Halle Berry.


The Hollywood Reporter recently said that Elwes was "involved in a virtual who's who of every great

independent film of the last ten years" with such films as THANK YOU FOR SMOKING, HALF

NELSON, and FROZEN RIVER, the last two of which garnered Oscar nominations for Ryan Gosling

and Melissa Leo, respectively.


Elwes is considered an expert in the field of arranging financing and distribution for independent films

having done so for 283 films during his tenure at William Morris Independent. Since leaving William

Morris two years ago, Elwes has been involved in arranging financing and distribution of fifteen films

including Derek Cianfrance's BLUE VALENTINE, with Ryan Gosling and Michelle Williams; last

year’s hit financial thriller MARGIN CALL; and such upcoming releases as THE WORDS, starring

Bradley Cooper, and THE PAPERBOY, directed by Lee Daniels, starring Matthew McConaughey,

Nicole Kidman and Zac Efron. Elwes also runs a very successful domestic sales operation handling

such films as Sony Classics’ soon to be released Victorian comedy HYSTERIA, starring Maggie

Gyllenhaal.


Megan Ellison (Producer)


Since 2010, Megan Ellison’s Annapurna Pictures, has successfully maintained their vision, to produce

critically and commercially conscious films. Differentiating both Ellison and the company are their

championship of director-driven projects, like Paul Thomas Anderson’s THE MASTER, Wong Kar

Wai’s THE GRANDMASTERS, Kathryn Bigelow’s ZERO DARK THIRTY, Spike Jonze's HER, and

Andrew Dominik’s KILLING THEM SOFTLY.


Recently, Ellison acquired the rights to the latest TERMINATOR incarnation, with the aim of rebooting

the iconic franchise into what it once was. Along with that she has a number of high quality projects in

development with the likes of Paul Thomas Anderson, Spike Jonze and Charlie Kaufman , Bennett

Miller, David O. Russell, and Chris Milk.


Along with her love for high-quality pictures, she aims to excite a growing and diverse audience, by

making films of all genres and budgets but maintaining to keep their originality. This style of

filmmaking is quickly turning Ellison into one of the top producers for the new wave of Hollywood

auteurs and elite storytellers.


Benoit Delhomme (Cinematographer)


LAWLESS marks Benoit Delhomme’s second film with John Hillcoat; his first was THE

PROPOSITION, for which he won the Australian Film Institute Award for Best Cinematography, as

well as the Film Critics Circle of Australia Award and IF Award. Other film credits include THE

MERCHANT OF VENICE, starring Al Pacino, Ralph Fiennes and Jeremy Irons; the horror film 1408;

and the acclaimed feature THE BOY IN THE STRIPED PAJAMAS. In addition to THE MERCHANT


30



OF VENICE, Delhomme has collaborated with Al Pacino on WILD SALOME, Pacino’s interpretation

Oscar Wilde’s famed play, which Pacino directed and in which he stars with Jessica Chastain; and the

upcoming film version of KING LEAR, directed by Michael Radford, starring Pacino.


Margot Wilson (Costume Designer)


Margot Wilson has worked with John Hillcoat previously on THE ROAD and THE PROPOSITION. A

costume designer on over 20 feature films and mini-series, some of her credits include JAPANESE

STORY, GHOST SHIP and Terrence Malick’s THE THIN RED LINE. She received an Australian

Film Institute Award for Best Costume Design for Ray Lawrence’s LANTANA and in 2005, she won

the award for her work on THE PROPOSITION. She began her career in 1996, when she designed the

costumes for the Sydney Theatre Company’s production “A Fabulous Night at the Trocadero.”


Chris Kennedy (Production Designer)


LAWLESS is Chris Kennedy’s fourth film with director John Hillcoat. He previously collaborated with

Hillcoat on the seminal Australian film GHOSTS OF THE CIVIL DEAD, which won him his first

Australian Film Institute (AFI) Award for Best Production Design in 1989. Since then, Kennedy has

worked with a range of filmmakers, exploring a diversity of styles and subjects in films such as COSI

and ANGEL BABY. He won another three AFI Awards for SPOTSWOOD, DIRTY DEEDS and

Hillcoat’s THE PROPOSITION (for which he also won an IF Award); and has been nominated for a

further five (DEAD LETTER OFFICE, TO HAVE AND TO HOLD, THAT EYE THE SKY, GINO and

SAY A LITTLE PRAYER.)

In 2005, he was awarded the coveted AFI Byron Kennedy Award, given each hear to someone whose

“work is marked by a relentless pursuit of excellence.”


Kennedy’s passion for filmmaking and visual design took root at Swinburne College, Melbourne, where

he graduated from the Film and Television course in 1982. He subsequently art directed films, music

videos, commercials and short films.


Dylan Tichenor (Editor)


Dylan Tichenor received an Oscar and Eddie Award nomination from the American Cinema Editors for

Best Achievement in Film Editing for his work on Paul Thomas Anderson’s THERE WILL BE

BLOOD. For his editing on Wes Anderson's THE ROYAL TENENBAUMS, Tichenor also received an


A.C.E. nomination; and in 2008, he shared an Eddie nomination with Geraldine Peroni for his work on

Ang Lee’s BROKEBACK MOUNTAIN. He recently served as editor on Ben Affleck’s THE TOWN;

Drew Barrymore’s WHIP IT (on which he also was the 2nd unit director); John Patrick Shanley’s

DOUBT; and Adnrew Dominik’s THE ASSASINATION OF JESSE JAMES BY THE COWARD

ROBERT FORD. He is currently cutting Kathryn Bigelow’s thriller ZERO DARK THIRTY, starring

Jessica Chastain, Mark Strong, Joel Edgerton, Scott Adkins, Chris Pratt, Jennifer Ehle, Kyle Chandler

and Jason Clarke, about Navy Seal Team Six’s tracking and killing of Osama Bin Laden.

Geraldine Peroni and Robert Altman gave Tichenor his start in the business, as apprentice editor on

THE PLAYER. Continuing those collaborations, Tichenor became assistant editor on SHORT CUTS,


31



PRÊT-Ã –PORTER and Alan Rudolph's MRS. PARKER AND THE VICIOUS CIRCLE; technical

coordinator on KANSAS CITY; and editor on the documentary JAZZ '34, for which he received an

Emmy Award nomination.


He subsequently worked on four films with Paul Thomas Anderson, beginning as post-production

supervisor on HARD EIGHT, and then editing the award-winning BOOGIE NIGHTS, MAGNOLIA

and THERE WILL BE BLOOD.


Tichenor's other credits as film editor include Brad Silberling's Academy Award-winning LEMONY

SNICKET'S A SERIES OF UNFORTUNATE EVENTS, Mike Figgis' COLD CREEK MANOR, M.

Night Shyamalan's UNBREAKABLE, and Anthony Drazan's HURLYBURLY.


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END CREDITS


Unit Production Manager Dany Wolf

First Assistant Director Walter Gasparovic

Second Assistant Director Justin Ritson


CAST

Jack Bondurant Shia LaBeouf

Forrest Bondurant Tom Hardy

Howard Bondurant Jason Clarke

Charley Rakes Guy Pearce

Maggie Beauford Jessica Chastain

Bertha Minnix Mia Wasikowska

Cricket Pate Dane DeHaan

Danny Chris McGarry

Mason Wardell Tim Tolin

Floyd Banner Gary Oldman

Deputy Henry Abshire Lew Temple

Deputy Jeff Richards Marcus Hester

Sheriff Hodges Bill Camp

Tizwell Minnix Alex Van

Gummy Walsh Noah Taylor

Hophead #1 Mark Ashworth

Hophead #2 Tom Proctor

Jimmy Turner Bruce McKinnon

Spoons Rivard Erin Mendenhall

Ida Belle Toni Byrd

Young Jack Robert T. Smith

Young Forrest Jake Nash

Young Howard William Harrison

Aunt Winnie Joyce Baxter

Doctor Jeff Braun

Young Black Girl Malinda Baker

Goon #1 Tom Turbiville

Mugger #1 Chad Randall

Mugger #2 Terry Keasler

Junior Duncan Nicholson

Bootlegger Ron Clinton Smith

Old Mountain Woman Anna House

Bootlegger #2 Ricky Muse

Stogie Pete Peter Krulewitch

Stunt Coordinator Mickey Giacomazzi

Jack Stunt Double Brent Bernhard

Colin Follenweider

Forrest Stunt Double Kurt Hockenberry

Howard Stunt Double William Wagner

Rob Marrs

Rakes Stunt Double Lee Smith

Danny Stunt Double Dale Cannon

ATU Officer Stunts David Reinhart


33



Stunt Utility John Cypert

Reece Fleetwood

Stunt Driver Sean Graham

Pilot Paul Barth

Production Supervisor Regina Robb

Art Director Gershon Ginsburg

Set Designer Sharon Davis

Set Decorator Maria Nay

Lead Man Bob Smith

Buyer Joel Klaff

Becky Brown

Gang Boss Justin Pelissero

Beth Wheeler

Javed Noorullah

On Set Dresser Kip Bartlett

Set Dressers Joshua Noorullah

Rico Lozier

Taraja Ramsess

Dana Corbett

Script Supervisor Rebecca Robertson

A Camera Operator Benoit Delhomme

First Assistant A Camera Glenn Kaplan

Second Assistant A Camera Ross Davis

B Camera Operator Manuel Billeter

First Assistant B Camera Scott Ronnow

Second Assistant B Camera Matt McGinn

Jimmy Cobb

Steadicam Operator Dave Thompson

DIT Ted Viola

Digital Utility Jeremy Cannon

Video Assist Greg Morse

Assistant Costume Designer Suzy Freeman

Key Set costumer Keith Wegner

Set Costumer Melanie Mascioli

Costumer Kate Watson

Head Tailor (Male Roles) Jeff Gillies

Head Tailor (Female Roles) April McCoy

Tailors Randy Edwards

Caroline Errington

Seamstress Judi Chang

Head Ager/Dyer Esther Marquis

Agers/Dyers Dallah Cesen

Keith Hudson

Carley Parrish

Elisa Richards

Make-Up Department Head Ken Diaz

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Key Make-Up Luis Garcia

Make-Up Artists Sabine Roller Taylor

Robert Maverick

Prosthetic Make-Up Lab AFX Studios

Prosthetic Sculpture Glen Eisner

Prosthetic Lab Tech J.D. Bowers

Hair Department Head Kelvin Trahan

Key Hair Stylists Catherine Marcotte

Bryan Whisnant

Scott Reeder

Chief Lighting Technician Len Levine

Assistant Chief Lighting Technician Chad Schroeder

Electricians Brian Evans

Brent Studler

Brian Minzlaff

Jeremy Johnson

Seth Eltz

Mark McKinney

Rigger Gaffer Stephen Crowley

Rigging Electric Best Boy Steve Sudge

Rigging Electricians Keith Cutler

Schenley Sar Gusingh Jr.

Basecamp Gaffer Ray Myers

Key Grip Steve “Gooch” Iriguchi

Best Boy Grip Ty Suehiro

A Dolly Grip Jeff Cutler

B Dolly Grip John Barber

Grips Adam “Donny” Cardenas

Ryan Kirk

R.J. Kirkland

Rigging Key Grip Peter Chrimes

Rigging Grip Best Boys Wayne Parker

Landen Ruddell

Rigging Grips Christian Burdette

Dustin Haven

Production Sound Mixer Lisa Pinero

Boom Operator Anthony Ortiz

Sound Utility Tony McCovey

Music Playback Operator Jim Hawkins

Special Effects Coordinator David Fletcher

SPFX General Foreman Tom Kittle

SPFX Set Foreman Brendan McHale

SPFX Shop Foreman Tim Walkey

Pyrotechnic Foreman Morgan Guynes

SPFX Techs Scanlon Backus

Vince Ball

Sam Bean

Greg Oliver

Phil Procter

Matthew “Skip” Scurry

Location Manager Andrew Ullman

35


Assistant Location Manager Kai Thorup

Production Coordinator Kerri Smeltzer

Assistant Production Coordinator Brian Gonsalves

Travel Coordinator Syndey V. Huynh

Production Secretary Dawn Vigil

Office Production Assistants Tina Sauls

Zach Monson

Production Accountant Robert Lane

1st Asst Accountant Barbara Lane

2nd Asst Accountant Johnnie Richey

Payroll Accountant Gai Loper

Accounting Clerks Brenda R. Cross

Bryce Colquitt

Construction Coordinator Scott Pina

General Foreman Eugene Pope

Construction Foreman Chris Ferris

Welding Foreman Jeremy Farlow

On Set Carpenters Tommy Pittman

Travis Pittman

Carpenters Henry “Hank” Atterbury

Allen Bagley

Jason Barnes

Henry A. Cofer Sr.

Scott Deadwyler

Kenneth Dean

Adam Johnson

Gary Johnson

Thomas Miner

Patrick S. Oldknow

Phillip Proffitt

William T. Reynolds

Lee Smith

Construction Utility Steven Smith

Head Paint Foreman Anne Hyvarinen

Paint Foreman Faith Farrell

Gang Boss John “Peabo” DePabon

On Set Painter Mary Shea Soutar

Scenic Artists Sarah Regan

Russell Bullock

Seay Earhart

Ruth Mitchell

Barbara Seinfeld

Set Painters Rose Armstrong

Bobby Martin

Jimmy Martin

Robbie Martin

Paint Utility Jeremy Frick

Lead Greensman Don Holloway

First Greensman Ryan Robinson

Greensmen Cary Goen

Brad Johnson

Aaron M. Nash

36


Andrew W. Wexler

Property Master Blanche Sindelar

Assistant Propmasters Steve Whiteside

Jared Fleury

On Set Picture Vehicles Brian P. Todd

Cecil McCall

Art Department Coordinator Kelly Richardson

Art Department PA’s Omar Foster

Aaron Linker

Storyboards Erik Sedwick

Unit Publicist Rachel Aberly

Still Photographer Richard Foreman

Special Still Photographer Polly Borland

2nd Second Assistant Director Cody Williams

Assistant to Mr. Wolf Yun Li

Assistant to Mr. Hillcoat (Georgia) Jimmy Shaw

Assistant to Mr. Hillcoat (Los Angeles) Brett Rowe

Assistants to Mr. Wick Josh Phillips

Hannah English

Assistant to Ms. Fisher Bryan Clavenna

Assistants to Ms. Shane Benjamin Hasskamp

Andy Dahm

Assistants to Mr. Benaroya Biagio Desimone

Adam Ballesteros

Assistant to Ms. Ellison Andrew Harvey

Assistant to Ms. Borland Jonathan Owens

Production Assistants

Luke Crawford Drew Grant

Ginna Grant Jennifer Hackney

John Henderson Katarzyna Malec

Joe Marzullo Josh Mumford

Sarah Myers Jonathan Parrott

Alex Sablow Daniel Short

Adrianne Skrzypek Stephen Stumberg

Leia Verner Jennifer Wang

Set Medics Jason Abercrombie

Jay Knight

Construction Medic Joe O’Shea

Georgia Principal & Extras Casting Lori Eastside

Georgia Casting Associate Robert Oppel

Los Angeles Casting Assistant Elizabeth Chodar

Stand Ins Ronnie Kantorik

John Wayne Hayne

Beth Woodruff

Aaron Mabon

Drew Giles

Chris Marrone

37


Transportation Coordinator Keith Collis

Transportation Captains Dennis Carter

Dean Stephens

Picture Car Captain Gary Duncan

Picture Car Mechanic Robert Brubaker

Dispatcher Renee Hinson



Drivers

Van Anderson Connie Biles

William W. Brown III Tim Collis

Ricky Cox David Firth

Wayne “Cowboy” Fountain Todd Fuller

Tony Fuller Russell Hanson

Brad Howard Randy Johnson

Yetta Johnson Danny LaFave

Dan Latham Clifton McSwain



Pamela Plummer Michael Purvis

John Schisler Brenda Stephens

Hector Tapia Heulon “Bubba” Thrift


David C. White Noah Wuellner


Catering Cinema Catering


Catering Chef Phillippe Gallichet

1st Asst Chef Gary Naumann

2nd Asst Chef Nick Raynor

3rd Asst Chef Charles Long


Craft Service Provided by Goldbug Craft Service


Head Craft Service John D. Bert

Craft Service Assistant Miles Logan

Craft Service Assistant Blake Hughes



Alexa Camera and Lenses Cine PhotoTech

Dailies Colorist Swan Wang



Animals Provided by Atlanta Dogworks Animal Talent


Animal Wranglers Greg Tresan

Carol Tresan

Clearances Coordinator Karen Neasi



Stock Footage Clearances Mike Davis

Rights & Clearances Entertainment Clearances, Inc.

Cassandra Barbour, Laura Sevier

Insurances Services AON/Albert G. Ruben

Daniel R’bibo


Production Legal

Randy Manis, of Randy Manis Law Office

Stephanie Sanet, Esq. of Dembitzer & Dembitzer LLP

Indira Guha, of Legal Indie

Vanessa Fung, Annapurna Pictures


Assistant to Mr. Manis Ricky Tollman


Payroll Service Cast & Crew Entertainment Services


2nd UNIT


Second Unit Director Dany Wolf

Second Unit Director of Photography Manuel Billeter


38



Second Unit First Assistant Director Justin Ritson


POST PRODUCTION


Post Production Supervisor Robert Hackl

Post Production SupervisorJames Masi


1st Assistant Editor Chris Patterson

2nd Assistant Editor Banner Gwin

Editorial PA Peter Dudgeon

Editorial PA (Atlanta) John Henderson


Post Production Sound Services by Wildfire Studios

Supervising Sound Editors Christopher Eakins

Robert C. Jackson

Sound Designer Leslie Shatz

Re-recording Mixers Chris David

Brad Sherman

Sound FX Editor David Esparza

Foley Editor Brian Dunlop


Assistant Sound Editor Callie Thurman

Foley Artist Ellen Heuer AMPAS, MPSE

Foley Mixer Tor Kingdon


Mix Recordist Timothy Limer

Scott Kramer

ADR Mixer Travis Mackay

ADR Recordist Wade Barnett

ADR Mixer/Monkeyland Doug Latislaw

ADR Mixer/Todd AO Dean St. John

Voice Casting by Barbara Harris

Avid Support by Pivotal Post

Codex Digital

Visual Effects Supervisor Bill Taylor ASC

Visual Effects Producer Robert Hackl

Visual Effects Editor Chris Patterson


Visual Effects by Zoic Studios


Visual Effects Supervisor Mark Stetson

Environment Supervisor Syd Dutton

Visual Effects Producer Kristen Leigh Branan


39


Visual Effects Coordinators


Digital Effects Supervisor

Lead Compositor

Compositor

Lead Animator

Environment Artist


Raoul Yorke Bolognini

Joey Bonander

Andrew Cox

Jeffrey Edward Baksinski

Fumi Mashimo

Nathan Overstrom

Dave Funston

Marcos Shih


Visual Effects by Invisible Effects

Visual Effects Supervisor for Invisible Effects Dick Edwards

Visual Effects by Talking Bird Pictures


Lead Compositor

Compositor

Roto


VFX Supervisor for DIVE

Compositing Supervisor

Compositor

VFX Executive Producer

VFX Producer

VFX Editor


Additional Visual Effects


Additional Matte Artist


Digital Intermediate Provided by

Supervising Digital Colorist

Second Digital Colorist

Digital Intermediate Producer

Digital Intermediate Editor

Visual Effects Compositor

Account Executive

Film Color Timer


Main Titles Designer


End Credits by

Layout Supervisor

Credit Layout Artists


Post Production Accounting

Post Production Accountant

Post Production Accounting Assistant


Post Production Assistant


Roger Mocenigo

Mike Uguccioni

Debra George


Visual Effects by DIVE


Mark O. Forker

Ed Mendez

Kevin Fanning

Andy Williams

Tom Quinn

Bryan Baker


Paul Curley

Tegan Arnold


Mark Sullivan


Technicolor

Michael Hatzer

Chris Jensen

Bruce Lomet

Everette Jbob Webber

Paul Ladd

Ladd Lanford

Lee Wimer


Eric Ladd


Exceptional Minds

Josh Dagg

Patrick Brady

Lloyd Hackl

Anthony Irvin


Trevanna Post, Inc.

Dee Schuka

Taylor Gerrity


Galen Arnold


40


Music Consultant

Music Producers

Score Produced by

Score Recorded by

Score Recording Assistant

Score Mixed by

Songs Recorded by

Music Editors

Joel C. High

Nick Cave, Warren Ellis, David Sardy and Hal Willner

Nick Cave, Warren Ellis and Jim Schultz

Greg Gordon

Joe Cardamone

Greg Gordon and Jim Schultz

Pablo Clements, James Griffith and Joel Cadbury

Jim Schultz

Ron Webb

Music Clearances

Music Coordinators

Christine Bergren

Rachel Fox

Rachel Willis

Julian Chavez

Cameron Barton


“Fire and Brimstone”

Written by Fred Lincoln Wray, Jr.

Performed by The Bootleggers

Featuring Mark Lanegan

Mark Lanegan appears courtesy of 4 AD Ltd.



“He is All”

Written and performed by David Sardy and

Jordan Tappis



“Midnight Run”

Words and music by Marc Copely, James Bernard Dolan

& Adam Stuart Levy

Performed by John Wesley Ryles

Produced by Buddy Cannon

Licensed courtesy of The Weinstein Company, LLC



“Detroit”

Music by Bradshaw

Lyrics by Philip Doddridge

Performed by Western Massachusetts

Sacred Harp Convention



“Wave Storm”

Written and Performed by Blake Mills

Courtesy of Record Collection



“Burnin’ Hell”

Written by Bernard Besman and John Lee Hooker

Performed by The Bootleggers

Featuring Nick Cave



“White Light/White Heat”

Written by Lou Reed

Performed by The Bootleggers

Featuring Mark Lanegan

Mark Lanegan appears courtesy of 4 AD Ltd.



“Cosmonaut”



MUSIC


Written by Nick Cave and Warren Ellis

Performed by The Bootleggers

Featuring Emmylou Harris

Emmylou Harris appears courtesy of Nonesuch Records



“Fire In The Blood”

Written by Nick Cave and Warren Ellis

Performed by The Bootleggers

Featuring Ralph Stanley



“Night of Canakkale”

Written and Performed by David Sardy and

Jordan Tappis

Featuring Wayne Bergeron



“The Cuckoo Bird”

Traditional

Arranged and Performed by Clarence Ashley

Courtesy of Smithsonian Folkways Recordings



“Fire In The Blood”

Written by Nick Cave and Warren Ellis

Performed by The Bootleggers

Featuring Emmylou Harris

Emmylou Harris appears courtesy of Nonesuch Records



“Sweet Truth”

Written and Performed by David Sardy


“So You’ll Aim Toward the Sky”

Written by Jason Lytle

Performed by The Bootleggers

Featuring Leila Moss and Emmylou Harris

Emmylou Harris appears courtesy of Nonesuch Records

Liela Moss appears courtesy of The Duke Spirit/Fiction

Records/Shangri La Music



41



“The Morning After” Performed by The Bootleggers


Written by David Sardy Featuring Liela Moss

Performed by David Sardy

Featuring Wayne Bergeron “White Light/White Heat”


Written by Lou Reed

Performed by Ralph Stanley


“The Snake Song”

Written by Townes Van Zandt “Midnight Run”

Performed by The Bootleggers Words and music by Marc Copely, James Bernard Dolan


Featuring Emmylou Harris & Adam Stuart Levy

Emmylou Harris appears courtesy of Nonesuch Records Performed by Willie Nelson

Produced by Buddy Cannon

“The Telephone Girl” Licensed courtesy of The Weinstein Company, LLC

Written by Orville Reed Willie Nelson appears courtesy of Sony Music

Performed by Frank Fairfield Entertainment


“Hymn”

Written by Nick Cave and Warren Ellis



The Bootleggers are Nick Cave, Warren Ellis, Martyn Casey, George Vjestica & David Sard



Footage Provided by Thought Equity Motion

Special Thanks to



Terrence Malick and Sarah Green

Louie Hillcoat & Polly Borland

Maha Dakhil

Roeg Sutherland

Jacqui Weller

Earl & Arthur & Susie Cave

Georgia Film, Music & Digital Entertainment Office

Aaron Harvey

Lee Thomas

Norm Bielowicz

Pam Mayer

Bruce O’Neal

Donald & Cheryl Brandenberg

The People of Coweta County, Georgia

The People of Meriwether County, Georgia

The People of Clayton, Georgia

The Cotton Pickin Fair – Meriwether County, Georgia

Tim Stout – MOAB Fighting Concepts

Georgia Power



A Douglas Wick/Lucy Fisher Production

A Benaroya Pictures Production

An Annapurna Pictures Production

A Pie Films Production



MPAA #47199



42



MOTION PICTURE ASSOCIATION OF AMERICA



Filmed with Arriflex

Cameras & Lenses



TECHNICOLOR

IATSE

TEAMSTERS



AMERICAN HUMANE ASSOCIATION monitored this production.



THIS FILM IS BASED ON ACTUAL EVENTS. DIALOGUE AND CERTAIN EVENTS AND CHARACTERS

CONTAINED IN THE FILM WERE CREATED FOR THE PURPOSE OF DRAMATIZATION



THIS MOTION PICTURE IS PROTECTED UNDER LAWS

OF THE UNITED STATES AND OTHER COUNTRIES.

UNAUTHORIZED DUPLICATION, DISTRIBUTION OR

EXHIBITION MAY RESULT IN CIVIL LIABILITY

AND CRIMINAL PROSECUTION.



Copyright ÓMMXI by BOOTLEG MOVIE LLC

All Rights Reserved



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Note 2