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(C) MBN 2007 William Hoehne
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July 29
(C) MBN 2007 William Hoehne
July 27
Production Notes & Credits
After eighteen seasons, four hundred episodes, and innumerable
awards and honors (including a Peabody, 23 Emmys® and a designation
from Time magazine as the “best television show of the twentieth century”),
“The Simpsons” has become a feature-length motion picture. And it’s a good
thing, too, because it takes a wide screen to fully capture Homer Simpson’s
epic stupidity.
In the eagerly-awaited film based on the hit television series,
Homer must save the world from a catastrophe he himself created. It all
begins with Homer, his new pet pig, and a leaky silo full of droppings – a
combination that triggers a disaster the likes of which Springfield has never
experienced. As Marge is outraged by Homer’s monumental blunder, a
vengeful mob descends on the Simpson household. The family makes a
narrow escape, but is soon divided by both location and conflict.
The Springfield citizenry has every reason to be out for Simpson
blood. The calamity triggered by Homer has drawn the attention of U.S.
President Arnold Schwarzenegger (voiced by Harry Shearer) and
Environmental Protection Agency head Russ Cargill (voiced by Albert
Brooks). “You know sir,” Cargill tells the president, “when you made me
head of the EPA, you were applauded for appointing one of the most
successful men in America to the least successful agency in government.
And why did I take the job? Because I’m a rich man who wanted to give
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something back. Not the money, but something.” That “something” is a
devil’s plan to contain the disaster.
As the fates of Springfield and the world hang in the balance,
Homer embarks on a personal odyssey of redemption – seeking forgiveness
from Marge, the reunion of his splintered family, and the salvation of his
hometown.
Starring in THE SIMPSONS MOVIE are series regulars Dan
Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria,
Harry Shearer, Pamela Hayden, and Tress MacNeille. Albert Brooks also
stars.
Producing the feature are “The Simpsons” series executive
producer James L. Brooks, creator Matt Groening, current showrunner Al
Jean, as well as Mike Scully and Richard Sakai. Sakai has been with the
series since its inception, while also producing or executive producing such
motion picture hits as “Jerry Maguire” and “As Good as It Gets.” The script is
written by James L. Brooks, Matt Groening, Al Jean, Ian Maxtone-Graham,
George Meyer, David Mirkin, Mike Reiss, Mike Scully, Matt Selman, John
Swartzwelder, and Jon Vitti – all series veterans. David Silverman, the
series’ supervising animation director, is helming the feature. Silverman has
been with the series since its debut, and co-directed the hit animated feature
“Monsters, Inc.”
“The Simpsons” came to life twenty years ago, when Matt Groening
was asked to provide animated segments for the comedy series “The Tracy
Ullman Show,” airing on the Fox network. Groening didn’t want to give up
rights to his popular “Life in Hell” cartoons, so he created, on the spot, the
Simpson family characters. “The Simpsons” has been a ratings and critical
hit from its inception in 1988 as a weekly half-hour series, becoming a pop
culture phenomenon. The rest is television – and now movie – history.
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For Groening, THE SIMPSONS MOVIE presents the chance for the
filmmakers and audience to experience something the show, even with its
myriad honors and enormous cultural impact, couldn’t offer: “We wanted to
tell a longform ‘Simpsons’ story on the large canvas of a motion picture
screen, and hear a theater full of people laughing at the same time,” says
Groening.
As early as the show’s first season, the studio had approached
Groening and co-executive producer James L. Brooks about turning the
television phenomenon into a motion picture. But then, as the show’s
legions of fans have wondered, why did it take 18 years to bring “The
Simpsons” to the big screen?
Al Jean, the series’ current showrunner and a writer/producer on
the film, offers some insights: “We waited 18 years to make a film, because
we didn’t want to do it just because we could; we wanted to make a movie
because it was right. We wanted to create a story that demanded the scope
offered by a film. THE SIMPSONS MOVIE is not three episodes of the show
strung together. It has heart. It centers on the forces that can tear apart a
family and a town, and it looks at how a man might put his life back together
in such a situation.”
“What separates the movie from the show is scale,” adds James L.
Brooks, the Academy Award® winning filmmaker behind “As Good As It
Gets,” “Terms of Endearment” and “Broadcast News,” the Emmy® winning
writer-producer of “The Mary Tyler Moore Show” and “Taxi,” and a writer-
producer on THE SIMPSONS MOVIE. “We have one hundred speaking
parts in the movie, and we created scenes we couldn’t begin to draw for the
series. Most of all, we wanted a ‘Simpsons’ movie to be a real moviegoing
experience for the audience, while staying true to what we do with the show.
We were wary of straying too far uptown.”
The television show didn’t have the manpower to concurrently write
and animate a series and a motion picture. “At the time, we didn’t have a
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team of writers or animators sitting around looking for something to do,” Matt
Groening points out. “Unlike most series, ‘The Simpsons’ never goes on
hiatus. We were devoting all our energies to the show, and never wanted to
hurt it to do a movie.”
Over the years, Brooks and the showrunners expanded the series’
writing staff, which at least dealt with the manpower issue. “We got to a
point where we had two writers’ rooms going at a given time,” says David
Mirkin, a noted comedy director in his own right (“Heartbreakers,” “Romy and
Michele’s High School Reunion”), a producer-writer on the show and a writer
on the movie. “So the guys who were with the show early on could go off
and write the movie while the show continued to roll along, its quality
unaffected.”
In 2001, a ‘Simpsons’ movie inched closer to happening when the
series’ cast signed a new deal, which included terms for them to voice the
characters in a feature film. But there remained the task of finding an idea
that would warrant the big-screen treatment, and then creating a shootable
script.
In November 2003, writing began in earnest on a script for a
‘Simpsons’ movie. “There were four of us who were central to making the
decision to move forward with a script,” explains James L. Brooks. “At a
certain point, we just felt like doing it.”
“We asked ourselves the critical questions,” recalls Mike Scully.
“Did we think we could come up with a story that warranted a motion picture?
How would making a movie affect the production of the series?”
The producers set very high standards for themselves and the work
that was to follow. “We started writing the script and didn’t stop,” Brooks
adds. “The hardest thing was to pay long and extraordinary attention to
every beat and joke; to stress out daily and still make it appear that we were
a loose and carefree bunch of kidders. There was never that moment where
we considered giving up, so we kept working on it.”
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As ideas began to form for a movie story, the producers were intent
on not re-creating “The Simpsons” for the big screen, opting instead to retain
everything fans have loved about the characters. “The difference is, we’re
telling a story that demands ninety-minutes and a big-screen format,” says Al
Jean. “And there’s not just one story. Each Simpson family member has a
story arc of growth and redemption, even the baby. We wanted the film to
hold audiences emotionally through the end, and that was perhaps our
biggest struggle. THE SIMPSONS MOVIE also had to have big scenes,
locations and themes.”
These creative goals demanded the strongest possible writing
team, so the producers hand-picked a lineup of star writers who had been
with the show since its inception (or near), several of whom had served as
showrunners. They all knew and loved the characters. In addition to
Brooks, Groening, Jean and Scully, THE SIMPSONS MOVIE “all-star”
writing team included David Mirkin, Mike Reiss, George Meyer, John
Swartzwelder and Jon Vitti. (Ian Maxtone-Graham and Matt Selman, current
executive producers on the show, later joined the writing ensemble.)
While the writers’ commitment to creating the best possible
“Simpsons” movie script was unwavering, they didn’t take the “all-stars”
designation that seriously. “It wasn’t like every minute of all our meetings
was spectacular,” laughs Al Jean. “Like any ‘all-star’ we’d hit and miss.”
Still, each of them embraced the opportunity to collaborate on a long-awaited
movie starring the characters they had helped shape.
For these writers, working on THE SIMPSONS MOVIE had an
emotional as well as creative resonance. “It was incredibly exciting to be
working on a movie and have the honor of being selected to write the script,”
says Mike Reiss. “More exciting than doing the movie was to be in a room
with that group of people,” echoes Jon Vitti. “It was a privilege to see these
guys at work every day – and just a horrible nightmare trying to keep up with
them.” Adds David Mirkin: “It was great to be back together, because
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there’s a very specific, special energy when we all congregate. It was also
very sick energy, mind you.”
The writers were so invested in the characters, and intent on
creating a movie worthy of “The Simpsons” that, at least in their early
sessions, they had trouble coming up with a first draft. “We cared so much
that we were too tight at the beginning of the writing process,” says Brooks.
“It took us a year to just get loose and start having the kind of fun we always
have with the show.”
Eventually, the writers came up with an outline for a movie script,
which Brooks approved. They then carved up the outline into seven chunks,
with Jean, Scully, Mirkin, Reiss, Meyer, Swartzwelder and Vitti working
separately, writing about 25 pages each. They reunited a month later and
pieced together the seven “chapters,” producing a very rough first draft.
Over two years of rewrites ensued, encompassing at least one
hundred script drafts. It was a painstaking and grueling process. “Even
though the movie is three times the length of the TV show, it was hundreds
of times harder to write,” says David Mirkin.
“We chewed up a lot of pencils and ordered a lot of late-night pizza
to keep going,” adds Matt Groening. “It was always a matter of writing and
rewriting, with an emphasis on rewriting. We were always tinkering with the
script, and never stopped trying to come up with a better line or scene.”
“We were determined to keep on rewriting until the animators died
of exhaustion,” laughs writer Matt Selman. “If we didn’t have a release date,
we’d still be working on it.”
Everyone was grateful to have James L. Brooks back in the writing
room. Brooks was a showrunner in the series’ early years, later serving as
an inspiration and consultant to the show writers. (“The series was my full-
time job for three years and has been a part-time job since then,” he notes.)
For the movie, Brooks reconnected with the characters and world he had
helped develop. “Jim’s participation is the movie’s big secret,” says Mike
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Reiss. “He put us through almost too many revisions to count. This is Jim’s
M.O. – he works right up until they pry the script out of his hands.”
“We had to expand our thinking and get out of the twenty-two
minute structure of sitcom storytelling,” adds Mike Scully. “And that’s where
we counted a lot on Jim because he’s made so many great films. THE
SIMPSONS MOVIE required us to readjust the way we told stories for ‘The
Simpsons,’ and Jim was a great influence in that area.”
“Jim was doing more work than any of us,” claims John
Swartzwelder, who has authored more scripts of the show than any other
writer. “It was amazing to watch him create these odd things that we’d stick
in the movie and see if they’d work.”
“It was an incredible thrill to work on a film with Jim Brooks,” sums
up Al Jean. “I’d say ‘once in a million,’ but I hope there are more.”
Several of the writers credit Brooks with making sure the script
included important emotional beats. But Brooks himself says the story’s
comedy, action and emotion have equal weight. “There’s nothing more
important to the ‘Simpsons’ franchise than clocking laughs as much as you
possibly can and including big set pieces,” he explains. “And this made
creating story emotion more challenging. We always started with the laughs.
But we needed that emotion, on which the jokes hang together and which
leads the audience to care about what happens to the characters.”
More than anything else, Brooks sought the proper tone for the film.
“Tone is the one word that describes everything we were looking for,” says
Brooks. “You throw everything into the pot – story, emotion, jokes – but
finally what comes out of it is tone. It’s always the biggest deal in a movie.”
The search for the proper tone extended beyond the two-year
process of writing and animating the picture. Hans Zimmer, who composed
the score for THE SIMPSONS MOVIE, also made key tonal contributions.
“Hans was very involved in the search for the right tone, giving us a fresh
viewpoint after the years we had spent on the picture,” adds Brooks.
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In a room full of writers working tirelessly to create the best possible
film script, none labored harder than Al Jean, who had the Herculean task of
running the show and working as producer-writer on the film. “I can’t think of
anyone else who could have run the show and the movie at the same time,”
marvels writer Ian Maxtone-Graham. “It’s a testament to Al’s amazing
mental capacity. At a given time he would be reviewing a storyboard for the
show while looking up at us and pitching an idea for the movie.”
The indefatigable Jean – the one person who was keeping tabs on
everything movie- and show-related – made certain there was no story
overlap between the two, and that movie plot points were kept under wraps.
“Since we’ve kept the plot of the movie a secret, when the show writers
pitched ideas similar to those presented in the film, I’d say, ‘No we can’t use
that. But I can’t tell you why.’”
The secrecy alluded to by Jean was on a level rarely seen in the
motion picture industry, even in these Internet-wary times. The filmmakers
kept the script under lock-and-key at the production offices and even as the
film neared release, they were reluctant to divulge plot details, to ensure that
audiences got the full effect of the movie’s many surprises. But an early
trailer revealed the presence of a new addition to the Simpson household:
Homer’s pet pig, whose most significant contribution to the community is a
few tons of “fertilizer.”
The pig-droppings “issue,” combined with Homer’s cluelessness,
leads to disaster for the town of Springfield. “We got excited about the idea
of Homer doing the worst thing he’s ever done,” says David Mirkin. “And that
leads to his moral dilemma of letting the town die or trying to save it.”
Springfield itself becomes a key character in THE SIMPSONS
MOVIE, further distinguishing the film from the series. The filmmakers put
the entire city on display through a big cinematic device. Additionally, they
spotlight virtually every character in Springfield, most of whom turn up in a
huge mob scene that is one of the film’s centerpieces.
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A key player in the frequent and never-ending writers’ meetings
wasn’t even a writer. Breaking tradition with animated feature filmmaking,
director David Silverman worked closely with the writers, shaping the visuals
and the editing, determining the best ways to visualize a joke, and devising
new ways of expanding the Simpson universe for the big screen. They
continually tinkered with the script and re-recorded the actors. “It was cruel
and unusual punishment for David Silverman,” jokes Matt Groening.
Silverman, a twenty-year veteran of “The Simpsons,” first worked
on “The Simpsons” shorts for the “Tracy Ullman Show” before becoming a
director, then supervising director/producer on the series. His deep affection
for the characters is unsurpassed. “I love drawing them,” he says, “and
creating something inventive and funny that hasn’t been done yet.”
“David has been the spirit of ‘The Simpsons’ for such a long time,”
says Brooks. “When he was working on the shorts for ‘The Tracy Ullman
Show,’ he spoke to me with such passion about how much it would mean to
him to have an entire television show devoted to these characters. I was so
impressed by his passion that I got the ball rolling on the series.”
Silverman, of course, had a strong influence on the show’s look.
“David basically gave the characters their rules of behavior and codified the
rules of how to draw them,” says Groening. “For me, drawing the characters
is an intuitive process – it just feels right and so I draw them. But David
knows there are eleven spikes on Bart’s head, and that Marge’s head is nine
eyeballs tall – or something like that.”
For THE SIMPSONS MOVIE, Silverman’s challenge was to devise
a visual style that was true to the show while expanding it for the motion
picture frame. Silverman made full use of the widescreen aspect ratio of
2:35 to 1, which allowed him to put more characters in the frame, lavish
considerable attention on every scene, open up the film emotionally, and add
a richness to the backgrounds texture and colors. “We didn’t want to break
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the graphic look of the series, but instead enrich it and fill it out,” Silverman
explains.
For inspiration, Silverman re-watched such films as “Bad Day at
Black Rock,” one of the first widescreen movies to innovatively use the
format for an intimate drama, and the ensemble epic comedy “It’s a Mad,
Mad, Mad, Mad World,” which filled its frame with a multitude of characters.
The widescreen format presented many challenges and
opportunities for the director. For one, he had to add dimensionality to
characters that up to now had been seen primarily on small television
screens, but would appear sixty-feet tall on many cinema screens. In
addition, Silverman experimented with creating emotion-filled scenes in wide
shots, where normally he would have cut to close-ups.
To convey emotional beats in the film, Silverman used colors, tone
shadows and drop shadows to a degree not possible in the series. He also
had more latitude to move the camera, most notably for an elaborate
skateboarding sequence, during an epic chase, and for a mob scene. For the
latter, Silverman pushed into the hordes converging on the Simpson
household. “Normally, you’d have a crowd shot, then cut to a close-up,”
says Silverman. “But I wanted to give the scene a lot of energy, so I kept
moving the camera into the crowd.” A classic poster from the television
series depicting the entire cast of characters, provided a foundation for the
scene. “I envisioned running into the poster with a camera,” he adds.
For character animation, Silverman relied on the template created
by Groening two decades earlier, which eschewed cross-eyed and maniacal-
looking characters, both conventions of animated series and films. “We
always want our characters to be reactive and impulsive,” Silverman notes.
“This adds to their humor and personalities. We’re always looking for
specific and realistic human-like performances from them.”
Perhaps Silverman’s biggest challenge was the film’s tight
schedule. It takes nine months to make an episode of the show, and
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Silverman had only a year-and-a-half to make THE SIMPSONS MOVIE. (He
had a luxuriant two years on “Monsters, Inc.”) To meet his rigorous
deadlines, Silverman set up several production teams, with sequence
directors, working under Silverman, directing their own groups.
The first step in animating the film was creating storyboards – the
panels that determine the cuts, shots, angles and performances. Next,
Silverman and his teams developed key animation poses, drawings and
layouts, followed by animatics that provided blueprints of timing and rhythm,
and helped ascertain if the jokes were playing. Along the way, props and
costumes were designed, and new characters were introduced. The last
steps included final timing and fine-tuning the animation.
To save time, Silverman used story reels, where he shot the
storyboards, augmenting them with additional poses and a temp soundtrack,
all of which allowed Silverman to convey the gist of the film at a very early
stage.
The work of Silverman and his teams in the widescreen format
brings a new dimension to the characters beloved by so many. “With the
movie, David is topping himself completely,” says Matt Groening. “THE
SIMPSONS MOVIE really honors the animators who work so hard on the
show and on the film. They really put all of their craft and talent up on the
screen.”
“The film is a bigger experience than the show,” says Silverman.
“There’s so much in the movie that fans haven’t experienced before with the
show.” And, returning to Matt Groening’s notion of creating the film to enable
fans to enjoy the communal experience of watching a “Simpsons” movie in a
theater, Silverman notes, “I love the idea of eight hundred people laughing at
the same time at a joke or scene in the film. I’ve done a lot of college
lectures where I screened clips from the show to large audiences. Watching
these audiences laugh at these clips over the years – and projecting them on
a big screen – gave me confidence that we’d be able to make movie
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audiences laugh. I think a real movie experience would only heighten their
enjoyment.”
Al Jean notes that the movie’s appeal extends beyond “The
Simpsons” loyalists who have followed the show for the past eighteen years.
“For four years we have been killing ourselves to produce a film that would
fulfill the dreams of the show’s many fans while still being completely
entertaining to people who’d never seen ‘The Simpsons.’ If I felt any more
pressure I’d be a diamond.”
Putting aside the myriad pressures of creating THE SIMPSONS
MOVIE, the film’s imminent release led two of its visionary forces to reflect
on the “Simpsons” phenomenon and how much it’s meant to them. “Twenty
years ago, I was just hoping ‘The Simpsons’ would be successful, and I
thought it would be,” says Matt Groening. “But I had no idea that in 2007
we’d be making this motion picture and celebrating our 400th episode. It’s
really been a wild ride.”
“In the making of this movie, and despite all the pressures we’ve
felt, and the critical filters I’ve been looking through, every once in a while I’d
look up and see Homer doing something on the screen,” says James L.
Brooks. “And I’d be awed that after all these years, I’d still a feel a rush of
affection for him. Seeing Homer like that transcends the experience of
working.”
ABOUT THE SIMPSON FAMILY
HOMER SIMPSON is a simple man. A man who through punishing
trial and error has proven that even one’s loftiest goals are attainable—
provided you set them low enough. Homer is well versed in the ins and outs
of his job at the Springfield Nuclear Power Plant, having innumerable times
been fired and rehired for the same position. Despite the fact that Homer is
often the lumpen gristle stuck in the cogs of Mr. Burns’ money-crazed
machinations, Mr. Burns can never remember Homer’s name.
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Homer is also stuck in the middle of a classic generational
parenting cycle. Having been constantly corrected and belittled by his father,
Homer strives to be supportive of his own family by smothering them with
indifference and vague endearments. As a result, Lisa feels left out, Bart acts
out, and, as far as Homer is concerned, Maggie rarely even exists. Yet
Homer deeply loves and is intensely devoted to his wife and kids, when it
occurs to him. When Marge refuses to go scrounging at the dump, Homer
promises to bring her back something nice. In fact, Homer spends as much
time as possible singing Marge’s praises between rounds of beer at Moe’s
Tavern. Now, if only he could remember the words to that praise song.
Moe’s Tavern is Homer’s homely home away from home; a place
where he will be greeted with open arms by both well and ill-wishers alike, as
long as he’s buying, which is seldom; a place where he can relax, scratch
himself with his keys, blow his nose on his shirt, and drink glass after glass
of sweet, sweet beer. A place where, after a few drinks and a pickled egg or
two, anything seems possible, even his hare-brained get-rich-quick
schemes. After all, life is too short to get rich slow.
Behind every great man stands a woman. MARGE SIMPSON just
got caught standing in the wrong line. Marge is the emotional center of the
family, the sweet, sweet jelly in the Simpson donut. As such, she is
unaccountably understanding, relentlessly upbeat, and alarmingly
supportive. Her extraordinary homemaking skills work miracles. She can turn
old chicken bones into necklaces, leftovers into casseroles, and an invasion
of fire ants into an educational and entertaining insect circus.
Though Homer is self-centered, forgets birthdays, anniversaries,
and holidays (both religious and secular), chews with his mouth open,
gambles, and hangs out at Moe’s Tavern with a bunch of seedy lowlifes,
Marge sticks with him. It must be love. And besides that, Homer desperately
needs her, deeply loves her, and does his utmost to give her everything she
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needs, on those few occasions when he’s not thinking of himself. In the face
of Homer’s countless screw-ups, Marge never gives up hope, drawing
sustenance from her endless collection of words to live by (i.e. “Most women
will tell you that you’re a fool to think you can change a man—but those
women are quitters.”)
Marge may fear the unfamiliar, but her firm moral convictions have
allowed her to overcome her need to conform. This has led to her singlehandedly
championing crusades against the Springfield Monorail, foiling Mr.
Burns’ run for governor, and briefly ending cartoon violence on “The Itchy &
Scratchy Show” by founding S.N.U.H., Springfieldians for Nonviolence,
Understanding, and Helping. But the bulk of her energy is given to caring for
her family. An overwhelming task, for despite the love she feels for them, it
wears her ragged. But as Marge would tell you, the Simpsons can’t be
choosers.
BART SIMPSON wants to have it all and usually gets what he
wants, which is often more than he bargained for. While many accuse Bart of
being too dependent on his surrogate parent, the TV, he has many outside
interests, such as eating ice cream in front of the weight loss center,
perfecting the art of the loogie, and sitting on the roof with a baseball bat to
ward off U.F.O.’s. Dismissed by many as an unrepentant mischief-maker,
Bart wrestles mightily with his conscience every day. In fact, his greatest fear
is that his good conscience will one day get the better of him.
Bart is a hands-on kind of person. He lives in the present, rarely
considering the consequences of his insatiable curiosity. Often fueled by the
syrupy goodness of a Kwik-E-Mart Squishee, Bart’s high-energy escapades
keep the rest of his family in an uproar. Dealing with him can be a real
struggle. Homer struggles to keep his temper, Lisa struggles for attention,
and Marge struggles to pry Homer’s fingers from around Bart’s throat. On the
other hand, Bart shares Homer’s delight in junk food, slovenly behavior, and
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practical jokes, admires and occasionally relies upon Lisa’s ingenuity and
brains, and appreciates Marge’s cooking and her unwavering love.
Bart’s career at Springfield Elementary is equally tempestuous.
Along with his best friend and spitbrother, Milhouse, egghead Martin Price,
bully Nelson, and a host of other meager young minds, Bart makes life worth
leaving for Mrs. Krabappel, his fourth grade teacher. He has run for class
president on the platform of “More Asbestos,” replaced Mrs. Krabappel’s
birth control pills with Tic Tacs, openly mocked Principal Skinner under his
nom de graffiti, El Barto, and incited a student riot with his “Down With
Homework” T-shirt. His feelings about school might have been best
illustrated in one of his fondest dreams, in which Springfield Elementary is
devoured by giant mechanical ants.
LISA SIMPSON is a model of good conduct, citizenship, and
creativity. As a result, she finds it difficult to fit in anywhere. At home she is
the Simpson family conscience, the chastening voice of political correctness,
and the soul of reason. Consequently, she is ignored. Unless, of course, her
intelligence can be used to further one of Homer or Bart’s cockeyed
schemes. Seeking understanding and appreciation, Lisa turns to Springfield
Elementary School, where she hopes her unique abilities will be noticed. And
they are. Her teachers reward her intelligence, sensitivity, and talent with
straight A’s and total indifference. Her classmates, however, are anything but
indifferent, calling her names like “Poindexter Pointy-head,” “Geekazoid,”
and “The Brain Queen.”
Lisa channels her sadness and disappointment into her saxophone
music, where, under the guiding spirit of her mentor, Bleeding Gums Murphy,
she has composed such gems as “Pounded by the Dodgeball Blues,” “Puny
Allowance Blues,” and “I Been Good So Long, It Looks Like Bad to Me.” Her
other passions include ponies, watching the “Happy Little Elves,” dialing the
“Corey Hot Line,” and studying the lives of women who have resisted
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domination by the patriarchy. Her considerable achievements include
implementing Springfield’s alarmingly successful recycling program, being an
all-star goalie in pee-wee hockey, and finding a practical use for geometry.
Even though Lisa gets way less attention for her achievements than
Bart for his mischief, she is often Bart’s devoted and invaluable ally. She has
helped him foil the diabolical schemes of Sideshow Bob, discover zen in the
art of miniature golf, and hone his foodfighting skills by serving as a
convenient target. As Bart reluctantly admits, Lisa has the brains and talent
to go all the way, no matter what anyone says. And when she does, Bart will
be right there to borrow money.
MAGGIE SIMPSON is the still center in the chaos of the Simpson
household. She peacefully withstands the peculiar home remedies of
doddering grandparents, wears novelty baby clothes of dubious taste, and
spends short bursts of time airborne. All without a word of complaint. Things
might change, however, when Maggie learns to speak. Not that anyone
would listen. When entrusted to Homer’s care, Maggie is free to do pretty
much anything she wants, including drinking from the dog dish, exploring the
wonders of heavy machinery, and shooting Charles Montgomery Burns.
Maggie relates best to those who understand her. As a result, her closest
friends are Snowball II and Santa’s Little Helper. She has even once bonded
with a pack of wild grizzlies.
The Simpsons ™ & ©2007 Twentieth Century Fox Film Corporation. All rights reserved. Property
of Fox. Permission is hereby granted to newspapers and periodicals to reproduce this
text in articles publicizing the distribution of the Motion Picture.
All other use is strictly prohibited, including sale, duplication, or other transfers of this material.
This press kit, in whole or in part, must not be leased, sold, or given away.
16
Produced by.................... JAMES L. BROOKS
.......................................... MATT GROENING
..........................................................AL JEAN
.................................................MIKE SCULLY
“THE SIMPSONS MOVIE”
A TWENTIETH CENTURY FOX
......................................and RICHARD SAKAI
PRESENTATION
A GRACIE FILMS PRODUCTION
A MATT GROENING PRODUCTION
Directed by DAVID SILVERMAN
Starring
DAN CASTELLANETA
JULIE KAVNER
NANCY CARTWRIGHT
YEARDLEY SMITH
HANK AZARIA
HARRY SHEARER
PAMELA HAYDEN
TRESS MacNEILLE
and A. BROOKS as Russ Cargill
Also Starring
KARL WIEDERGOTT
MARCIA WALLACE
RUSSI TAYLOR
MAGGIE ROSWELL
PHIL ROSENTHAL
BILLIE JOE ARMSTRONG
FRANK EDWIN WRIGHT III
MICHAEL PRITCHARD
JOE MANTEGNA
TOM HANKS
Screenplay by..................JAMES L. BROOKS
..........................................MATT GROENING
......................................................... AL JEAN
.............................. IAN MAXTONE-GRAHAM
.......................................... GEORGE MEYER
............................................... DAVID MIRKIN
................................................... MIKE REISS
................................................ MIKE SCULLY
.............................................. MATT SELMAN
...............................JOHN SWARTZWELDER
.......................................................JON VITTI
Consultants...............................JOEL COHEN
.................................................. JOHN FRINK
...................................................... TIM LONG
............................................ MICHAEL PRICE
Edited by........................JOHN CARNOCHAN
Music by................................. HANS ZIMMER
The Simpsons Theme by .... DANNY ELFMAN
Supervising Producer........RICHARD RAYNIS
Sequence Directors....... MIKE B. ANDERSON
...........LAUREN MacMULLAN, RICH MOORE
.... STEVEN DEAN MOORE, GREGG VANZO
Co-Producer..........................JAY KLECKNER
Animation Co-Producer............. CRAIG SOST
Executive in Charge of Production for
Gracie Films.........................DENISE SIRKOT
Associate Producers ........AMANDA MOSHAY
..............................................MATT OREFICE
.................... FELICIA NALIVANSKY-CAPLAN
NO ANIMALS WERE HARMED DURING
THE FILMING OF THIS MOVIE
Additional Sequence Directors ........................
...................................STEVEN MARKOWSKI
.......... BOB ANDERSON, CHRIS CLEMENTS
....MATTHEW FAUGHNAN, LANCE KRAMER
.......................NANCY KRUSE, ROB OLIVER
.............RAYMOND PERSI, CHUCK SHEETZ
Assistant Sequence Directors .........................
................ CRYSTAL CHESNEY-THOMPSON
........................................... BRYAN FRANCIS
...PETE “KID FLASH” GOMEZ, RALPH SOSA
Additional Assistant Sequence Directors.........
...............................................RAY CLAFFEY,
.........................CHRISTIANNA LANG DALEY
..........JONATHAN GEBHART, JON HOOPER
.................................. SHANNON O’CONNOR
....................................... LINDSEY POLLARD
................................. MATTHEW SCHOFIELD
.......................... ANDRES “TOMMY” TEJADA
Second Editor .........................MARK SCHEIB
Associate Editor ................JENNIFER DOLCE
Supervising Music Editor......DANIEL PINDER
Music Editor .............................. RYAN RUBIN
Additional Editors..............MICHAEL BRIDGE
................ SCOT SCALISE, TERRY GREENE
Assistant Editors .....................JOHN CURRIN
.................................ELAINE C. ANDRIANOS
.......................................DANIEL KUPRESAN
Hi Def Assistant Editor .............. VIC SHARMA
Script Coordinator .........STACEY CANTWELL
Sound Designer ...................... RANDY THOM
Supervising Sound Editor................................
I
................... GWENDOLYN YATES WHITTLE
Sound Effects Editors ..................AL NELSON
.SHANNON MILLS, LUKE DUNN GEILMUDA
....... ROBERT SHOUP, STUART MCCOWAN
.......................................... CHUCK MICHAEL
Sound Mixing.........................ANDY NELSON
..........................ANNA BEHLMER, JIM BOLT
Additional Re-Recording Mixers.......................
..................... CHRISTOPHER SCARABOSIO
.................................................. TOM MYERS
Post Production Supervisor .............................
...................................... JEANNINE BERGER
Voice Record Coordinator.......LOUISE JAFFE
Dialogue Coordinator........ RICHARD CHUNG
ANIMATION PRODUCED BY
FILM ROMAN, A STARZ COMPANY
And ROUGH DRAFT FEATURE
ANIMATION, INC.
Art Director ...................DIMA MALANITCHEV
Layout Supervisor.............RASOUL AZADANI
Director of Computer Graphics ........................
.............................................. SCOTT VANZO
Overseas Animation Director ...........................
......................................... GARY McCARVER
FILM ROMAN ANIMATION
Animation Line Producer... JOEL KUWAHARA
Production Manager .JASPREET K. DHILLON
Digital Line Producer .............. LOREN SMITH
Animation Associate Producer.........................
.........KATHERINE CULLANO CONCEPCION
Production Supervisors...............JULIE PENG
.....................PENELOPE PARR THORNTON
......BILL BARRY, TRISTA HALEY NAVARRO
Production Coordinators ...........MIKE BATTLE
.........................................AMANDA BYRNES
................. ANI CASH, CHRISTINE DEITNER
............ ALLISON L. FRANCIS, JIM HASMAN
..ED JOHNSON, BENJAMIN KALTENECKER
........................PAUL KIM, ROCCO PUCILLO
........ JOSH SUNDBY, ADAM WOLLENBERG
........................................... ALEXANDER WU
Film Roman Senior Staff..................................
............................... SCOTT D. GREENBERG
Executive in Charge of Production for Film
Roman.........................................MIKE WOLF
ROUGH DRAFT ANIMATION
Producer for Rough Draft Studios....................
.............................................. CLAUDIA KATZ
Digital Line Producer .... GERALDINE SYMON
Animation Associate Producers .......................
................ ELISE BELKNAP, KAREN MILLER
Production Supervisors....JENNIFER BROWN
................................................BRIAN CAREY
Production Coordinators .......DENNIS ADAMS
.......................................................DAVE KIM
II
STACKED ANIMATION LABORATORY
STORY REEL REVISIONS
Associate Producer ................. PETER GAVE
Annex Supervisor..................TAYLOR ALLEN
Artists ............. LIZ CLIMO, DANTE FABIERO
..................................FITZY J. FITZMAURICE
...................... KAREN CARNEGIE JOHNSON
.......... OSCAR PANGESTU, LENA PODESTA
.............................. CHANCE F. RASPBERRY
............SHANE K. SOWELL, DAVE WARREN
After Effects Artists....... ERIKA ISABEL VEGA
............ AZARIAH OWENS, NICK E. LENARD
.................................................. DOUG NUNN
Production Associates ....................................
................... KENT CARPENTER ZAMBRANA
...................... MARISA ICE, JOE SAUNDERS
ANIMATION CREW
Story Artists..........................BRAD ABLESON
........JOHN ACHENBACH, MARTIN ARCHER
..................... LUIS ESCOBAR, LUCAS GRAY
.................. COLIN HECK, STEPHEN A. REIS
..................JOHN RICE, CHRISTIAN ROMAN
................................... STEPHEN SANDOVAL
Additional Story Artists ............ MARK ERVIN
................. EDMUND FONG, TRICIA GARCIA
...JOSHUA DAVID GORCZYCA, JOE HEALY
.............................. FILL MARC SAGADRACA
....... JASON WARNESKY, GLEN WUTHRICH
Timng Directors...................... NEIL AFFLECK
....................................PATRICK BUCHANAN
.................................. RICHARD GASPARIAN
............ROBERT INGRAM, ADAM KUHLMAN
.............................................FRANK MARINO
.......................LARRY SMITH, STEVE SOCKI
Additional Timing Directors ......... JACK DYER
......... DOUGLAS GALLERY, PETER HIXSON
............................. MAUREEN MLYNARCZYK
...........................................PAT SHINAGAWA
BG Design Lead............ HUGH MACDONALD
Character Design Lead .................JOE WACK
Prop Design Lead ..................JOHN KRAUSE
Character Designers ..............ERIC S. KEYES
....................................... KEVIN M. NEWMAN
BG Designers.............LYNNA BLANKENSHIP
................................... ALEXANDER C. DILTS
..............................DEBORAH A. PETERSON
........ CHARLES RAGINS, GEORGE STOKES
Prop Designer .................... DARREL BOWEN
Lead Animator............................ BERT KLEIN
Animators..............CAROLINE CRUIKSHANK
.......... ANTHONY DEROSA, JEFF JOHNSON
................JOHN POMEROY, SILVIA POMPEI
Character Layout Leads .............ERICK TRAN
......................................................PAUL WEE
Character Layout Artists......EDWIN AGUILAR
................................. VICTOR E. ALMAGUER
...................................... IVAYLO ANGUELOV
............ STEPHANIE ARNETT, MIKE ATNIEL
.......................................................DAVID AU
.........................NORM AUBLE, ABE AUDISH
............ MATTHIAS BAUER, DEBBIE BRUCE
....................... TRICIA BUCHANAN-BENSON
.... RUFINO M. CAMACHO, WAYNE CARLISI
.........ROBERTO CASALE, KATHI CASTILLO
.......................................GREG CHECKETTS
..................................MOON STANLEY CHOI
................................ MANNY A. DE GUZMAN
...................................FRANCIS DINGLASAN
..... ERNESTO ELICANAL, JESS ESPANOLA
... RICK FARMILOE, CYNTHIA JILL FRENCH
.................................. YELENA GEODAKYAN
... MICHAEL GIRARD, ORLANDO GUMATAY
....................................MATTHEW HERBERT
....................JENNIE HOFFER, RICK HOPPE
............................................... JAY JACKSON
....................... CATHY JONES, ERNIE KEEN
...............................................MEGAN KELLY
.....................CRAIG KEMPLIN, JIWOOK KIM
................................................ ERIC KOENIG
..............................ERIK KUSKA, ERIC LARA
................................................BOOWAN LEE
.......... GRANT LEE, LOIS LEE, ELY LESTER
.....JOSEPH LOWE, CARLOS LUTTERBACH
.............................. JUANITO “TOM” MADRID
............................................ ANNA MALTESE
.................... RICHARD “TOTO” MANGINSAY
........................................ MIKE MARCANTEL
.......................JAMES ANTHONY MARQUEZ
................................. LEONARDO MATSUDA
............MAEVE McGRATH, ANDRE MEDINA
.......JENNIFER MOELLER, FRANK MOLIERI
.................... STEVEN MULLER, DAVID NAM
..... TUAN NGUYEN, MARY GRACE ORARIO
.......PHILLIP PIGNOTTI, MICHAEL POLVANI
..................NATASHA PRESLER, ALEX QUE
..............................................RYAN RIVETTE
................. JAY ROBINSON, DANE ROMLEY
........................... EDDIE ROSAS, ALEX RUIZ
............ RICK SALONGA, DAVID SALVADOR
. ALBERTO SANTIAGO, MELODY SEVERNS
......................... HERMAN RASHAD SHARAF
........ CHRIS MINKI SONG, KA MOON SONG
......................................... MIKE SWOFFORD
.... DEREK THOMPSON, VIOREL VORONCA
........................................... FRANZ VISCHER
............ WILLIAM WALDMAN, J.C. WEGMAN
..........................JUNG-A YOO, YOUNG YOO
BG Layout Artists................ JAMES P. ALLES
............JOHN M. BERMAN, GALINA BUDKIN
..............EDGAR CARLOS, DEREK CARTER
...............................................PAUL CASTRO
..............ANDY CHEN, RYAN A. CHEETHAM
............................. MENG-YEE DANIEL CHIU
III
........ NAMSUK CHO, ALFRED “TOPS” CRUZ
...................................... JAROD DAETWILER
......... PETER J. DELUCA, RANDOL EAGLES
...RODEL GRAVO AMUEL HO, LAM HOANG
.........................................CYNTHIA IGNACIO
...........ARLAN JEWELL, TREVOR JOHNSON
.... ALEX J. LEE, ASHLEY LENZ, JUAN LUNA
....................HILARIO “LARRY” MIRAVALLES
..........................GARY MOURI, GANG PENG
...................................... CAMERON PORTER
................ JEFF PURVES, JONATHAN PYUN
...............................GERALD CLIFFORD REY
..................THOMAS STARNES, ALLEN TAM
.......................................... DANNY TAVERNA
......................SCOTT UEHARA, RENE VEGA
...................................... KEVYN L. WALLACE
..... WALLACE WILLIAMSON, CHAD WOODS
....................................... CHUNG SUP YOON
............................................JENNIFER YUAN
Scene Planning and Compositing
Supervisor.............................GINA BRADLEY
Scene Planning and Compositing ...................
......TORIEN BLACKWOLF, ROSS BLOCHER
......................................... DENNIS BONNELL
............... DEIRDRE CREED, DARRIN DREW
.....................GEORGE “BINGO” FERGUSON
..... BRENDAN HARRIS, LOUIE C. JHOCSON
........................................................ MIAE KIM
.............. DAN C. LARSEN, BETH S. MORRIS
..................................................RICK MOSER
.................. HELEN O’FLYNN, JASON PLAPP
.......... SCOTT ROSSMAN, DAVE SCARPITTI
.......... EDWIN S. SHORTESS, COLIN SITTIG
..................................................DOUG TIANO
Effects Animation Lead ........ BRICE MALLIER
Effects Animation Artists ............. AL HOLTER
.............................. MIKE JONES, DAVID LEE
............CYNTHIA NEILL KNIZEK, DAN LUND
..........................................ROSANNA LYONS
........................MARK MYER, MASA OSHIRO
...............VAN SHIRVANIAN, JEFF TOPPING
..................................................PHILIP VIGIL,
..................... JOSE A.GARCIA VILLAMERIEL
Additional Effects Artists..................................
...JOHN A. ARMSTONG, MARKO BARROWS
...................TY ELLIOT, DEE FARNSWORTH
...............................................JEFF HOWARD
Background Painters.......................................
............................ DOMINIQUE BLASKOVICH
......RUBEN CHAVEZ, JULIA KALANTAROVA
................BIKE KINZLEW. ASHBY MANSON,
.......................... ALEXANDER ZABOLOTSKY
Film Roman Editorial..ROGER INJARUSORN
.........................ABE FORMAN-GREENWALD
Rough Draft Editorial............ ANNE HARTING
........... ANN HOYT, JEFFREY PERLMUTTER
Lip Assignment.............. ROBYN ANDERSON
Color Model Lead.............MARIA GONZALEZ
Color Models ....................BRANDON BLOCH
.................................DAVID SVEND KAROLL
...................................MARIANNE C. CHENG
Visual Development Artists ..............................
..................MIKE HUMPHRIES, MIKE INMAN
.....................................PHILLIP PHILLIPSON
Color Design Consultant........KAREN BAUER
Film Roman CG Lead ...... GRANT VICKLUND
CG Artists ............................. STUART ALLAN
............................ KEVIN CARNEY, DON KIM
......JON KIM KRUMMEL II, HOCK LIAN LAW
..................MIKE MONTAGUE, MARK ORME
..............BENJAMIN SAKAI, CHRIS STOVER
................ERIC WHITED, CHARLIE WINTER
Additional CG by Forum.... WILLIAM ARANCE
.......................BRENT BOWEN, CHAD COLE
........ HARRY EISENSTEIN, STEVEN FAHEY
......................... PETER GEND, ADAM KLEIN
Animation Clean-up .... DEBRA ARMSTRONG
......................................... MERRY CLINGEN,
....................SUSAN McKINSEY GOLDBERG
...................... CATHILIN HIDALGO-POLVANI
............. TODD JACOBSEN, EMILY JULIANO
................................MYUNG KANG-TEAGUE
........... LURELINE KOHLER, DON PARMELE
DOMINGO RIVERA, NATASHA SELFRIDGE
................................. RICHARD SMITHEMAN
................ MARIANNE TUCKER, MIRI YOON
Checkers ................... WILLIAM A. BEMILLER
.......................SUSAN BURKE, GINA EVANS
..................... GLENN HIGA, ESTHER H. LEE
...............JAN NAYLOR, JUNGJA KIM-WOLF
Track Reading .....................LOUIS RUSSELL
.........................................LAURIE WETZLER
Scanning.........................DAVID E. BONNELL
......................... HEIDI FRIESE, DAVID DUFF
Digital Ink and Paint.........................................
.................. LISA MARIE LEONARDI-KNIGHT
Digital Asset Managers....................................
DENNIS M. JOHNSON, ABISHAKE PATHAK
Technical Consultant ........STEFFEN M. WILD
Dialogue Mixer................................ RON COX
Dialogue Recordists........ CHRISTINE SIROIS
.................................................. TIM LAUBER
Recordists.....................CRAIG “PUP” HEATH
.......................................... BLAKE CORNETT
Re-Recording Engineer .............TOM LALLEY
Dialogue Engineer ................ DEREK CASARI
HSR Dialogue Recordist............ BILL HIGLEY
Brauer Production Dialogue Recordist.............
.......................................... BOB TOMLINSON
Dialogue Editor ..................... CHERYL NARDI
ADR Group Voice Casting ...............................
........................................ BARBARA HARRIS
ADR Loop Group .................... DOUG BURCH
...CATHERINE CAVADINI, LANAI CHAPMAN
.....................JOHN DeMITA, WILLOW GEER
............ BARBARA ILEY, DAAMEN J. KRALL,
IV
...... MARSHA KRAMER, JEREMY MAXWELL
.......................DAVID MICHIE , DALE RAOUL
Post Production Facilities Provided By............
........ TWENTIETH CENTURY FOX STUDIOS
Post Production Sound Services by ...............
.................................... SKYWALKER SOUND
..................... A LUCASFILM LTD. COMPANY
Marin County, California
Foley Editor............................SUZANNE FOX
Assistant Editors .................KEVIN N. BAILEY
....................................................JOSH GOLD
Foley Artists ........................... JANNA VANCE
................ DENNIE THORPE, ELLEN HEUER
Foley Recordist ................... SEAN ENGLAND
Foley Mixer ......................... FRANK RINELLA
Assistant Effects Editor ............... MAC SMITH
Recordists...........................NATHAN NANCE
................. RON ROUMAS, MATTHEW KENT
Mix Technician .................. JURGEN SCHARF
OVERSEAS ANIMATION PROVIDED BY
AKOM PRODUCTION CO.
Animation Producer for Akom Production
Co. .......................................... NELSON SHIN
Production Managers....................JI-YEUN YI
.............................................. BYUNG-KI SON
Production Coordinators...........EUN-HEE KIM
.........SEON-HO JEONG, SOON-YOUNG KIM
Translators ...........................JI-YOUNG PARK
...............................................SOO-JIN BANG
Overseas Directors ................NAK-JONG KIM
................................................... SI-WOO LEE
Animators.........................HYEON-CHAN LEE
.............. TAE-YONG SHIN, DAE-SEONG LIM
...................GWI-DON CHOI, WON-GOK LEE
.........SUNG-HYEON KIM, SANG SEOL SHIM
............SEOK-GYU CHOI, GYEONG-AE CHA
...................... MI-NAH SEO, SONG-PHIL KIM
............SEUNG-RYEOL LEE, HYO-SEOK KO
......... YOUNG-KYU CHOI, SONG-YEOL HAN
...................... WOOK HEO, HWI-SEOP JANG
............. JEONG-BOK WI, KYUNG-SIK SONG
..................... HAN-SOO KIM, JAE-HEON KIM
...............YOUNG-SOO PARK, KI-SEOL SON
..............YONG-MOON KIM, EUN-JOO PARK
................................................... OK-BAE KIM
Model Checking .......... GYEONG-SOOK HEO
............... JIN-YEONG PARK, YUN-SIK PARK
Assistant Animation Checking.........................
...........JEONG-HEE BAE, SONG-CHEUL KIM
............................................KYUNG-SUK KIM
Assistant Animators ....................EUN-JA LEE
.......HYEON-NAM YANG, JUNG-MIN BYEON
.................... EUN-YOUNG KIM, MI-JA KWON
...........YOUNG-JOO KIM, JANG-HYEON KIM
......................IN-OK KONG, AE-GYEONG YU
.......................HO-SEOP KIM, MI-YEON CHA
......................MI-SANG LEE, EUN-JUNG KIM
.......... EUN-JUNG BAE, HYEON-JOO MOON
.........EUN-YOUNG KANG, JOO-HYEON KIM
........................SUK JEONG, MI-HYANG LEE
........... HYUN-KOOK SHIM, HYUN-HYA CHU
..................YONG-NIM JEON, OK-NYE CHOI
..............PILL-NAM LEE, JOUNG-OOK PARK
................... EUN-MI HYANG, JUNG-HA PYO
.............YUN-JUNG LEE, KYOUNG-HEE KIM
............................................. SOON-JA JEON
Final Checking................. SEONG-WOOK HA
Background Cleanup ............SOO-HONG KIM
.................................................EUN-JIN CHO
Digital Supervisor....................JUNG-MIN LEE
Camera Work ................. EUN-YOUNG YUNE
................................................. EUN-JIN CHA
........................................................JIN-A LIM
............ MIN-JUNG KIM, SEONG-HYUN HEO
.......... KYONG-HEE PARK, YEUN-HONG KU
........................................SEONG-HYE PARK
Background Artists.........CHOUN-WUNG SON
...................... YEON-JU KIM, HYUNG-KI KIM
Scanning... KYOUNG-MI JIN, EUN-JOO CHOI
Digital Painting.......................YEON-HWA OH
.........................SUN-MI PARK, YUN-JIN JOE
.............BONG-SUNG KO, SEON-HYE PARK
..................................MI-RA KIM, JI-HYE KIM
............. SOO-JEONG SUNG, PPEO-YO LEE
........................ TAE-SOO LIM, GUI-YUE LEE
...JIE-GUL MA, BONG WOO, WOO-IL WANG
..............................CHUNG-YOUNG HWANG
.......................................... CHANG-KU JUNG
........................... KUM-YONG LEE, AHN LEE
.....................JI-AH YOON, WOO-DAN SUNG
....... NAM-HYUN SHIN, YOUN-MYOUNG OH
........................................................MA-RI SA
OVERSEAS ANIMATION PROVIDED BY
ROUGH DRAFT KOREA, CO. LTD.
Executive Producer in Charge of R.D.K...........
................................................. NIKKI VANZO
Production Account Management....................
.......... BYUNG CHUL YEA, SANG WOO CHA
Supervising Producer for R.D.K.......................
.............................................. HYEJOON YUN
Head of Production.................. CHUL HO KIM
Head of Production Coordination.....................
....................................... YEON HWA JEONG
Production Coordinators ..... YONG MIN PARK
....... JEONG YEUL PARK, JUNG SOO SHIN
Production Translator ........YOUNG JIN JEON
Production Translation Assistants....................
......................YEO JIN JEON, MEE RAE LEE
Animation Directors ........ MYUNG NAM JANG
.. YONG SEOP JEONG, YOUNG SIK JEONG
Animators ...... JOON SIK KIM, DUK HOO KIM
.....YOUNG NAM KIM, KYUNG WOOK KANG
......... TAE HYUN PARK, EUN YOUNG PARK
..................SUNG HYE PARK, SUN JAE LEE
V
.......HO SIK LEE, KUN LEE, HYE JIN JEONG
....................... MI SUN YOON, SUN KYU KIM
.......................KYU DAE YEON, CHUL KANG
............. KYUNG SOOK PARK, SU MEE CHO
..............YONG BAE WON, JONG SANG KIM
.......................... KYU HAW JO, MEE SUN JO
Assistant Animation – Chief ............................
............................................YOUNG NIM LEE
Assistant Animators .................SO YEON KIM
.................... JUNG IL PARK, HYE RYUN LEE
........................MOON SUN JO, JOO SIK KIM
..........MEE JUNG JEONG, DAE KOWN CHOI
.............YOO JIN PARK, YOUNG SIL JEONG
...................SIL HEE BANG, YEON JOO KOH
.............. MIN HWA SONG, HYUN JOO PARK
................ JI YOUNG HWANG, MEE RA CHO
..............MEE JIN CHA, AEH KYUNG JEONG
.............YOUNG EUN SEO, HYUN JOO SHIN
..............MEE SOOK LEE, KYU YOUNG OHN
........................... IN HWA OH, KI JUNG SHIM
.......... MYUNG SHIM CHOI, RAN KYUNG OH
..............................................EUN JOO JUNG
Animation Checkers...........JONG BUM PARK
.............................................. SOOK HEE KIM
Animation Retake Director YONG NAM PARK
Animation Retake Assistant ...MEE HWA AHN
Head of US Animation Digital Dept .................
.......................................WOO SUNG JEONG
US Animation System – Chief.HAE JIN PARK
US Animation System Technicians
............... YEON SUK RYU, SANG WON SEO
.............................................SANG HYUK OH
Digital Scan...........................HYUN JOO LEE
............... HYUN JOO PARK, NA YOUNG KIM
Digital Color Palette ................... JI YEON KIM
Digital Ink and Paint – Chief.....HYUN AH KIM
Digital Ink and Painters ...................................
..............YOUNG SOOK HONG, KI NAM AHN
...........................KUI OK KIM, HYE SUN AHN
...... NAM YOUNG JEONG, EUN YOUNG KIM
....................... JIN HEE KIM, YAE YOON LEE
.......................... DO HEE KIM, HYE SUN KIM
......................YOUNG EUN CHOI, OK SUN JI
................HYE YEOP YOON, JUNG HEE LIM
......... KANG SOOK BAEK, SANG EUN PARK
Digital Background Painting -Chief.................
.............................................. SO YEON CHOI
Digital Background Painters ... EUN SOO BAN
......................HA NA KIM, CHUNG RAN EUM
............................................... MEE JIN PARK
Digital Composite - Chief................ SE HO NA
Digital Compositors ..........JONG HYUN PARK
...............HEE JUNG JEONG, HEE JIN KANG
...................... JIN YOON, JOON KYO JEONG
................. SUN YOUNG PARK, IL WOO BAE
......... BO HEE KWON, YOUNG JOON HONG
Final Composite/Checking Supervisor .............
........................................ HYUN WOOK CHO
CAST
HOMER ......................DAN CASTELLANETA
MARGE ................................. JULIE KAVNER
BART.........................NANCY CARTWRIGHT
LISA..................................YEARDLEY SMITH
MAGGIE .................... NANCY CARTWRIGHT
RALPH ...................... NANCY CARTWRIGHT
SCRATCHY......................HARRY SHEARER
ITCHY..........................DAN CASTELLANETA
PROFESSOR FRINK ..............HANK AZARIA
MR. BURNS ..................... HARRY SHEARER
MRS. KRABAPPEL .........MARCIA WALLACE
COMIC BOOK GUY.................HANK AZARIA
GREEN DAY ........ BILLIE JOE ARMSTRONG
........................... FRANK EDWIN WRIGHT III
.................................. MICHAEL PRITCHARD
BARNEY......................DAN CASTELLANETA
MOE........................................HANK AZARIA
REV. LOVEJOY................ HARRY SHEARER
NED FLANDERS..............HARRY SHEARER
GRAMPA.....................DAN CASTELLANETA
SWEET OLD LADY.........TRESS MacNEILLE
MILHOUSE....................... PAMELA HAYDEN
NELSON.................... NANCY CARTWRIGHT
COLIN .............................TRESS MacNEILLE
MRS. SKINNER...............TRESS MacNEILLE
CHIEF WIGGUM .....................HANK AZARIA
ROD FLANDERS.............. PAMELA HAYDEN
TODD FLANDERS .... NANCY CARTWRIGHT
LOU.........................................HANK AZARIA
NELSON’S MOTHER.........TRESS MacNEILLE
STAGE MANAGER .....DAN CASTELLANETA
KRUSTY THE CLOWN....................................
....................................DAN CASTELLANETA
PIG..................................TRESS MacNEILLE
CAT LADY................ .......TRESS MacNEILLE
MAYOR QUIMBY ........DAN CASTELLANETA
LENNY ............................. HARRY SHEARER
CARL ......................................HANK AZARIA
FAT TONY...........................JOE MANTEGNA
CLETUS ..................................HANK AZARIA
MAYOR’S AIDE...........DAN CASTELLANETA
BUMBLEBEE MAN..................HANK AZARIA
SKULL .............................. HARRY SHEARER
MULTI-EYED SQUIRREL................................
....................................DAN CASTELLANETA
MALE EPA WORKER..............HANK AZARIA
FEMALE EPA WORKER.TRESS MacNEILLE
RUSS CARGILL .......................... A. BROOKS
PRESIDENT ARNOLD
SCHWARZENEGGER...... HARRY SHEARER
MARTIN.................. . .............RUSSI TAYLOR
PANICKY MAN............DAN CASTELLANETA
SIDESHOW MEL............
VI
.................................... DAN CASTELLANETA
MAN..............................KARL WIEDERGOTT
G.P.S. WOMAN .............. TRESS MacNEILLE
KENT BROCKMAN...........HARRY SHEARER
DOME DEPOT ANNOUNCER ........................
................................................ HANK AZARIA
MR. TEENY ............... DAN CASTELLANETA
PRINCIPAL SKINNER ......HARRY SHEARER
EPA OFFICIAL............ DAN CASTELLANETA
KISSING COPS .......... DAN CASTELLANETA
................................................ HANK AZARIA
CARNIVAL BARKER............... HANK AZARIA
COUNTER MAN ..................... HANK AZARIA
DR. HIBBERT ...................HARRY SHEARER
APU ........................................ HANK AZARIA
SMITHERS .......................HARRY SHEARER
TOLL BOOTH MAN ..........HARRY SHEARER
HELEN LOVEJOY...........MAGGIE ROSWELL
COOKIE KWAN .............. TRESS MacNEILLE
LINDSEY NAEGLE.......... TRESS MacNEILLE
DREDERICK TATUM.............. HANK AZARIA
SEA CAPTAIN ........................ HANK AZARIA
TOM HANKS....................................HIMSELF
TV DAD.............................PHIL ROSENTHAL
TV DAUGHTER .........NANCY CARTWRIGHT
TV SON........................... TRESS MacNEILLE
MEDICINE WOMAN ....... TRESS MacNEILLE
BEAR .......................... DAN CASTELLANETA
WOMAN ON PHONE.NANCY CARTWRIGHT
GIRL ON PHONE............ TRESS MacNEILLE
BOY ON PHONE ........ DAN CASTELLANETA
NSA WORKER............ DAN CASTELLANETA
OFFICER .................... DAN CASTELLANETA
EPA DRIVER ................KARL WIEDERGOTT
EPA PASSENGER.................. HANK AZARIA
GUARD.............................HARRY SHEARER
ROBOT ................................... HANK AZARIA
OTTO................................HARRY SHEARER
DR. NICK ................................ HANK AZARIA
SANTA’S LITTLE HELPER .............................
.................................... DAN CASTELLANETA
KANG................................HARRY SHEARER
SQUEAKY-VOICED TEEN .............................
.................................... DAN CASTELLANETA
Consultants .............................. LESLIE POPE
....................IDA RANDOM, SHAY CUNLIFFE
Production Coordinator .... MICHAEL NOBORI
Assistants to Mr. Brooks.......... LISA WALDER
......................................... JOSH BORNSTEIN
Assistant to Mr. Groening.........VYOLET DIAZ
Assistant to Mr. Jean.................. MICK KELLY
Assistants to Mr. Sakai..............JOSH ADLER
.......................................DANIEL LICHTBLAU
Assistant to Mr. Silverman...DANIELLE MAYS
Production Accountant .......CRAIG CANNOLD
Assistant Production Accountant.....................
................................................ CHRIS STARK
Film Roman Production Accountant.................
................................................JOHN ROMEO
Rough Draft Production Accountant.................
.........................................JAMES H. GOLDIN
Rough Draft Assistant Production
Accountant.....................SYLVIA C. RAMIREZ
Production Assistants ......................................
......................... DAKOTA MORGAN SETZER
...........DANIEL GORDON, LUCIAN DANIELS
.......................................... LAUREN L. FRITZ
Animation Production Assistants......................
.............. JENNY BETTIS, LEJON DOUROUX
..........RYAN GARCIA, MATTHEW LATHROP
......................ALICE S. LIN, HUGO LINARES
....................................... AMY V. LODEVICO,
.........PAUL “PONG-PONG” MANGULABNAN
............................................. ABNER PINEDA
........................... LESLIE ANDREW RIDINGS
..............CAROLYN ROACH, PETER TRUSS
......................................... LEONARDY VELIZ
Additional Production Support .........................
.....MATT BATTLE, ASHLEY NICOLE BLACK
KEVIN C. JONES, LATREESE RUTHERFORD
.................................... BARBARA SIEBERTZ
Film Roman IT ............CHARLES McCASKILL
................ BRAD COOPER, ELAINE DEMARI
..............JESSE FANNAN, IVAN LAWRENCE
............... SAMUEL MASON, MIKE MEDARIS
................................................DAVID PLUMB
Recruiting ........................ PHILLIP WILLIAMS
Lab Color Timers ....................... JIM PASSON
...............................................CHRIS REGAN
Negative Cutter..................... GARY BURRITT
Titles By..................................PACIFIC TITLE
DIGITAL INTERMEDIATE BY
TECHNICOLOR DIGITAL
INTERMEDIATES
Digital Film Colorist...........TIMOTHY PEELER
DI Producer .............................. ESTHER LEE
MUSIC
Additional Music by ........RYELAND ALLISON
..................LORNE BALFE, JAMES DOOLEY
.......... HENRY JACKMAN, MICHAEL LEVINE
........................................ ATLI ÖRVARSSON
Featured Guitarist .............HEITOR PEREIRA
Featured Vocalist...................ELIN CARLSON
Supervising Orchestrator .... BRUCE FOWLER
Orchestrators........................WALT FOWLER
................ELIZABETH FINCH, KEN KUGLER
....... SUZETTE MORIARTY, STEVE BARTEK
...................................... GEOFF STRADLING
Score Recorded and Mixed by.........................
........................................SLAMM ANDREWS
Music Preparation............... BOOKER WHITE
VII
Orchestra Conductors .....................................
.......BLAKE NEELY & NICK GLENNIE-SMITH
Music Contractors ...........................................
.. SANDY DE CRESCENT & PETER ROTTER
Technical Score Engineers .............................
THOMAS BRODERICK & PETE OSO SNELL
Music Production Coordinator
...........................................STEVEN KOFSKY
Score Production Coordinator ........................
..............................................ANDREW ZACK
Technical Music Assistants ............................
................... JACOB SHEA & NOAH SOROTA
Additional Recording by .......JEFF BIGGERS
Assistant Engineers .......................................
........................ GREG VINES & MATT WARD
SCORE MIXED AT REMOTE CONTROL
PRODUCTIONS
Digital Recordist...........KEVIN GLOBERMAN
Additional Music Editors .................................
.. STEPHANIE LOWRY, ERICH STRATMANN
.........................MARK JAN WLODAKIEWICZ,
.................................................MICHAEL JAY
Score Recorded at THE NEWMAN
SCORING STAGE,
TWENTIETH CENTURY FOX
Recordist....................................TIM LAUBER
Engineer............................ DENIS St. AMAND
Stage Managers..............................................
.. TOM STEEL & FRANCESCO PERLANGELI
SONGS
ALSO SPRACH ZARATHUSTRA
Written by Richard Strauss
HAIL TO THE CHIEF
Written by James Sanderson
THE SIMPSONS THEME
Written by Danny Elfman
Performed by Green Day
Green Day performs courtesy of Warner
Brothers Records, Inc.
NEARER, MY GOD, TO THEE
Written by Sarah Adams and Lowel Mason
AMERICAN IDIOT
Written by Billie Joe Armstrong, Frank
Edwin Wright, III
and Michael Pritchard
HAPPY TOGETHER
Written by Alan Gordon and Garry Bonner
Performed by The Turtles
Courtesy of Flo & Eddie, Inc.
By arrangement with Cohen and Cohen
KODAK
SPIDER PIG
Based on the Spiderman Theme
Written by Bob Harris and Paul Webster
Parody lyrics written by James L. Brooks,
Matt Groening, Al Jean, Ian Maxtone-
Graham, George Meyer, David Mirkin,
Mike Reiss, Mike Scully, Matt Selman,
David Silverman, John Swartzwelder and
Jon Vitti
CAROUSEL RIDE
Written and Performed Herman Beeftink
Courtesy of Elite Source Music Productions
(They Long To Be) CLOSE TO YOU
Written by Burt Bacharach and Hal David
Performed by The Carpenters
Courtesy of A&M Records
Under license from Universal Enterprises
SPRINGFIELD ANTHEM
Based on "La Marseillaise"
Written by Claude-Joseph Rouget de Lisle
Parody lyrics written by James L. Brooks,
Matt Groening, Al Jean, Ian Maxtone-
Graham, George Meyer, David Mirkin, Mike
Reiss, Mike Scully, Matt Selman, John
Swartzwelder and Jon Vitti
SOUNDTRACK AVAILABLE ON
EXTREME MUSIC
ANIMATION SPECIAL THANKS
LAURIE BIERNACKI, UTIT CHOOMUANG
BRETT COKER,
FRANCISCO DEL CUETO,
DAWN FINLEY, ELLEN HOWARD
BRIAN KOKOSZKA, RON McNUTT
SHELLEY MCCULLY, STEVE MILLS
HERIBERTO MORALES, JESSE TORRES
ROBERT WEAVER
C.I.S.
TOON BOOM ANIMATION INC.
SPECIAL THANKS TO:
JULIE ANSELL, GREGG BERGER
MAURICE LAMARCHE, RICK POLIZZI
FILMED ON LOCATION IN
SPRINGFIELD, .
Prints by DELUXE®
FILM STOCK (Logo)
DOLBY
(logo)
DTS
(logo)
Approved No. 43622 (MPAA Globe)
MOTION PICTURE
ASSOCIATION OF AMERICA
IATSE "Bug"
© 2007 Twentieth Century Fox Film
Corporation in all
territories except Brazil, Italy, Japan, Korea
and Spain.
© 2007 TCF Hungary Film Rights
Exploitation Limited Liability Company
and Twentieth Century Fox Film
Corporation in Brazil, Italy, Japan, Korea
and Spain.
Twentieth Century Fox Film Corporation is
the author of this motion
picture for purposes of copyright and other
laws.
The events, characters and firms depicted
in this photoplay are fictitious.
Any similarity to actual persons, living or
dead, or to actual
events or firms is purely coincidental.
Ownership of this motion picture is
protected by copyright and other applicable
laws,
and any unauthorized duplication,
distribution or exhibition of
this motion picture could result in criminal
prosecution as well as civil liability.
VIII
July 27
Production Notes English & Spanish and Credits
A master chef, Kate (CATHERINE ZETA-JONES) lives her life like she runs the kitchen
at upscale 22 Bleecker Restaurant in Manhattan—with a no-nonsense intensity that both
captivates and intimidates everyone around her. With breathtaking precision, she powers
through each hectic shift, coordinating hundreds of meals, preparing delicate sauces, seasoning
and simmering each dish to absolute perfection.
More at ease behind the scenes, she only leaves the sanctuary of her kitchen to accept
compliments for one of her signature dishes, or, on rare occasions, to tangle with a customer who
dares question her expertise. After work, most nights find her in bed before midnight, set to rise
at dawn to beat her competition to the fish market for the next day’s freshest selections.
Kate’s perfectionist nature is put to the test when a brash new sous-chef joins her staff,
the high-spirited and freewheeling Nick (AARON ECKHART). A rising culinary star himself,
Nick favors opera while working and loves to make everyone around him laugh. His casual
approach to both life and cuisine couldn’t be more different from Kate’s, yet the chemistry
between them is undeniable…as is the discord, like forks clanging off a granite countertop.
It might be easier to deal with this turbulence at work if Kate wasn’t already off-balance
at home, struggling to connect with her nine-year-old niece, Zoe (ABIGAIL BRESLIN), who has
recently—and very unexpectedly—come to live with her. A bright, perceptive child, more
comfortable with fish sticks than foie gras, Zoe is clearly out of place in Kate’s routine but Kate
is determined to make a home for her…just as soon as she figures out how.
As the weeks progress, Kate is not sure what steams her more—that Nick’s talent scores
big points with 22 Bleecker’s owner, Paula (PATRICIA CLARKSON), and its discriminating
clientele, or that his easygoing charm quickly wins over the shy Zoe, who finds it easier to open
up to him than to her aunt. But when he challenges the boundary between rivalry and romance,
Kate finds herself questioning, for the first time in years, some of the choices and beliefs that
have made her so self-sufficient and so safe.
If she wants to forge a real bond with Zoe, find happiness with Nick and rediscover her
appetite for life, Kate will have to try something bold and new, and learn to express herself
outside the realm of her kitchen.
That would be like trying to cook without a recipe. But, as Kate discovers, sometimes
the best recipes are the ones you create yourself.
Castle Rock Entertainment presents, in association with Village Roadshow Pictures, a
Scott Hicks Film, “No Reservations,” starring Academy Award winner Catherine Zeta-Jones
(“Chicago”), Golden Globe nominee Aaron Eckhart (“Thank You for Smoking”), Oscar nominee
Abigail Breslin (“Little Miss Sunshine”) and Oscar nominee Patricia Clarkson (“Pieces of
April”).
The romantic drama is directed by Oscar nominee Scott Hicks (“Shine”), from a
screenplay by Carol Fuchs, and produced by Kerry Heysen (“Hearts in Atlantis”) and Sergio
Agüero (executive producer on Spain’s three-time Goya Award winner “Princesas”). Susan
Cartsonis (“What Women Want”) and Bruce Berman (“Ocean’s Thirteen”) served as executive
producers. Mari Jo Winkler-Ioffreda (“In Her Shoes”) is co-producer. Oscar nominee Stuart
Dryburgh (“The Piano”) is the director of photography; Barbara Ling (“Hearts in Atlantis”), the
production designer; Oscar nominee Pip Karmel (“Shine”), the editor; and Melissa Toth
(“Eternal Sunshine of the Spotless Mind”), the costume designer. Music is by three-time Oscar
nominee Philip Glass (“Notes on a Scandal,” “The Hours,” “Kundun”). “No Reservations” is
based on the screenplay “Mostly Martha” by Sandra Nettelbeck, produced by Christoph Freidel
and Karl Baumgärtner.
The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros.
Entertainment Company, and in select territories by Village Roadshow Pictures. It is rated PG
by the MPAA for “some sensuality and language.” Soundtrack album on Decca Records.
www.noreservationsmovie.com
For downloadable general press information and photos from
“No Reservations,” please visit: http://press.warnerbros.com
ABOUT THE PRODUCTION
Sometimes, Life Isn’t Made to Order
For “No Reservations” director Scott Hicks, it was not only the story itself that first
attracted him, but the way in which it offered touching glimpses of human interaction at its most
intimate and relatable level. “It’s a heartfelt, contemporary drama that strikes an interesting
balance between deep emotions and moments of natural humor and lightheartedness, which is
how most of us experience life,” he says. “It’s about loss, but also about learning to change and
finding real love out of loss.”
Hicks earned international acclaim for the powerful 1996 drama “Shine,” which received
seven Oscar nominations, including Best Director and a Best Screenplay nomination for Hicks.
As a filmmaker, he says, he is drawn to “character-driven stories of real emotion,” and saw in
Kate’s dilemma an opportunity to explore how a person with an extremely well-ordered life
might deal with unexpected events that change all of it in an instant. More importantly, “how
that person might find, through challenge and adversity, the gifts of love, purpose and a fresh
perspective on life.”
Catherine Zeta-Jones, who counts herself among Hicks’ biggest fans, offers a similar
assessment. “It has so many facets. There’s a wonderful love story, there’s the poignant
relationship between Kate and her young niece, there is Kate’s passion for her work and then
there’s the fascinating theater of a professional kitchen and seeing how that fast-paced world
operates.
“When I heard that Scott Hicks wanted to direct it, I was thrilled,” she continues. “I
knew from his body of work that he would bring to it the right sensitivity and texture.”
“No Reservations” is based on the 2001 European feature “Bella Martha” (or “Mostly
Martha”), a film that charmed many of the “No Reservations” cast and filmmakers prior to their
collaboration. Says producer Kerry Heysen, “It was both a stylish and very tender film. We
thought that by relocating it to America we could bring it to a larger audience. Setting it in New
York—a city with such a rich relationship with food and restaurants—was the perfect choice and
I knew it would add its own zest to the film. You can’t walk down a street in New York without
passing little cafés of every description and taking in all that aroma and activity.”
“It was a love story that celebrated the universal joy of making and sharing great food,”
says producer Sergio Agüero. “I was tremendously excited about its potential worldwide
because both of these subjects strike a familiar chord in every culture.”
The filmmakers needed to reinvent the story in its new context but were fully committed
to retaining what everyone loved best about “Mostly Martha”— its heart and its flavor, as well as
its heroine, a successful and single-minded master chef who runs her life and her kitchen with
equal measures of disciplined efficiency.
The arrival of sous-chef Nick changes everything—dramatically. “He’s flamboyant; he
fills the kitchen with the sounds of opera and singing, and the staff is laughing at his jokes. It’s a
completely different atmosphere with his presence and Kate doesn’t like it,” says Heysen, who
concedes that, from Kate’s point of view, there could also be another, more insidious nuance in
play. As a woman who has achieved a level of success and autonomy in a highly competitive
field with few plumb positions, Kate considers Nick a potential threat to her professionally. In
truth, Heysen explains, “Nick has taken this job because he’s a great admirer of Kate’s work and
wants to learn from her, but she doesn’t see that. She is immediately distrustful.”
While Nick challenges her domain at the restaurant, the arrival of Kate’s newly orphaned
niece, Zoe, seriously disrupts her home life.
Says Hicks, “The child turns everything upside down, not only emotionally but on a
practical level. There’s simply no room for a nine year old in the world of a busy chef with a
tight schedule, late hours and such precise habits. Kate is not maternal. Her heart is in the right
place, but she has absolutely no idea what to do with this child who won’t even eat her food.
Meanwhile, at the restaurant, this new chef in the kitchen is making sparks fly.”
But sparks aren’t necessarily a bad thing…
Aaron Eckhart, who stars as the gregarious Nick, notes that, “It’s through these conflicts
that Kate will find the joy in life. Zoe and Nick change everything and really start breaking her
down. But it’s up to Kate where she’s going to go from there to overcome her problems and find
growth and new life.”
And what better medium than food for nurturing romance and bringing people together?
Food and everything related to food—the preparation, presentation and sharing of it, not
to mention the aroma, the texture, the look and the taste of it—has undeniable romantic and life-
affirming elements, which Hicks weaves throughout the story. That intention began with the
screenplay, of which screenwriter Carol Fuchs says, “The element of food serves in both a literal
and a figurative sense. It’s not just about what we eat but how we feed ourselves emotionally.”
“Food has its own power and symbolic presence in the film,” the director offers. “All the
communication and seduction begins with food. The connection between Kate and Nick begins
with their shared love of cuisine, and it also plays a role in bringing Zoe out of her shell. In
Zoe’s case, as a child whose grief has suppressed her appetite, the fact that she finally takes the
spaghetti Nick offers her is a sign that she trusts him and is warming up to him. In the case of
Kate and Nick sharing their first meal together, there is a more erotic charge to it.”
In a general sense, says Heysen, “Food here is a metaphor for life and the life force or, if
you like, love.”
Eckhart agrees. “It certainly engages all the senses. With the cooking itself, especially at
this level where it’s practically an art form, there’s a heightened awareness of incorporating
ingredients and layering tastes to stimulate the palette… Oh yeah, it’s very romantic.”
“I never thought I could get excited about scallops,” declares Zeta-Jones, “but when you
really focus on them, you get a whole different perspective.”
Casting: How Many Cooks in This Kitchen?
“My husband said that this role was the biggest stretch I’ve ever had as an actress,
because it puts me into the kitchen,” Zeta-Jones jokingly reveals, before going on to admit that,
prior to her culinary training for the film, she was unsure of her ability to properly cook an egg.
In fact, says Hicks, not only did Zeta-Jones quickly learn her way around the kitchen to
authenticate her performance in the weeks before “No Reservations” began shooting, but the film
depended greatly upon her formidable range throughout. “The story absolutely rests on her
shoulders. She’s in nearly every scene and the whole thing revolves around her. She has great
subtlety and amazing timing, which, when you consider her background as a dancer, isn’t
surprising. That timing plays so well into her sense of drama, because there are scenes of strong
emotion here but also breakthrough moments of fun.”
“Kate runs a tight ship, to say the least,” says Zeta-Jones. “She knows her business and
tends to get a little defensive when a customer questions the taste or presentation of any of her
dishes. But when she brings that strict perfectionism into her private life it keeps her from
having real relationships with people. It keeps away the insecurities and fears and the potential
pain, but also the joy and the fullness of life that only exists when you can open up to people, let
go a little and let things happen.”
Citing their characters’ first encounter in the 22 Bleecker kitchen, Aaron Eckhart says,
“Kate takes one look at this casual, easygoing new chef, playing opera and telling jokes, and she
thinks he’s not taking the job seriously. It would appear that way but, in truth, Nick just has his
own style. Once he feels Kate’s blast of hostility, he assumes the rubber band theory of ‘don’t
break, just bend,’ and tries to be as nice and charming as possible in the hope that she will
eventually let down her guard.”
Nick takes the sous-chef job as an opportunity to work with, and learn from, master chef
Kate, whom he admires. “The romance is as much a surprise to him as it is to her,” Eckhart
offers. “The difference is that once he recognizes it, he’s ready to embrace it, but she isn’t quite
there yet, which means he has to be exceptionally charming and very creative. When he can’t
get through to her any other way, he uses the language she understands best: food.”
“This role shows a wonderfully light side of Aaron, which we don’t always see. A lot of
his roles have been quite intense,” observes Zeta-Jones.
“Not only is Aaron the romantic leading man here,” says Hicks, “he also has to have the
ability to genuinely connect with a little girl and bring out the emotion in that as well, which
sounds easier than it actually is.”
“As Nick, Aaron approaches young Zoe the way you would approach a pony in a
paddock,” says Heysen, drawing on her experience working with horses on the Australian
property she shares with husband and 30-year filmmaking partner Scott Hicks. “If you have a
shy pony that won’t come to you, you cannot pursue it. You must sit and wait with gentle
overtures and eventually it will come to you. It requires a great deal of sensitivity.”
Eckhart enjoyed his scenes with Abigail Breslin, who turned 10 years old during
production. “It’s fun to have that kind of youthful spirit around. She taught me some
cheerleading cheers, and we would practice together in the kitchen between takes.”
Unlike her buoyant personality off-camera, Breslin’s portrayal of Zoe—at least in the
film’s initial scenes—was necessarily more subdued. As the young actress describes her, “Zoe
is sort of quiet in the beginning. She’s not really hostile towards Kate, not mean to her or rude,
but just not really friendly or open either. She doesn’t know how this living arrangement is
going to work. She’s feeling kind of lost and on her own.”
Hicks, who proclaims Breslin “delightful,” says, “She’s not caught up in the business of
it all; she simply enjoys acting. I love working with children. Although they may not bring a
wealth of experience or technique to a role, they can, like Abigail, bring tremendous honesty and
access to their emotions. If I explain the context and situation of a scene to her, Abigail can
sense precisely where to take her character. She’s extremely resourceful and absolutely the real
deal as an actress.”
Illustrating this, Heysen relates a scenario that Breslin’s mother offered. “It was right
before we shot the scene in which Zoe first sees where she’s going to live with her aunt after her
mother has died. Abigail’s mother said that she had been preparing for the scene at home and
had remarked to her, ‘When that little girl walks up the steps into that house her life is never
going to be the same again.’ She really thinks it through and that’s why she is so convincing on
screen.”
Meanwhile, Kate has another confrontation brewing with the owner of her restaurant,
Paula, played with authoritative panache by Patricia Clarkson, who notes that the two women are
very much alike. “Paula has her own control issues. She’s a very can-do person and runs every
aspect of this restaurant. She’s the host, the maître d’, the manager, the owner, not to mention
head of personnel and wine selection. This is her baby; her whole life is wrapped up in this
restaurant.
“Paula respects Kate for her talent and work ethic and so tolerates her fits of
temperament,” Clarkson continues. “They are friends and they have history but it’s not an easy
relationship. Like Kate’s relationship with Nick, this one generates its own sparks.”
A longtime admirer of Clarkson’s work, Hicks remarks, “She gives a smart, sophisticated
razor-sharp wit to the role.”
Adds Heysen, “Patricia brings all the many facets of Paula to the fore—good, bad and
complex—but above all conveys the feeling that, ultimately, this is a woman you don’t want to
cross. And Kate is often dangerously close to crossing her.”
Rounding out the main cast are Jenny Wade (“Rumor Has It…”) as Kate’s loyal but very
pregnant sous-chef Leah, whose imminent due date and leave of absence prompts Paula to hire
Nick as her replacement; Lily Rabe (“Mona Lisa Smile”) as waitress/actress Bernadette, who
likes to run lines for her next audition in the kitchen’s walk-in refrigerator and is Nick’s biggest
fan; and Brían F. O’Byrne (“Bug” and Broadway’s “Doubt”) as Kate’s downstairs neighbor
Sean, a divorced dad who has been futilely asking her out for years.
Academy Award nominee Bob Balaban (producer, “Gosford Park”) is featured as the
therapist Paula forces Kate to see, a man who resorts to slightly unorthodox methods when
traditional therapy has no effect on the highly guarded chef who, clearly, would rather talk
recipes than repression.
May I Take Your Order? Culinary Training for the Cast
and
Catherine Zeta-Jones Masters the Infamous Tablecloth Trick
With so many scenes taking place over a hot stove at 22 Bleecker—pots clanging, waiters
rushing in and out, and Kate and Nick’s personal drama unfolding amidst the fast-paced routine
of preparing dinner for a restaurant full of patrons—Hicks wanted the actors to be at ease with
the tempo of a professional kitchen. “I always strive for realism. In this setting, it was
especially important for the actors to feel as though they were really preparing these dishes and
coping with the stresses of their environment. It was essential that their actions be fluid and
natural in order to keep the emphasis where it belongs—on the story,” the director says.
Just as important, Heysen points out, was that shots of Nick chopping onions and Kate
garnishing plates ring true, because, “with everyone around the world watching The Food
Network, audiences are extremely savvy and would know if someone was faking it.”
Toward that end, Hicks cast professional line chefs to serve as 22 Bleecker’s onscreen
kitchen staff, hired numerous culinary and restaurant consultants and arranged hands-on training
with genuine masters for his stars.
Catherine Zeta-Jones and Aaron Eckhart spent two weeks with celebrity chef Michael
White, who tailored his instruction to their characters’ specialized roles: for Zeta-Jones, as head
chef, an emphasis on preparing sauces, pan-tossing small items, plating and preparing garnish;
and for Eckhart, as sous-chef, the more practical aspects of chopping vegetables and sautéing,
cleaning and butchering fish and meat. Following the edict that the mark of a good chef is not
only a flair for food but a command of his domain, both learned safety basics and the fine points
of handling knives, grasping superheated pot handles with towels and deftly navigating the
cramped space while simultaneously working, talking and cooking.
Eckhart, who has worked as a waiter and bartender but never a chef, found the
curriculum fascinating, although, in addition to onions, carrots and mushrooms, he cut his fingers
numerous times during his two-day practice with the knife. This was par for the course, he was
assured by White, who, after 16 years of cooking professionally, still lives by the rule of
assuming that every surface in a kitchen is hot.
Even Abigail Breslin learned to flip pancakes and pare vegetables under the tutelage of
French Culinary Institute chef Lee Anne Wong and recounts how, during one scene, she got a
little carried away with her newfound skill. “I was peeling asparagus. I got down to the part
where it becomes white and just kept going until it got really skinny and Scott started laughing.
He said, ‘You don’t have to turn it into a toothpick; it’s still asparagus.’”
Outside the kitchen, Patricia Clarkson took a crash course on how to handle front-of-
house duties with aplomb from Daniele Sbordi, then general manager of New York City’s
renowned Fiamma Osteria, and likens it to managing a theater. “When you’re running a
restaurant, you have to be on top of everything: reservations, stock, orders, staff and the wine
selection, not to mention the preferences and personalities of the VIPs coming in, and be ready to
diffuse any potential situation. You get there early to prepare and coach the waiters on the day’s
specials, and when that door opens and people start coming in, it’s like the curtain going up.”
Speaking of theater, one confrontational scene between Kate and an ill-mannered
customer afforded Zeta-Jones the opportunity to add a neat trick to her professional repertoire:
the classic tablecloth pull, in which a cloth is yanked cleanly out from under a full load of place
settings with minimum spillage. Its success depends largely upon confidence and timing. “It
was one of the best shooting days of my life,” she declares. “I didn’t get it straightaway, but
once I did, I had so much fun I wanted to do it all the time. Now I can bet people at parties that I
can whip out a tablecloth from under a stack of plates and glasses and not break anything.”
Zeta-Jones additionally went above and beyond any restaurant training Hicks had
anticipated by volunteering to work the dining room one night during the busy dinner shift at
Fiamma Osteria, an experience she calls “terrifying and a real learning experience.” Even in that
atmospheric lighting, several patrons remarked on their server’s striking resemblance to the
actress Catherine Zeta-Jones, to which she casually replied, “Yeah, I get that all the time.”
Production Design, and Props Good Enough to Eat
“As food is the metaphor for love in this story, food preparation is the context in which
these characters live, behave and interact,” says Hicks. With this in mind, he and production
designer Barbara Ling provided the cast a nearly fully functional kitchen set, which becomes the
backdrop for some of the most significant moments that pass between Kate and Nick.
Hicks and Ling researched approximately 60 area restaurants for their range of design
options and mood, noting differences between work spaces created by chefs versus those created
by restaurant owners. After briefly considering adapting an existing industrial facility but
finding those spaces too sterile and large, they opted to build their kitchen from scratch on a
soundstage at Silvercup East Studios in Queens.
Says Ling, “The one advantage was that we didn’t adhere to codes, or it would have been
ridiculously expensive. Instead, I was able to design a kitchen to look completely functional but
that doesn’t have to last very long. All the stainless steel is real, as well as the tile, the copper
piping and the tanks for the cappuccino machines, the appliances, sinks, stoves, stainless tables,
even the thermometers set into the walls. The only exceptions are two walk-in refrigerators. We
built those units and then pumped in cold air.”
The walk-ins serve a dual purpose: to chill food, and to provide chefs with a place to cool
down, literally, or to have a private conversation—a habit all the culinary and restaurant
consultants on-set confirmed as authentically depicted in the movie, right down to the part where
the rest of the kitchen staff sneaks glances through the tiny window to see what’s going on.
Says Eckhart, “They recreated everything to the nth degree. The detail is amazing. You
can really lose yourself in a scene and completely forget you’re on a soundstage.”
Ling strove to depict the normal flow of a working environment from the camera’s point
of view without removing walls. “I wanted to show what people don’t often see: how chefs
maneuver in a kitchen, crisscrossing each other, one holding a plate while another one garnishes
it and hands it off to someone else. It’s beautiful, almost like dance choreography. There is
constant traffic—people coming in and out, deliveries arriving, waiters coming through the
door—and the head chef supervises all of this from a central position like an orchestra leader in
the pit.”
The flow generated in the kitchen then extends unbroken through the door to the
restaurant dining room, and from there to the windows and out into the New York City street.
For a scene that takes Kate shopping for fresh seafood, Ling recreated the historic Fulton
Fish Market at its former lower Manhattan location near the Brooklyn Bridge. The nearly 200-
year-old seafood distribution center was moved to the Bronx in 2005, a site that Ling raided for
original signage, furniture and lots of fresh fish. “We even hired guys who used to work at the
old place as extras. It was a fun set and nostalgic for the locals for whom the fish market had
always been part of the landscape.”
“No Reservations” also served up real food daily for the cameras, courtesy of property
master Diana Burton (“The Sopranos”) and a full cooking staff that started work generally two
hours prior to production every morning from a bustling kitchen just steps away from the action,
because, as Heysen attests, “No one is fooled by plastic props anymore. It was important for us
to have food on screen that looked exquisite and fresh because it’s a reflection on our characters,
who are supposed to be among the best chefs in New York.”
Except in certain instances when a meal was designed specifically for someone to eat on
camera, Burton’s focus was more on presentation than taste. She experimented with cornstarch
and colors, finding ways “to recreate the butter-based French cuisine to maintain its integrity
under the hot lights, because there are many things that light and heat will do to make food
appear less appetizing.” A blowtorch blast on quail achieved the right golden brown look while
leaving the juices inside to give the dish more longevity on screen before drying.
With help from the production’s professional consultants, Burton and Hicks devised a
menu of approximately 25 items for the film, including an asparagus terrine, Nick’s sea bass, a
scallop dish, foie gras, an entrecote and Kate’s signature quail with truffle sauce. Hicks
functioned as master chef in deciding the final look of each plate. Depending upon the day’s
shooting schedule, Burton’s team would then prepare a continuous stream of dishes.
Setting up accounts with the same suppliers used by local restaurants, Burton ensured
enough food on hand to meet the director’s needs at any given moment. The production’s
backstage area often resembled the back entrance of a five-star restaurant with deliveries of
lobsters and exotic produce by the crate because, as Burton confirms, “certain items needed to be
fresh in order to look fresh.” For a scene in which Nick fillets a sea bass, she had 20 bass on ice
awaiting their cue. “Ultimately, you cannot predict how many takes a director might want, and I
certainly didn’t want to have to tell him he was out of fish.”
All this authenticity had its downside, as Catherine Zeta-Jones relates. “We found the
aromas really effective at putting everyone in the mood, which is fine when you’re hungry. But
when it’s six o’clock in the morning and you’re smelling fish, it can turn your tummy a bit.”
Burton even went to the extent of having a model maker craft truffles that could
authentically slice, if the production schedule passed the season in which real truffles could be
obtained, as they figure prominently in more than one scene. For pots and pans that looked
properly carbon-stained and broken in, she struck a unique bargain: procuring Fiamma Osteria’s
entire collection of workaday crockery in exchange for a replacement set of shiny new ones.
Finally, as a personal touch, she stocked the bar with bottles of wine from Hicks and Heysen’s
own South Australian vineyard.
Aaron Eckhart, whose character samples a plate of risotto, proclaims “No Reservations”
to have “the best-tasting props ever,” and admits that he couldn’t resist polishing off the entire
plate between scenes. Adds Abigail Breslin, whose character is offered a bowl of spaghetti, “It
was so delicious, I tried to get a big mouthful in before the director said ‘cut.’”
22 Bleecker Street
By electing to shoot “No Reservations” in New York, Hicks intended for the city to lend
its own character to the story. “It has such a restaurant culture, so appropriate for the story, plus
the rich architecture and design details everywhere you look,” he says, adding that, “so much of
the action takes place indoors, in a kitchen or an apartment, that I wanted the outdoor scenes to
provide as much breadth as possible. I wanted those few location shots to have maximum
impact.”
The director found a vacant corner space on Bleecker Street at Charles for his fictional
restaurant in the West Village, with large windows that offered excellent views of “city life out
on the street, which we enhanced with our own lights and extras, but that served as a wonderful
ready-made backdrop no matter which way we looked out.”
Inside, production designer Barbara Ling created a comfortable, subdued atmosphere
with darkened walls and minimalist charcoal artwork, to make the food the star element.
“The space formerly housed a Chinese restaurant and is now a retail store,” offers
Heysen, who explains that the temporary presence of a film production in the interim caused
some confusion in the neighborhood, especially as they decided to name the restaurant 22
Bleecker Street…and the storefront wasn’t anywhere near number 22. “The only number not in
use on Bleecker Street was 22. Number 24 was a church. So we thought we were safe with our
name but, in fact, it confused the local messengers when we put our sign up that indicated ‘22
Bleecker’ in a spot that was actually in the upper 300s. We had to remove the signage until the
moment when we were actually filming the exterior.”
The faux restaurant also attracted attention for another reason, as Catherine Zeta-Jones
recalls. “I was doing a scene in which I was standing beside the maitre d’ in the entrance area.
There was fake wine being sipped and waiters serving delicious-looking food. The place was
bustling with extras, the bar looked cool, very inviting, and several people came in from the
street asking, ‘Do we need reservations?’ They thought it was the new hot spot to have dinner.
We had to break it to them that it was just a movie set.”
Filming “No Reservations” inspired a real interest for Zeta-Jones, who says, “I definitely
have a new appreciation now for food and how it’s presented. I’m looking forward to preparing
Thanksgiving dinner. The house is already full of cookbooks.”
Nearly everyone in the cast and crew discovered something new about haute cuisine
during the shoot, and audiences may do the same. Says Hicks, “We certainly didn’t intend the
film to be an education on the subject of French cuisine but when you’re telling the story of
people whose lives are completely enveloped by this world, you can’t help learning their
language. At the very least a person might pick up an interesting term they hadn’t come across
before, depending on their dining habits, such as what an entrecote is or how rare a steak can be.
It was fun to be surrounded by all this beauty and perfection. The dishes coming out of the
Bleecker kitchen were extraordinarily tempting…yet, I expect, not something you would
necessarily want to have every day.”
Having sampled the finest saffron sauces and scallops and all the other dishes highlighted
in “No Reservations,” both Zeta-Jones and Eckhart find, like Hicks, that they remain alike in
their simple tastes. When asked to name their favorite foods, both reach back to childhood
favorites. Eckhart says, “I’m kind of a burrito guy,” and Zeta-Jones responds, “Fish and chips
for me, fish and chips any day.”
ABOUT THE CAST
CATHERINE ZETA-JONES (Kate) earned an Academy Award, the 2002 Critic’s
Choice Award, the Screen Actor’s Guild Award for Best Supporting Actress and a Golden Globe
nomination for her performance as the murderous Velma Kelly in Miramax’s film adaptation of
the Broadway musical “Chicago.”
She will next star in Gillian Armstrong’s romantic thriller “Death Defying Acts,”
opposite Guy Pearce, set for release later this year.
In 2005 Zeta-Jones reprised her starring role as Elena de la Vega opposite Antonio
Banderas as Zorro in “The Legend of Zorro,” the sequel to “The Mask of Zorro,” the 1999 action
adventure that brought her international recognition. She also starred in Steven Soderbergh’s
“Ocean’s 12,” the sequel to the hit remake “Ocean’s 11”; “The Terminal,” opposite Tom Hanks
and directed by Steven Spielberg; and “Intolerable Cruelty,” opposite George Clooney, directed
by the Coen brothers.
She earned a Golden Globe nomination for her portrayal of the wife of a drug-runner who
is confronted with her husband’s illegal ties and must fight to save her family in Steven
Soderbergh’s “Traffic.” The cast of the critically praised film received a SAG Award for
Outstanding Performance by the Cast of a Theatrical Motion Picture.
In 1999, in addition to “The Mask of Zorro,” Zeta-Jones starred in Jon Amiel’s romantic
thriller “Entrapment,” opposite screen legend Sean Connery as an undercover insurance
investigator who sets out to trap one of the world’s greatest art thieves. She also portrayed a diva
movie star in the blockbuster comedy “America’s Sweethearts,” directed by Joe Roth and also
starring Billy Crystal, Julia Roberts and John Cusack.
Prior to her work in the U.S., the Welsh-born Zeta-Jones starred in the hit Yorkshire
television series “The Darling Buds of May,” based on the novels of H.E. Bates.
Zeta-Jones is married to actor Michael Douglas. They have a son, Dylan, and a daughter,
Carys.
AARON ECKHART (Nick) earned considerable acclaim in 2000 for his role as the love
interest for Julia Roberts’ character in Steven Soderbergh’s “Erin Brockovich,” but it was his
portrayal as the vengeful man in Neil LaBute’s controversial film “In the Company of Men,” in
1997, which first drew attention. The incendiary feature became one of the highest-grossing
independent films of the year.
Eckhart was more recently seen starring in Jason Reitman’s directorial debut, “Thank
You for Smoking,” for which he earned both Golden Globe and Independent Spirit Award
nominations.
Among his recent projects are the comedy drama “Bill,” with Jessica Alba, the Alan Ball
drama “Nothing is Private” and the new Batman movie, “The Dark Knight,” for director
Christopher Nolan, currently in production. He is also set to star in the upcoming drama
“Traveling,” to be directed by Brandon Camp.
Eckhart studied theater and film at Brigham Young University, where he met and
appeared in many of Neil LaBute’s plays. In addition to “In the Company of Men,” he went on
to star in three other LaBute films: “Possession,” co-starring Gwyneth Paltrow; “Nurse Betty,”
opposite Renée Zellweger; and “Your Friends and Neighbors,” with Ben Stiller and Catherine
Keener.
He also starred in John Woo’s adaptation of the Phillip K. Dick short story “Paycheck,”
opposite Ben Affleck and Uma Thurman; Ron Howard’s “The Missing,” opposite Tommy Lee
Jones and Cate Blanchett; “The Core,” opposite Hilary Swank; Brian De Palma’s “The Black
Dahlia”; and “Conversations with Other Women,” opposite Helena Bonham Carter. His
additional film credits include Sean Penn’s “The Pledge,” with Jack Nicholson, Oliver Stone’s
“Any Given Sunday” and “Molly,” with Elisabeth Shue.
Eckhart’s theatrical credits include Michael Cristofer’s “Amazing Grace,” opposite
Marsha Mason.
ABIGAIL BRESLIN (Zoe) earned an Oscar nomination as well as BAFTA and SAG
Award nominations and a Best Actress Award from the Tokyo International Film Festival for her
performance as an ambitious young girl obsessed with winning a beauty pageant in last year’s
critically acclaimed irreverent comedy “Little Miss Sunshine.”
Breslin’s most recent project is the Adam Brooks romantic comedy “Definitely, Maybe,”
co-starring Elizabeth Banks, Rachel Weisz and Ryan Reynolds. She is currently filming the title
role in the comedy drama “Kit Kittredge: An American Girl Mystery,” scheduled for a 2008
release, and will next begin production on “Nim’s Island,” opposite Jodie Foster.
Previously, Breslin starred with Mel Gibson in M. Night Shyamalan’s “Signs,” and in
“Raising Helen,” for director Garry Marshall, opposite her older brother Spencer Breslin and
Kate Hudson. She appeared in the independent drama “Keane,” directed by Lodge Kerrigan and
produced by Steven Soderbergh, and “The Ultimate Gift,” co-starring James Garner, and was an
elf in “The Santa Clause 3.”
On television, Breslin has guest-starred on “Law and Order: Special Victims Unit,”
“Navy N.C.I.S.,” “What I Like About You” and “Grey’s Anatomy.”
PATRICIA CLARKSON (Paula) is currently in production on Stanley Tucci's “Blind
Date” in Belgium. Upon completion of “Blind Date,” she will begin filming Daniel Banz's
directorial debut “Phoebe in Wonderland,” opposite Felicity Huffman, Bill Pullman and Elle
Fanning; followed by Woody Allen's “Untitled Spanish Project,” in Barcelona, opposite Scarlett
Johansson and Javier Bardem.
This fall, Clarkson will be seen in the drama “Lars and the Real Girl” opposite Ryan
Gosling and Emily Mortimer. She will then be seen in “Elegy,” opposite Sir Ben Kingsley and
Dennis Hopper. Directed by Isabel Coixet, the film is based on the novel by Philip Roth and is
scheduled for a November 16th release.
Earlier this year, Clarkson wrapped “Married Life,” a romantic drama set in the 1940s,
directed by Ira Sachs and co-starring Pierce Brosnan, Rachel McAdams and Chris Cooper.
Her additional credits include roles in: “All The King's Men,” “Goodnight, and Good
Luck,” “The Dying Gaul,” “The Woods,” “Far from Heaven,” “Pieces of April,” “The Station
Agent,” “Miracle,” “High Art,” “Dogville,” “Welcome to Collinwood,” “The Pledge,” “The
Green Mile,” “Everybody's All-American,” “The Dead Pool,” “Rocket Gibraltar,” “Tune in
Tomorrow,” “Joe Gould's Secret,” “Wendigo” and Brian De Palma's “The Untouchables,” her
film debut.
In 2003, Clarkson's work in two independent films earned her unparalleled recognition.
She was nominated for an Academy Award, Golden Globe, SAG Award, Broadcast Film Critics
Award and an Independent Spirit Award for her role in “Pieces of April.” In addition, the
Sundance Film Festival awarded her the Jury Prize for Outstanding Performance in “Pieces of
April,” “The Station Agent” and “All the Real Girls.” Her performance in “The Station Agent”
earned her a SAG Award nomination for Best Actress and Best Ensemble Cast. The National
Board of Review and the National Society of Film Critics named her Best Supporting Actress of
the Year for her work in “Pieces of April” and “The Station Agent.”
She also won Best Supporting Actress awards from the New York Film Critics Circle and
National Society of Film Critics for her performance in Todd Haynes' “Far From Heaven,” a role
that also drew a nomination from the Chicago Film Critics. Additionally, her performance as
Greta in Lisa Cholodenko's “High Art” earned an IFP Independent Spirit Award nomination.
On television, Clarkson won an Emmy Award in 2006 and 2002 for her guest-starring
role on HBO's acclaimed drama “Six Feet Under.”
Clarkson made her professional acting debut on the New York stage. Her theatre credits
include “Eastern Standard” (on and Off-Broadway), “The Maiden’s Prayer” (for which she
received Outer Critics Circle and Drama Desk Award Nominations), “Raised in Captivity,”
“Oliver Oliver,” “The House of Blue Leaves” and “Three Days of Rain.” Her regional credits
include performances at the Williamstown Theatre Festival, South Coast Repertory and Yale
Repertory.
Born and raised in New Orleans, Clarkson graduated summa cum laude from Fordham
University with a degree in theatre arts. She earned her MFA at the prestigious Yale School of
Drama, where she appeared in “Electra,” “Pacific Overtures,” “Pericles,” “La Ronde,” “The
Lower Depths” and “The Misanthrope.”
BOB BALABAN (Therapist) has earned acclaim as an actor, writer and producer. Most
notably, he conceived the original idea of Robert Altman's “Gosford Park” and went on to
produce and act in the film, which garnered seven Academy Award nominations.
After small roles in “Midnight Cowboy” and “Catch-22,” Balaban became widely
recognized for his role as the interpreter/cartographer in Steven Spielberg’s “Close Encounters of
the Third Kind” (he later penned the memoir Spielberg, Truffaut & Me: An Actor's Diary, a
humorous recount of the filmmaking experience). He has also been a memorable presence in the
Christopher Guest comedies “Waiting for Guffman,” “Best in Show,” “A Mighty Wind” and
“For Your Consideration.”
Balaban most recently starred in M. Night Shyamalan’s “Lady in the Water” and the
romantic comedy drama “Dedication,” which premiered at the 2007 Sundance Film Festival and
will be released in the fall.
His additional film appearances include roles in “Altered States,” “Prince of the City,”
“Absence of Malice,” “2010,” “Alice,” “City Slickers II,” “Deconstructing Harry,” “Jakob the
Liar,” “Ghost World” and “Marie and Bruce.” On television, he is best known for his recurring
role as the head of NBC on “Seinfeld.”
An accomplished director, Balaban made his feature directorial debut with “Parents” in
1989, and followed up with “My Boyfriend’s Back” and “The Last Good Time.” Among his
television directing credits are episodes of “Oz,” “SUBWAYStories: Tales from the
Underground,” “Gary, Indiana,” “Strangers With Candy,” “The Twilight Zone” and, for Court
TV, “The Exonerated” based on the award-winning hit play which Balaban produced and
directed Off-Broadway and then toured for two years. He recently completed producing and
directing the feature film “Bernard and Doris,” starring Ralph Fiennes and Susan Sarandon,
about the relationship between Doris Duke and her butler.
In addition to his film and television career, Bob Balaban is the author of McGrowl, a
best-selling series of children’s books for Scholastic.
ABOUT THE FILMMAKERS
SCOTT HICKS (Director) earned international acclaim for the 1996 box office
sensation “Shine,” which grossed well over $100 million worldwide following its triumphant
premiere at the Sundance Film Festival. The film was nominated for seven Academy Awards in
all major categories, including Best Film, with Hicks receiving nominations for director and
screenplay. It also received eight BAFTA nominations and won nine Australian Film Institute
Awards, including Best Film and Best Director, was named Best Film by the U.S. National
Board of Review, and earned five Golden Globe nominations plus nominations from both the
Directors Guild and Writers Guild of America.
Prior to “Shine,” Hicks made his mark as a documentarian. In 1994, he received an
Emmy Award for a four-hour documentary series which he also co-wrote, “Submarine: Sharks of
Steel.” It broke the ratings record for The Discovery Channel set by his earlier work, “The Great
Wall of Iron,” an extensive portrait of the People’s Liberation Army of China in the months prior
to Tianemen Square, that, in 1989 won the prestigious Peabody Award for Best Documentary
Series Broadcast in the U.S. Following the success of these projects, Hicks was commissioned
for two additional two-hour specials by The Discovery Channel: “The Space Shuttle,” in 1994
and “The Ultimate Athlete,” which he also produced, in 1996.
Hicks’ feature film “Sebastian And The Sparrow,” which he also wrote and produced,
was a winner in three international film festivals for children, including the 1990 LUCAS Award
in Frankfurt. Following a successful cinema and television release in Australia, the film was
invited to numerous other international festivals.
His first Hollywood film, “Snow Falling on Cedars,” was produced by Kathleen Kennedy
and Frank Marshall, with an ensemble cast including Ethan Hawke, Youki Kudoh and Oscar
nominees Max von Sydow, Sam Shepard and James Cromwell. Scott co-wrote the screenplay
with Ron Bass, adapted from the best-selling novel by David Guterson. The film was nominated
for an Academy Award for cinematography. Hicks also directed “Hearts in Atlantis,” produced
by Kerry Heysen and starring Anthony Hopkins, Anton Yelchin, David Morse, Hope Davis and
Mika Boorem, based on stories by Stephen King, with a the screenplay by Oscar winner William
Goldman.
Born in Uganda and raised in Kenya till age 10, Hicks moved with his family first to
England and then Australia. Poised to pursue a law/arts degree, a chance encounter with an
inspirational philosophy professor turned him instead toward English, Drama and Cinema at
Flinders University of South Australia, from which he graduated with honors in 1975 and
received an honorary doctorate in 1997. His began his film industry career as a crew member on
productions all around Australia, simultaneously bidding for contracts to write and direct short
dramas and sponsored documentaries.
Hicks is a member of the Academy of Motion Picture Arts and Sciences and the British
Academy of Film and Television Arts. He lives with his wife and collaborator—
producer Kerry Heysen—in Adelaide, South Australia, where they maintain their own Yacca
Paddock Vineyards. Also an accomplished photographer, he has had three exhibitions of his
work, which can be viewed at scotthickspix.com.
KERRY HEYSEN (Producer) is a producer, creative consultant and CEO whose
companies have developed cinema features, television drama and documentary series as well as
commercials and rock clips. Her company is currently completing a feature length cinema
documentary on composer Philip Glass, due for a Spring 2007 release, for which she is an
executive producer.
Heysen previously produced “Hearts in Atlantis,” starring Anthony Hopkins and directed
by two-time Oscar nominee Scott Hicks. Based on stories by Stephen King, with a screenplay
by Oscar winner William Goldman, its cast featured David Morse, Hope Davis and Mika
Boorem, with a breakout performance by Anton Yelchin. “Hearts in Atlantis” had its world
premiere at the Toronto Film Festival prior to worldwide release.
She was associate producer of “Snow Falling on Cedars.” Directed by Scott Hicks and
produced by Kathleen Kennedy and Frank Marshall, it featured a powerful ensemble cast
including Ethan Hawke, Youki Kudoh, Max von Sydow and Sam Shepard, with a script by Scott
Hicks and Ron Bass, adapted from the best-selling novel by David Guterson. The film was
nominated for an Academy Award in the Best Cinematography category.
Heysen worked as creative consultant on the hit film “Shine,” which her company
developed over ten years. The sensation of the 1996 Sundance Film Festival, “Shine” won
critics and audience awards at film festivals across the world and was nominated for seven
Academy Awards in all major categories—the highest for an Australian-made film. It also
received nine Australian Film Institute Awards in 1996, including Best Film and Best Director.
Other accolades for “Shine” include the U.S. National Board of Review’s Best Film for 1996,
five Golden Globe nominations (and Best Actor Award for Geoffrey Rush) and nominations by
the Directors Guild of America, the Producers Guild of America and the Society of Editors of
America.
Her company also produced the acclaimed children’s film “Sebastian and the Sparrow,” a
winner in three competitive international film festivals for children, including the 1990 Lucas
Award in Frankfurt. Following a successful cinema and television release in Australia, the film
was invited to numerous other international festivals.
In 1996, The Discovery Channel commissioned Heysen’s company to produce a
two-hour special, “The Ultimate Athlete.”
Apart from filmmaking, Heysen is a passionate vigneron, lavender grower and
horsewoman. A born and bred South Australian, she and husband Scott Hicks choose to live in
South Australia as they are passionate about their home state, in particular the Fleurieu
Peninsula. They are re-vegetating bushland and maintain a vineyard, Yacca Paddock Vineyards,
from which they produce an excellent Shiraz/Tannat and Dolcetto under their own label.
SERGIO AGÜERO (Producer) segued to film and television production from a
successful career packaging and financing motion pictures. In 2004, he launched Andale
Pictures, to produce and finance movies and television with a Latino protagonist or theme,
geared to mainstream audiences. The company is developing a slate ranging from broad-based
studio movies to smaller genre pictures targeting a youth core audience.
Among his studio projects are an adaptation of the international bestseller The Queen of
the South and the series pilot “Red Ball,” featuring a Latina protagonist.
Agüero was an executive producer on “Princesas,” Fernando León de Aranoa’s 2005 film
that earned three Goya Awards and was a box office hit in Spain; Leonardo Ricagni’s 2006
Berlinale Kinderfilmfest favorite, “A Dios Momo”; and Alfonso Cuaron’s “Y Tu Mama
Tambien,” a 2003 Academy Award nominee for Best Original Screenplay.
Previously, at Endeavor Agency, Agüero established independent financing and
international efforts, representing talent, financing companies and completed films. Among the
titles he worked on were Joe Carnahan’s “Narc,” Phillip Noyce’s “Rabbit-Proof Fence” and Paul
Schrader’s “Auto Focus.” He also sold distribution rights to a number of films, including the
worldwide box-office hit “The Blair Witch Project.”
As Executive Vice President of Trimark Pictures and one of three key executives
managing the company, he built and ran international film and television sales. He was
instrumentally involved in specialized production and acquisition efforts for such films as Kasi
Lemmon’s “Eve’s Bayou,” Mira Nair’s “Kama Sutra” and Marc Levin’s Sundance Audience
Award winner “Slam.”
Agüero also served as Vice President of International Sales at Vision International and,
prior to that, at Epic Pictures. He began his entertainment career in acquisitions at Bjorck Film,
as the Los Angeles representation for, among others, powerhouses Shochiku in Japan and
Village Roadshow in Australia.
Raised in Spain, Agüero earned his B.A. in economics and political science from Yale
and became a financial analyst at Salomon Brothers in New York, participating in valuation
analyses of takeover targets as well as fixed income and equity financings. He worked and
traveled throughout Asia before relocating to Los Angeles and entering the entertainment
industry.
SUSAN CARTSONIS (Executive Producer) is president of Storefront Pictures, an
independent film company. Through Storefront, she recently produced the feature
“Aquamarine,” starring Emma Roberts, based on the novella by best-selling author Alice
Hoffman, released in March of 2006. She also recently executive produced the indie film “The
Mistress of Spices,” starring Aishwarya Rai.
In 2000, The Hollywood Reporter named Cartsonis one of the five top-grossing
producers of the year for her box office record-breaking film “What Women Want,” starring Mel
Gibson, and “Where the Heart Is,” adapted from the best-selling novel, starring Natalie Portman,
Ashley Judd, Sally Field and Stockard Channing.
Cartsonis began her producing career with the critically acclaimed “Firelight,” starring
Sophie Marceau and Stephen Dillane, written and directed by “Shadowlands” writer Bill
Nicholson.
Cartsonis was an executive at Twentieth Century Fox for nearly a decade. Among the
films she supervised during her tenure was “Nell,” starring Jodie Foster, who earned Academy
Award and Golden Globe nominations for her performance. Among her other films are “The
Truth About Cats and Dogs”; “Rookie of the Year”; “Buffy the Vampire Slayer,” which
launched the television show; “Come See the Paradise,” directed by Alan Parker; “For the
Boys,” starring Bette Midler, who was nominated for an Academy Award for her performance;
and “Dying Young,” starring Julia Roberts.
Prior to her career at Fox, Cartsonis was an instructor for New York University’s
Dramatic Writing Program. She received her M.F.A. in Dramatic Writing from N.Y.U. and a
Bachelor of Arts in Theatre from U.C.L.A. She was recently elected to the Board of Trustees of
the Women in Film Foundation and is a member of the Producers Guild of America.
BRUCE BERMAN (Executive Producer) is Chairman and CEO of Village Roadshow
Pictures. The company will co-produce 60 theatrical features in a joint partnership with Warner
Bros. through 2007, with all films distributed worldwide by Warner Bros. Pictures and in select
territories by Village Roadshow Pictures.
The initial slate of films produced under the pact included such hits as “Practical Magic,”
starring Sandra Bullock and Nicole Kidman; “Analyze This,” teaming Robert De Niro and Billy
Crystal; “The Matrix,” starring Keanu Reeves and Laurence Fishburne; “Three Kings,” starring
George Clooney; “Space Cowboys,” directed by and starring Clint Eastwood; and “Miss
Congeniality,” starring Sandra Bullock and Benjamin Bratt.
Under the Village Roadshow Pictures banner, Berman has subsequently executive
produced such wide-ranging successes as “Training Day,” for which Denzel Washington won an
Academy Award; “Ocean’s Eleven,” starring George Clooney, Brad Pitt and Julia Roberts; its
sequel “Ocean’s Twelve”; “Two Weeks Notice,” pairing Sandra Bullock and Hugh Grant;
“Mystic River,” starring Sean Penn and Tim Robbins in Oscar-winning performances; the
second and third installments of “The Matrix” trilogy, “The Matrix Reloaded” and “The Matrix
Revolutions”; Tim Burton’s “Charlie and the Chocolate Factory,” starring Johnny Depp; the
Oscar-winning animated comedy adventure “Happy Feet”; the recently released action adventure
“Ocean’s Thirteen,” in which George Clooney and Brad Pitt lead the series’ returning star
ensemble, joined by Al Pacino and Ellen Barkin; and the comedy “License to Wed,” starring
Robin Williams, Mandy Moore and John Krasinski, released in July.
Village Roadshow’s upcoming projects include the psychological thriller “The Brave
One,” directed by Neil Jordan and starring Jodie Foster; the sci-fi action thriller “I Am Legend,”
starring Will Smith; and the comedy “Get Smart,” starring Steve Carell.
Berman got his start in the motion picture business working with Jack Valenti at the
MPAA while attending Georgetown Law School in Washington, DC. After earning his law
degree, he landed a job at Casablanca Films in 1978. Moving to Universal, he worked his way
up to the post of production Vice President in 1982.
In 1984, Berman joined Warner Bros. as a production Vice President and was promoted
to Senior Vice President of Production four years later. He was appointed President of
Theatrical Production in September 1989, and in 1991 was named President of Worldwide
Theatrical Production, where he served through May 1996. Under his aegis, Warner Bros.
Pictures produced and distributed such films as “Presumed Innocent,” “GoodFellas,” “Robin
Hood: Prince of Thieves,” the Oscar-winning Best Picture “Driving Miss Daisy,” “Batman
Forever,” “Under Siege,” “Malcolm X,” “The Bodyguard,” “JFK,” “The Fugitive,” “Dave,”
“Disclosure,” “The Pelican Brief,” “Outbreak,” “The Client,” “A Time to Kill” and “Twister.”
In May of 1996, Berman started Plan B Entertainment, an independent motion picture
company at Warner Bros. Pictures. He was named Chairman and CEO of Village Roadshow
Pictures in February 1998.
CAROL FUCHS (Screenplay) was named hall monitor 3rd, 4th, 5th and 6th grade; the
only person in her school's history to receive that honor four years running. Subsequent to that,
she wrote “No Reservations.”
STUART DRYBURGH (Director of Photography) earned an Academy Award
nomination for Best Cinematography for his photography on Jane Campion’s “The Piano.” His
work on that memorable film also received an L.A. Film Critics Award and Australian Film
Institute Award, as well as nominations from the American Society of Cinematographers and
BAFTA.
Dryburgh also collaborated with Jane Campion on “An Angel at My Table,” for which he
received a New Zealand Film Award, and “The Portrait Of a Lady.”
His credits include the features “Once Were Warriors,” “The Perez Family,” “Lone Star,”
“Runaway Bride,” “Analyze This,” “Bridget Jones’ Diary,” “The Recruit,” “A Beautiful
Country,” “Kate & Leopold,” “Poodle Springs,” “In My Father’s Den,” for which he received an
award for Best Cinematography from the Shanghai International Film Festival, “Aeon Flux” and
last year’s “The Painted Veil.”
Among his most recent projects are the drama “The Girl in the Park” and Martin
Scorsese’s documentary on the Rolling Stones, “Shine a Light,” set for a September release.
Dryburgh is currently in production on the family adventure “Nim’s Island,” for 2008,
starring Gerard Butler, Jodie Foster and “No Reservations” star Abigail Breslin.
BARBARA LING (Production Designer) previously collaborated with filmmakers Scott
Hicks and Kerry Heysen on the mystery drama “Hearts in Atlantis.”
For director Joel Schumacher, Ling worked on “Batman & Robin,” “Batman Forever”
and “Falling Down.” Her film credits include Sydney Pollack’s “Random Hearts,” “With
Honors,” Jon Avnet’s “Fried Green Tomatoes,” “V.I. Warshawski,” Oliver Stone’s docudrama
“The Doors,” “Men Don’t Leave,” “Checking Out,” “Less Than Zero,” “Making Mr. Right,”
David Byrne’s “True Stories” and “Heaven,” a feature documentary directed by Diane Keaton.
PIP KARMEL (Editor) earned an Oscar nomination, a BAFTA nomination and an
Australian Film Institute Award for her work on the 1996 tour de force “Shine,” directed by
Scott Hicks. In 2001, she continued her collaboration with Hicks as editor on “Hearts in
Atlantis.”
Karmel is also an award-winning writer and director. After writing and directing several
acclaimed short films, she directed “The Long Ride,” which won Best Telefeature from the 1994
Australian Film Institute. She went on to write and direct her first feature film, “Me Myself I,”
starring Rachel Griffiths, which garnered AFI nominations for both screenwriting and directing.
Karmel has written the screenplay and is to direct “Year of Wonders,” from Pulitzer Prize
winner Geraldine Brooks’ best-selling novel, produced by Jeremy Thomas (Recorded Picture
Company UK) and Miranda Culley and Phillip Noyce (Rumbalara Films). She is continuing to
develop screenplays with Rumbalara Films.
She lives in Sydney with her husband Pierre and son Sébastien.
MARI JO WINKLER-IOFFREDA (Co-Producer) is a veteran filmmaker with eighteen
years of experience in feature production. Most recently she was an executive producer for the
upcoming release “Dan in Real Life,” for director Peter Hedges, starring Steve Carell, Juliette
Binoche and Dane Cook.
She recently served as co-producer on two films directed by Curtis Hanson, “Lucky
You,” starring Eric Bana, Drew Barrymore and Robert Duvall, and “In Her Shoes,” starring
Cameron Diaz, Toni Collette and Shirley MacLaine, as well as Peter Chelsom’s remake of the
Japanese hit “Shall We Dance?,” starring Richard Gere and Jennifer Lopez.
Earlier in her career, Winkler-Ioffreda was a production manager, supervising shoots in
New York, Newfoundland, Halifax, Winnipeg, South Carolina and Los Angeles for a number of
award-winning directors, on films as diverse as “The Shipping News,” “Serendipity,” “Catch Me
If You Can,” “Cold Mountain,” “A Thousand Acres” and “The Object of My Affection.”
She lives in Los Angeles with her husband and daughter.
PHILIP GLASS (Music) earned his third Oscar nomination in 2006 for his score for
“Notes on a Scandal.” He was previously nominated for “The Hours” and Martin Scorsese’s
“Kundun.”
A graduate of the University of Chicago and Juilliard, Glass spent two years of intensive
study in Paris with Nadia Boulanger, supporting himself by transcribing Ravi Shankar’s Indian
music into Western notation. Upon his return to New York, he applied the Eastern techniques he
had learned to his own music. By 1976, he had composed a large collection of new music,
culminating in “Music in Twelve Parts,” followed by the landmark opera “Einstein on the
Beach,” created with Robert Wilson.
Glass’ repertoire includes music for opera, theater, chamber ensemble, orchestra and
film.
His film work for Stephen Daldry’s “The Hours” not only brought him an Oscar
nomination but earned Golden Globe and Grammy nominations, plus a BAFTA Award. Glass’
more recent scores include music for Errol Morris’ Academy Award-winning film “The Fog of
War,” David Koepp’s “Secret Window,” D.J. Caruso’s “Taking Lives,” David Gordon Green’s
“Undertow,” George Butler’s IMAX project “Roving Mars,” Neil Burger’s “The Illusionist”
and Woody Allen’s forthcoming “Cassandra’s Dream.”
In 2004, Glass premiered the new work “Orion,” a collaboration with six other
international artists that opened in Athens as part of the cultural celebration of the 2004
Olympics in Greece. In 2005 he premiered a new opera, “Waiting for the Barbarians,” with
libretto by Christopher Hampton, based on the book by J. M. Coetzee, and his “Symphony No.
8,” with the Bruckner Orchestra.
Glass continues to tour with his ensemble, performing live to the films of Godfrey
Reggio’s Qatsi Trilogy: “Naqoyqatsi,” “Powaqatsi” and “Koyaanisqatsi.”
MELISSA TOTH (Costume Designer) has been designing for feature films for more
than a decade. Her work on “Eternal Sunshine of the Spotless Mind” earned a nomination for a
Costume Design Guild Award.
She designed the costumes for Kenneth Lonergan’s Sundance Grand Jury Prize winner
“You Can Count On Me”; Liz Friedlander’s “Take The Lead”; Ben Younger’s “Prime”; Woody
Allen's “Hollywood Ending”; “Book of Shadows: Blair Witch 2”; “Saving Silverman”; “Nola”;
and Todd Solondz’s Sundance Grand Jury Prize winner “Welcome to the Dollhouse.”
Her most recent projects are Lonergan’s feature “Margaret,” scheduled for a fall release,
the Thomas McCarthy comedy drama “The Visitor,” currently in post-production, and the
upcoming Charlie Kaufman film “Synecdoche, New York,” which is currently in production.
La gran chef Kate Armstrong (CATHERINE ZETA-JONES) del muy elegante
restaurante llamado 22 Bleecker en Manhattan, vive su vida tal y como dirige su cocina:
con una intensidad que intimida y con destacado sentido común, lo cual a la vez cautiva a
quienes la rodean. Ella organiza cada turno de cocina con una maestría extraordinaria,
coordinando cientos de comidas distintas, preparando delicadas salsas, y condimentando
y decorando cada plato con absoluta perfección.
Kate se siente muy cómoda en su cocina, la cual para ella es su mundo, y sólo sale
de su refugio para aceptar halagos por sus platos especiales, o en raras ocasiones, para
hablar con algún cliente que se atreve a cuestionar su experiencia.
Al final del día, la mayoría de las veces ella se va a dormir antes de la media
noche. Se levanta con la aurora, porque quiere ser una de las primeras en el mercado de
pescado y así ganarle a la competencia con la mejor y más fresca selección.
El perfeccionismo de Kate llega a su máximo cuando un nuevo sub-chef se une al
equipo del restaurante. Se trata del alegre y despreocupado Nick Palmer (AARON
ECKHART), una estrella culinaria en ascenso, a quien le gusta escuchar ópera mientras
que trabaja. Además a Nick, le gusta hacer reír a todos a su alrededor. Su estilo informal,
tanto en su vida personal como dentro de la cocina, no podía ser más diferente del de
Kate. Sin embargo entre ellos, se da una atracción innegable… y también unas cuantas
notas de discordia, que suenan como cucharones de metal cayendo sobre la mesada de
mármol.
Si Kate no estuviera tan nerviosa porque en su casa tiene que lidiar con su sobrina
de nueve años, Zoe (ABIGAIL BRESLIN), tal vez podría encarar con más calma todos
esos pequeños problemas diarios en el trabajo. Zoe vino a vivir con ella hace poco, y muy
inesperadamente. Su sobrina es una niña perceptiva, a quien le gustan más los pescaditos
fritos que el paté de foie. Sin ninguna duda, Zoe está fuera de sus aguas en el trabajo
diario de Kate, pero Kate quiere brindarle un hogar… o al menos lo hará, si logra
imaginarse cómo hacerlo.
Las semanas pasan y Kate, ya no sabe qué cosa le molesta más: si que el talento
de Nick haya ganado las loas de Paula (PATRICIA CLARKSON), la dueña de 22
Bleecker, y las de su distinguida clientela, o si que Nick con su afabilidad y encanto, se
haya hecho amigo de Zoe, quien se comunica mucho mejor con él que con ella.
Cuando Nick trata de obviar la rivalidad entre ellos e intenta entrar en el campo
del romance, Kate se cuestiona – por primera vez en muchos años – algunas de las
creencias y opciones que la llevaron a ser tan independiente y tan segura.
Si ella quiere lograr una verdadera unión con Zoe, si quiere poder ser feliz con
Nick y volver a sentir ganas de vivir, deberá intentar ser audaz y probar cosas nuevas, y
también deberá aprender a expresarse fuera del pequeño mundo de su cocina.
Pero eso podría ser tan riesgoso como cocinar sin una receta. Pese a todo, Kate
pronto descubrirá, que a veces las mejores recetas son las que inventa uno mismo.
Castle Rock Entertainment en asociación con Village Roadshow Pictures
presenta, una película de Scott Hicks, “
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””, protagonizada por la actriz
ganadora del Premio de la Academia, Catherine Zeta-Jones (“Chicago”), por el actor
nominado para el Globo de Oro, Aaron Eckhart (“Thank You for Smoking”), por la actriz
postulada para el Oscar, Abigail Breslin (“Little Miss Sunshine”), y por la actriz
nominada para el Oscar, Patricia Clarkson (“Pieces of April”).
Este drama romántico está dirigido por el director postulado para el Oscar Scott
Hicks (“Shine”), con guión de Carol Fuchs, y producida por Kerry Heysen (“Hearts in
Atlantis”) y Sergio Agüero (tres veces ganador del premio español Goya, por
“Princesas”). Susan Cartsonis (“What Women Want”) y Bruce Berman (“Ocean’s
Thirteen”) fueron los productores ejecutivos. Mari Jo Winkler-Ioffreda (“In Her Shoes”)
fue co-productora. Stuart Dryburgh (“The Piano”), postulado para el Oscar, fue el
director de fotografía; Barbara Ling (“Hearts in Atlantis”), fue diseñadora de producción;
Pip Karmel (“Shine”), nominado para el Oscar realizó el montaje y Melissa Toth
(“Eternal Sunshine of the Spotless Mind”), diseñó el vestuario. La música es del
compositor tres veces candidato al Oscar, Philip Glass (“Notes on a Scandal”, “The
Hours”, “Kundun”). “
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”” está basada en el guión de “Mostly Martha”,
escrito por Sandra Nettelbeck, producido por Christoph Freidel y Karl Baumgärtner.
Esta película será distribuida mundialmente por Warner Bros. Pictures, una
compañía Warner Bros. Entertainment, y en territorios selectos por Village Roadshow
Pictures.
Esta película ha sido clasificada PG (Parental Guidance Suggested =Supervisión
de los padres recomendada – parte del material puede no ser adecuado para niños) por la
MPAA (Motion Picture Association of America), por “alguna sensualidad y por su
lenguaje”. Álbum con la música de la película de Decca Records.
www.noreservationsmovie.com
Para descargar información general de prensa y fotos de
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”” del Internet, por favor visite: http://press.warnerbros.com
SOBRE LA PRODUCCIÓN
A veces la vida, no está hecha a pedir de boca
Según cuenta el director de “
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””, Scott Hicks, no fue solamente la
historia en sí lo que le atrajo a dirigirla, sino la manera tocante en que deja vislumbrar
conmovedoras relaciones humanas, en un nivel muy íntimo. -“Este es un drama
sentimental y contemporáneo, con una interesante mezcla de profundas emociones y
momentos de humor que surgen naturalmente. Esa es la manera con que la mayoría de
nosotros vivimos la vida”- comenta él- “Esta película trata de pérdida y a la vez, de
aprender a cambiar, para así poder encontrar el verdadero amor a partir de esa pérdida”.
Hicks comenzó a ser conocido internacionalmente en 1996, con el drama “Shine”,
película que fue candidata a siete premios Oscar, entre ellos al Mejor Director y al Mejor
Guión, el cual él había escrito. Como cineasta, a Hicks le gustan “las historias en las
cuales los personajes hacen cosas fuera de lo común en sus vidas y están llenas de
emociones”. En “
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””, ví que el dilema de Kate era una oportunidad para
explorar una vida extremada y perfectamente ordenada, que debe enfrentarse a cosas
repentinas, que abruptamente cambian su mundo y su circunstancia en un instante. Más
importante aún: -“muestra cómo esa persona, a través de problemas y adversidad,
encuentra amor, propósito y una nueva perspectiva de vida”.
Catherine Zeta-Jones - quien se confiesa ser gran admiradora de Hicks - dice algo
similar: -“Esta película tiene varias facetas. Es una bella historia de amor, tiene una
relación conmovedora entre Kate y su pequeña sobrina, tiene la pasión de Kate por su
trabajo, y tiene el fascinante entorno de una cocina profesional, que deja ver cómo
funciona ese mundo acelerado”.
-“Cuando me enteré de que Scott Hicks quería dirigir esta película, yo quedé
encantada” - continúa ella – “Yo ya sabía, por medio de sus trabajos anteriores, que él
lograría darle sentimiento y textura al filme”.
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”” está basada en la película europea “Bella Martha” (ó “Mostly
Martha”) del año 2001, la cual encantó a la mayoría de los actores del reparto de “
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”” y a sus cineastas, aún antes de ponerse a trabajar juntos en ella. La
productora Kerry Heysen comenta: -“Era una película dulce y con clase. Pensamos que
transportada al entorno norteamericano podríamos darle un público más amplio. La
acción sucede en Nueva York - una ciudad con gran diversidad de comidas y restaurantes
– la ciudad justa que yo sabía que le daría mejor sabor a la película. Allí, uno apenas
camina una cuadra, y ya se encuentra con cafecitos de todas clases, con diversos aromas
y actividades”.
-“Era una bella historia de amor que celebraba la alegría universal de hacer y
compartir la buena comida” – dice el productor Sergio Agüero - “Yo estaba
tremendamente entusiasmado sobre el potencial mundial, porque ambos temas mueven
hilos familiares en cualquier cultura”.
Los cineastas necesitaban reinventar la historia en este nuevo contexto, pero
trataron de mantener el sentimiento y sabor que logró que el público amase la película
“Mostly Martha”. También conservaron a su heroína: la exitosa y enfocada chef principal
de un restaurante, que vive su vida y maneja su cocina con igual disciplina y eficiencia.
Al llegar un nuevo sub-chef, Nick, todo cambia drásticamente. –“El es ostentoso,
pone música de ópera y canta en la cocina, y los empleados se ríen de sus bromas. Nick
crea una atmósfera completamente distinta en el lugar, y a Kate no le gusta ni un
poquito” – dice Heysen, quien reconoce que desde el punto de vista de Kate, hay cosas
mucho más importantes en juego. Como ella es una mujer que logró triunfar y ser
independiente en un campo súper competitivo –que además no ofrece demasiadas buenas
posiciones laborales - considera que Nick es un peligro profesional en potencia para ella.
Pero la verdad, continúa explicando Heysen: -“es que Nick aceptó ese trabajo porque es
un gran admirador del trabajo de Kate como chef, y lo que más quiere, es aprender de
ella. Pero Kate no puede ver eso, y ni bien lo conoce, comienza a desconfiar de él”.
Por si fuera poco que Nick es un desafío en la cocina de Kate, llega Zoe, la
sobrina de Kate que recientemente se quedó huérfana, y eso causa una revolución en su
vida.
Hicks dice: -“La niña da vuelta su mundo, no sólo emocionalmente sino en su
rutina diaria. Para una chef tan ocupada y con tan poco tiempo como Kate, no hay lugar
para una niña de nueve años. Kate tiene horarios de trabajo muy exigentes, trabaja hasta
muy tarde y tiene rigurosos hábitos personales. Además, no tiene mucho sentido
maternal. No porque sea una mujer sin sentimientos, sino porque no tiene ni la menor
idea de qué es lo que debe hacer con la niña, que ni siquiera quiere comer su comida. Al
mismo tiempo, en el restaurante, el nuevo chef hace saltar chispas en su cocina”.
Pero las chispas no siempre son una cosa mala…
Aaron Eckhart, quien actúa el papel del gregario Nick, comenta: -“A través de
estos conflictos, Kate va a encontrar la verdadera alegría de vivir. Zoe y Nick cambian
todo a su alrededor, entonces ella comienza a ablandarse. Es ella misma quien tendrá que
superar sus problemas, crecer y comenzar una nueva vida”.
Y ¿qué mejor manera para nutrir el romance y acercar a la gente que a través de la
comida?
La comida y todo lo relacionado con ella: la preparación, la presentación y el
compartirla, sin olvidar incluír el aroma, la textura y su gusto, tienen elementos
románticos que afirman la vida. Hicks sabe entretejerlos a través de la historia, y quedan
resaltados en un entorno de cocina súper activa.
Esa intención comenzó en el guión, del cual Fuchs dice: -“La comida sirve como
elemento tanto literario como figurativo. No sólo se trata de lo que uno come, sino de
cómo uno se alimenta emocionalmente”.
-“La comida tiene su propia fuerza y presencia simbólica en la película”- detalla
el director – “Toda la comunicación y la seducción comienza con la comida. La conexión
entre Kate y Nick comienza por su amor mutuo por la cocina, y también juega un papel
importante para sacar a Zoe de su encierro en sí misma. En el caso de Zoe – una niña que
ha perdido el apetito por tanto sufrimiento – el que finalmente acepte comer el plato de
fideos que Nick le ofrece, es una señal de la confianza que ella comienza a tenerle. En el
caso de Kate y Nick, cuando ellos comparten su primera comida juntos, la comida tiene
un sentido más bien erótico”.
La productora Heysen dice: -“En un sentido general, la comida es una metáfora de
la vida, o de la fuerza de la vida, o si uno quiere, del amor”.
Eckhart, el actor, está de acuerdo y dice: - “Todos los sentidos están puestos en la
comida. Al cocinar, especialmente a este nivel, en el cual llega a ser casi un arte, uno
toma más conciencia de los ingredientes que agrega y los que mezcla para estimular la
paleta de sabores …¡Ah sí!, ¡es muy romántico!”
-“En verdad nunca pensé que los escalopes podían llegar a ser excitantes”- declara
Zeta-Jones -“pero si uno realmente se concentra en ellos, pues se ven de una manera muy
diferente”.
Casting: ¿Cuántos cocineros caben en una cocina?
-“Mi marido dice que este papel es el más difícil que realicé como actriz, porque
tengo que cocinar”- comenta riendo Zeta-Jones, y revela que antes de su entrenamiento
culinario para el film, nunca antes hubiera podido siquiera hervir un huevo
correctamente.
De hecho, dice Hicks, unas semanas antes de que comenzara la filmación de “
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””, Zeta-Jones tuvo que aprender rápidamente a manejarse dentro de la
cocina, para que su papel pareciera real, pues la película dependía en mucho de su
versatilidad. -“La historia absolutamente descansa sobre sus hombros. Ella está en casi
todas las escenas, y todo gira a su alrededor. Catherine es muy sutil y tiene un increíble
cronometraje, lo cual, si uno considera que ella es bailarina, tiene lógica. Ese buen
manejo de los tiempos es muy importante para su sentido del drama, porque hay escenas
muy emotivas pero también otras muy graciosas”.
-“Kate es fanáticamente organizada y exigente”- comenta Zeta-Jones -“Ella
conoce su profesión perfectamente y se pone a la defensiva cuando algún cliente pone en
duda algún sabor, o la presentación de alguno de sus platos. Pero cuando Kate lleva ese
perfeccionismo a su vida privada, le impide tener relaciones verdaderas con la gente. Si
bien su perfeccionismo la protege de inseguridades, de temores y sufrimientos, también
bloquea la alegría y la plenitud de la vida, que sólo existen cuando uno se abre hacia la
gente, y permite que las cosas sucedan”.
Aaron Eckhart habla sobre el primer encuentro de los personajes en la cocina de
22 Bleecker, y dice: -“Kate echa una mirada al nuevo y despreocupado chef, quien es
afable, escucha música de ópera y cuenta chistes. Ella piensa que él no se toma su trabajo
en serio. Tal vez se vea de esa forma, pero en realidad, ese es el estilo de Nick. Cuando la
ola de hostilidad de Kate se deja sentir, él aplica la ‘teoría de la banda elástica’ - la banda
no se rompe sino que se dobla - y trata de ser amable y amoroso con ella, esperando que
eventualmente Kate baje la guardia”.
Para Nick. El nuevo trabajo, es la oportunidad de poder aprender y trabajar con
una gran chef, Kate, a quien él admira. -“El romance es tan sorpresivo para él como para
ella” - explica Eckhart -“Pero la diferencia entre ellos, es que cuando él se da cuenta de lo
que está pasando, inmediatamente quiere seguir adelante. Sin embargo ella no está
preparada para ello, y él debe recurrir a sus encantos y creatividad. Cuando se da cuenta
que ya no le queda otro camino, entonces utiliza el lenguaje que ella conoce y entiende
mejor: la comida”.
-“Este papel permite ver el costado suave Aaron, el cual no vemos muy a menudo.
La mayoría de sus papeles son en general intensos”- comenta Zeta-Jones.
-“Aaron no sólo es el galán romántico aquí” – dice Hicks - “también debe tener la
habilidad de comunicarse con la niñita, y poner emoción en ello, lo cual es más fácil
decirlo que hacerlo”.
-“Al igual que Nick, Aaron se acerca a la pequeña Zoe de la misma manera en
que uno se acerca a un pony en el establo”- detalla la productora Heysen, comparando un
poco la acción con su experiencia con caballos. Ella los cría en la propiedad australiana
que comparte con su marido Scott Hicks, con quien lleva asociada 30 años realizando
películas. -“si uno tiene un pony tímido que no quiere venir a uno, uno no debe obligarlo.
Más bien uno debe sentarse y esperar, abiertamente proponiendo el acercamiento, hasta
que el pony venga a uno. Para eso se debe tener mucha sensibilidad”.
A Eckhart le gustaron sus escenas junto a Abigail Breslin, quien cumplió 10 años
durante la producción. -“Es divertido tener ese tipo de espíritu joven alrededor. Ella me
enseñó algunos cantos de porristas, y los practicábamos juntos en la cocina, entre tomas”.
Contrariamente a la personalidad burbujeante de la actriz fuera de las cámaras, el
personaje de Zoe es más reservado. O al menos lo es en sus primeras escenas en la
película. La joven Breslin, define a su personaje de esta manera: -“Zoe es silenciosa al
principio. No es hostil, ni es mala, ni maleducada con Kate, pero no es su amiga, y no se
abre a ella. No está muy segura en qué terminará este arreglo de vivir con ella, y se siente
un tanto perdida y muy sola”.
Hicks piensa que Breslin es “deliciosa”, dice: –“A ella le gusta actuar, sin darse
humos por eso. A mí me encanta trabajar con niños. Si bien no tiene mucha experiencia o
técnica para darle a sus personajes, les brindan mucha honestidad y emoción a su papel,
como en el caso de Abigail. Si yo le explico el contexto y la situación de una escena a
Abigail, ella lo puede sentir y transmitir a su personaje. Tiene muchos recursos y
aptitudes para ser actriz”.
Para ilustrar este detalle, Heysen cuenta lo que le contó la madre de Breslin: -“La
mamá de Abigail cuenta que la niña había estado preparándose para la escena la noche
antes de filmar. Se trataba de la parte en la cual Zoe, vé por primera vez el lugar en el que
va a vivir con su tía, tras la muerte de su mamá. La señora Breslin dice que Abigail le
dijo: ‘Cuando la niñita sube los escalones de la casa, se da cuenta que su vida ya nunca
más va a volver a ser la misma’. En verdad ella pensaba que su vida se acababa como era,
y es por eso que es tan convincente en la pantalla”.
Mientras tanto, Kate se prepara para enfrentarse en una discusión con la dueña del
restaurante, Paula, en la actuación autoritaria de Patricia Clarkson. La actriz dice que los
dos personajes, Paula y Kate son muy parecidos. –“Paula es una controladora. Es una
persona bien dispuesta que se preocupa por cada detalle en su restaurante. Es la
anfitriona, la administradora, la dueña, la jefa de personal y la encargada de la selección
de vinos. El restaurante es su vida, y para ella, todo gira en torno a su empresa”.
-“Paula respeta el talento de Kate y su ética profesional, y por eso tolera sus
arranques temperamentales”- comenta Clarkson -“Son amigas, y ya tienen historia juntas,
pero no es una relación fácil. La relación entre Kate y Nick, saca chispas entre ellas”.
Hicks es un gran admirador del trabajo de Clarkson como actriz, y dice: -“Ella le
da una inteligencia astuta, sofisticada y cortante al papel”.
Heysen agrega: -“Patricia muestra todos los costados de Paula: el bueno, el malo
y el complejo, pero sobre todas las cosas, deja transmitir que en realidad, ésta es una
mujer con la que uno debe evitar pelearse. Pero Kate demasiado seguido hace cosas que
la provocan”.
Completando el reparto principal están Jenny Wade (“Rumor Has It…”) como
Leah, la segunda cocinera, embarazada y gran amiga de Kate. El inminente parto y
ausencia materna es lo que hace que Paula busque un nuevo cocinero. Ella contrata de
Nick para reemplazarla. Luego está Lily Rabe (“Mona Lisa Smile”) como la mesera y
actriz Bernadette, a quien el gusta practicar los diálogos de su próxima audición de actriz,
adentro de la gran heladera del restaurante. Ella es una gran fanática de Nick. Por último
está Brían F. O’Byrne (“Shining City” en el teatro de Broadway, y “Bug”) es el vecino
del piso de abajo de Kate, Sean, un padre divorciado que desde hace años quiere salir con
ella.
Bob Balaban (“Gosford Park”), actor postulado para el premio de la Academia,
aparece como el terapeuta al que Paula fuerza a Kate a visitar. El es un hombre que
recurre a métodos poco ortodoxos cuando la terapia no da los resultados esperados con la
gran chef, que más prefiere hablar de recetas que de sus propias represiones.
¿Qué se va a servir? Entrenamiento culinario de los actores
y
El truco del mantel de Catherine Zeta-Jones
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”” exigía muchas escenas alrededor de las cocinas calientes del
restaurante 22 Bleecker, llenas de ruidos de cacerolas y de apurados meseros entrando y
saliendo de la cocina, lo cual sucedía paralelamente al emergente drama personal entre
Kate y Nick mientras que preparaban las comidas para los clientes del lugar. Hicks quiso
que los actores se sintieran cómodos con los verdaderos tiempos que tiene una cocina
profesional. -“Siempre me esfuerzo para que las escenas parezcan reales. En la cocina,
era muy importante que los actores sintieran que en realidad estaban preparando los
platos que servían, mientras que trataban de barajar todo el estrés que el trabajo impone.
Era fundamental que sus acciones fueran naturales y espontáneas, para no distraer la
atención del lugar apropiado de la historia” – detalla el director.
-“Igualmente importante” - comenta Heysen- “era que las escenas en las que Nick
está cortando cebollas, y Kate está adornando los platos, parecieran reales, porque dados
los populares programas de cocina que la gente vé por televisión, el público es instruido,
y se da perfecta cuenta cuando algo está fingido”.
Esa fue la razón por la que Hicks contrató chefs profesionales que no tenían
experiencia en actuación, para que hicieran los papeles de los cocineros del restaurante 22
Bleecker. Además contrató a grandes maestros de la cocina, para que entrenaran a los
primeros actores.
Catherine Zeta-Jones y Aaron Eckhart, se pasaron dos semanas trabajando con el
célebre chef Michael White, que adaptó el entrenamiento de las estrellas al papel que
cada uno debía desarrollar: para Zeta-Jones, la chef principal, hizo énfasis en la
preparación de salsas, el salteado en sartén y la presentación y decoración de los platos. A
Eckhart, el sub-chef, lo entrenó en los aspectos más prácticos de la cocina, como cortar
los vegetales, salteados, la limpieza y despedazado del pescado y el troceado de la carne.
Teniendo en cuenta el dicho que dice que, lo que distingue a un buen chef no sólo es su
gusto por la comida sino el comando de su entorno, ambos tuvieron que aprender cosas
que para un chef son básicas: el manejo de cuchillos, mover ollas súper calientes con
toallas, y poder circular a ciegas por el espacio lleno de gente y de cosas de la cocina,
mientras que al mismo tiempo pueden trabajar, charlar y cocinar con mucha naturalidad.
Eckhart trabajó anteriormente de mesero en un restaurante y sirvió copas en un
bar., pero nunca fue chef. El estaba muy interesado en el currículum, al que encontró
fascinante. Pero además de cortar las cebollas, las zanahorias y las setas, se cortó los
dedos infinitas veces durante sus dos días de entrenamiento con cuchillos. Eso es lo
normal en este curso, aseguró White, quien tras 16 años de cocinar profesionalmente,
todavía vive con la premisa que cualquier superficie en la cocina está caliente.
Hasta Abigail Breslin aprendió a revolear los panqueques en el aire, y a pelar los
vegetales, bajo la tutela de la chef Lee Anne Wong, del Instituto Culinario Francés. La
joven Breslin cuenta, que en una escena ya estaba demasiado entretenida con su nueva
destreza: -“Yo estaba pelando espárragos, y llegué a la parte en donde se vuelven
blancos, pero yo seguí pelándolos, hasta que se volvieron tan flaquitos que Scott se
empezó a reír. El me dijo ‘No tienes que convertirlos en escarbadientes, ¡tienen que
seguir siendo espárragos!’”.
Fuera de la cocina, Patricia Clarkson tomó un curso intensivo sobre cómo manejar
las tareas en el frente del restaurante, con el aplomo que da la experiencia. Para eso contó
con la ayuda de Daniele Sbordi, directora general del famoso bar de la ciudad de Nueva
York, Fiamma Osteria, quien lo compara con la habilidad de manejar un teatro.-“Para
dirigir un restaurante, uno debe estar atento a todas las cosas: las provisiones, las órdenes
de compra, el personal y la selección de vinos. Además uno debe tener en cuenta las
preferencias y personalidades de los clientes muy importantes que entran, dado que se
debe estar preparado para suavizar cualquier situación que se presente. Hay que llegar
muy temprano para preparar y dirigir a los meseros sobre los especiales del día. Cuando
las puertas se abren y la gente comienza a entrar, es igual que si se abriera el telón en un
teatro”.
En una de las escenas con los clientes del restaurante, Kate debe enfrentarse con
uno que tiene muy malos modos. Eso brindó a Zeta-Jones la oportunidad para agregar un
buen truco a su repertorio profesional: la clásica tirada del mantel, en la que el mantel se
saca y todo queda en su lugar y muy pocas cosas se vuelcan. El éxito del truco depende
mucho de la confianza y la rapidez con que se haga. -“Ese fue uno de los mejores días de
filmación de mi vida”- declara la actriz –“No me salió bien en seguida, pero cuando lo
pude hacer, me gustó tanto, que quería hacerlo una y otra vez. Ahora puedo apostarle a la
gente en las fiestas, que puedo sacar el mantel de la mesa sin retirar los platos ni los
vasos, y sin romper ninguno”.
Zeta-Jones extendió su entrenamiento en el restaurante, más allá de lo que Hicks
se hubiese imaginado, y se ofreció como voluntaria para trabajar durante una noche -
durante el turno más febril - en el bar Fiamma Hostería. Esa fue una experiencia que ella
llama “terrorífica y en verdad muy educativa”.
Aunque el lugar estaba entre sombras, varios clientes mencionaron el increíble
parecido que la mesera tenía con la actriz Catherine Zeta-Jones, a lo que ella todo el
tiempo respondía: “¡Ah sí!, me lo dicen todo el tiempo”.
Diseño de producción, y comida de utilería que da ganas de comerla
-“La comida es el símbolo del amor en esta historia, y la preparación de la comida
es el contexto en el que viven, actúan y se relacionan los personajes”- dice Hicks. Con
esta idea en mente, él y la diseñadora de producción Barbara Ling, dieron a los actores el
escenario de una cocina que funcionaba casi en su totalidad. Ese es el telón de fondo de
los momentos más significativos entre Kate y Nick.
Hicks y Ling visitaron aproximadamente unos 60 restaurantes del área, para ver la
gama de diseños y ambientes con que podían contar como opción. Había gran diferencia
entre los espacios creados por chefs y los que habían sido creados por los dueños de los
restaurantes. Al principio pensaron en adaptar uno de los restaurantes que había en un
edificio industrial, pero luego decidieron que era demasiado estéril y grande. Por lo tanto,
terminaron construyendo su cocina completamente desde el vamos, en un galpón de
filmación en los estudios Silvercup East en Queens.
Ling detalla: -“Así teníamos la ventaja de no tener que cumplir con códigos, lo
cual hubiera sido ridículamente caro. En vez, diseñé una cocina que funcionaba en
verdad, pero que no estaba hecha para durar demasiado. Todo el acero inoxidable es
verdadero, como también lo son los azulejos, los caños de cobre y los tanques para las
máquinas para hacer capuchinos. También son reales los electrodomésticos, las piletas
para platos, las cocinas, las mesas de acero inoxidable, e inclusive los termómetros en las
paredes. Las únicas excepciones fueron las heladeras en las que se puede entrar. Esas las
construimos y luego les bombeamos aire frío”.
Las grandes habitaciones refrigeradoras tenían un doble propósito: enfriar la
comida, y proveer a los chefs un lugar para descansar o para tener una conversación en
privado. Esta es una costumbre confirmada por todos los chefs y personal de cocina que
asesoraron a los productores, y que es tan auténtica como se muestra en la película, hasta
el mismo detalle que el personal de la cocina espía por las ventanitas de la puerta para
saber qué está pasando.
Eckhart cuenta: -“Recrearon todo a la perfección. Los detalles son asombrosos.
Uno puede entrar en uno de los escenarios y olvidarse completamente de que en realidad
está en un set de filmación”.
Ling se esforzó en mostrar la actividad propia del entorno laboral desde el punto
de vista de la cámara, sin quitar paredes. -“Mi intención era mostrar lo que la gente por lo
general no vé: cómo se mueven los chefs dentro de una cocina, cómo se cruzan los unos
con los otros, uno sosteniendo un plato, mientras que el otro adorna otro plato y se lo
pasa a otra persona. Es bello, casi como una danza coreografiada. El tránsito es constante,
la gente entra y sale, llegan provisiones, los meseros entran por la puerta, y el chef
principal supervisa todo desde una posición central, como si fuera una director dirigiendo
la orquesta dentro del foso”.
La acción que se genera en la cocina, luego fluye sin quebrarse hacia el
restaurante, y de allí sigue a las ventanas desde donde salta a las calles de Nueva York.
Para la escena en que Kate va de compras al mercado de pescado, Ling recreó el
histórico Mercado de Pescado Fulton, en su ubicación del bajo Manhattan, cerca del
puente Brooklyn. El viejo centro de distribución, de casi 200 años, se mudó al Bronx en
el año 2005, lugar al que Ling recurrió para conseguir carteles originales, muebles y
cantidad de pescado fresco. -“Hasta contratamos como extras a unos tipos que solían
trabajar en el viejo lugar. Fue muy interesante montar el lugar, y trajo nostalgias a gente
del lugar, para quienes el Mercado siempre había sido parte del panorama del barrio”.
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”” también servía comida real para las cámaras, cortesía de
Diane Burton jefa de propiedades y exteriores para la producción. Todo un grupo de
cocineros comenzaba a trabajar por lo general dos horas antes de la filmación cada
mañana. La cocina estaba a una cierta distancia, porque como atestigua Heysen: -“Ya no
se engaña a nadie con comida de plástico. Para nosotros era muy importante tener comida
que pareciera exquisita y fresca en la pantalla, porque eso se reflejaba en los personajes,
que se supone que son los mejores chefs de Nueva York”.
A excepción de algunas escenas en las que específicamente la gente come delante
de la cámara, Burton se enfocó más en la presentación que en el gusto de las comidas.
Experimentó con maicena y colores, para encontrar maneras de recrear la cocina francesa
a base de manteca, para que la comida mantuviera su consistencia bajo el calor de los
focos de iluminación. Una pasada de antorcha sobre las perdices, lograba el dorado justo,
dejando los jugos adentro, para que la comida se mantuviera fresca más tiempo frente a
las cámaras, antes de secarse.
Con la ayuda de los consultores culinarios de la producción, Burton y Hicks
diseñaron un menú de unos 25 platos para la filmación, entre ellos: una terrina de
espárragos, el róbalo especial de Nick, escalopes, paté de foie, entrecôte; y las exclusivas
perdices con salsa de trufas de Kate. Hicks hizo las veces de Jefe de Chefs, pues fue él
quien decidió el aspecto final de cada plato. Dependiendo del día de planificación de la
filmación, el equipo de Burton preparaba un menú completamente diferente cada vez.
Burton abrió cuentas corrientes con los proveedores de provisiones de los
restaurantes locales, para asegurarse de tener comida fresca suficiente a mano, por si el
director la necesitaba en algún momento. Las bambalinas de los sets de la filmación,
frecuentemente semejaban la entrada trasera de un restaurante cinco estrellas, por donde
se recibían cajones con langostas y productos exóticos. Para una escena en especial en la
cual Nick filetea un róbalo, Burton tenía 20 pescados en hielo esperando en fila, porque
ella no podía saber cuántas veces habría que repetir la toma. Lo último que hubiese
deseado es decirle a Hicks que no había más pescado.
Toda esta “realidad” tenía un precio, relata Catherine Zeta-Jones: -“Los aromas
eran muy efectivos para que todos se pusieran en ambiente, lo cual está muy bien cuando
uno tiene hambre. Pero cuando son las seis de la mañana, y uno está oliendo pescado,
pues en vez, puede revolver el estómago”.
Burton llegó al detalle de contratar un artesano de moldes, para crear trufas que en
realidad se pudieran cortar, en caso de que la filmación se extendiera a la temporada en
que no hay más trufas en el mercado. Es que las trufas son parte principal de una de las
escenas. En cuanto a la batería de cocina, para tener ollas que parecieran manchadas por
el uso, Burton hizo un trato especial: intercambió con el bar Fiamma Hostería, toda su
batería de cocina vieja, por una relucientemente nueva. Finalmente, y como toque
personal, llenó el bar del restaurante con botellas de vino de las propias viñas australianas
de Hicks y Heysen.
Aaron Eckhart, cuyo personaje prueba un plato de risotto, confiesa que “
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”” tuvo “la mejor comida de utilería del mundo”, y que no pudo resistir
comerse todo el plato de arroz entre las tomas.
Abigail Breslin, cuyo personaje se come todo un plato de fideos, dice: -“¡Estaban
deliciosos! En cada toma, yo trataba de comerme un buen bocado antes de que el director
dijera ¡corten!”.
22 Bleecker Street
Hicks eligió filmar “
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”” en Nueva York, para que la ciudad le
diera su propia personalidad a la historia. -“Nueva York es una ciudad con infinitos
restaurantes, muy apropiada para nuestra historia. Además, tiene riqueza de arquitectura y
diseño de detalles, por donde sea que uno mira” – y agrega - “Gran parte de la acción
sucede en interiores, dentro de la cocina o en un apartamento. Por eso yo quería que los
exteriores tuvieran toda la amplitud posible. Quería que los pocos lugares que aparecen
tuvieran máximo impacto”.
El director encontró un espacio vacante en la esquina de Bleecker Street y
Charles, para ubicar su restaurante ficticio en el West Village. Tenía grandes ventanas y
magnífica vista de la: -“vida en la ciudad, allí en la calle, la cual mejoramos aún más con
nuestras propias luces y algunas cosas más. Pero era un lugar ‘listo para usar’ que
podíamos usar como fondo, desde todos los puntos de vista”.
En el interior, la diseñadora de producción Barbara Ling creó un ambiente
cómodo, con paredes oscuras y mínimos cuadros al carbón, para que la comida fuera el
elemento estrella.
-“Anteriormente el lugar era un restaurante chino, ahora allí hay un negocio”-
dice Heysen, quien agrega que la presencia temporaria del equipo de filmación en el
ínterin, causó cierta confusión en el barrio. Especialmente cuando decidieron llamar al
restaurante 22 Bleecker Street… pero el frente y número del negocio, no tenían nada que
ver con la verdadera numeración de la calle. –“El único número que no existía en la calle
Bleecker era el 22. El número 24 era una iglesia, por lo que pensamos que estaríamos a
salvo con nuestro nombre para el restaurante. Pero cuando pusimos el cartel ‘22
Bleecker’, confundía constantemente a los mensajeros locales, por lo que tuvimos que
poner otro cartel en el lugar, con el verdadero número, que era por encima de los 300.
Todas las veces debíamos retirar el cartel, hasta el momento mismo que comenzara la
filmación en exteriores”.
El falso restaurante llamaba la atención por otras razones, cuenta Catherine Zeta-
Jones: -“en una escena, yo estoy parada junto al maître justo a la entrada del lugar. La
gente estaba tomando vino falso, y los meseros servían comida que se veía deliciosa. Por
todos lados había extras, y el bar parecía muy atractivo e invitador. Varias personas de la
calle se acercaron a preguntar si necesitaban hacer reservaciones para entrar, porque
pensaban que era un nuevo restaurante en donde podrían cenar. Pero tuvimos que
informarles que sólo era la escenografía para una película”.
La filmación de “
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”” logró que Zeta-Jones tuviera interés en la
cocina. Ella confiesa: -“Ahora, definitivamente veo a la comida y a la presentación de los
platos de manera completamente distinta. Me encantaría preparar la cena para el Día de
Acción de Gracias. Mi casa ya está llena de libros”.
Casi todos los actores y el personal de producción, descubrieron algo nuevo sobre
la alta cocina durante la filmación. Es posible que al público le suceda lo mismo. Hicks
dice : -“No era la intención que la película fuera educativa sobre la cocina francesa, pero
al contar una historia sobre personas cuya vida gira en torno a ese mundo, no se puede
menos que aprender su lenguaje. Como mínimo seguramente, uno va a aprende alguna
palabra que antes de le había escapado, dependiendo de sus hábitos para cenar. Por
ejemplo qué es un entrecôte o cuánto de cruda puede estar la carne. Fue muy divertido
estar rodeado de tanta belleza y perfección. Los platos que salían de la cocina de Bleecker
eran extraordinariamente tentadores… aunque, en realidad espero que no sea esa la
comida que uno quiere comer todos los días”.
Tanto Zeta-Jones como Eckhart, que probaron las mejores salsas de azafrán, los
escalopes y todos los otros deliciosos platos que se destacaron en “
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””.
Pero al igual que Hicks, siguen teniendo gustos de comida bastante simples. Cuando se
les pide que mencionen su comida favorita, ambos se refieren a las comidas favoritas que
les gustaban desde chicos: - “A mi me gustan los burritos” – dice Eckhart, mientras que
Zeta-Jones responde -“Para mí, pescado con papas fritas”.
SOBRE LOS ACTORES
CATHERINE ZETA-JONES (Kate) en el año 2002 ganó un Premio de la
Academia, el Premio Critic’s Choice, y el del Gremio de Actores de Cine, como Actriz
Secundaria, más una candidatura a los Globos de Oro, por su trabajo como la muy
asesina Velma Nelly, en la adaptación de la obra musical de Broadway, “Chicago”
llevada al cine por la productora Miramax.
Próximamente Zeta-Jones actuará en la película de romance y suspenso de Gillian
Armstrong, “Death Defying Acts”, junto a Guy Pearce, que podrá verse más tarde este
mismo año.
En el año 2005 la actriz retomó su papel de Elena de La Vega junto a Antonio
Banderas, quien hacía del Zorro, en “The Legend of Zorro”, la secuela de “The Mask of
Zorro”, la aventura de acción de 1999 que tuvo gran reconocimiento internacional. Luego
protagonizó la película de Steven Soderbergh, “Ocean’s 12”, secuela de la nueva versión
de “Ocean’s 11”; y también actuó en “The Terminal”, junto a Tom Hanks, dirigida por
Steven Spielberg; e “Intolerable Cruelty”, junto a George Clooney, dirigida por los
hermanos Coen.
Zeta- Jones fue postulada al Globo de Oro por su interpretación de la esposa de un
traficante de drogas, que debe enfrentar los lazos ilegales de su marido, y pelear para
salvar a su familia, en la película de Steven Soderbergh, “Traffic”. Los actores del reparto
del loado film, recibieron el Premio del Gremio de Actores de Cine (SAG) a la Actuación
Sobresaliente del Reparto en una Película de Cine.
En 1999, además de en “The Mask of Zorro”, Zeta-Jones también actuó en el
drama de suspenso de Jon Amiel, “Entrapment”, junto al legendario Sean Connery, en el
papel de un investigador secreto de seguros, que se propuso atrapar a los más grandes
ladrones de arte del mundo. La actriz también actuó como una diva del cine en la exitosa
comedia “America’s Sweethearts”, dirigida por Joe Roth, película en la que también
actuaban Billy Crystal, Julia Roberts y John Cusack.
Antes de trabajar en los Estados Unidos, la actriz galesa ya había incursionado en
la televisión, con la serie de Yorkshire, “The Darling Buds of May”, basada en las
novelas de H.E. Bates.
Zeta-Jones está casada con el actor Michael Douglas. Ellos tienen un hijo, Dylan,
y una hija, Carys.
AARON ECKHART (Nick) en el año 2000 comenzó a ganar popularidad con el
papel del hombre que era la pareja de Julia Roberts, en la película de Steven Soderbergh,
“Erin Brockovich”. Sin embargo, fue su papel del vengativo personaje de la controvertida
película de Neil LaBute, “In the Company of Men”, en 1997, la que lo volvió notorio. La
incendiaria película fue uno de los films independientes que recaudó más ganancias ese
año.
Hace poco se lo pudo ver a Eckhart en la película que fue el debut como director
de Jason Reitman, “Thank You for Smoking”, por la cual fue postulado a los premios
Globo de Oro e Independent Spirit.
Entre sus trabajos recientes cabe destacar: la comedia dramática “Bill”, con
Jessica Alba; el drama de Alan Ball, “Nothing is Private”; y la nueva película de Batman,
“The Dark Knight”, para el director Christopher Nolan, la cual se está filmando.
Próximamente también actuará en el inminente drama “Traveling”, que estará dirigida
por Brandon Camp.
Eckhart estudió teatro y cine en la universidad Brigham Young, donde él conoció
a Neil LaBute y luego trabajó en sus obras. Además de “In the Company of Men”,
Eckhart trabajó en otras cuatro de sus películas: “Possession”, co-protagonizada por
Gwyneth Paltrow; “Nurse Betty”, junto a Renee Zellweger; y “Your Friends and
Neighbors”, con Ben Stiller y Catherine Keener.
También trabajó en la adaptación de John Woo, de la historia corta de Phillip K.
Dick, “Paycheck”, junto a Ben Affleck y Uma Thurman; en “The Missing” de Ron
Howard, con Tommy Lee Jones y Cate Blanchett; en “The Core”, junto a Hilary Swank;
en la película de Brian De Palma “The Black Dahlia”; y en “Conversations with Other
Women”, con Helena Bonham Carter. Entre otros de sus trabajos, cabe mencionar “The
Pledge”, de Sean Penn, con Jack Nicholson, “Any Given Sunday” de Oliver Stone, y
“Molly”, con Elisabeth Shue.
Entre las obras de teatro en las que Eckhart actuó, destacan “Amazing Grace”, de
Michael Cristofer, donde también actuaba Marsha Mason.
ABIGAIL BRESLIN (Zoe) fue nominada al Oscar, al premio de la Academia
Británica de Artes de Cine y Televisión (BAFTA), al del Gremio de Actores de Cine
(SAG) y al Premio a la Mejor Actriz en el Festival de Cine Internacional de Tokio, por su
actuación como una ambiciosa niña obsesionada con ganar un concurso de belleza, en la
muy irreverente comedia aclamada por la crítica, “Little Miss Sunshine”.
El trabajo más reciente de Breslin es la comedia romántica de Adam Brooks,
“Definitely, Maybe”, co-protagonizada por Elizabeth Banks, Rachel Weisz y Ryan
Reynolds. En este momento está filmando la comedia dramática “Kit Kittredge: An
American Girl Mystery”, en el papel protagónico, la cual está programada para estrenarse
en el 2008. Luego comenzará el rodaje de “Nim’s Island”, junto a Jodie Foster.
Previamente, Breslin había actuado con Mel Gibson en el film de M. Night
Shyamalan, “Signs”, y en “Raising Helen”, para el director Garry Marshall, junto a su
hermano mayor Spencer Breslin y a Kate Hudson. La pequeña actriz apareció en el
drama independiente “Keane”, dirigido por Lodge Kerrigan, producido por Steven
Soderbergh, y en “The Ultimate Gift”, co-protagonizado por James Garner. También fue
uno de los duendes en “The Santa Clause 3”.
En televisión, Breslin fue artista invitada en “Law and Order: Special Victims
Unit”, “Navy N.C.I.S”, “What I Like About You” y “Grey’s Anatomy”.
PATRICIA CLARKSON (Paula) en este momento está en plena filmación de la
película de Stanley Tucci, “Blind Date” en Bélgica. En cuanto la finalice, comenzará a
trabajar en la película debut del director Daniel Barnz, “Phoebe in Wonderland”, junto a
Felicity Huffman, Bill Pullman y Elle Fanning; y luego el filme de Woody Allen,
“Untitled Spanish project”, en Barcelona, junto a Scarlett Johansson y a Javier Bardem.
Este otoño se podrá ver a Clarkson en el drama “Lars and The Real Girl” junto a
Ryan Gosling y a Emily Mortimer. Luego la actriz también será vista en “Elegy”, con Sir
Ben Kingsley y Dennis Hopper. La película, dirigida por Isabel Coixet, se basa en la
novela de Philip Roth, y está programada para estrenarse el 16 de Noviembre de este
mismo año.
Al principio de este año, Clarkson terminó de filmar “Married Life”, un drama
romántico que sucede en la década de 1940, dirigido por Ira Sachs y co-protagonizado
por Pierce Brosnan, Rachel McAdams y Chris Cooper.
Entre sus muchos otros trabajos, deben mencionarse sus papeles en las películas:
“All The King's Men”, “Goodnight, and Good Luck”, “The Dying Gaul”, “The Woods”,
“Far from Heaven”, “Pieces of April”, “ The Station Agent”, “Miracle”, “High Art”,
“Dogville”, “Welcome to Collinwood”, “The Pledge”, “The Green Mile”, “Everybody's
All-American”, “The Dead Pool”, “Rocket Gibraltar”, “Tune in Tomorrow”, “Joe
Gould's Secret”, “Wendigo” y el film de Brian De Palma “The Untouchables”, con la
cual debutó en el cine.
En el año 2003, el trabajo de Clarkson en dos películas independientes tuvo gran
reconocimiento. Fue candidata a los premios de la Academia, al Globo de Oro, al del
Gremio de Actores de Cine (SAG), al de los Críticos de Películas de Televisión y al
premio Independent Spirit, por su papel en “Pieces of April”. Además, recibió el Premio
del Jurado en el Festival de Cine de Sundance por su Actuación Sobresaliente en “Pieces
of April”, “The Station Agent” y “All the Real Girls”. Su actuación en “The Station
Agent” también le valió las candidaturas a los premio del SAG a la Mejor Actriz y al
Mejor Grupo de Actores. La Junta Nacional de Críticos y la sociedad Nacional de
Críticos de Cine la nombraron Mejor Actriz Secundaria del Año, por su trabajo en
“Pieces of April” y en “The Station Agent”.
Clarkson también ganó los Premios a la Mejor Actriz Secundaria del Círculo de
Críticos de Cine Nueva York y de la Sociedad Nacional de Críticos de Cine por su papel
en la película de Todd Haynes, “Far From Heaven”, rol que también fue listado al premio
de los Críticos de Cine de Chicago. Por otro lado, su actuación como Greta en la película
de Lisa Cholodenko, “High Art” fue nominada al premio a las Películas Independientes
(IFP) otorgado por Independent Spirit.
En televisión, Clarkson ganó el Premio Emmy 2006 y 2002 por su papel como
actriz invitada en el aclamado drama del canal HBO, “Six Feet Under”.
Clarkson debutó como actriz profesional en los escenarios de Nueva York. Entre
sus trabajos de teatro cabe mencionar las obras: “Eastern Standard” (en teatros fuera de
Broadway), “Maiden’s Prayer” (por la cual fue postulada a los premios del Círculo Outer
Critics y Drama Desk), “Raised in Captivity”, “Oliver Oliver”, “The House of Blue
Leaves” y “Three Days of Rain”. La actriz también actuó regionalmente en el Festival de
Teatro de Williamstown, en el teatro de South Coast Repertory y en el de Yale Repertory.
Clarkson nació y se crió en Nueva Orleáns. Se graduó Summa Cum Laude de la
Universidad Fordham con estudios en artes teatrales. Recibió su maestría en Arte en la
prestigiosa Escuela de Drama de Yale, en donde actuó en las obras “Electra”, “Pacific
Overtures”, “Pericles”, “La Ronde”, “The Lower Depths” y “The Misanthrope”.
BOB BALABAN (Terapeuta) es un aclamado actor, escritor y productor. Fue él
quien concibió la idea original para la película de Robert Altman “Gosford Park”,
película que luego produjo y actuó. El film fue postulado para siete premios de la
Academia.
Tras pequeños papeles en “Midnight Cowboy” y en “Catch-22”, Balaban fue
grandemente reconocido por sus papel como intérprete y cartógrafo en la película de
Spielberg “Close Encounters of the Third Kind” (luego Balaban escribió el libro
“Spielberg, Truffaut & Me: An Actor's Diary”, una narración humorística de su
experiencia en cine). Como actor también tuvo memorables papeles en las comedias de
Christopher Guest “Waiting for Guffman”, “Best in Show”, “A Mighty Wind” y en “For
Your Consideration”.
Más recientemente, Balaban trabajó en la película de M. Night Shyamalan “Lady
in the Water” y en la comedia romántica “Dedication”, que se pasó en el Festival de Cine
de Sundance 2007, y que será estrenada el próximo otoño.
Entre otras muchas películas en las que apareció, cabe mencionar: “Altered
States”, “Prince of the City”, “Absence of Malice”, “2010”, “Alice”, “City Slickers II”,
“Deconstructing Harry”, “Jakob the Liar”, “Ghost World” y “Marie and Bruce”. En
televisión, el actor es reconocido por su papel recurrente en “Seinfeld” del canal NBC.
Balaban es un logrado director, habiendo debutado con la película “Parents” en
1989. A eso siguió “My Boyfriend’s Back” y “The Last Good Time”. En televisión,
dirigió episodios de “Oz”, “SUBWAYStories: Tales from the Underground”, “Gary,
Indiana”, “Strangers With Candy”, “The Twilight Zone” y de “The Exonerated” para
Court TV, basado en la premiada obra del mismo nombre, la cual él produjo y dirigió en
teatros de barrio fuera de Broadway. La obra luego fue de gira durante dos años.
Recientemente terminó con la producción y dirección de la película para cine “Bernard
and Doris”, protagonizada por Ralph Fiennes y Susan Sarandon, que trata sobre la
relación entre Doris Duke y su mayordomo.
Además de su carrera en cine y televisión, Bob Balaban es autor de “McGrowl”,
una serie súper ventas de libros para niños, publicada por la casa Scholastic.
SOBRE LOS REALIZADORES
SCOTT HICKS (Director) ganó fama internacional en 1996 con el sensacional
éxito de la película “Shine,” que recaudó $100 millones mundialmente, tras su triunfante
première en el Festival de Cine de Sundance. El film fue listado para siete premios de la
Academia en las más importantes categorías, incluyendo Mejor Película, y las
nominaciones de Hicks al Mejor Director y Guionista. La película, también fue candidata
a ocho premios de la Academia Británica de Artes de Cine y Televisión (BAFTA) y ganó
nueve premios del Instituto Australiano de Cine, incluyéndole de a la Mejor Película y
Mejor Director; fue nombrada Mejor Película por la Junta Nacional de Críticos de
Estados Unidos, y fue postulada a cinco Globos de Oro, y otras nominaciones para los
premios de los gremios de Directores y de Escritores de América.
Antes que “Shine,” Hicks hacía documentales. En 1994, recibió un premio Emmy
por una serie de documentales de cuatro horas que él co- escribió “Submarine: Sharks of
Steel.” Rompió los récords de raitings que el canal Discovery había dado a sus trabajos
anteriores: “The Great Wall of Iron,” un amplio retrato del Ejército de Liberación del
Pueblo en China, meses antes de Tianemen Square, película que en 1989 ganó el
prestigioso Premio Peabody a la Mejor Serie Documental de Televisión en los Estados
Unidos. Siguiendo el éxito de estos trabajos, Hicks fue contratado para realizar dos
especiales de dos horas para el Canal Discovery: “The Space Shuttle,” en 1994 y “The
Ultimate Athlete”, el cual él mismo produjo en 1996.
La película de Hicks “Sebastian And The Sparrow,” la cual él también escribió y
produjo, fue ganadora de tres festivales internacionales de cine para niños, incluyendo el
Premio Lucas 1990 en Frankfurt. Seguidamente a su éxito en el cine y la televisión
australianos, la película recibió varias invitaciones a otros festivales de cine
internacionales.
Su primera película en Hollywood, “Snow Falling on Cedars,” fue producida por
Kathleen Kennedy y Frank Marshall, con un grupo de actores integrado por Ethan
Hawke, Youki Kudoh, y los actores nominados para el Oscar Max von Sydow, Sam
Shepard y James Cromwell. Scott co-escribió el guión junto con Ron Bass, una
adaptación de la novela súper ventas de David Guterson. La película fue postulada al
premio de la Academia a la Mejor Fotografía. Hicks también dirigió “Hearts in Atlantis,”
producida por Kerry Heysen, y protagonizada por Anthony Hopkins, Anton Yelchin,
David Morse, Hope Davis y Mika Boorem, basada en las historias de Stephen King, y
con guión del escritor ganador del Oscar, William Goldman.
Hicks nació en Uganda, y creció en Kenya hasta sus diez años. Su familia luego
se mudó a Inglaterra y más tarde a Australia. Hicks se había dispuesto a estudiar derecho
y arte, pero un encuentro casual con un inspirador profesor de filosofía, cambió sus
estudios a inglés, Drama y Cine en la Universidad de Flinders del Sur de Australia. Allí
se graduó con honores en 1975, y recibió un doctorado honorario en 1997. Hicks
comenzó su carrera en cine como miembro del equipo de filmación en producciones
realizadas por los alrededores de Australia. Simultáneamente, se presentaba para ganar
contratos para escribir y dirigir dramas cortos y documentales subvencionados.
Hicks es miembro de la Academia de Artes de Cine y Ciencias y de la Academia
Británica de Artes de Cine y Televisión (BAFTA). El vive con su esposa y colaboradora,
la productora Kerry Heysen, en Adelaide, en el sur de Australia, en donde tienen los
viñedos Yacca Paddock. Hicks también es un logrado fotógrafo, y realizó tres
exhibiciones de su trabajo, el cual puede ser visto en el Internet en scotthickspix.com
KERRY HEYSEN (Productora) es productora, consultora creativa y ejecutiva, y
sus compañías han desarrollado películas para cine, dramas para televisión y series de
documentales, además de cortos publicitarios y videos de rock. En este momento su
compañía está filmando un documental sobre el compositor Philip Glass, el cual se
estrenará en el verano del 2007. Ella fue la productora ejecutiva del mismo.
Previamente, Heysen produjo “Hearts in Atlantis”, protagonizada por Anthony
Hopkins y dirigida por el director dos veces nominado al Oscar, Scott Hicks. La película
estaba basada en historias de Stephen King, y tenía guión de William Goldman, ganador
del Premio de la Academia. El reparto de actores estaba compuesto por David Morse,
Hope Davis y Mika Boorem, y la incursión en actuación de Anton Yelchin. “Hearts in
Atlantis” tuvo su première mundial en el Festival de Cine de Toronto antes de ser
estrenada mundialmente.
Heysen fue productora asociada de “Snow Falling on Cedars”, dirigida por Scott
Hicks y producida por Kathleen Kennedy y Frank Marshall, con un grupo de actores
integrado por Ethan Hawke, Youki Kudoh y los actores nominados para el Oscar Max
von Sydow, Sam Shepard y James Cromwell. Scott Hicks y Ron Bass co- escribieron el
guión junto, una adaptación de la novela súper ventas de David Guterson. La película fue
postulada al premio de la Academia a la Mejor Fotografía.
Heysen fue consultora creativa para la película “Shine”, la cual su compañía
desarrolló a lo largo de diez años. “Shine” fue la sensación en el Festival de Cine de
Sundance 1996, ganó premios de la crítica y de la audiencia en festivales de cine de todo
el mundo, y fue candidata a siete premios de la Academia en las más importantes
categorías, los más altos recibidos por una película de origen australiano. También fue
candidata a nueve premios del Instituto Australiano de Cine, incluyendo los de a la Mejor
Película y al Mejor Director. Otros de los tantos premios recibidos por “Shine” incluyen:
el Premio a la Mejor Película 1996 de la Junta Nacional de Críticos de Estados Unidos,
cinco nominaciones de los Globos de Oro (recibió el Premio al Mejor Actor por Geoffrey
Rush) y postulaciones a los premios del Gremios de directores de América, al premio del
Gremio de Productores de América y al de la Sociedad de Editores de América.
La compañía de Heysen también produjo la aclamada película para niños
“Sebastian and the Sparrow”, ganadora en tres competencias en festivales de cine
internacional para niños, ganando entre ellos el Premio Lucas 1990 en Frankfurt.
Seguidamente a su éxito en el cine y la televisión australianos, la película recibió varias
invitaciones a otros festivales de cine internacionales.
En 1996, el Canal Discovery encargó a su compañía la producción de un especial
de dos horas, “The Ultimate Athlete”.
Además de dedicarse al cine, Heysen es una apasionada de sus viñas, y también
tiene campos de lavanda y es muy buena jinete. Ella nació y se crió en el sur de Australia.
Heysen, y su marido Scott Hicks viven en el Sur de Australia porque están apasionados
por el lugar en donde viven, y en particular por la península Fleurieu. Ellos están re forestando
el lugar, y tienen allí un viñedo, Yacca Paddock con el cual producen los
excelentes vinos Shiraz/Tannat y Dolcetto, con su propia marca.
SERGIO AGÜERO (Productor) pasó a la producción de cine y televisión tras
una exitosa carrera en el armado de producción y financiamiento de películas para cine.
En el año 2004 fundó Andale Pictures, para producir y financiar películas y televisión
con tema o protagonista latino, dirigidos a grandes audiencias. La compañía ahora está
desarrollando una lista de amplia variedad de películas de cine y otras películas de
géneros que atraen a una audiencia más joven.
Entre los muchos trabajos de su estudio, está la adaptación de la novela súper
ventas internacional “The Queen of the South”, y el piloto de la serie “Red Ball”, con una
protagonista latina.
Agüero fue productor ejecutivo de “Princesas”, la película del 2005 de Fernando
León de Aranoa, que ganó tres premios Goya, y fue un éxito de taquillas en España; “A
Dios Momo” de Leonardo Ricagni, favorita del Festival de Cine para Niños
BerlinaleKinderfilmfest 2006; y de “Y Tu Mama También” de Alfonso Cuarón, película
que fue postulada para el premio de la Academia 2003 al Mejor guión Original.
Previamente, en Endeavor Agency, Agüero establecía financiamiento
independiente y tratos internacionales, representaba talentos, financiaba compañías y
películas. Entre los títulos con los que trabajó, se encuentran: “Narc” de Joe Carnahan,
“Rabbit -Proof Fence” de Phillip Noyce y “Auto Focus” de Paul Schrader. El también
vendió los arreglos de distribución de varias películas, entre ellas la internacionalmente
exitosa “The Blair Witch Project”.
Como Vice-Presidente Ejecutivo de Trimark Pictures, y uno de los tres ejecutivos
principales de la compañía, organizó e implementó las ventas internacionales de
producciones de cine y televisión. Agüero fue uno de los responsables en la producción
especializada y adquisición de películas como “Eve’s Bayou” de Kasi Lemmon,
“Kamasutra” de Mira Nair y “Slam”, el film de Marc Levin ganador del Premio de la
Audiencia Sundance.
Agüero fue Vice Presidente de Ventas Internacionales de Vision International, y
antes de ello, en Epic Pictures. Comenzó su carrera en el mundo del entretenimiento en el
departamento de adquisiciones de Bjorck Film, como representante en Los Angeles para
poderosas casas productoras como Shochiku en Japón y Village Roadshow en Australia.
Agüero creció en España. Estudió Economía y Ciencias Políticas en Yale, y fue
analista financiero en Salomon Brothers en Nueva York, en donde participaba en análisis
de evaluación para la fusión de empresas y también para el financiamiento con salarios
fijos y participación de capital. Trabajó y viajó por Asia antes de asentarse en Los
Angeles y de entrar en el mundo de la industria de entretenimiento.
SUSAN CARTSONIS (Productora Ejecutiva) es Presidente de Storefront
Pictures, una compañía productora de cine independiente. A través de Storefront,
recientemente produjo la película “Aquamarine”, protagonizada por Emma Roberts,
basada en la novela súper ventas de Alice Hoffman, filme que se estrenó en Marzo del
2006. También recientemente produjo la película independiente “Mistress of Spices”,
protagonizada por Aishwarya Rai.
En el año 2000 la publicación The Hollywood Reporter listó a Cartsonis como
una de la cinco productoras de películas del año, cuyas producciones recaudaron grandes
ganancias, por su taquillero film “What Women Want”, protagonizado por Mel Gibson, y
por “Where the Heart is”, película adaptada de la novela súper ventas, con las estrellas
Natalie Portman, Ashley Judd, Sally Field y Stockard Channing.
Cartsonis comenzó su carrera de productora con la muy aclamada película
“Firelight”, con Sophie Marceau y Stephen Dillane, escrita y dirigida por el escritor Bill
Nicholson, que también escribió “Shadowlands”.
Cartsonis fue ejecutiva de Twentieth Century Fox por casi una década. Mientras
que estuvo allí, supervisó la producción de películas como “Nell”, protagonizada por
Jodie Foster, por cuya actuación fue postulada para el premio de la Academia y también
al Globo de Oro. Entre las muchas películas en las que Cartsonis trabajó, cabe mencionar:
“The Truth About Cats and Dogs”; “Rookie of the Year”; “Buffy the Vampire Slayer”, la
cual lanzó la serie de televisión; “Come See the Paradise”, dirigida por Alan Parker; “For
the Boys”, con la primera actriz Bette Midler, que fue candidata al premio de la
Academia por su actuación, y “Dying Young”, interpretada por Julia Roberts.
Antes de trabajar en Fox, Cartsonis enseñaba el programa de Escritura para Artes
Dramáticas en la Universidad de Nueva York. Ella recibió su maestría en Escritura para
Artes Dramáticas de la misma universidad, y realizó un bachillerato en Arte de Teatro en
la Universidad de California en Los Angeles (UCLA). Recientemente fue elegida como
Miembro del Consejo de la Fundación de Mujeres en el Cine, y es miembro del Gremio
de Productores de América.
BRUCE BERMAN (Productor Ejecutivo) es Presidente y Director Ejecutivo de
Village Roadshow Pictures. Actualmente, y hasta el año 2007, Village Roadshow
Pictures realizará 60 películas en asociación con Warner Bros. Pictures. Todas ellas serán
distribuidas mundialmente por Warner Bros. Pictures, y en algunos territorios selectos
por Village Roadshow Pictures.
La lista inicial de películas producidas bajo ese acuerdo, incluía títulos que luego
resultaron muy exitosos, como por ejemplo “Practical Magic”, protagonizada por Sandra
Bullock y Nicole Kidman; “Analyze This” que puso juntos a Robert De Niro y a Billy
Crystal; “The Matrix”, con Keanu Reeves y Laurence Fishburne en los papeles
principales; “Three Kings” con George Clooney como estrella; “Space Cowboys”
dirigida y actuada por Clint Eastwood, y “Miss Congeniality” protagonizada por Sandra
Bullock y Benjamin Bratt.
Lo más reciente de Berman bajo el sello Village Roadshow Pictures, fue la
producción ejecutiva de las inmensamente exitosas películas “Training Day”, con la cual
la estrella Denzel Washington ganó un Premio de la Academia; “Ocean’s Eleven”,
protagonizada por George Clooney, Brad Pitt, y Julia Roberts; su secuela “Ocean’s
Twelve”; “Two Weeks Notice”, con Sandra Bullock y Hugh Grant; “Mystic River”,
interpretada Sean Penn y Tim Robbins cuyas actuaciones les valieron un Oscar; la
segunda y la tercera película de la trilogía “The Matrix”, “The Matrix Reloaded” y “The
Matrix Revolutions”; “Charlie and the Chocolate Factory”, dirigida por Tim Burton y
protagonizada por Johnny Depp; la comedia animada de aventuras “Happy Feet”, y la
recientemente estrenada aventura de acción “Ocean’s Thirteen”, en la cual George
Clooney y Brad Pitt lideran al grupo de la serie, cuyos actores retornan, al cual se suman
esta vez Al Pacino y Ellen Barkin.
Entre las películas por venir de la casa productora Village Roadshow, se
encuentran: “License to Wed”, protagonizada por Robin Williams, Mandy Moore y John
Krasinski; la película de suspenso de tema psicológico “The Brave One”, dirigida por
Neil Jordan y protagonizada por Jodie Foster; el policial de acción y ciencia –ficción “I
Am Legend”, con Will Smith; y la comedia “Get Smart”, protagonizada por Steve Carell.
Berman inició su carrera en el mundo del cine junto a Jack Valenti en la MPAA
(Motion Picture Association of America- Asociación de (Profesionales de) Películas de
América) en Washington, DC. Al graduarse como abogado, volvió a Los Angeles, y allí
comenzó a trabajar de asistente en Casablanca Films en 1978. Luego pasó a trabajar para
Universal, donde fue escalando posiciones hasta que en 1982 se convirtió en
Vicepresidente de Producción.
En 1984 Berman se integró a Warner Bros. como Vicepresidente de Producción, y
fue promovido a Vicepresidente de Producción Senior cuatro años más tarde. Fue
nombrado Presidente de Producciones Cinematográficas en Septiembre de 1989, y en
1991, fue nombrado Presidente de Producciones Cinematográficas Mundiales función
que realizó hasta Mayo de 1996. Bajo su auspicio, los estudios Warner Bros. Pictures
produjeron y distribuyeron títulos de la importancia de “Presumed Innocent”,
“GoodFellas”, “Robin Hood: Prince of Thieves”, “Driving Miss Daisy” ganadora del
Oscar a la Mejor Película, “Batman Forever”, “Under Siege”, “Malcolm X”, “The
Bodyguard”, “JFK”, “The Fugitive”, “Dave”, “Disclosure”, “The Pelican Brief”,
“Outbreak”, “The Client”, “A Time to Kill” y “Twister”.
En Mayo de 1996 Berman puso en marcha Plan B Entertainment, una compañía
independiente productora de películas con base en Warner Bros. Pictures. En Febrero de
1998, Berman fue nombrado Presidente y Director Ejecutivo de Village Roadshow
Pictures.
CAROL FUCHS (Guión) fue nombrada monitora del pasillo en 3°, 4°, 5° y 6°
grado; la única persona en la historia de su escuela en recibir tal honor cuatro años
seguidos . Tras ello, escribió “
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STUART DRYBURGH (Director de Fotografía) fue candidato al premio de la
Academia a la Mejor fotografía, por su trabajo en la película de Jane Campion, “The
Piano”. Su labor en tan memorable film, también recibió los Premios de los Críticos de
Cine de LA, y del Instituto Australiano de Cine. También fue postulado a los premios de
la Sociedad Americana de Camarógrafos, y de la Academia Británica de Artes de Cine y
Televisión (BAFTA).
Dryburgh ya había trabajado con Jane Campion en “An Angel At My Table”,
película por la cual había Ganado el Premio de Cine de Nueva Zelanda. También
trabajaron juntos en “Portrait of a Lady”.
Entre su trabajos deben mencionarse las películas: “Once Were Warriors”, “The
Perez Family”, “Lone Star”, “Runaway Bride”, “Analyze This”, “Bridget Jones’ Diary”,
“The Recruit”, “A Beautiful Country”, “Kate And Leopold”, “Poodle Springs”, “In My
Father’s Den”, esta última por la cual recibió el premio a la Mejor Fotografía en el
Festival Internacional de Cine de Shanghai, “Aeon Flux”, y “The Painted Veil” realizada
el año pasado.
Entre sus trabajos más recientes están: el drama “The Girl in the Park”, y la
película documental de Martin Scorsese sobre los Rolling Stones, “Shine a Light”,
programada para estrenarse en Septiembre de este año.
En este momento, Dryburgh está filmando la aventura para la familia “Nim’s
Island”, la cual saldrá en el 2008, y que está protagonizada por Gerard Butler, Jodie
Foster, y la niña actriz de “
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””, Abigail Breslin.
BARBARA LING (Diseñadora de producción) ya había trabajado con los
cineastas Scott Hicks y Kerry Heysen en el drama de misterio “Hearts in Atlantis”.
Para el director Joel Schumacher, Ling trabajó en “Batman & Robin”, “Batman
Forever” y “Falling Down”. Entre sus muchos trabajos en películas, caber mencionar:
“Random Hearts” de Sydney Pollack, “With Honors”, “Fried Green Tomatoes” de Jon
Avnet, “V.I. Warshawski”, el documental dramático de Oliver Stone, “The Doors”, “Men
Don’t Leave”, “Checking Out”, “Less Than Zero”, “Making Mr. Right”, “True Stories”
de David Byrne, y “Heaven”, película documental dirigida por Diane Keaton.
PIP KARMEL (Montaje) en 1996 fue candidata a los premios Oscar y al de la
Academia Británica de Artes de Cine y Televisión (BAFTA), y ganó el Premio del
Instituto Australiano de Cine, por su trabajo en la película de acción de 1996 “Shine”,
dirigida por Scott Hicks. En el año 2001, ella continuó trabajando como editora para
Scott Hicks, para su película “Hearts in Atlantis”.
Karmel es también una escritora y directora premiada. Tras escribir y dirigir
varios cortometrajes aclamados, dirigió “The Long Ride”, película que ganó el Premio a
la Mejor Película para Televisión, otorgado por el Instituto Australiano de Cine, en 1994.
Tras ello, esribió y dirigió su primera película para cine “Me Myself I”, protagonizada
por Rachel Griffiths, la cual fue postulada a los premios del Instituto Americano de Cine
(AFI) en las categorías de guión y dirección.
Karmel escribió el guión de “Year of Wonders”, la cual ahora también dirigirá, a
partir de la novela súper ventas, ganadora del premio Pulitzer, de Geraldine Brooks, del
mismo título. La película estará producida por Jeremy Thomas (Recorded Picture
Company UK), Miranda Culley y Phillip Noyce (Rumbalara Films). Karmel continúa
escribiendo guiones para Rumbalara Films.
Ella vive en Sydney junto con su marido Pierre y su hijo Sébastien.
MARI JO WINKLER-IOFFREDA (Co-Productora) es una cineasta veterana
con más de dieciocho años de experiencia en producción de películas. Recientemente fue
productora ejecutiva del film aún por salir “Dan in Real Life”, para el director Peter
Hedges, protagonizada por Steve Carell, Juliette Binoche y Dane Cook.
Hace poco, también fue co-productora de: la película dirigida por Curtis Hanson,
“Lucky You”, protagonizada por Eric Bana, Drew Barrymore y Robert Duvall; de “In
Her Shoes”, con Cameron Diaz, Toni Collette y Shirley MacLaine; y también de la nueva
versión americana de la película éxito japonesa “Shall We Dance?”, de Peter Chelsom,
con los primeros actores Richard Gere y Jennifer Lopez.
Al principio de su carrera, Winkler-Ioffreda realizó una exitosa carrera como jefa
de unidad de producción, supervisando filmaciones en Nueva York, Newfoundland,
Halifax, Winnipeg, South Carolina y Los Angeles, para muchos directores reconocidos,
para películas tan diversas como “The Shipping News”, “Serendipity”, “Catch Me If You
Can”, “Cold Mountain”, “A Thousand Acres” y “The Object of My Affection”.
Ella vive en Los Angeles con su marido y su hija.
PHILIP GLASS (Música) fue postulado por tercera vez al Oscar en el 2006, por
la música de “Notes on a Scandal”. Anteriormente había sido candidato al premio por
“The Hours”, y también por la película de Martin Scorsese, “Kundun”.
Glass se estudió en la Universidad de Chicago y en Juilliard, y pasó dos años
haciendo estudios intensivos en Paris, con Nadia Boulanger. Durante ese tiempo, se
mantenía transcribiendo la música india de Ravi Shankar y poniéndola en notaciones
occidentales. Al volver a Nueva York, aplicó a su propia música las técnicas orientales
que había aprendido. Ya en 1976, Glass había compuesto una gran colección de música
nueva, lo cual culminó en “Music in Twelve Parts”, a lo que siguió la muy notoria ópera
“Einstein on the Beach”, creada conjuntamente con Robert Wilson.
El repertorio de Glass incluye música de opera, de teatro, de cámara, para
orquestas y para películas.
Su trabajo para el film de Stephen Daldry, “The Hours” no sólo le valió una
nominación para el Oscar, sino también al Globo de Oro y a los premios Grammy,
además del premio de la Academia Británica de Artes de Cine y Televisión (BAFTA).
Entre las composiciones más recientes de Glass deben mencionarse: el filme de Errol
Morris, ganador del Premio de la Academia, “The Fog of War”; “Secret Window” de
David Corp.; “Taking Lives” de D.J. Caruso; “Undertow” de David Gordon Green; el
trabajo para IMAX, “Roving Mars” de George Butler, “The Illusionist” de Neil Burger y
la inminente película de Woody Allen, “Cassandra’s Dream”.
En el año 2004, durante la celebración que era parte de la celebración cultural de
las Olimpíadas en Grecia, Glass dejó escuchar por primera vez su nuevo trabajo, “Orion”,
que había realizado en colaboración con otros seis artistas internacionales.
En el 2005 tuvo su première su nueva ópera, “Waiting for the Barbarians”, con
libreto de Christopher Hampton, basada en el libro de J. M. Coetzee, y también sacó su
“Symphony No. 8”, junto con la orquesta Bruckner.
Glass continúa haciendo giras con su grupo, y actúa en vivo acompañando a las
películas, trilogía Qatsi de Godfrey Regio, “Naqoyqatsi”, “Powaqatsi” y “Koyaanisqatsi”.
MELISSA TOTH (Diseñadora de vestuario) ha diseñado el vestuario de
películas por más de una década. Fue postulada para el premio del Gremio de
Diseñadores de Vestuario, por su trabajo en “Eternal Sunshine of the Spotless Mind”.
Fue ella quien compuso el vestuario de la película de Kenneth Lonergan, “You
Can Count On Me” la cual fue ganadora del Premio del Jurado en el Festival de Cine
Sundance; y también diseñó el vestuario de las películas “Take The Lead” de Liz
Friedlander; “Prime” de Ben Younger; “Hollywood Ending” de Woody Allen; “Book of
Shadows: Blair Witch 2”; “Saving Silverman”; “Nola”; y el film de Todd Solondz
ganador del Premio del Jurado en el Festival de Cine Sundance, “Welcome to the
Dollhouse”.
Entre sus trabajos más recientes, cabe mencionar la película de Lonergan,
“Margaret”, la cual podrá verse este otoño, la comedia dramática de Thomas McCarthy ,
“The Visitor”, que ahora está en etapa de post-producción, y la película de Charlie
Kaufman “Synecdoche” que se está filmando en este momento.
CASTLE ROCK ENTERTAINMENT Presents
In Association with VILLAGE ROADSHOW PICTURES
A SCOTT HICKS Film
CAST
Kate.............................................................................CATHERINE ZETA-JONES
Nick...........................................................................................AARON ECKHART
Zoe.............................................................................................ABIGAIL BRESLIN
Paula...................................................................................PATRICIA CLARKSON
Leah..................................................................................................JENNY WADE
Therapist.........................................................................................BOB BALABAN
Sean........................................................................................BRÍAN F. O'BYRNE
Bernadette.............................................................................................LILY RABE
John...................................................................................................ERIC SILVER
Christine........................................................................................ARIJA BAREIKIS
Mr. Peterson...............................................................................JOHN McMARTIN
Mrs. Peterson...............................................................................CELIA WESTON
Charlotte...........................................................................................ZOË KRAVITZ
Ken..........................................................................................MATTHEW RAUCH
Anna.....................................................................................DEARBHLA MOLLOY
School Principal Ellen Parker.................................................STEPHANIE BERRY
Doctor..........................................................................................MATT SERVITTO
Truffle Dealer....................................................................YEVGENIY DEKHTYAR
Fish Vendor Bob.........................................................................FULVIO CECERE
Vegetable Vendor.............................................................................................AKO
Lobster Vendor.....................................................................FRANK SANTORELLI
Line Cook Arden..............................................................................ARDEN LEWIS
Line Cook AJ...................................................................................A.J. McCLOUD
Line Cook Mario........................................................................MARIO MORALES
Liz.......................................................................................MONICA TROMBETTA
Mr. Matthews....................................................................................SAM KITCHIN
Rare Steak Man...............................................................................ROB LEO ROY
Sous Chef Applicants...............................................BRIAN LUNA, DAVID WHEIR
JOEY CEE, ROXANNA HOPE
Ken's Wife......................................................................KATHERINE SIGISMUND
Waiter........................................................................................JAMES STARACE
Waitress.......................................................................................JEANNE OMLOR
Sean's Twins..............................................................................NOAH PETROSKI
NICHOLAS PETROSKI
Rare Steak Woman......................................................................LORCA SIMONS
Leah's Husband.........................................................................PATRICK ZELLER
Mrs. Matthews.........................................................................GRETCHEN WIESE
Carlos..................................................................................RAMON FERNANDEZ
Busboys............................................................................................ANGEL ROSA
IGNACIO HEREDERO, ALBERT MARTINEZ
Chalk Artist.....................................................................................HANI SHIHADA
Produce Customer....................................................................AKIRA TAKAYAMA
Delivery Guy....................................................................................HENRY KWAN
Stunt Coordinator............................................................................G.A. AGUILAR
Additional Stunt Coordinator...................................................BLAISE CORRIGAN
Stunts..........................................KACIE BORROWMAN, JODI MICHELLE PYNN
KEITH SIGLINGER, SAMANTHA MacIVOR
FILMMAKERS
Directed by.......................................................................................SCOTT HICKS
Screenplay by.................................................................................CAROL FUCHS
Produced by................................................................................KERRY HEYSEN
SERGIO AGÜERO
Executive Producers..............................................................SUSAN CARTSONIS
and BRUCE BERMAN
Based on the Screenplay entitled Mostly Martha by .......SANDRA NETTELBECK
Director of Photography.......................................................STUART DRYBURGH
Production Designer......................................................................BARBARA LING
Edited by.............................................................................................PIP KARMEL
Co-Producer.......................................................MARY JO WINKLER-IOFFREDA
Music by..........................................................................................PHILIP GLASS
Costumes Designed by.................................................................MELISSA TOTH
Music Supervisor............................................................................JOHN BISSELL
Casting by............................................................................RONNA KRESS, C.S.A.
Unit Production Manager....................................MARY JO WINKLER-IOFFREDA
First Assistant Director.............................................................JEFFREY WETZEL
Second Assistant Director..............................................................PETER SOLDO
Production Supervisor..........................................................................ERICA KAY
Art Director...........................................................................W. STEVEN GRAHAM
Assistant Art Directors................................MARION KOLSBY, EDWARD PISONI
Set Decorator..............................................................LESLIE E. ROLLINS, SDSA
Assistant Set Decorator........................................CHRISTINE MOOSHER, SDSA
Art Department Coordinator.............................................................ERIK KNIGHT
Leadman......................................................................................DAVE WEINMAN
On Set Dresser.................................................................RODNEY T. STERBENZ
Set Dressers...............................CHRIS VOGT, ERIC LEWIN, JOSEPH DELUCA
WAYNE BRACKETT, BRIAN MANNAIN
JULIO RODRIGUEZ, ROBERT VOGT
Graphic Artist........................................................................EDWARD IOFFREDA
Stand-By Scenic Artist.....................................................................EMILY GAUNT
Script Supervisor..............................................................CHRISTINE M. WILSON
"A" Camera Operator..............................................................BRUCE MACALLUM
"B" Camera/Steadicam Operator...................................STEPHEN CONSENTINO
"A" Camera First Assistant.......................................................CARLOS GUERRA
"B" Camera First Assistant....................................................TIMOTHY METIVIER
"A" Camera Second Assistant............................................SEBASTIAN ALMEIDA
"B" Camera Second Assistant..............................................BRADEN BELMONTE
Film Loader....................................................................................ANNE CARSON
Video Assist Operator...................................................................JOEL HOLLAND
Additional Video Assist...................................................McCORD FITZSIMMONS
24 Frame Video Supervisor.......................................JOE TRAMMELL/NAVSYNC
24 Frame Video Operators.........................DENNIS GREEN, JAMES DOMARSKI
Production Sound Mixer......................................................................T.J. O'MARA
Boom Operator...............................................................................DANIEL PAIKIN
Cable..............................................................................................KIM MAITLAND
Property Master............................................................................DIANA BURTON
First Assistant Props.............................ANTHONY BALDASARE, KAREN KATES
Second Assistant Prop..................................................................EION V. LAMBE
Assistant Props..............................................KATHRYN FREUND, KRIS MORAN
Key Make-up Artist......................................................................TODD KLEITSCH
Make-up Artist...........................................................................MARGIE DURAND
Make-up Artist for Ms. Zeta-Jones.............................................CINDY WILLIAMS
Key Hairstylist............................................................................JERRY DECARLO
Hairstylist..............................................................................JACQUELINE PAYNE
Hairstylist for Ms. Zeta-Jones...............................KARYN ALEXANDER HUSTON
Hair and Make-up for Mr. Eckhart...............................................ELISABETH FRY
Assistant to Mr. Hicks and Ms. Heysen.....................................DALE AMTSBERG
US Assistant to Mr. Hicks and Ms. Heysen.................................JESSICA BEILER
Assistant to Ms. Winkler-Ioffreda...........................................MARIE RODRIGUEZ
Assistant to Ms. Zeta-Jones........................................................JENNIFER COTE
Ms. Zeta-Jones' Dialect Coach.........................................................JOY ELLISON
2nd 2nd Assistant Director.....................................................DANIELA BARBOSA
DGA Trainee..................................................................................NICOLE FEDER
Production Office Coordinator................................................MAIRE NI ROCHAIN
Assistant Production Office Coordinator.........................MATTHEW F. PRESTON
Production Secretary...........................................................................KIRSTIN LIU
Office Staff Assistants..........................TERRI YUAN, JONATHAN SUNDERMAN
Production Accountant.................................................................TAMARA BALLY
Assistant Production Accountant..................................................JUDY PURSLEY
Assistant Costume Designer.................................................LEAH KATZNELSON
Costume Supervisors........................DEIRDRE WILLIAMS, BENJAMIN WILSON
Costumers.....................ARLYNN ABSECK, CARA CZEKANSKI, STEV TAYLOR
Master Seamstress..................................................................STEPHANIE BIEAR
Chief Lighting Technician.........................................................GENE W. ENGELS
Assistant Chief Lighting Technician.............................................JOHN MILCETIC
Rigging Gaffer............................................................FRANCIS BUDDY McBRIDE
Key Grip....................................................................................GEORGE PATSOS
Best Boy Grip................................................................................GUS MAGALIOS
"A" Dolly Grip...................................................................KEITH M. BUNTING, JR.
"B" Dolly Grip....................................................................................LOUIS SABAT
Key Rigging Grip.......................................................................WILLIAM PATSOS
Special Effects Supervisor........................................................STEVE KIRSHOFF
Special Effects Coordinator.......................................................FRED BUCHHOLZ
Special Effects Technicians.....................................RICHARD BRYAN DOUGLAS
MICHAEL BIRD, LORENZO HALL
Location Manager...............................................................................JEAN CHIEN
Assistant Location Manager....................................................MICHAEL GROSKY
Location Assistants.....................................................ERIC PAPA, JUSTIN KRON
SHELLY MITTAL, SYDNEY LEIER
Restaurant Consultants...............................................................B.R. GUEST INC,
CHRIS GIARRAPUTO, DANIELE SBORDI
MICHAEL WHITE, LUIS NEITO
Culinary Consultants................................THE FRENCH CULINARY INSTITUTE,
NEW YORK CITY
Key Set Production Assistant......................................................GARY DE JESUS
Set Production Assistants.......................................................STEPHANI DELUCA
CASEY MADIGAN, TAYLOR GUTERSON
JON SHAW, JONATHAN BLITSTEIN
Staff Assistants...............................................LIZA DONATELLI, DIANA PAPPAS
Casting Associate.................................................................COURTNEY SHEININ
Casting Assistant....................................................................CHELSEA WATSON
Extras Casting..................................................BARBARA McNAMARA CASTING
Unit Publicist...............................................................................FRANCES FIORE
Still Photographer.............................................................................DAVID C. LEE
Studio Teacher................................................................CECILIA M. CARDWELL
Stand-in for 'Kate'.........................................................................JANE GUILIANO
Stand-in for 'Nick'....................................................................ABRAHAM SPARER
Stand-in for 'Zoe'...............................................................................T.J. CANLON
Construction Coordinator....................................................KENNETH D. NELSON
Construction Foreman....................................................................JAMES SADEK
Set Medic.............................................................................CHESTER COLEMAN
Charge Scenic..........................................................................ROLAND BROOKS
Paint Foreman.........................................................................JOHN RALBOVSKY
Craft Service....................DAVID DREISHPOON'S GOURMET CRAFT SERVICE
Catering..................................................................TOMKATS MOVIE CATERING
Transportation Captain....................................................................JIM BUCKMAN
Transportation Co-Captain....................................................ROBERT BUCKMAN
Mr. Hicks' and Ms. Heysen's Driver................................................BILLY STUART
Ms. Zeta-Jones' Driver............................................................TOM FITZSIMMONS
Mr. Eckhart's Driver.....................................................................SCOTT LIEBERZ
Ms. Breslin's Driver...................................................................GARY O'CONNELL
Post Production Supervisor.........................................SYLVIA WALKER-WILSON
First Assistant Editor.....................................................................DAVID BIRRELL
Second Assistant Editors......................HENRY KARJALAINEN, RYAN MURPHY
Apprentice Editor...........................................................JAMES W. HARRISON, III
Post Production Coordinators.........................NATALIE MANDEL, KEVIN JAMES
Post Production Editorial PA's......................COLETTE BIRRELL, LISA MELODIA
LOUISA FORNI, JARVIS ROOKER
Production Facility Adelaide....................................................KINO FILM GROUP
Computer and Technical Consultant...........................................SCOTT HEYSEN
Accounts Officer............................................................................HELEN AYLETT
Broadband Data Services......................................CINENET SYSTEMS PTY LTD
Post Production Accounting........................................MONEYPENNY SERVICES
JILL HEWITT, BRETT THORNQUEST
Post Production Facility Adelaide..................................OASIS POST AUSTRALIA
Oasis Post Facility Managers............................DALE ROBERTS, KATE BUTLER
Post Production Facilities New York......................POST FACTORY, NEW YORK
POSTWORKS, NEW YORK
Sound Post Production..................................................SOUNDFIRM AUSTRALIA
Soundfirm Facilities Manager...........................................................HELEN FIELD
Supervising Sound Editor/FX Editor........................................GLENN NEWNHAM
Dialogue/ADR Editor...........................................................................LIVIA RUZIC
Re-recording Mixer/FX Editor.........................................................ANDREW NEIL
Re-recording Mixer.....................................................................ROGER SAVAGE
Foley Recordist/Editor...............................................................STEVE BURGESS
Foley Artist.................................................................................MARIO VACCARO
Sound Assistant...........................................................................CHRIS GOODES
Dolby Consultant...........................................................................BRUCE EMERY
ADR Adelaide.........................................................................TRACKS ADELAIDE
Studio Managers...........................................NICOLA TATE, JULIE LEWINGTON
Engineer...........................................................................................MARTYN ZUB
ADR Voice Casting...................................................................BARBARA HARRIS
DI Colorist & VFX........................................................................MARTY PEPPER
CGI.............................................................................KOJO GROUP AUSTRALIA
Titles..............................................................................................JULIAN AUSTIN
Music Score Conducted and Produced by.............................MICHAEL RIESMAN
Music Editor...................................................................................SUZANA PERIC
Assistant Music Editor....................................................................NANCY ALLEN
Trackdown Music Editor.........................................................................TIM RYAN
Engineer................................................................................................DAN BORA
Assistant Engineer...........................................................MICHAEL TREPAGNIER
Music Score Recorded and Mixed at................THE LOOKING GLASS STUDIOS
Soundtrack Album on Decca Records
"Truffles and Quail"
Written and Conducted by Conrad Pope
"Nessun Dorma" from "Turandot"
Performed by Luciano Pavarotti
with the Orchestra del Teatro dell 'Opera di Roma
and the Orchestra del Maggio Musicale Fiorentino
Zubin Mehta, Conductor
Courtesy of Decca Music Group Ltd.
"Construction (Building A Family)" from LIFE AS A HOUSE
Written by Mark Isham
Courtesy of New Line Productions, Inc.
"Coyote", "Cook Book" and "Pressure Cooker"
Written by Carl Stalling
"Die Gotterdammerung"
Written by Richard Wagner
Arranged by Carl Stalling
"Nessun Dorma" from "Turandot"
Written by Giacomo Puccini, Giuseppe Adami and Renato Simoni
Performed by Tito Beltran
Courtesy of Silva Screen
By arrangement with Source/Q
"The Fall" from LIFE AS A HOUSE
Written by Mark Isham
Courtesy of New Line Productions, Inc.
"Carpe Diem"
Written by Jethro Heysen-Hicks, Adam Badenoch,
Sam Knight and Anna Bishop
Performed by Arcadia
"Via Con Me"
Written by Paolo Conte
Performed by Paolo Conte
Courtesy of Nonesuch Records/Warner Music Italy SpA
By arrangement with Warner Music Group Film & TV Licensing
"Sway"
Written by Norman Gimbel and Pablo Beltran Ruiz
Performed by Michael Bublé
Courtesy of 143 Records/Reprise Records
By arrangement with Warner Music Group Film & TV Licensing
"Taking the Plunge" from LIFE AS A HOUSE
Written by Mark Isham
Courtesy of New Line Productions, Inc.
"The Lion Sleeps Tonight"
Written by George David Weiss, Hugo Peretti and Luigi Creatore
Performed by Lebo M.
Courtesy of Walt Disney Records
"Un Bel Di Vedremo" from Madame Butterfly"
Written by Giacomo Puccini, Giuseppe Giacosa, Luigi Illica and Julian Smith
Performed by Rome Opera House and Chorus,
Victoria de Los Angeles, soprano
Courtesy of EMI Records Ltd.
Under license from EMI Film & Television Music
"Libiamo Libiamo" from "La Traviata"
Written by Giuseppe Verdi
Performed by Rome Opera House and Chorus,
Carlo de Monte, tenor
Courtesy of EMI Records Ltd.
Under license from EMI Film & Television Music
"The Chronicle"
Written by Jethro Heysen-Hicks and Henrik Linde
Performed by Heysen-Hicks/Linde/Howard
"O Mio Babbino Caro" from "Gianni Schicchi"
Written by Giacomo Puccini and Giovacchino Forzano
Performed by Orchestra del Maggio Musicale Fiorentino,
Lamberto Gardelli, conductor
Courtesy of Decca Music Group Limited
Under License from Universal Music Enterprises
"Count On My Love"
Written by Liz Phair and John Shanks
Performed by Liz Phair
Courtesy of Capitol Records
Under license from EMI Film & Television Music
"Colosimo Dies" from "Martha"
Written by Friedrich von Flotow
Arranged by David Raksin
"A Healing Touch" from LIFE AS A HOUSE
Written by Mark Isham
Courtesy of New Line Productions, Inc.
"Dennis' Funeral" from LADDER 49
Written by William King Ross
Courtesy of Beacon Pictures
"The Promise" from LIFE AS A HOUSE
Written by Mark Isham
Courtesy of New Line Productions, Inc.
"Celeste Aida" from "Aida"
Written by Giuseppe Verdi
Performed by Sofia National Chorus and Orchestra,
Ivan Marinov, conductor
Courtesy of LaserLight
By arrangement with Source/Q
"Mambo Gelato"
Written by Peter Tomasso
Performed by Ray Gelato
Courtesy of Telstar Music Group
Photographs generously provided courtesy of the Herbert List Estate and Magnum Photos New
York
New York Times Crossword Puzzle Copyright © 2006 by New York Times Co. Reprinted with
permission
"Gourmet" and "Bon Appetit" Magazines courtesy of Condé Nast Publications
Leonetto Cappiello, "L'Oie D' or "La Rein de Crèmes de Foie Gras" © 2006 Artists Rights Society
(ARS), New York/ADAGP, Paris
Sidewalk Fairy Image based on the art of Hilary Knight
Water image by Scott Hicks provided courtesy of the photographer
1010 Wins
Jerry Seinfeld Live on Broadway "I'm Telling You For The Last Time" clip
provided by Columbus 81
Restaurant Artwork by Paul Chojnowski
The Producers Wish to Thank
The People of The City of New York
New York State Governor's Office for Motion Picture & Television Development
NYC Mayor's Office of Film, Theatre and Broadcasting
"Made in NY" Incentive Program
Mayor of New York City
NYPD Movie & TV Unit
Filmed with ARRIFLEX Cameras and Lenses from Camera Service Center
Camera Cranes by CHAPMAN/LEONARD STUDIO EQUIPMENT, INC.
Technocrane provided by PANAVISION ® New York
Color by TECHNICOLOR ®
KODAK Motion Picture Products
FUJIFILM Motion Picture Products
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© 2007 Warner Bros. Entertainment Inc. - - U.S., Canada, Bahamas & Bermuda
© 2007 Village Roadshow Films (BVI) Limited - - All Other Territories
Screenplay
© 2007 Warner Bros. Entertainment Inc. - - U.S., Canada, Bahamas & Bermuda
© 2007 Village Roadshow Films (BVI) Limited - - All Other Territories
Original Score
© 2007 Warner-Olive Music, LLC
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Warner Bros. Distribution
August 7
Warner Home Video Breaks Another High Definition Record with ``300,'' the Fastest Selling Title with More Than 250K Copies Sold in Its First Full Week
Today Warner Home Video (WHV) announced that it has the fastest and highest-selling high definition title in the market with the epic action-adventure, "300." Since July 31, 2007, "300" has sold more than 250,000 copies to consumers on HD DVD and Blu-ray Disc.
"300" provides another high definition milestone for Warner Home Video which was the first studio to break the 100K sold mark with "The Departed." Overall WHV has six of the top 10 selling high definition titles with "300," "The Departed," "Superman Returns," "Planet Earth - The Complete Collection," "Batman Begins," and "Happy Feet." Warner also has the highest grossing high definition title with the dual-format release of "Planet Earth."
"'300' is an amazing film, and the high definition sales we are seeing underscores the positive business benefits of supporting both HD DVD and Blu-ray," said Ron Sanders, President of Warner Home Video. "This phenomenal response to '300' is the latest proof that our approach makes the most sense in today's market and has enabled Warner Home Video to continue to lead the market in high definition sales."
As a result of its dual format strategy, WHV has more than 30% market share of DVD sales in the high definition market, selling more high definition product and releasing more titles than any other studio. Because of two competing high definition formats in the market, it is widely recognized that hardware prices for both Blu-ray Disc and HD DVD have fallen faster than would normally be expected at this stage in the product cycle. However, research organizations, such as ABI Research(a), predict that further price reductions of hardware are needed to fuel mass adoption of high definition formats.
Based on the stylized graphic novel from icon Frank Miller ("Sin City"), "300" is an epic action-adventure about the 300 Spartan warriors led by the heroic King Leonidas who challenged Xerxes and his massive Persian army at the ancient Battle of Thermopylae. Leveraging the capabilities that the high definition formats enable, "300" on HD DVD incorporates exclusives interactive features. Any HD DVD player connected to the internet can take advantage of the web enabled features, which include the ability for viewers to pick their favorite scenes to assemble montages and share them with friends. Users can also rate scenes within the Warner connected community as well as purchase and collect wall paper and ring tones for mobile phones. Both Blu-ray Disc and HD DVD formats include additional bonus material.
Warner Home Video HD DVD and Blu-ray Discs offer resolution six times higher than standard definition DVDs, as well as extraordinarily vibrant contrast and color and beautifully crisp sound. The new formats also provide a higher level of interactivity, with instant access to extra features via a seamless menu-bar where viewers can enjoy features without leaving or interrupting the film.
With operations in 90 international territories, Warner Home Video, a Warner Bros. Entertainment Company, commands the largest distribution infrastructure in the global video marketplace. Warner Home Video's film library is the largest of any studio, offering top quality new and vintage titles from the repertoires of Warner Bros. Pictures, Turner Entertainment, Castle Rock Entertainment, HBO Home Video and New Line Home Entertainment.
(a) ABI Research, January 2007, "There will be downward pressure on prices for players of all types: ABI Research believes that prices will have to drop below $200 before true mass adoption takes off."
July 27
A Backstage Look at the Raw Beginnings of Hip Hop's Biggest Event: Rock the Bells
Featuring Performances By The Wu-Tang Clan, Redman, Dilated Peoples, MC Supernatural, Sage Francis, Eyedea + Abilities, Chali 2na and DJ NuMark Available on DVD July 31, 2007
Jul. 27, 2007 Warner Home Video presents Rock the Bells on DVD, a riveting documentary account of the 2004 Rock the Bells Hip Hop festival in San Bernardino, California. Entrepreneur Chang Weisberg and his Guerilla Union production team put together an unforgettable roster of hip hop stars for this first annual, history making mega-concert event. Featuring a who's who of Hip Hop royalty including Redman, Dilated Peoples, MC Supernatural, Sage Francis, Eyedea + Abilities, Chali 2na and DJ NuMark, this double-sided DVD offers an exhilarating behind-the-scenes glimpse into the real world of Hip Hop, plus more than three hours of enhanced content including filmmaker commentary, artist profiles, backstage interviews and a special tribute to late Wu-Tang Clan founding member ODB. Rock the Bells will sell for $19.98 SRP.
When Weisberg achieves his seemingly impossible dream of reuniting the legendary Wu-Tang Clan for the first time in six years, the drama is just beginning. As the Clan members begin to arrive separately, there is no sign of the infamously unreliable rapper ODB. Weisberg and his team are putting everything on the line for the most notorious no-show in Hip Hop history. The production team freestyles its way through 100-plus degree heat, faulty equipment and capricious talent to deliver the history-making show they have promised to thousands of impatient fans - by any means necessary. When ODB miraculously shows up and the Wu-Tang Clan is reunited on stage, it's magic from beginning to end. Sadly, this monumental concert also marks the last performance of the legendary group. Troubled superstar ODB would die just four months later.
"If this event had been run by a large corporation, a disaster would have occurred," say the filmmakers. "The split-second decision making and grace under pressure exhibited by the promotion team are innately human traits. It is this kind of interpersonal, organic touch that corporations will never be capable of, and it is the reason we must fight to support the independent spirit in the arts, whether it's found in a group like the Wu-Tang Clan or a business like Guerilla Union."
Rock the Bells opened in limited theatrical release beginning in April 2007. This theatrical run helped to support the 2007 Rock the Bells Festival by generating awareness. This year's 16-city tour, headlined by Wu-Tang Clan and Rage Against the Machine, kicks off on July 26 in Boston and continues through August 11, with dates in New York City, Houston, Dallas, Miami, Atlanta, San Diego, San Francisco, Denver, Minneapolis, Chicago, Detroit, Toronto and San Bernardino, California. The five-week long hip-hop extravaganza, hosted by freestyle legend Supernatural and Rahzel, "The Godfather of Noyze," will also include performances by Cypress Hill, UGK, Talib Kweli, Pharoahe Monch, David Banner, Immortal Technique and Jedi Mind Tricks. The DVD release is supported by an extensive online, print, trailer and radio marketing campaign.
An official selection at more than a dozen film festivals including Slamdance and Tribeca, Rock the Bells is directed, produced and edited by Open Road Films' Casey Suchan and Denis Henry Hennelly, the team behind the Hip Hop documentary hits Beef, Beef 2, Thug Angel and The Freshest Kids. Rock the Bells is a presentation of Mayfly Films, Civilian Pictures and Guerilla Union.
According to Eva Davis, Warner Home Video Vice President, Targeted Marketing & Acquisitions, "Casey Suchan and Denis Henry Hennelly have once again captured the spirit and energy of Hip Hop with Rock the Bells. Warner Home Video is proud to bring to home entertainment consumers this thrilling documentary which tells the true story of the private passion behind this amazing public event. It is a must-own DVD for every fan of contemporary music and documentary fans alike."
Rock the Bells DVD Special Features include more than three hours of enhanced content including:
-- Who is Wu Tang?
-- ODB R.I.P.
-- Dirty's Last Days
-- Alternate Opening
-- Extended interviews with Jarred Weisfeld, Jerome Baldwin and Cherry Jones
-- Commentary with filmmakers Casey Suchan and Denis Henry Hennelly
-- Commentary with Guerilla Union
-- Artist profiles including Redman, Eyedea + Abilities, Sage Francis, Dilated People, Cappadonna, Ghostface Killah, GZA, Inspectah Deck, Masta Killah, Method Man, RZA, Buddha Monk and Silkski
-- Deleted scenes -0-
Rock the Bells (2006)
Street Date: July 31, 2007
$19.98 SRP/ No MAP
Rating: (Not rated)
Run Time: 227 Minutes.
English Dolby Digital 5.1
ABOUT WARNER HOME VIDEO
With operations in 90 international territories, Warner Home Video, a Warner Bros. Entertainment Company, commands the largest distribution infrastructure in the global video marketplace. Warner Home Video's film library is the largest of any studio, offering top quality new and vintage titles from the repertoires of Warner Bros. Pictures, Turner Entertainment, Castle Rock Entertainment, HBO Home Video and New Line Home Entertainment.
BazanPR
August 2
Vol. 10, No. 31 | SEMA eNEWS | August 02, 2007 |
To access all of this week's eNews headlines, visit |
What Has SEMA Done For You Lately? |
SEMA eNews is published each Wednesday evening by SEMA, the Specialty Equipment Market Association, and is distributed to SEMA members and industry professionals in the specialty-equipment market. Copyright 2007. All rights reserved. Questions, comments or suggestions about the publication: Contact Jason Catullo. Terms under which this service is provided to you: sema.org/disclaimer SEMA's mailing address: 1575 S. Valley Vista Dr., Diamond Bar, CA 91765 Copyright 2007. Specialty Equipment Market Association (SEMA) |
July 27
Vol. 10, No. 30 | SEMA eNEWS | July 26, 2007 |
To access all of this week's eNews headlines, visit |
What Has SEMA Done For You Lately? |
SEMA eNews is published each Wednesday evening by SEMA, the Specialty Equipment Market Association, and is distributed to SEMA members and industry professionals in the specialty-equipment market. Copyright 2007. All rights reserved. Questions, comments or suggestions about the publication: Contact Jason Catullo. Terms under which this service is provided to you: sema.org/disclaimer SEMA's mailing address: 1575 S. Valley Vista Dr., Diamond Bar, CA 91765 Copyright 2007. Specialty Equipment Market Association (SEMA) |
July 20
Vol. 10, No. 29 | SEMA eNEWS | July 19, 2007 |
To access all of this week's eNews headlines, visit |
What Has SEMA Done For You Lately? |
SEMA eNews is published each Wednesday evening by SEMA, the Specialty Equipment Market Association, and is distributed to SEMA members and industry professionals in the specialty-equipment market. Copyright 2007. All rights reserved. Questions, comments or suggestions about the publication: Contact Jason Catullo. Terms under which this service is provided to you: sema.org/disclaimer SEMA's mailing address: 1575 S. Valley Vista Dr., Diamond Bar, CA 91765 Copyright 2007. Specialty Equipment Market Association (SEMA) |
Vol. 10, No. 28 | SEMA eNEWS | July 12, 2007 |
To access all of this week's eNews headlines, visit |
What Has SEMA Done For You Lately? |
SEMA eNews is published each Wednesday evening by SEMA, the Specialty Equipment Market Association, and is distributed to SEMA members and industry professionals in the specialty-equipment market. Copyright 2007. All rights reserved. Questions, comments or suggestions about the publication: Contact Jason Catullo. Terms under which this service is provided to you: sema.org/disclaimer SEMA's mailing address: 1575 S. Valley Vista Dr., Diamond Bar, CA 91765 Copyright 2007. Specialty Equipment Market Association (SEMA) |
July 28
Director Zack Snyder Announces Cast for Highly Anticipated Motion Picture Adaptation of the Seminal Graphic Novel Watchmen at Comic-Con
Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan and Patrick Wilson to Play ‘Masks’
Comic-Con International 2007
Filmmaker Zack Snyder (300), who is set to direct Warner Bros. Pictures’ feature film adaptation of the award-winning graphic novel Watchmen, today announced the cast of the highly anticipated epic before 6,500 fans during a presentation at this year’s Comic-Con International convention in San Diego, California. Watchmen will be produced by Lawrence Gordon (Die Hard), Lloyd Levin (United 93) and Deborah Snyder (300), with Herbert W. Gains serving as executive producer. The film is targeted for a March 6, 2009, release.
Playing the film’s core group of “masks,” the masked adventurers at the center of the story, are Malin Akerman (upcoming The Heartbreak Kid) as Laurie Juspeczyk, aka Silk Spectre; Billy Crudup (The Good Shepherd) as Jon Osterman, aka Dr. Manhattan; Matthew Goode (Match Point) as Adrian Veidt, aka Ozymandias; Jackie Earle Haley (Little Children) as Walter Kovacs, aka Rorschach; Jeffrey Dean Morgan (TV’s Grey’s Anatomy) as Edward Blake, aka the Comedian; and Patrick Wilson (Little Children) as Dan Dreiberg, aka Nite Owl.
A complex, multi-layered mystery adventure, Watchmen is set in an alternate 1985 America in which costumed superheroes are part of the fabric of everyday society, and the “Doomsday Clock” – which charts the USA’s tension with the Soviet Union – is permanently set at five minutes to midnight. When one of his former colleagues is murdered, the washed-up but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion – a ragtag group of retired superheroes, only one of whom has true powers – Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future. Their mission is to watch over humanity…but who is watching the watchmen?
Watchmen was originally published by DC Comics as a 12-comic book series between 1986 and 1987, before subsequently being collected into a trade paperback. It is the only graphic novel to win the prestigious Hugo Award or to be named among Time magazine’s “100 Best English Language Novels from 1923 to the Present.”
was originally published by DC Comics as a 12-comic book series between 1986 and 1987, before subsequently being collected into a trade paperback. It is the only graphic novel to win the prestigious Hugo Award or to be named among magazine’s “100 Best English Language Novels from 1923 to the Present.”Warner Bros. Pictures
July 27
Paramount Pictures/ Dreamworks Pictures/ Nickelodeon Movies Unveil Exclusive Footage and Major Casting Announcements at Comic-Con International
J.J. Abrams Announces Two Mr. Spocks for New 'Star Trek' Film: Zachary Quinto and Leonard Nimoy
Steven Spielberg Reveals Return of Karen Allen For Fourth 'Indiana Jones' Film
First Footage of 'Iron Man' Shown by Director John Favreau
World Premiere Trailers For 'Beowulf' and 'Drillbit Taylor'
-- The halls of the San Diego Convention Center were abuzz with the news that came pouring out of the panel today hosted by Paramount Pictures, DreamWorks Pictures and Nickelodeon Movies. Exclusive footage and major casting announcements included:
Director/Producer J.J. Abrams revealed his first casting for the "Star
Trek" adventure: Zachary Quinto (Sylar on "Heroes") will step into the
ears of the young Mr. Spock and veteran Leonard Nimoy will return to the
role he made famous. Both Quinto and Nimoy made surprise appearances and
were greeted with wild applause. Abrams, producers Damon Lindelof and
Bryan Burk and writers Roberto Orci and Alex Kurtzman answered questions
from the audience. The new "Star Trek" film will be released on Christmas
Day in 2008.
Appearing live via satellite from the set of the new "Indiana Jones"
adventure, director Steven Spielberg and three of his cast members
Harrison Ford, Shia LaBeouf and Ray Winstone discussed the film, and
Spielberg revealed that Karen Allen, the co-star of "Raiders of the Lost
Ark," will be returning for the fourth installment, which debuts over the
Memorial Day weekend 2008.
In another surprise, director Jon Favreau shared world premiere footage
from his upcoming "Iron Man" starring Robert Downey Jr., Terrence Howard,
Jeff Bridges and Gwyneth Paltrow. The action/adventure based on the Marvel
Comic launches the summer season on May 2, 2008.
Paramount Pictures, Shangri-La Entertainment and Warner Bros. hosted the
world premiere trailers, the first, for Robert Zemeckis' epic adventure
"Beowulf," due for release November 16, 2007, which was introduced by the
film's writers Neil Gaiman and Roger Avary. Later in the day, there were
invitation-only screenings of select 3-D footage for "Beowulf."
Producer Judd Apatow and director Steven Brill sent a taped greeting to
introduce the first-ever viewing of the trailer for the Owen Wilson comedy
"Drillbit Taylor," which opens nationally on March 21, 2008.
Other highlights of the afternoon panel included appearances by "Hot Rod"
director Akiva Schaffer and actors Andy Samberg and Jorma Taccone, who
jointly introduced a clip from the film that is due for release August 3,
2007. Neil Gaiman also presented a clip from the film version of his
graphic novel "Stardust," which opens August 10, 2007. The film was
screened at Comic-Con Thursday evening. A trailer from the upcoming "The
Spiderwick Chronicles" was followed by a Q&A with the film's director Mark
Waters, Oscar(R)-winning special effects whiz Phil Tippett and Tony
DiTerlizzi and Holly Black, authors of the "Spiderwick" book series. "The
Spiderwick Chronicles" opens February 15, 2008. And the first poster art
was revealed for Tim Burton's "Sweeney Todd: The Demon Barber of Fleet
Street" starring Johnny Depp. "Sweeney Todd" opens December 21, 2007 in
exclusive runs and nationally on January 11, 2008.
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE:VIA) (NYSE:VIA.B) , a leading content company with prominent and respected film, television and digital entertainment brands. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, MTV Films, Nickelodeon Movies and DreamWorks Studios. PPC operations also include Paramount Digital Entertainment, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studios, and Worldwide Television Distribution.
About DreamWorks Pictures
DreamWorks Studios was formed in 1994 by Steven Spielberg, Jeffrey Katzenberg, and David Geffen. The company won three consecutive Best Picture Academy Awards with "American Beauty," "Gladiator" and "A Beautiful Mind" (both co-produced with Universal.) Among the company's other successes have been such films as "Saving Private Ryan," "War of the Worlds," "Dreamgirls" (all co-produced with Paramount), and "Blades of Glory." Among its upcoming productions are "Things We Lost in the Fire," "The Kite Runner (distributed by Paramount Classics), and "Sweeney Todd" (co-produced with Warner Bros.)
July 26
STAR TREK: THE ORIGINAL SERIES TRANSPORTS INTO
HOME ENTERTAINMENT’S NEW FRONTIER WITH THE LAUNCH OF SEASON ONE ON HD DVD/DVD COMBO Disc SET
Out of this World 10-Disc Set Featuring Fully Remastered Episodes,
Exclusive HD DVD Interactive Features and Rare On-Set Home Movie Footage Arrives on November 20, 2007
HOLLYWOOD, Calif. – CBS Home Entertainment and Paramount Home Entertainment invite you to experience STAR TREK: The Original Series as never before when the legendary first season arrives for the first time ever in a 10-disc
HD DVD/DVD combo disc set on November 20, 2007. Meticulously remastered from the original camera negative specifically for this high-definition release, each classic episode is presented in pristine condition with state-of-the-art digital visual effects. 1960s special effects have been replaced with 21st century computer-generated imagery to give new depth and atmosphere to various elements including the main title sequence, the galaxy shots frequently seen from the Enterprise’s bridge, the battle scenes, planets and alien ships, some of the matte paintings used as backdrops for new worlds, as well as the Enterprise and other Starships, which have been replaced with state-of-the-art CGI-created ships. The new computer-generated Enterprise is based on the exact measurements of the original model, which now rests in the Smithsonian Institution in Washington, D.C.
The refurbished episodes also feature higher quality sound for the famous opening theme. The original score by Emmy® Award-winning composer Alexander Courage has been re-recorded in state-of-the-art digital stereo audio with an orchestra and a female singer belting out the famous vocals. A digitally remastered version of William Shatner’s classic original recording of the 38-word “Space, the final frontier…” monologue continues to open each episode.
In addition, the extraordinary set features true HD audio and exclusive HD DVD interactive features produced by New Wave Entertainment. Interactive menus and a “Starfleet Access” interface will allow viewers to activate icons which provide such features as Picture in Picture video commentaries and an interactive tour of the starship Enterprise. Both the standard definition and high definition presentations also include rare on-set home movie footage, an inside perspective on what it took to transport Trek into the 21st century and much more. Housed in a futuristic clear case, the STAR TREK: The Original Series HD DVD/DVD set will be available for the suggested retail price of $217.99.
STAR TREK: the Original Series is a 10-disc collection presented in the original aspect ratio (1.33:1) screen. The standard definition presentation includes Dolby Digital English 5.1 Surround, LAS Mono and French Mono as well as English, LAS and French subtitles. The HD DVD presentation features English Dolby True HD and LAS Mono with English and LAS subtitles. The DVD is not rated in the U.S. and rated G in Canada.
is a 10-disc collection presented in the original aspect ratio (1.33:1) screen. The standard definition presentation includes Dolby Digital English 5.1 Surround, LAS Mono and French Mono as well as English, LAS and French subtitles. The HD DVD presentation features English Dolby True HD and LAS Mono with English and LAS subtitles. The DVD is not rated in the U.S. and rated G in Canada.Bonus features on the HD DVD side are as follows:
Starfleet Access – On-screen graphical interface allows viewers to access Picture in Picture video commentaries, comparisons of re-mastered vs. original effects, encyclopedic information (science, life forms, technology), episode trivia and more on the following episodes:
Where No Man Has Gone Before
The Menagerie, Part 1
The Menagerie, Part 2
Balance of Terror
The Galileo Seven
Space Seed
Errand of Mercy
Spacelift: Transporting Trek into the 21st Century
From new visual effects to sound, this documentary provides an in-depth exploration of the remastering of classic Star Trek episodes.
Billy Blackburn’s Treasure Chest: Rare Home Movies and Special Memories
Join crew member and “extra-extraordinaire” Billy Blackburn as he shares his own behind-the-scenes home movie footage of life on the set of Star Trek.
Interactive Enterprise Tour
Viewers will explore the Enterprise interior and exterior in detail as they pilot their own shuttlecraft in this spectacular 3D simulated feature.
Perpetual Entertainment’s “Star Trek Online” MMO Game Preview
Bonus features on the standard DVD side are as follows:
Spacelift: Transporting Trek into the 21st Century
The Birth of a Timeless Legacy
Reflections on Spock
Life Beyond Trek: William Shatner
To Boldly Go…Season One
Sci-Fi Visionaries
Billy Blackburn’s Treasure Chest: Rare Home Movies and Special Memories
Kiss & Tell: Romance in the 24th Century
Trek Connections
Star Trek: Beyond the Final Frontier
Episode Preview Trailers
Perpetual Entertainment’s “Star Trek Online” MMO Game Preview
HD DVD offers up to six times the picture resolution of standard DVD, with brighter, sharper and more vivid images and color. HD DVD also offers incredible audio with support for Dolby Digital Plus and Dolby True HD.
CBS Home Entertainment manages the worldwide DVD business for the CBS Corporation across all lines of content including current hits and classic series from the vast CBS library, as well as new releases from Showtime Video. CBS Home Entertainment products are released on the CBS DVD label.
Paramount Home Entertainment (PHE) is part of Paramount Pictures Corporation, a unit of Viacom (NYSE:VIA, VIA.B), a global entertainment company that produces and distributes filmed entertainment through the Paramount Motion Picture Group. PHE is responsible for the worldwide sales, marketing and distribution of home entertainment products on behalf of various parties including: Paramount Pictures, DreamWorks SKG, Paramount Vantage, Paramount Classics, Nickelodeon, MTV, Comedy Central, CBS, PBS and Hasbro and for providing home entertainment fulfillment services for DreamWorks Animation Home Entertainment.
HD DVD is the next generation, post-DVD standard for high capacity, high definition optical discs, approved by the DVD Forum, which develops and defines DVD formats. Its more than 220 strong membership brings together leaders in movies and entertainment, computing, consumer electronics and software. HD DVD is fast becoming the primary visual medium for the age of high-definition TV. The North American HD DVD Promotional Group, Inc. is an organization established to promote the HD DVD format and educate consumers in North America. For more information and a complete listing of HD DVD launch titles please visit http://www.TheLookAndSoundOfPerfect.com.
Visit www.startrek.com to access Star Trek news, product information,
online community and more
# # #
STAR TREK: THE ORIGINAL SERIES Season One HD DVD/DVD
Street Date: November 20, 2007
Pricing: $217.99 U.S.
Runtime: 24 hours, 21 minutes (HD DVD)
24 hours, 20 minutes (DVD)
U.S. Rating: Not rated
Canadian Rating: G
D3PUBLISHER OF AMERICA ANNOUNCES COMPANION COMIC BOOK FOR ITS HIGHLY ANTICIPATED THIRD PERSON ACTION VIDEO GAME DARK SECTOR Comic To Feature The Talents of Fan Favorites Bill Sienkiewicz And David Wohl LOS ANGELES - July 26, 2007 - D3Publisher of America, Inc. (D3PA), a publisher and developer of interactive entertainment software, today announced that it will partner with Top Cow Productions to produce a companion comic book for Dark Sector, its upcoming third person action video game developed by Digital Extremes. Incorporating the heart-pounding intensity of the game, the Dark Sector comic book will provide backstory to the world of the upcoming video game. The Dark Sector comic book will feature cover and interior art from acclaimed comic book creator and artist Bill Sienkiewicz, famous for his work on Elektra: Assassin and New Mutants, and the story line will be penned by esteemed writer, David Wohl, known for work on Witchblade and The Darkness. Developed by acclaimed developer Digital Extremes, co-creators behind the award-winning Epic Games' Unreal franchise, Dark Sector is an all-new and original action-thriller designed exclusively for next-generation consoles. The game thrusts players into the role of Hayden Tenno, an elite black-ops agent sent on a dangerous mission into a decaying Eastern European city that hides a deadly Cold War secret. Attacked by an unknown enemy, he awakens to find part of his body altered by an infection that has granted him inhuman abilities; he must learn to evolve along with his powers, to survive and to become a hero. A dark, gritty experience packed with fast action, incredible superpowers and an engaging story; Dark Sector is anticipated for release in Q1 2008 for the PLAYSTATION®3 computer entertainment system and the Xbox 360 video game and entertainment system from Microsoft.
To Feature The Talents of Fan Favorites Bill Sienkiewicz And David Wohl LOS ANGELES - July 26, 2007 - D3Publisher of America, Inc. (D3PA), a publisher and developer of interactive entertainment software, today announced that it will partner with Top Cow Productions to produce a companion comic book for Dark Sector, its upcoming third person action video game developed by Digital Extremes. Incorporating the heart-pounding intensity of the game, the Dark Sector comic book will provide backstory to the world of the upcoming video game. The Dark Sector comic book will feature cover and interior art from acclaimed comic book creator and artist Bill Sienkiewicz, famous for his work on Elektra: Assassin and New Mutants, and the story line will be penned by esteemed writer, David Wohl, known for work on Witchblade and The Darkness. Developed by acclaimed developer Digital Extremes, co-creators behind the award-winning Epic Games' Unreal franchise, Dark Sector is an all-new and original action-thriller designed exclusively for next-generation consoles. The game thrusts players into the role of Hayden Tenno, an elite black-ops agent sent on a dangerous mission into a decaying Eastern European city that hides a deadly Cold War secret. Attacked by an unknown enemy, he awakens to find part of his body altered by an infection that has granted him inhuman abilities; he must learn to evolve along with his powers, to survive and to become a hero. A dark, gritty experience packed with fast action, incredible superpowers and an engaging story; Dark Sector is anticipated for release in Q1 2008 for the PLAYSTATION®3 computer entertainment system and the Xbox 360 video game and entertainment system from Microsoft.PROFILES IN HISTORY TO EXHIBIT A HUGE ARRAY OFAUTHENTIC SCREEN-USED PROPS, COSTUMES AND ARTWORK AT COMIC CON INTERNATIONAL
Exclusive "Sneak Preview" of Profiles' August 2-3 worldwide auction will include Anakin Skywalker's and McGregor "Obi-Wan Kenobi" light saber, screen-used ET's hands, a Fortress of Solitude crystal, a Kryptonite box, the Facehugger from Aliens, George Clooney's Batman cowl and Freddy Krueger's fedora
WHO: Joseph M. Maddalena, President & CEO of Profiles in History
WHAT: PROFILES IN HISTORY (www.profilesinhistory.com <http://www.profilesinhistory.com>), the world's leading company for the sale of genuine, authentic Hollywood memorabilia will be offering a special treat to Comic Con visitors by displaying a huge array of screen-used Hollywood props and costumes. This is an exclusive sneak preview of their upcoming August 2-3 auction. These are NOT toys or commercially produced promotional merchandise! Highlighted items include Anakin Skywalker's light saber from Star Wars: Episode II-Attack of the Clones, Ewan McGregor "Obi-Wan Kenobi" light saber from Star Wars: Episode 1-The Phantom Menace, screen-used ET hands from ET: The Extra Terrestrial, a Fortress of Solitude crystal from Superman: The Movie, the Kryptonite box from Superman III, the Facehugger prop from Aliens, George Clooney's Batman cowl from Batman & Robin, Freddy Krueger's fedora from A Nightmare on Elm Street III: Dream Warriors, Ridley Scott's crew jacket from Bladerunner, a hero Earth Directorate laser pistol used in Buck Rogers in the 25th Century, the hero Excalibur sword, Lament configuration puzzle box from Hellraiser: Bloodline, a prop gun from Mars Attacks!, David Kelly "Grandpa Joe" goggles from Charlie and the Chocolate Factory, John Haymes Newton's Superboy costume and a screen-used Energizer Bunny!
Other Hollywood memorabilia that will be exhibited include props, costume and artwork from films and TV shows including The Star Wars movies, The Superman movies, ET: The Extra Terrestrial, Raiders of the Lost Ark, Frankenstein, Dracula, The Jetsons Movie, Logan's Run, Twilight Zone: The Movie, Aliens, Star Trek, Star Trek: Deep Space Nine, Lost in Space and Buck Rogers in the 25th Century among others. All these items and many more will be available at Profiles in History's next auction, August 2-3, 2007.
DETAILS: Profiles in History is the world's leading company for Hollywood memorabilia. This is Profiles in History's 4th visit to Comic Con. In recent years, sales by Joe Maddalena and his company, Profiles in History have included the original "Cowardly Lion" costume from The Wizard of Oz for $805,000, the Command Chair and platform from the "U.S.S. Enterprise" ($304,750), the original "Robot" from Lost in Space ($264,500), Luke Skywalker's lightsaber from Star Wars ($195,500), the Black Beauty car from The Green Hornet ($192,000) George Reeves' Superman costume from The Adventures of Superman ($126,500) the H.R. Giger designed Alien creature suit from the film Alien ($126,500), Christopher Reeve's 'Superman' costume from Superman: The Movie. ($115,000) and The Wizard of Oz 'Winkie' Guard Costume ($115,000).
This sneak preview will give Comic Con visitors a taste of the more than 1000 items that Profiles in History will be offering on August 2-3. Worldwide bidding begins at 12:00 noon (PST) both days and bids can be placed either in person, via mail, phone, fax or the Internet via eBay Live Auctions (www.ebayliveauctions.com <http://www.ebayliveauctions.com>). Items that will be available include an original screen-used "General Lee" car from The Dukes of Hazzard TV Show (*$180,000-$220,000), the original "Johnny-Five" robot from Short Circuit and Short Circuit 2 (*$100,000-$150,000), an original Chewbacca head from Star Wars (*$80,000-$100,000), an original Stormtrooper helmet from Star Wars and Star Wars: The Empire Strikes Back (*$20,000-$30,000), an original Klingon Disruptor from Star Trek (*$20,000-$25,000), a hero laser gun from the Lost in Space TV show (*$20,000-$25,000), The Alien "Space Jockey" miniature, designed and built by H.R. Giger (*$15,000-$20,000), the hero Rocket Plane miniature from the film, X-15 (*$10,000-$15,000), the "Grumpy" figure puppet from Land of the Lost (*$10,000-$12,000), screen-used "E.T." hands from E.T.: The Extra-Terrestrial (*$8,000-$10,000), aTaun Taun head casting from Star Wars: The Empire Strikes Back (*$8,000-$10,000), William Shatner's and DeForest Kelley's screen-worn costumes from Star Trek: The Motion Picture (*$4,000-$8,000 each), Harrison Ford's blazer from Indiana Jones and the Last Crusade (*$10,000-$12,000), Sean Connery's suit from Indiana Jones and the Last Crusade (*$10,000-$12,000), Freddy vs. Jason "Freddy" AND "Jason" costumes and displays (*$10,000-$12,000 each), George Clooney's screen-used cowl from Batman & Robin (*$6,000-$8,000), Alicia Silverstone's complete Batgirl costume from "Batman & Robin" (*$20,000-$30,000), Chris O'Donnell's Robin torso costume and cape from Batman Forever (*$12,000-$15,000), Robert Englund's screen-worn Freddy Krueger fedora from A Nightmare on Elm Street III: Dream Warriors (*$6,000-$8,000), Robin Williams' full-size costume from Bicentennial Man (*$12,000-$15,000), Ray Park's Headless Horseman costume from Sleepy Hollow (*$4,000-$6,000), John Haymes Newton's Superboy costume (*$3,000-$5,000), Tony Soprano's Chevy Suburban from The Sopranos (*$30,000-$50,000), Tom Cruise "Cole Trickle" stock car from Days of Thunder (*$40,000-$60,000), Uncle Rico's van from Napoleon Dynamite (*$12,000-$15,000) the center rocket from Disneyland's Tomorrowland "Rocket Jets" ride (*$20,000-$30,000),) a pair of Walther PPK pistols used by Roger Moore as 'James Bond' (*$5,000-$10,000 each) and an original screen-used Energizer Bunny (*$6,000-$8,000)!
For more information about Profiles in History and to download a complete catalog of items available for auction on August 2-3, as well as past auction catalogs, please visit www.profilesinhistory.com <http://www.profilesinhistory.com/>.
RENEGADE INVESTIGATORS USE ALIEN TECHNOLOGY TO SOLVE CRIME IN THE U.S. PREMIERE OF BBC AMERICA ’S TORCHWOOD
- An acclaimed new sci-fi drama created by Russell T Davies-
From Russell T Davies, writer of the new Doctor Who series and Queer as Folk, comes Torchwood an action-packed, adrenalin-fuelled new sci-fi series following the adventures of a team of investigators who use alien technology to solve crime. Torchwood premieres Saturday, September 8 at 9:00 p.m. ET/PT.
The team, led by the enigmatic, ever-watchful Captain Jack Harkness (John Barrowman, Doctor Who, De-Lovely), uses scavenged alien technology to solve present day crime - both alien and human. They’re separate from the government, outside the police and beyond the United Nations. Torchwood sets its own rules, delving into the unknown and fighting the impossible.
Everyone who works for Torchwood is young, under 35. Some say that's because it's a new science. Others say it's because they die young.
Alongside charismatic Captain Jack is Gwen (Eve Myles). Initially an outsider, her first meeting with the team sparks a burning curiosity to get to the truth, throwing her into an unfamiliar but exciting world. Clear and instinctive, she understands people and is, at times, the group’s conscience. But can she completely separate herself from her normal life?
The rest of the bold and passionate team is made up of charming medic Owen Harper (Burn Gorman), young, hedonistic and utterly brilliant; reserved Toshiko Sato (Naoko Mori) who specialises in computers, surveillance and all things technical; the super-intelligent and intense Suzie Costello (Indira Varma) who has devoted her life to the strange alien artefacts under her control; and Ianto Jones (Gareth David Lloyd) who is far more important than his receptionist role suggests.
From an underground base built on a rift in time and space, the team respond to any alien threat – a meteorite crash landing, sightings of extra-terrestrial technology, an unusual autopsy report, the spread of a deadly alien virus.
Part X-Files, part Angels, Torchwood is the team we’d all love to be part of, where excitement comes before morality and the rules are made as you go along…
For up-to-the-minute information on BBC AMERICA , forthcoming U.S. premieres, art work and news from the channel, log on to www.press.bbcamerica.com.
BBC AMERICA brings audiences a new generation of award-winning television featuring razor-sharp comedies, provocative dramas, life-changing makeovers and news with a uniquely global perspective. BBC AMERICA pushes the boundaries to deliver high quality, highly addictive and eminently watchable programming to viewers who demand more. BBC AMERICA is distributed by Discovery Networks. It is available on digital cable and satellite TV.
For more information about BBC AMERICA visit www.bbcamerica.com
CAST AND PRODUCTION CREDITS
Captain Jack Harkness John Barrowman (Doctor Who, De-Lovely)
Gwen Cooper Eve Myles (Soundproof)
Owen Harper Burn Gorman (Bleak House, Low Winter Sun)
Toshiko Sato Naoko Mori (Absolutely Fabulous, MI-5)
Suzie Costello Indira Varma ( Rome, Canterbury Tales)
Ianto Jones Gareth David Lloyd (Mine all Mine)
Rhys Jones Kai Owen (Rocket Man)
Creator, Lead Writer and
Executive Producer Russell T Davies (Doctor Who, Queer as Folk)
Lead Writer Chris Chibnall (Life on Mars)
Writers Helen Raynor (Brief Encounters)
Peter J Hammond (Wycliffe)
()Toby Whithouse (Hotel Babylon)
()Cath Tregenna (Casualty)
()Andy Rattenbury
Noel Clarke (Doctor Who)
()Directors Brian Kelly ( Sea Of Souls)
Colin Teague ( Holby City)
( )James Strong (Doctor Who, Mile High)
()Alice Troughton (EastEnders)
()Andy Goddard (Hex)
()James Erskine ( Holby City)
( )Ashley Way (Doctor Who)
()Producer Richard Stokes (The Inspector Lynley Mysteries)
Executive Producer Julie Gardner (The Girl in the Café)
WHAT THE BRITISH SAID
“…shaping up to be one of the best programs on TV.” Observer
“There are monsters aplenty, from resurrections of murder victims to an alien addicted to sex…Exciting, spooky stuff.” Sunday Mirror
“…this splendid new Russell T Davies drama…action-crammed…” Daily Express
“…fabulous…Two episodes in and I’m already hooked on this show. It’s got the drama, action, imagination and humour of Doctor Who – plus sex and swearing. How could it fail? Strictly between you and me, I’ve even found myself fancying new recruit Gwen Cooper, the ex-cop.” Daily Star
“…Torchwood has real potential and got off to a cracking start. Imagine Doctor Who but with swearing, lesbian kisses and a bit more gore. Creator Russell T Davies has done a brilliant job.” People
“It not only has a touch of The X Files, but was inspired by Buffy the Vampire Slayer and Angel…You can certainly see the American influence at work. Torchwood has that glossy feeling about it that we don’t normally associate with British television.” Sunday TimesSunday Times
“It all sounds a bit like a Welsh X-Files, but essentially this is best viewed as the Angel to Doctor Who’s Buffy, a darker, more grown-up drama with added violence, lots of striding through rain-lashed Cardiff streets and some wickedly delivered one-liners. There’s also a wonderful, and very dark, twist towards the end of the first episode. Forget the Doctor for now, some of us are making a date with Jack.” Observer
“…the show’s so good, and its quick-fire dialogue and sets so replete with cross-referential details, that many fans will be back for second helpings…” Mail on Sunday
EPISODE SYNOPSES
Episode one: Everything Changes
When Gwen Cooper, a cop, witnesses the resurrection of a murder victim, it begins her journey into a dangerous underworld of savage monsters and alien hunters. Her chance encounter with the enigmatic Captain Jack Harkness and the Torchwood team will change her life forever.
Premieres Saturday, September 8 at 9:00 p.m. ET/PT.
Episode two: Day One
An alien addicted to sex is let loose on Cardiff ’s nightlife, leaving a trail of gruesome deaths in its wake. Captain Jack and Torchwood must track down the creature’s new host and in doing so, confront a violent new form of love in the 21st Century.
Premieres Saturday, September 15 at 9:00 p.m. ET/PT.
Episode three: Ghost Machine
When Gwen retrieves an alien object from a fleeing thug, she’s haunted by a vision of a lonely young boy. As the team track down the object’s elusive owner, Owen experiences an even more terrifying vision and a long buried crime resurfaces.
Premieres Saturday, September 22 at 9:00 p.m. ET/PT.
Episode four: Cyberwoman
In the basement of the Torchwood building, Ianto Jones hides a terrible secret. As a Japanese doctor attempts to rescue the soul of a half-Cybernised woman (Caroline Chikezie, Footballers Wive$, Brothers and Sisters), a quiet day in Torchwood quickly becomes a living nightmare. Has Ianto unleashed a force that will destroy his colleagues?
Premieres Saturday, September 29 at 9:00 p.m. ET/PT.
Episode five: Small Worlds
Supernatural forces stalk the suburbs of Cardiff : but are they friendly or malevolent? And what do they want with the seemingly normal Pierce family? As nightmares of his past haunt Jack, can his old friend Estelle Cole (Eve Pearce) help him prevent the tragedy brewing in a suburban household?
Premieres Saturday, October 6 at 9:00 p.m. ET/PT.
Episode six: Countrycide
Concerned that the space-time rift is spreading, Torchwood investigates a series of gruesome deaths in the village of Brynblaidd in the picturesque Welsh Brecon Beacons. What sort of creature could cause such shocking injuries? Stranded without communications or equipment, and isolated from one another, the team confronts a terrifying enemy.
Premieres Saturday, October 13 at 9:00 p.m. ET/PT.
Episode seven: Greeks Bearing Gifts
Toshiko is given an alien pendant which enables her to hear other people’s thoughts. As the rest of the Torchwood team puzzle over a centuries-old skeleton, the pendant forces Toshiko to question her commitment to Torchwood: is her new-found ability a blessing or a curse?
Premieres Saturday, October 20 at 9:00 p.m. ET/PT.
Episode eight: They Keep Killing Suzie
Torchwood is linked to a series of brutal murders around the city. As Jack and the team investigate further, it becomes clear somebody wants their attention. What is Pilgrim? And how is it connected to a figure from Torchwood’s past? The resurrection days are far from over.
Premieres Saturday, October 27 at 9:00 p.m. ET/PT.
Episode nine: Random Shoes
When Eugene (Paul Chequer, Sinchronicity) wakes to find himself (a) dead and (b) invisible to the rest of the world, he knows something has gone wrong. Eugene knows there is one person he can rely on to discover the truth behind his death: Gwen Cooper.
Premieres Saturday, November 3 at 9:00 p.m. ET/PT.
Episode ten: Out of Time
When a plane from 1953 makes an unexpected landing in present-day Cardiff , its three passengers are shocked to learn they can never go back to their own time. Torchwood helps them to settle into contemporary society, but this simple task has painful emotional consequences.
Premieres Saturday, November 10 at 9:00 p.m. ET/PT.
Episode eleven: Combat
Savage aliens are being kidnapped from the streets of Cardiff and Torchwood wants to know why. Owen is sent undercover to find out who is behind it and soon befriends the charismatic Mark Lynch (Alex Hassell). Beneath the veneer of normal city life, Owen discovers a shocking subculture. Can he avoid being sucked in?
Premieres Saturday, November 17 at 9:00 p.m. ET/PT.
Episode twelve: Captain Jack Harkness
While investigating reports of ghostly music, Jack and Toshiko find themselves stranded in a packed dance hall – in 1941. As Gwen, Owen and Ianto work to rescue their colleagues, Jack and Toshiko meet a handsome young American squadron leader by the name of… Captain Jack Harkness.
Premieres Saturday, November 24 at 9:00 p.m. ET/PT.
Episode thirteen: End of Days
The rift has been opened, and time is splintering all over the world. As events spiral out of control, the Torchwood team members are faced with fragments of their pasts – and terrifying visions of their futures. Can Captain Jack save the world?
Premieres Saturday, December 1 at 9:00 p.m. ET/PT.
ABOUT TORCHWOOD
· Torchwood is an anagram of Doctor Who. When the first season of the new Doctor Who (2005) was being made, television pirates were desperate to acquire the preview tapes. One of the people in the office had the idea of labelling the tapes with the anagram ‘Torchwood’ rather than Doctor Who, as a security measure to disguise the tapes when they were delivered from Cardiff to London . Writer Russell T Davies liked this idea so much that it later inspired him to use it as a title when creating this spin-off series.
· Torchwood was formed in 1879 by the Royal decree of Queen Victoria as a result of her experiences in Doctor Who: Series 2: Tooth & Claw.
· Torchwood is separate from the Government, outside the Police, beyond the United Nations. More secret than MI5 or MI6, not even the Government is supposed to know about them.
· The Torchwood hub is situated deep beneath the Cardiff Millennium Center .
· John Barrowman first appeared as Captain Jack Harness in Episode 9 (The Empty Child) of the first season of Doctor Who. He also appeared in The Doctor Dances, Boom Town , Bad Wolf and The Parting of the Ways in the same season, and again in the episodes Army of Ghosts and Doomsday in the second season.
· John used to present the UK children’s show Live and Kicking in 1993. He has also starred in a number of West End stage musicals.
· The part of Gwen in Torchwood was written specially for Eve Myles. She first appeared as Gwyneth in Episode 3 (The Unquiet Dead) of the first season of Doctor Who.
· Burn Gorman (Owen Harper) received critical acclaim for his hugely popular role of Guppy in the BBC’s award-winning adaptation of Dickens’ Bleak House.
· Naoko Mori (Toshiko Sato) is best known for her role as Saffy’s best friend Sarah (aka Titicaca), in Absolutely Fabulous. She first appeared as Dr. Sato in Episode 4 (Aliens of London) in the first season of Doctor Who.
MEET TORCHWOOD
Captain Jack Harkness
A man with an enigmatic past, Jack leads his team through danger and temptation. The team know very little about this mysterious figure: only that someone with that name disappeared in the middle of the Second World War – but that couldn’t be him, could it? Looks late 30s, but probably much, much older, Jack is from the far future but, for undisclosed reasons, has chosen to head up Torchwood. The heart and soul of the team, Jack is pragmatic and practical – if sacrificing a life to save many is the only option, he’ll take it. Ambivalent to sexual boundaries, Jack’s life remains private.
Suzie Costello
Second-in-charge and an expert in alien hardware, Suzie is conscientious and hard-working. Her focus is to catalog and understand the devices that come into Torchwood’s possession and her enthusiasm borders on an obsession. To Suzie, there is no better job than working for Torchwood – in fact, there is no other job for her.
Gwen Cooper
Gwen’s daily routine as a cop and devoted girlfriend to Rhys is turned upside-down when she encounters Torchwood. Intrigued by her resourcefulness, they make her part of the team. Passionate and driven, Gwen is the first (sometimes only) Torchwood member to see the human side to their work, but will she be able to maintain her ordinary life as she becomes more drawn into Torchwood’s world?
Owen Harper
Owen Harper is Torchwood’s scientist and medic. He’s brilliant, but unfortunately knows it, and is too arrogant to have much consideration for the rules. Owen is charming but also thoughtless and insolent, which sometimes leads him into confrontations with other members of the team.
Toshiko Sato
Quite simply, Tosh is a genius. She specializes in all things technical – from her computer terminal in the Torchwood hub, she can make it look like you never existed. Her love of technology means she is rarely parted from it. This has consequences for her private life, which she ensures remains exactly that – private. Tosh is the least outgoing of the team.
Ianto Jones
Ruthlessly efficient, Ianto holds Torchwood together with his polite and calm exterior, ensuring the rest of the team has everything it needs. And let’s not forget he looks good in a suit. No one could be that restrained all the time, could they?
Rhys
Gwen’s boyfriend is a transport manager. He’s caring and in love with Gwen, but has no knowledge of what her job at Torchwood involves.
AN INTRODUCTION TO TORCHWOOD BY RUSSELL T DAVIES
The Creator, Lead Writer & Executive Producer of Torchwood describes the show.
The Torchwood team is a small group of cops and investigators who use alien technology in a very real world. All the bits of future technology that fall to Earth are captured, scavenged, plundered by the Government, and Torchwood finds ways to use them. A very British operation, away from the prying eyes of America and the UN.
Everyone who works for Torchwood is young, under 35. Some say that's because it's a new science. Others say it's because they die young.
It’s bleak, brutally funny, full of all the sex and swearing that usually gets cut from sci-fi. And the sci-fi is very ‘real’. Few alien creatures in themselves - though if they appear, they’re not the Moxx of Balhoon, they’re nightmarish and savage and profoundly strange.
There’s minimal CGI, with the occasional blow-out to take people by surprise. But it should feel different to the usual sci-fi stuff - this show doesn’t need gorgeous spaceships, it needs to manipulate the texture of the picture, as Jacob’s Ladder once did, to frighten in all sorts of new ways.
The whole show picks up that feel - rough, wild, with a hefty dose of Shameless. And with that show’s sense of humor! Reflected in the scripts as well - The X Files meets This Life.
The series consists of one-off stories - using alien tech to investigate human crimes; to investigate alien happenings amongst ordinary people; and to research new alien devices in themselves. But stories about the central characters are continuous throughout - affairs between team members, traitors, sinister bosses, the misuse of their powers, and then even more affairs - so that the 13 episodes have a shape and an arc.
The Torchwood team first appear in Doctor Who, and spin off into this series - though the link isn’t too heavy, since this is for a very different audience.
A dark, clever, wild, crime/sci-fi paranoid thriller cop-show. What else is television for?!
INTERVIEW - JOHN BARROWMAN
John Barrowman didn’t need a Tardis (Doctor Who’s famous spacecraft and time machine) to take him into space. All it took was the news that Captain Jack Harkness would be getting his own show and he was over the moon.
When viewers last saw Captain Jack in Doctor Who, he was stranded on a satellite many thousands of years in the future. He had heroically faced down a Dalek invasion to protect his new friends, The Doctor and Rose – but his fate was unknown.
Now Jack is back, and in Russell T Davies’s dark and sexy sci-fi thriller the Time Agent from the 51st Century is at the helm of Torchwood, an elite, alien-fighting organization on the front line in the battle to protect the human race.
“Jack heads up a team of secret agents who are separate from the Government, outside police jurisdiction and beyond the United Nations. At Torchwood, they answer to no one but themselves. They make their own rules,” explains John Barrowman, who plays the enigmatic action man with the mysterious past.
“Jack’s the leader and the glue – he keeps everyone together. He’s the hero … although I don’t think he’d call himself a hero, he’d just call himself a man who does the job because it needs doing.”
But, says the actor, the journey from his terrifying Dalek encounter to 21st-Century Cardiff – home of the hub, Torchwood’s top-secret HQ – has left its mark on Jack. “Jack’s a little bit darker and he’s a little bit angrier than when we last saw him. After all, he was ditched on that satellite and who wouldn’t be angry about that?” he says.
“Towards the end of Doctor Who, Jack was becoming more human – I mean human in the sense that he was starting to feel for other people rather than just thinking about himself. As Torchwood begins, he’s lost some of that. He doesn’t always consider other people’s feelings – his priority is the good of the world.”
Some things, however, never change. “He’s still fun, he still has his dry sense of humor and I think he’s still sexy,” says the actor, revealing that Jack is back to his old tricks, putting his moves on everyone and, well, everything. “It doesn’t have to have a pulse for Jack to fancy it. And if it’s got a zip code, he’ll sleep with it,” he quips.
For John (38), making Torchwood has been a huge thrill. “When Russell T Davies and Julie Gardner and I first sat down to talk about giving Captain Jack his own series, I was completely bowled over. It was a childhood dream to be a character in Doctor Who, so to have my own series was just unimaginable.
“I’m a grown man who gets to go to work every day and fight aliens, play with guns and kiss beautiful people – what more could I ask for?”
Born in Glasgow , John moved to Joliet , Illinois , with his family when he was eight years old. At high school, he starred in an end-of-term musical and never looked back. On a visit to the UK in 1989, he chanced upon an open audition for a West End production of Anything Goes and, after wowing leading lady Elaine Paige, was plucked from obscurity to star in the Cole Porter classic. Acclaimed roles in a string of hit musicals followed, including Miss Saigon, Phantom Of The Opera, Sunset Boulevard and Beauty And The Beast.
The actor has also appeared in the BBC kids’ show Live And Kicking, the 2004 film De-Lovely, celebrity reality show Dancing On Ice and, most recently, as a judge on the BBC series How Do You Solve A Problem Like Maria?, the search for a new London West End star for The Sound of Music.
A life-long fan of Doctor Who, John admits that his home is stuffed with Captain Jack memorabilia, including his racy leather trousers, squareness gun and the bullets he aimed at the Daleks when we last saw him.
It’s no surprise, then, that he was every bit as eager to find out more about Jack as the Time Agent’s fans (or “Woodies” as John dubs them). “When we first met Jack last year, he was a bit of a rogue, an intergalactic con man who had become that way because of something in his past. Two years of his life had been wiped from his memory and he had no idea why or what went on. Now he’s on a mission to find out more about himself,” he explains. And there’s no better place to do that than Torchwood, which is located on a rift in time and space in modern-day Cardiff .
“Jack’s not a time traveler, he’s a Time Agent and he can only travel through time with the assistance of someone like The Doctor. Now, Cardiff has this rift in it and so it’s one of the places the Tardis is likely to return to, so Jack is just waiting. He never leaves, he never sleeps,” says John.
It can be a lonely existence but Jack does find someone to confide in. “Jack gets on with everyone in Torchwood but the only person who knows anything about him is Gwen. Gwen comes in and she brings something new to the team – she brings heart. And, for some reason, Jack starts to reveal things to her.”
But even Gwen and Jack have their disagreements, he admits. “Every now and then there are major in-house battles. There are always tensions bubbling away because they’re facing life-or-death situations every day. Sometimes Jack gets very angry because the team doesn’t understand why he’s doing what he’s doing. But Jack has seen Earth’s future and he knows that the 21st Century is when it all changes – and they’ve got to be ready.”
Cardiff’s space-time rift is the key, reveals John, because it acts as a gateway to Earth for a bone-chilling procession of aliens, including the Weevils, a race of wolf-like creatures that live in the city’s sewers. “The Weevils are one freaky bunch of aliens,” he chuckles. “And every once in a while a Weevil goes rogue and attacks. That’s when we have to step in because they can be mighty vicious.”
Sewer-dwelling aliens aside, John loves working in Cardiff and has even bought a house overlooking the bay, which he shares with his partner, architect Scott Gill, and their two cocker spaniels, Penny and Lewis. “When you see Cardiff on film, it looks like LA; it looks amazing,” he says. “I’ve seen the first episode and Cardiff surprised even me. I think a lot of people are going to want to come here, not just because of Torchwood but because it’s such a great place – it’s buzzing every single day and it’s beautiful.”
John is hoping to find the time to give his family a guided tour of the state-of-the art BBC studio complex where Torchwood is filmed. “It’s a great place to work,” says John. “Doctor Who is filmed there, too, and the Tardis and the Hub are right next to each other – the only thing that separates us is a curtain. We all arrive at work and go off to our separate areas and then we have a big shared lunch place. So you might sit down with your salad next to a Weevil or share a pizza with a Dalek … that’s pretty normal for us,” he laughs.
But not everyone shares the actor’s enthusiasm for the BBC canteen. In fact, it was all a bit much for one little boy, the son of one of the Torchwood crew, who recently accompanied his dad to work.
John explains: “We were having lunch and suddenly this very recognizable alien walked by and the child just freaked out. He screamed and his dad grabbed his hand and said, ‘You’ll be fine – you’re with me’. But the kid shouted: ‘No! You can’t do anything – I have to be with Jack!’ He literally ran over, grabbed onto my leg and wouldn’t let go. And the poor old alien was only going outside to have a cup of coffee and a cigarette!”
HD DVD Goes Big at Comic-Con 2007: Hit Movies, Blockbuster TV Shows, and a Price Drop on the Xbox 360 HD DVD Player
Movie and TV fans get first look at Heroes: Season 1, 300, and STAR TREK: The Original Series on HD DVD
-- The HD DVD Promotional Group today announced at Comic-Con International 2007 that companies supporting HD DVD showcased some of the most anticipated movie and TV titles for fantasy and sci-fi fans, including Heroes: Season 1 from Universal Studios Home Entertainment, 300 from Warner Home Video, and STAR TREK: The Original Series from CBS Home Entertainment and Paramount Home Entertainment. Microsoft Corp. announced that it would reduce the price of its popular Xbox 360 HD DVD Player in the United States to $179, as well as adding five free HD DVD movies with the purchase of every player.
"HD DVD is the format of choice for great sci-fi content, from movies and hit TV shows to the classics," said Ken Graffeo, co-president of the HD DVD Promotional Group. "Heroes: Season 1 and the original Star Trek series are only available on HD DVD, and blockbuster titles such as 300 have interactive features you can only find here. HD DVD is the format that caters to the fan base."
Heroes: Season 1, available August 28th, 2007 from Universal Studios Home Entertainment, will offer exclusive features only on HD DVD, including a web-enabled Download Center, a Heroes Abilities Test, The Helix Revealed, Character Connections and Picture-in-Picture Commentary. The seven-disc HD DVD set provides a personal experience for viewers of television's hottest must-see series and immerses them in the program. The exclusive interactive features showcase HD DVD web-connectivity which is a first for Universal and only the second title to include this new feature. HD DVD is the only high definition format that offers web connectivity today. The boxed set will retail for $99.98.
To drive more attention to the Heroes: Season 1 HD DVD boxed set, Xbox LIVE will offer the show's pilot episode to its members for free for a limited time, courtesy of Xbox and Universal Studios Home Entertainment. Members will also be able to download trailers, teaser scenes and other promotional materials highlighting the Heroes: Season 1 boxed set on HD DVD. Xbox LIVE will also offer 300 on demand in HD starting August 14th, 2007 and is working with Warner Bros. on a "Bringing it Home" cross-promotional campaign.
To further sweeten the deal for Xbox 360 owners, Microsoft announced a price reduction on the Xbox 360 HD DVD Player in the United States to $179 effective August 1, keeping the player as the most affordable high definition drive on the market. In addition to the price drop, Microsoft is extending the highly successful "Perfect Offer" of five free HD DVD discs to Xbox 360 consumers. Previously exclusive to Toshiba HD DVD Players, with the purchase of an Xbox 360 HD DVD Player at the new low price of $179, consumers can choose five HD DVD titles for free from a selection of 15 popular titles via a mail-in offer.
For fans of the original Star Trek series, CBS Home Entertainment and Paramount Home Entertainment announced the upcoming release of STAR TREK: The Original Series in a 10-disc HD DVD/DVD combo disc set. The completely remastered edition goes where no fan has gone before with pristine HD audio and video, and exclusive HD DVD interactive features including picture-in-picture video commentaries and an in-depth tour of the starship Enterprise. The combo disc format offers a high definition version on one side for playback on any HD DVD player, and a standard DVD version on the other side for playback on any DVD player. This historic boxed set goes on sale in time for the holidays on November 20, 2007 for the suggested retail price of $199.00.
About HD DVD
HD DVD is the next generation, post-DVD standard for high capacity, high definition optical discs, approved by the DVD Forum, which develops and defines DVD formats. Its more than 220 strong membership brings together leaders in movies and entertainment, computing, consumer electronics and software. HD DVD is fast becoming the primary visual medium for the age of high-definition TV. The North American HD DVD Promotional Group, Inc. is an organization established to promote the HD DVD format and educate consumers in North America. For more information and a complete listing of HD DVD launch titles please visit http://www.thelookandsoundofperfect.com/.
The names of actual companies and products mentioned herein may be the trademarks of their respective owners.
Source: HD DVD Promotional Group
Web site: http://www.thelookandsoundofperfect.com/
Lucasfilm Ltd. and Get Solo(TM) Introduce Star Wars(TM) Social Networking Cards
Fans Identify with Revolutionary Contact Cards Introduced at Comic-Con International
-- For 30 years, Star Wars fans have escaped the confines of this galaxy by living in the virtual world born from the mind of filmmaker George Lucas. Today at Comic-Con International: San Diego, Lucasfilm Ltd. and Get Solo, LLC announced they have joined forces to help enthusiasts express their passion for the saga by creating personalized Star Wars Social Networking Cards that fans can proudly exchange. Get Solo, a provider of innovative marketing media and solutions, is taking orders for the cards starting today at starwars.getsolo.com.
"Millions of people of all ages have a deep bond with the characters and stories of Star Wars. These new products are unique, because they capture that personal connection. Fans will find the social networking cards to be a fun way to express themselves when meeting other fans, because they can personalize them with their favorite Star Wars images, include interesting personal information, and even build a collection," says Howard Roffman, President of Lucas Licensing.
Fun and Convenient Personal ID
Star Wars Social Networking Cards provide a stunning and more personal alternative to traditional business cards for true fans who want their own customized 'calling card'. Cards can be tailored by selecting from 75 full- color images for the front, and can be personalized to include interesting facts and personal contact information. Fans can create cards for themselves, and as a gift for a friend or a family member. They can be exchanged at events, parties and school to make new friends and promote oneself, or even one's virtual self. For online networking, an electronic card is included for free with every order.
"The event season is hot right now, and we can see why fans will be very excited to get and hand out their cards. Hundreds of thousands of people attend events like Star Wars Celebration IV, Celebration Europe and Comic-Con International every year, because they love to meet other fans. Most keep in touch long after the show is over, and cards like these are a fun and convenient way to make those new friends," says Mary Franklin, Events Manager at Lucasfilm.
Bridging the Online and Offline Gap
The internet is teeming with ways to express oneself. E-mail, blogs, instant messaging, MySpace.com, YouTube.com and other innovations have created a new foundation for free speech and broadcasting. Social Networking Cards from Get Solo are a perfect way to take that phenomenon offline, and to promote favorite online links or share key information with others. For fans who participate in reality games, cards can even be created for their characters or avatars.
"Online, there are many ways to promote, build and join a social network. However, people told us that when they meet, they want a more convenient way to drive people to their favorite web destinations, and to invite others to join their social networks. The desire to bridge that gap is what drove us to create Star Wars Social Networking Cards. Fans are incredibly excited," according to Ashesh Shah, founder and Chairman of Get Solo.
Regardless of one's online passions, one thing is true -- interaction with others is what makes the experience the most vibrant. Voicing personal opinions, sharing information and demonstrating creative flair requires an audience and feedback to be fulfilling. That need for a community is exactly why social networking is so hot. With these new cards, now people can experience that thrill every time they meet someone in person.
Available Now
Star Wars Social Networking Cards are available in quantities of 100, 500 and 1,000 for as little as $29.99 (shipped). To order cards, visit: starwars.getsolo.com.
About Lucasfilm Ltd.
Lucasfilm Ltd. is one of the world's leading movie and entertainment companies. Founded by George Lucas in 1971, it is a privately held, fully integrated entertainment company. In addition to its motion-picture and television production operations, the company's global activities include Industrial Light & Magic and Skywalker Sound; LucasArts; Lucasfilm Animation; and Lucas Licensing. Additionally, Lucas Online creates Internet-based content for Lucasfilm's entertainment properties and businesses.
About Get Solo, LLC
Get Solo is a privately held company that provides unique marketing solutions and member services for organizations. Get Solo is revolutionizing how personal business is conducted, by providing fun and convenient ways to identify oneself and exchange personal information. With its innovative technology and marketing expertise, Get Solo can help organizations create unique social networking, promotional and loyalty marketing solutions that build brand awareness and drive revenue.
Source: Get Solo, LLC
CONTACT: Jessy Adams, FD, for Get Solo, +1-212-850-5684, or
Jessy.adams@fd.com
Web site: http://starwars.getsolo.com/StarWars
Spike TV Partners With Comic-Con to Announce Second Annual SCREAM 2007
San Diego Convention (July 26-29) Featured "Frack The Oscars!" Panel Session Moderated By Henry Rollins With Linda Blair, Mark Burg, Sid Haig and Robert Kirkman; Special Guest Appearance By Neil Gaiman, SCREAM 2007's "Comic-Con Icon Award" Recipient
SCREAM 2007 Will Tape October 19 At The Greek Theatre In Los Angeles
This October, a full moon will be out when Spike TV presents the second annual televised SCREAM 2007, a two-hour event honoring the best in the Horror, Sci-Fi, Fantasy and Comic genres. At the San Diego Convention today, Spike TV partnered with Comic-Con to announce the "Comic-Con Icon Award" as well as this year's location and tape date for SCREAM 2007.
Today, Spike TV held a SCREAM 2007 panel session moderated by musician, actor and poet Henry Rollins, which featured Linda Blair ("The Exorcist"), Mark Burg ("Saw" franchise producer), Sid Haig ("The Devil's Rejects") and comic book writer Robert Kirkman. The discussion focused on the long overdue need to honor the creative talent behind Horror, Sci-Fi, Fantasy and Comic genres that drive pop culture and the box office. A special guest appearance was also made by one of the top writers in modern comics, Neil Gaiman, the new recipient of SCREAM 2007's "Comic-Con Icon Award." To see all the action from Spike TV's SCREAM 2007 panel at Comic-Con, viewers can log-on to ifilm.com and spiketv.com.
"I'm thrilled to announce the return of SCREAM and our continuing partnership with Comic-Con International," said Casey Patterson, Executive Producer and Senior Vice President, Event Production for Spike TV. "Together with Comic-Con we're honored to announce Neil Gaiman as The 2007 recipient of the Comic-Con Icon Award, which will be presented on the Scream 2007 telecast. Scream was one of the most successful events in Spike TV history and this year's show will feature more world premieres, fan generated award categories, the biggest stars from the horror, sci-fi, fantasy and comic book genres and killer musical performances. Scream 2007 will tape on October 19th under a full moon at The Greek Theater in Los Angeles."
Upon receiving the "Comic-Con Icon Award," Gaiman said, "Good to know I'm an icon. Maybe they'll make little dolls of me and put it on their dashboards!"
Additional highlights of Spike TV's participation at Comic-Con from July 26-29 include a SCREAM 2007 booth offering autograph sessions with Blair, 10 autographed Stan Lee Hasbro Figure sweepstakes and premium giveaways every hour. In addition, Spike TV will be holding a casting call everyday from 1-3 PM at the booth for people in costume to get the chance to win tickets to the upcoming SCREAM 2007 taping. Dimpy Sethi, head costume designer for SCREAM 2007, will serve as judge. This contest will also be filmed for an upcoming episode of SpikeTV.com's original digital series, "Geek-Ray Vision." This series brings viewers a weekly inside scoop on the coolest films, music, gadgets, comic books and video games from the hottest geek locations.
SCREAM 2006 was the first event to pay homage to the multi-billion dollar horror, sci-fi and fantasy industries. Hosted by Rosario Dawson, Rose McGowen and Marley Shelton -- the women of Quentin Tarantino/Robert Rodriguez's horror film "Grindhouse" -- SCREAM 2006 was the #1 rated awards show launch in Spike TV history. The event was also #1 with Men 18-34 in all of broadcast and cable in it's time period.
Spike TV is available in 91.6 million homes and is a division of MTV Networks. A unit of Viacom (NYSE:VIA) (NYSE:VIA.B) , MTV Networks is one of the world's leading creators of programming and content across all media platforms.
Source: Spike TV
Web site: http://www.spiketv.com/
http://ifilm.com/
UNIVERSAL STUDIOS CONSUMER PRODUCTS GROUP
ANNOUNCES HEROES LICENSING PARTNERS
Product Tied to Television's #1 New Series to Release in Q3/Q4 2007
Universal Studios Consumer Products Group today announced the first partners tapped to create product based on Heroes, the #1 new series on television for the 2006-2007 season. The group named industry leaders DC Comics, Random House, Mezco Toyz, Topps and others to lead the charge across a full range of product categories. Starting with an extensive publishing program, trading cards, apparel, stationery/social expression, action figures and an interactive game, initial Heroes product will begin to appear on store shelves in time for the new season launch on NBC Sept. 24, 2007, and shortly after the launch of Season 1 on DVD and HD DVD on Aug. 28, 2007.
"Heroes is an unbelievable breakout hit and one of the most popular series in NBC's history," said Cindy Chang, Vice President of Global Business Development, Universal Studios Consumer Products Group. "There is a dedicated fanbase out there who has proven through various online applications to have a strong hunger for Heroes beyond the TV screen, and this new merchandising program will provide them with a fulfilling Heroes experience."
"We are very pleased to announce this very select group of heroic partners. With every Heroes branded product, we hope to immerse our fans in the world of their favorite show," said Tim Kring, creator-executive producer, Heroes.
The Heroes merchandising line will capitalize on the rich storylines seen in the popular series, and in some instances, extend the story beyond what is seen on television.
The publishing category is the cornerstone of the early licensing program. Expanding on the comic book lore created by the series, DC Comics will develop a hardcover compilation book of the popular online Heroes graphic novels currently available on NBC.com. The new book, which is slated to be available worldwide this fall, will also include the original Tim Sale artwork as seen on the show, offering fans a one-of-a-kind entertainment collectible. Random House will introduce "Saving Charlie," an original novel based on the characters Hiro and Charlie created by Tim Kring. The story is scheduled for release in late 2007. Finally, Titan Publishing will launch the official Heroes magazine. A bi-monthly publication uniquely presented in comic book style, the magazine will lift the lid on the lives of the stars of the show, from the actors and actresses to the back room special effects experts.
In addition to the publishing program, Universal has named several top-tier partners to create product for release this fall and winter in the U.S. and Canada. Trading card manufacturer Topps has been tapped for a full line of trading cards featuring the Heroes characters and in-depth episodic coverage. The trading card packs will also include randomly inserted one-of-a-kind rare cards such as autographs, hand-drawn artist sketches and cards embedded with a piece of actual costume material worn on the show. WizKids Inc., a subsidiary of Topps and creator of the award-winning "Clix" Collectible Miniatures Game system, will be adding Heroes into their HeroClix line, which already includes characters from the DC, Marvel and Dark Horse universes. MeadWestvaco will introduce a 2008 calendar, and Scorpio Posters will add traditional wall posters to the merchandising mix. In addition, Changes will develop an officially licensed Heroes apparel line.
Premier collectibles maker, Mezco Toyz will be responsible for developing toys and specialty product including collectible action figures, dioramas and deluxe figures in a variety of scale sizes ranging from 3" to 18", all inspired by the characters and themes from the Heroes universe. Mezco's Heroes product will hit retail in early 2008.
Finally, Universal Pictures Digital Platforms Group and Ubisoft, one of the world's largest video game publishers, are partnering to create an interactive video game based on and inspired by the Heroes universe.
At San Diego International Comic-Con (July 26-29, 2007), fans can learn about the upcoming second season at the Heroes Screening and Panel taking place Saturday, July 28. Fans eager for more information on the forthcoming consumer products may visit NBC's Heroes-themed booth (#3912) or licensee booths including DC Comics (#1915), Mezco Toyz (#4145), Random House (#1135), Titan Publishing (#5437), Topps (#5536) and WizKids (#2743). In addition, Topps and NBC will be distributing new collectible Heroes promotional trading cards at their booths each day of the show while Tim Sale will be signing at the DC Comics booth on Friday, July 27 from 4:30 p.m. - 5:30 p.m. and Saturday, July 28, from 4:00 p.m. - 5:00 p.m. Random House will celebrate the announcement of its Heroes book by asking fans to help make 1,000 cranes at their booth by the end of the show. Random House will offer prizing for every 100th crane submitted.
Heroes, which airs domestically Mondays at 9:00 p.m. ET on NBC, racked up critical acclaim and became a fan favorite in its first season. Named one of Time magazine's 10 Best U.S. TV shows of 2006, the show scooped up eight Emmy® nominations, two Golden Globe® nominations and also received the 2007 People's Choice Award for Favorite New TV Drama. Season 2 of the series has been picked up by NBC for a full 2007-2008 order, launching Sept. 24, 2007.
On the international front, several licenses have been confirmed with product launching in late 2007. GBEye Limited will launch a series of posters in the UK while Trademark will handle apparel in that territory and Danilo Promotions Ltd. will develop 2008 calendars for both the UK and Ireland. In Italy, Edibas Srl. will unveil a series of calendars, stickers and photo albums later this year while partner ZigZag will launch posters in Germany during the same timeframe.
The Heroes television series has so far been licensed in nearly 150 international territories and began launching with great success in markets across the globe beginning in January 2007. In Australia, it premiered on the Seven network as the #1 program of the day among programs on all channels -- and produced the largest premiere audience in Australia since Lost and Desperate Housewives in 2005.
In the United Kingdom, Heroes delivered the largest audience ever in SCI FI UK's history and is gearing up for its launch on BBC Two this summer. In Spain, it delivered the #1 and #2 highest-rated telecasts in the history of SCI FI Spain, and also ranks as the #1 telecast so far in 2007 of any U.S. series on the FORTA regional channels Canal 2 (Andalusia), TV3 (Catalonia), Telemadrid (Madrid) and Canal 9 (Valencia). Heroes secured another #1 milestone in Singapore as the #1 program of the day on Star World versus all entertainment channels in the territory. Similar success was found in New Zealand, where the series was TV3's highest rated program of the entire week, and Latin America also saw significant time period wins in Brazil, Mexico, Chile and Colombia. Upcoming international premiere launches include Germany and Russia, with additional territories to be announced. Heroes is distributed outside of the U.S. and Canada by NBC Universal International Television Distribution.
Universal Studios Consumer Products Group is further developing the Heroes product line and is seeking licensing partners across a range of additional categories, including headwear, fashion bags and other accessories; fine art; games; collectible figures; novelty items; and more. New licensing partners will be announced by Universal in the near future.
SERIES SYNOPSIS
From creator/writer Tim Kring (NBC's "Crossing Jordan") comes the Emmy and Golden Globe nominated "Heroes," (Mondays 9-10 p.m. ET on NBC) an epic drama that chronicles the lives of ordinary people who discover they possess extraordinary abilities. In its first season, "Heroes" was honored with a People's Choice Award, an AFI Award, a Multicultural Prism Award and this year's TV Land Future Classic Award, as well as nominations at the Golden Globe Awards, NAACP Image Awards, WGA Awards and Satellite Awards.
As a total eclipse casts its shadow across the globe, a genetics professor (Sendhil Ramamurthy, "Blind Guy Driving") in India is led by his father's murder to uncover a secret theory -- there are people with super powers living among us. A young dreamer (Milo Ventimiglia, "Gilmore Girls") who tries to convince his politician brother (Adrian Pasdar, "Judging Amy") that he can fly. A high school cheerleader (Hayden Panettiere, "Ice Princess") learns that she is totally indestructible while trying to relate to her father (Jack Coleman, "Dynasty") who has a keen interest in people with special abilities. A Las Vegas single mother (Ali Larter, "Final Destination") struggles to make ends meet to support her young son (Noah Gray-Cabey, "My Wife & Kids") and discovers that her mirror image has a secret. A fugitive from justice (Leonard Roberts, "Buffy the Vampire Slayer") continues to baffle authorities who twice have been unable to contain him. A gifted artist (Santiago Cabrera, "Empire"), whose drug addiction is destroying his life and relationship with his girlfriend (Tawny Cypress, NBC's "Third Watch"), can paint the future. A down-on-his-luck Los Angeles beat cop (Greg Grunberg, "Alias") can hear people's thoughts, which puts him on the trail of an elusive serial killer. In Japan, a young man (Masi Oka, NBC's "Scrubs") develops a way to stop time through sheer will power. Their ultimate destiny is nothing less than saving the world.
Joining Kring as executive producer are Dennis Hammer (NBC's "Crossing Jordan"), Allan Arkush (NBC's "Crossing Jordan") and Greg Beeman ("Smallville"). The drama is produced by Universal Media Studios in association with Tailwind Productions.
About Universal Studios Consumer Products Group
Universal Studios Consumer Products Group is responsible for global licensing and retail strategies as well as building brand recognition of the extensive catalogue of NBC Universal properties. Universal Studios Consumer Products Group is a unit of NBC Universal, one of the world's leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. Formed in May 2004 through the combining of NBC and Vivendi Universal Entertainment, NBC Universal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, and world-renowned theme parks. NBC Universal is 80%-owned by General Electric, with 20% owned by Vivendi.
July 24
Cartoon Network’s Massively Multiplayer Online Game Unveils Playable Demo at Comic-Con 2007
Event-Goers to Get First Look at Cartoon Network Universe: FusionFall
FusionFall Producers and Designers Present Latest Information at Thursday Evening Panel
Producers and Designers Present Latest Information at Thursday Evening PanelComic-Con International 2007
Cartoon Network’s first massively multi-player online game (MMOG), Cartoon Network Universe: FusionFall, has its debut at Comic-Con 2007 in San Diego, beginning Wednesday, July 25. Scheduled for a summer 2008 release, the game will have playable demos at Cartoon Network’s booth on the Comic-Con show floor. In addition, a panel of FusionFall creators will provide an in-depth look at the game at Comic-Con on Thursday, July 26 at 5:00 p.m. (PT) in Room 3 of the San Diego Convention Center.
FusionFall is an MMOG set in a re-imagined Cartoon Network universe. As a kid in this world, players will team up with other players and Cartoon Network characters to defend it from an alien invasion of epic proportions. The game is a mix of all the action of a 3-D console platform game and all the customization, character development and open-ended world exploration of an MMORPG (massively multi-player online role-playing game). In addition, small, super-deformed versions of Cartoon Network characters are collected along the way and travel with players, providing powers and abilities to assist during missions.
is an MMOG set in a re-imagined Cartoon Network universe. As a kid in this world, players will team up with other players and Cartoon Network characters to defend it from an alien invasion of epic proportions. The game is a mix of all the action of a 3-D console platform game and all the customization, character development and open-ended world exploration of an MMORPG (massively multi-player online role-playing game). In addition, small, super-deformed versions of Cartoon Network characters are collected along the way and travel with players, providing powers and abilities to assist during missions.“We’re thrilled to present a first look at FusionFall at this year’s Comic-Con,” said Paul Condolora, senior vice president and general manager of Cartoon Network New Media. “Our current offering of online games continues to be the main driver of Cartoon Network New Media’s success, and we’ve surpassed 2 billion game plays annually for the past three years. FusionFall fulfills our goal of increasing the range of game play we offer, and we expect it to significantly expand our audience.”
“One of the things we’re most excited about in FusionFall is the game play,” said Chris Waldron, executive producer of FusionFall. “With our audience and Cartoon Network characters, we knew we wanted to create a new kind of MMOG and develop a game that takes all the great action of popular console games and merges it with all the elements of MMORPGs that are so enticing to players.”
The development of FusionFall is a first for the industry. Created through a partnership with leading Korean MMOG developer, Grigon Entertainment, the game brings Cartoon Network’s beloved characters and sensibility to the fast-growing online gaming realm with an “East-meets-West” creative approach. Grigon Entertainment is best known for successfully developing and launching several online games in Asia, including Seal Online, a light-hearted role-playing game (RPG) that took the online gaming world by surprise.
In addition to the playable demo and panel at Comic-Con, new information can be found at www.fusionfall.com, beginning Wednesday, July 25. News updates, images and game-play footage will be available and users will be able to sign up for the official newsletter and a chance to beta test the game.
About Grigon Entertainment
Grigon Entertainment, one of the most prominent developers in Korea, the world’s online game leader, is renowned for its depth of tradition and talent, and strongly believes and practices the ultimate goal of ‘Games have to be fun!’ Along with the successful launch of Seal Online, which caused sensations in six countries including China, Japan, Taiwan, Thailand, Indonesia and Korea, Grigon Entertainment has developed numerous titles for over eight years varying in all areas of genre (horror, racing, adventure, action, RPG) up to the charming fairytale-based QRing and casual tennis game, Gamebledon. Grigon Entertainment’s titles are highly rated and respected for their technical and design ingenuity, brilliantly incorporating the developers’ wit into the game, hence leading to the creation of “Grigon manias.”
About Cartoon Network New Media
Cartoon Network New Media is responsible for the production of Cartoon Network’s popular Web sites, which include CartoonNetwork.com and CartoonNetworkYa.com (the Spanish-language site for kids). CartoonNetwork.com is one of the most popular entertainment sites in the world for kids, attracting more than 6 million unique users each month (Nielsen NetRatings). Its top attraction is its roster of games, which drew more than 2 billion game plays in 2006.
In addition, Cartoon Network New Media is the creative force behind Cartoon Network’s video-on-demand offerings, interactive TV and mobile offerings, which include partnerships with such major carriers as Sprint, Cingular and Verizon.
About Cartoon Network
Cartoon Network (CartoonNetwork.com), currently seen in more than 91 million U.S. homes and 160 countries around the world, is Turner Broadcasting System, Inc.’s ad-supported cable service offering the best in original, acquired and classic animated entertainment for kids and families. Overnight from 11 p.m. to 6 a.m. Monday through Saturday and
10 p.m. to 6 a.m. Sunday (ET, PT), Cartoon Network shares its channel space with Adult Swim, a late-night destination showcasing original and acquired animation for young adults 18-34.
Turner Broadcasting System, Inc., a Time Warner company, is a major producer of news and entertainment product around the world and the leading provider of programming for the basic cable
July 23
Fox Atomic Announces Presence at San Diego Comic-Con 2007
-- Fox Atomic announced today its plans for the upcoming Comic-Con International Convention in San Diego, CA on July 26-29. The initiatives planned will include signings and giveaways on behalf of the Fox Atomic graphic novels The Nightmare Factory (retails 9/07), 28 Days Later: The Aftermath, and The Hills Have Eyes: The Beginning; an online sweepstakes to win the 1969 Ford Mustang from the film Death Sentence (8/31), starring Kevin Bacon, John Goodman, and Kelly Preston, and directed by James Wan (Saw); and a contest at the Fox Atomic booth where fans enter to win a Fender Stratocaster guitar signed by the cast of The Rocker, which stars Rainn Wilson and Christina Applegate.
On September 4, 2007, Fox Atomic Comics will release The Nightmare Factory, a compilation of short stories based on the work of horror writer Thomas Ligotti. The Nightmare Factory is the third graphic novel to be released by Fox Atomic Comics, the graphic novel publishing arm of the studio that enjoyed glowing reviews and exceptional sales for its debut book 28 Days Later: The Aftermath, written by horror master Steve Niles (30 Days of Night), as well as for their second novel The Hills Have Eyes: The Beginning, written by comics veterans Jimmy Palmiotti and Justin Gray. On hand at the booth throughout the day to discuss these novels will be artists Ben Templesmith, Ted McKeever, and Michael Gaydos, and writers Joe Harris and Stuart Moore (The Nightmare Factory); writer Steve Niles and cover artist Tim Bradstreet (28 Days Later: The Aftermath); and writers Jimmy Palmiotti and Justin Gray (The Hills Have Eyes: The Beginning).
On behalf of Fox Atomic's upcoming film Death Sentence (8/31), Kevin Bacon, Garrett Hedlund, and director James Wan (Saw) will be participating in a booth signing on Saturday, 7/28 at 3 PM. Fox Atomic will also launch an online sweepstakes to win the 1969 Ford Mustang from the film. The contest officially begins when the doors to Comic-Con open on Wednesday, 7/25. Fans can enter to win at the computer kiosks set up at the booth or at the official movie website, http://www.deathsentencemovie.com/, until opening day, 8/31. Moreover, Fox Atomic will release a limited edition poster of the film that will be exclusive to Comic-Con.
In anticipation of the forthcoming film The Rocker, starring Rainn Wilson, Christina Applegate, Josh Gad, Emma Stone, and Jeff Garlin, Fox Atomic will launch a contest at the booth where fans enter to win a Fender Stratocaster guitar signed by the cast. The contest commences when the doors to Comic-Con open on Wednesday, 7/25 and closes when the Convention ends on Sunday, 7/29.
About Fox Atomic
Fox Atomic is a culturally branded entertainment company providing theatrical movies and digital content targeting the 17-24 year old demographic. Their next release will be the sports comedy The Comebacks (October 26th). Atomic also houses a graphic novel division, with distribution through sister company HarperCollins. Their next graphic novel, "The Nightmare Factory," will be released on September 4th. "28 Days Later: The Aftermath," Atomic's first graphic novel, hit shelves on April 3rd. Shortly following was "The Hills Have Eyes: The Beginning" (July '07). Formed in 2006, this new entity of Fox Filmed Entertainment produces and acquires product spanning all media platforms, and various genres.
Source: Fox Atomic
Web site: http://www.foxatomic.com/
http://www.deathsentencemovie.com/
July 20
G4’S COMPREHENSIVE “COMIC-CON ’07 LIVE” DRAWING VIEWERS INSIDE LEGENDARY COMIC BOOK AND POP CULTURE CONVENTION
Exclusive Live Reports from Annual Celebration of Comics, Movies, TV and More Air July 26 and July 27
LOS ANGELES, July 20, 2007 – It isn’t gamma rays, space radiation or a spider’s bite that have turned the once mild-mannered Comic-Con into the ultimate pop culture event. Instead, a recent explosion in comic book popularity has transformed the annual gathering from a modest convention into one of the greatest fan experiences in the known universe. For the second year in a row, G4 will deliver the unique sights and sounds of Comic-Con with live reports that give viewers a first-hand look at this year’s event, including sneak peeks at the most eagerly anticipated films, comics and TV series, exclusive interviews, in-depth reviews and footage from around the jam-packed show floor. Two consecutive days of “Comic-Con ’07 Live” coverage begin Thursday, July 26 from 7 p.m. – 9 p.m. ET/PT, and continue Friday, July 27 from 7 p.m. – 9 p.m. ET/PT, only on G4.
With more than 100,000 attendees in 2006, attendance at this year’s convention is expected to break new records as hordes of eager fans unite in San Diego to experience the ultimate pop culture party. For the millions who can’t travel to the event or don’t make it into the sold-out convention, hosts Kevin Pereira and Olivia Munn will provide a complete Comic-Con overview that provides the scoop on everything from industry trends to the best (and worst) homemade costumes.
Extensive coverage of major presentations guarantees that viewers get an insider’s view of the entire event. “Comic-Con ’07 Live” will also include exclusive interviews with a wide array of celebrities and surprise special guests, including JJ Abrams, Rosario Dawson, Ridley Scott, Zack Snyder, Jessica Alba, Kate Beckinsale, Jon Favreau and “Superbad” stars Michael Cera, Jonah Hill, Christopher Pence and Seth Rogen.
In addition to all the on-air action, g4tv.com will deliver additional Comic-Con interviews, exclusive trailers, photos, news and reviews. Further interactive elements including Video Viewer Mail, live chat rooms and viewer voting will enable viewers to truly become a part of the Comic-Con action. G4’s “Comic-Con ’07 Live” online coverage is available at http://www.g4tv.com/comiccon2007/index.html.
About Comcast Entertainment Group
Based in Los Angeles , recently formed Comcast Entertainment Group operates E! Entertainment Television, the 24-hour network with programming dedicated to the world of entertainment, and E! Online; The Style Network, the destination for women 18-49 with a passion for the best in relatable and inspiring lifestyle programming; and G4 offering the last word on gaming, technology, animation, interactivity, and "Internet culture" for the male 18-34 demo. E! is currently available to more than 90 million cable and direct broadcast satellite subscribers in the United States . In 2006, E! launched the E! Everywhere initiative underscoring the company's dedication to making E! content available on all new media platforms any time and anywhere -- from online to broadband at The Vine @E!Online to wireless to satellite radio to VOD. The Style Network currently counts 57 million cable and satellite subscribers and G4, the #1 podcasted cable network in America , is available in 63 million cable and satellite homes nationwide
October 11
www.montebubbles.net for more entertainment news
KB Toys Announces Hot Holiday Toy List for 2007
Shining Stars, Hannah Montana, and Baby Genius top the List
PITTSFIELD, Mass., Oct. 11 KB Toys, the nation's largest mall-based specialty toy retailer, today announced its annual Hot Holiday Toy List for 2007, featuring a wide selection of the season's "must have" toys that will delight children and parents alike. Featured toys are available this holiday season at KB Toys stores nationwide, and include toys that laugh, dance, race and are most importantly, fun!
"We are really excited about this year's toy offerings. Some of the big trends are television and film-inspired merchandise and the new line of fun and educational toys from Baby Genius," said Andy Bailen, CEO of KB Toys.
KB Toys has trained its staff and hired additional seasonal sales help to assist busy shoppers find just the right gift. KB Toys closely follows the hottest trends to offer the most popular toys, and new this year is an exciting collection of "Super Value" toys at great low prices.
"Our new Super Values program has been a clear hit for customers," adds Bailen. "These toys offer exceptional value and with hundreds to choose from and new arrivals every week, it's no surprise that this collection has really taken off."
Plus KB Toys Gift Cards are available featuring popular characters such as Dora The Explorer and Hot Wheels. These are perfect for the gift giver that knows a child's favorite character or interest but not a specific toy he or she wants.
KB Toys HOT HOLIDAY Toy List FOR 2007 (alphabetical)
7' x 7' Bounce House Ages 3 & Up Radco, LTD
Baby Genius Preschool Toys Ages 6 months & Up Creative
Innovations
& Sourcing
Grand Canyon Express R/C Ages 4 & Up EZ Tec Radio
Train Set Control
Hannah Montana Dolls & Ages 6 & Up Mattel(R)
Accessories
Hot Wheels Turbo Town Garage Ages 3 & Up Mattel(R)
Lightning McQueen R/C Vehicle Ages 3 & Up Mattel(R)
Shining Stars Ages 3 & Up Russ(R)
Turbo Twister R/C Somersault Car Ages 5 & Up Simbable
International
We Did It Dancing 12" Dora Ages 2 & Up Fisher-Price (R)
WWE 6" Figures Ages 8 & Up Jakks Pacific(R)
KB Toys has your holiday shopping list covered with a range of toys to suit children of all ages!
Ages 6 Months & Up
Baby Genius Preschool Toys
With Baby Genius ... Music Makes a Difference! Baby Genius is the premier
musical edu-tainment brand for infants & toddlers, offering child-
friendly, quality content with play patterns that nurture & stimulate.
Ages 6 months & up.
Manufacturer: Creative Innovations & Sourcing
Ages 2 & Up
We Did It Dancing 12" Dora -- A KB Exclusive Super Value
Dora talks in English & Spanish & dances! Ages 2 & up.
Manufacturer: Fisher-Price
Ages 3 & Up
7'x7' Bounce House
Perfect for indoor & outdoor fun. Self inflates in minutes. Features
continuous air-flow. Ages 3 & up.
Manufacturer: Radco, LTD
Lightning McQueen Remote Control Vehicle - A KB Exclusive Super Value
Easy to steer star of the movie Cars! Approx. 10" long. Batteries sold
separately. Ages 3 & up.
Manufacturer: Mattel
Hot Wheels Turbo Town Garage -- A KB Exclusive Super Value
Multi-level service garage playset with working elevator. Includes one Hot
Wheels vehicle. Ages 3 & up. Additional vehicles sold separately.
Manufacturer: Mattel
Ages 4 & Up
Radio Control Grand Canyon Express Train Set
G-gauge train set features wireless remote controller & authentic sound
effects. Track layout measures over 20 feet. Batteries sold separately.
Ages 4 & up.
Manufacturer: EZ Tec Radio Control
Ages 5 & Up
Turbo Twister Radio Control Somersault Car
Radio control stunt car does it all -- super flipping stunts, spins &
more. Features light-up wheels. Batteries sold separately. Ages 5 & up.
Manufacturer: Simbable International Industries Limited
Ages 6 & Up
Hannah Montana Dolls & Accessories
Rock out with the hottest Hannah Montana toys around! Ages 6 & up.
Manufacturer: Play Along
Ages 8 & Up
WWE 6" Figures
Ultra-realistic sculpt, design & battling accessories. Styles may vary.
Ages 8 & up.
Manufacturer: Jakks Pacific
About KB Toys
KB Toys, Inc. is the nation's largest mall-based specialty toy retailer, operating more than 560 stores across America, the American Territory of Guam and the commonwealth of Puerto Rico. Headquartered in Pittsfield, Mass., the privately-held company has been delighting children and parents alike with the fun of toys for more than 80 years.
Photo: http://www.newscom.com/cgi-bin/prnh/20071011/NETH010LOGO
Source: KB Toys
Web site: http://www.kbtoys.com/
August 14
“Lonesome”Meets Alloy Orchestra at Academy
Beverly Hills, CA — Rediscovered masterpiece “Lonesome,” an early “partial talkie” from 1928, will be accompanied by the Alloy Orchestra in a presentation by the Academy of Motion Picture Arts and Sciences on Friday, September 14, at 8 p.m. at the Samuel Goldwyn Theater in Beverly Hills.
“Lonesome” is director Paul Fejos’s portrayal of the frenzy of life and the loss of new love over the course of one day in the “big city,” New York. The film’s stunning views of Coney Island and other Gotham locations will be shown to full advantage in the newly tinted print to be screened courtesy of the George Eastman House and Universal.
The Alloy Orchestra, whose original score for “Lonesome” premiered alongside the restored print at the 1994 Telluride Film Festival, is noted for its combination of traditional and invented instruments. The three-man musical ensemble, under the direction of Ken Winokur, frequently uses electronic synthesizers alongside such outrageous objects as musical saws and toilet seats – part of its “rack of junk” – to create its renowned silent film scores.
Tickets to “Lonesome” are $5 for the general public and $3 for Academy members. They may be purchased by mail or at the Academy box office during regular business hours. Tickets also may be purchased online at www.oscars.org/events until noon PDT on the day of the event. There are no minimum order requirements and no transaction or processing fees.
Doors will open at 7 p.m. Seating is on a first-come, first-served basis. The Samuel Goldwyn Theater is located at 8949 Wilshire Boulevard in Beverly Hills. For additional information, call (310) 247-3600.
August 13
INFINITY STUDIOS, LLC ONLINE STORE TO STOCK HIGH END PVC FIGURINES High Quality PVC Figurines Available For Purchase RICHMOND, CA August 13, 2007 Infinity Studios, LLC announced today that the official company¹s online store will be a direct distributor for the world re-known lines of Kotobukiya Anime and Manga PVC figurines. More information can be found on the company¹s website at http://www.infinitystudios.com. In addition to the company¹s highly rated graphic novel titles, Infinity Studios, LLC will also offer all Kotobukiya high-end toys and collectibles in the Anime/Manga category. Kotobukiya Collectible PVC figurines include licenses from popoular manga/anime titles such as BRAVE STORY, SHUNYA YAMASHITA, MY HIME, FATE, TO HEART. PIA CARROT GO, NEONE GENESIS EVANGELION and PLEASE TWINS. Discussions on this or any Infinity Studios, LLC series/titles/products can be found on online in the forum area of the Infinity Studios, LLC website located at www.infinitystudios.com <http://www.infinitystudios.com> . About Infinity Studios, LLC Headquartered in Richmond, California, Infinity Studios, LLC is a leading worldwide developer and publisher of Asian Graphic Novels. Founded in 2004, Infinity Studios, LLC maintains operations in the U.S., Japan and Korea. More information about Infinity Studios, LLC and its products can be found on the company¹s World Wide Web site, which is located at www.infinitystudios.com <http://www.infinitystudios.com/> . The statements made in this press release that are not historical facts are "forward-looking statements." These forward-looking statements are based on current expectations and assumptions that are subject to risks and uncertainties. The Company cautions readers of this press release that a number of important factors could cause Infinity Studio, LLC¹s actual future results to differ materially from those expressed in any such forward-looking statements. Such factors include, without limitation, product delays, retail acceptance of our products, industry competition, rapid changes in technology and industry standards, protection of proprietary rights, maintenance of relationships with key personnel, vendors and third-party developers, international economic and political conditions, integration of recently acquired subsidiaries and identification of suitable future acquisition opportunities. The Company may change its intention, belief or expectation, at any time and without notice, based upon any changes in such factors, in the Company's assumptions or otherwise. The Company undertakes no obligation to release publicly any revisions to any forward-looking statements to reflect events or circumstances after the date hereof or to reflect the occurrence of unanticipated events.
DAN RATHER REPORTS” to Present Conclusive Evidence of Voting Machine Failures
Screener Clip of Controversial Findings Now Available for Download
What: This Tuesday, DAN RATHER REPORTS presents conclusive evidence of the failure of touch screen voting machines across the country. The episode, “The Trouble with Touch Screens”, is an entire hour devoted to new information on this story. From scientists involved in testing the equipment, to manufacturers in third world countries who shipped these defective voting machines to the United States DAN RATHER REPORTS will present new information showing that these defective machines may have altered the outcome of multiple elections.
A screener clip from this controversial episode is now available at the following link: http://video.google.com/videoplay?docid=-1826549866685179676&hl=en
When: Dan Rather Reports “The Trouble with Touch Screens” will air Tuesday, August 14 at 8:00 p.m. ET. The program also airs at 11:00 p.m. ET to accommodate west coast prime time.
Dan Rather Reports “The Trouble with Touch Screens” will air Tuesday, August 14 at 8:00 p.m. ET. The program also airs at 11:00 p.m. ET to accommodate west coast prime time.About HDNet
HDNet (www.hd.net) provides viewers with the best in original comedy, drama, news, sports and music programming.
HDNet is your exclusive, high definition home for popular, critically acclaimed original programming, including television’s only HD news feature programs “HDNet World Report”, “Dan Rather Reports” featuring legendary journalist Dan Rather and “NASA on HDNet” (presenting live shuttle launches through 2010). HDNet presents championship sports coverage featuring the National Hockey League, Major League Soccer, NASCAR Grand National Division, NASCAR NEXTEL Cup re-broadcasts, boxing and Mixed Martial Arts; groundbreaking music programming with the HDNet Concert Series featuring leading artists and bands including U2, Black Eyed Peas, Gwen Stefani and more, plus original music programs “Sound Off with Matt Pinfield”, and “True Music w/Katie Daryl”; entertaining interview shows including “Face 2 Face with Roy Firestone” and “Higher Definition”, in addition to fun and irreverent lifestyle programming including “Geek to Freak with Dennis Rodman”, “Deadline!”, “Art Mann Presents”, and “Get Out!” HDNet is also the exclusive high definition home to the critically acclaimed and award winning programs such as the Emmy Award winning “Arrested Development”, “The Black Donnellys”, “Blade: The Series”, “Star Trek: Enterprise”, “Dead Like Me”, “Smallville”, “Joan of Arcadia”, “Boomtown” and “Andy Richter Controls the Universe”.
HDNet Movies also features a wide selection of major studio theatrical releases – all uncut, unedited, and appearing in their original aspect ratio so that HDNet Movies viewers get the best possible home theater experience.
Only HDNet Movies exclusive “Sneak Previews” bring feature films to viewers before they premiere in theaters! Some of the HDNet Movies “Sneak Previews” have included the Academy Award nominated “Enron: The Smartest Guys in the Room”, Toronto Film Festival nominee “The War Within”, and “Bubble”, the first of six movies by acclaimed director Steven Soderbergh and produced exclusively for HDNet Films and, most recently, “Broken English”, from Zoe Cassavetes, starring Gena Rowlands, Parker Posey, Drea de Matteo and Griffin Dunne. Upcoming Sneak Previews include “Quid Pro Quo”, starring Nick Stahl and Vera Farmiga, “Hunter”, the story of the life and death of infamous gonzo journalist Hunter S. Thompson from director Alex Gibney and producer Graydon Carter, “Cashback”, written and produced by Sean Ellis, “Flawless”, starring Michael Caine and Demi Moore, and ”Closing Escrow”, a real estate mockumentary featuring April Barnett and Allen Friedman.
Launched in 2001 by Mark Cuban and General Manager Philip Garvin, the HDNet networks are available on AT&T, Bright House Networks, Charter Communications, DIRECTV, DISH Network, Insight, Mediacom, Time Warner Cable, Verizon and more than 40 NCTC cable affiliate companies. For more information visit www.hd.net.
Contacts
MTVN's NOGGIN and The N Channels to Split into Two Separate 24-Hour Services, Dec. 31, '07
NOGGIN to Become 24-Hour Commercial-Free Preschool Service
The N to Become First 24-Hour Tween/Teen Channel, Will Feature 'TEENick' Programming During Day and The N's Content at Night
The N Adds to Hit Schedule with New Original and Acquired Programming for Fall and Winter
NEW YORK, Aug. 13 /PRNewswire/ -- As part of MTV Networks' (MTVN) niche programming strategy to super-serve targeted audiences, the award-winning NOGGIN and The N, the two Nickelodeon and MTVN Kids and Family Group brands that currently share space on a single channel, will be separated into two 24- hour services beginning Dec. 31, '07, it was announced today by Cyma Zarghami, President, Nickelodeon and MTVN Kids and Family Group. NOGGIN and The N will be carried by all cable operators, DirecTV, AT&T U-verse and Verizon FiOS.
"Having NOGGIN and The N as two separate channels alongside our Nicktoons network gives our core audiences of preschoolers, kids 6-11 and tweens/teens their own dedicated 24-hour services, as well as more places for us to cultivate and develop future hits," Zarghami said. "Making these highly valued channels separate and distinct will also provide us with the opportunity to explore serving audiences adjacent to these demos, and will provide demo- specific home bases for our vast programming library."
"Splitting these channels into two 24-hour services provides MTV Networks and our partners with wonderful growth opportunities to further reach and serve our audiences," said Denise Dahldorf, Executive Vice President, MTVN Content Distribution and Marketing. "The demos that NOGGIN and The N serve are important drivers with VOD, broadband and interactive applications, which adds to these brands' already incredible value."
On Dec. 31, commercial-free preschool channel NOGGIN will expand to 24- hours, as will ad-supported The N, which will serve tweens and teens with programming from Nickelodeon's popular TEENick block during the day and continue as The N at night. The N will move into the transponder currently occupied by the Nick Games and Sports channel (GAS), which will evolve into a new broadband service for TurboNick.
NOGGIN, with its mission to be a place where preschoolers gain key curricular knowledge through interactivity and narrative, features a schedule of original programming like Jack's Big Music Show, Oobi and The Upside Down Show, as well as hit shows including Franklin, Max & Ruby, Little Bear, Pinky Dinky Doo, and Wow! Wow! Wubbzy! NOGGIN also offers Nick Jr. favorites like Dora the Explorer, Go, Diego, Go!, The Wonder Pets!, Blue's Clues and The Backyardigans.
For The N's move to 24 hours, its featured hit TEENick programming in the day will include Drake and Josh, The Amanda Show, All That and The Nick Cannon Show, among others. Programming at night from The N will include its current stable of hits including Degrassi: The Next Generation, Beyond the Break and South of Nowhere, as well as brand-new programming just greenlighted.
Some of the new, forthcoming programming for The N includes brand-new seasons of Degrassi (October 2008), Instant Star (February 2008) and the return of South of Nowhere (February 2008) in addition to the following four new original series:
-- About A Girl, The N's first-ever scripted comedy series, is a 13-
episode college-based show written in LA and shot on location in
Vancouver, premiering Friday, Oct. 5, 2007. The comedy, produced by
Brightlight Productions Inc., chronicles Amy Ryan (Chiara Zanni, Good
Luck Chuck), a college sophomore whose campus dorm turns out to be more
of a dud than a dream, and she finds herself in need of a new address.
Effectively homeless, she quickly bunks up with not one, but four male
roommates in an off-campus house where everyday courtesies such as
hygiene and privacy are about to go out the window;
-- Interns (working title), a new half-hour scripted comedy from creators
Will McRobb & Chris Viscardi (The Adventures of Pete & Pete), and
produced by The Tom Lynch Company, the creators of The N's South of
Nowhere. Interns begins production in Vancouver in August and is
scheduled to premiere in 2008;
-- Gigantic (working title) Did you ever wonder what a silver spoon tastes
like? This half-hour dramedy co-created by cult filmmaker Ben
Wolfinsohn (High School Record) and Debby Wolfinsohn takes a fictional
inside look at the chaotic, hilarious, entitled and often trying lives
of the teen kids growing up in the shadow of Hollywood's mega stars.
Gigantic is scheduled to premiere in 2008;
-- Queen Bees (working title) is an eight-episode reality series produced
by Endemol USA that brings a group of teen "Queen Bees" together to
live under one roof. We all knew them growing up. From the girl who
is nice to you one minute but completely cruel the next, to the know-
it-all who tries to be the center of attention and thinks she's better
than everyone else, to the girl who'll steal your guy while you watch
in horror. Each episode will focus on a different Queen Bee trait to
see who is really the leader of this hive. Through a series of
outrageous challenges filled with temptations, these Queen Bees will be
forced to reveal their true selves. Queen Bees is scheduled to
premiere in 2008;
-- The Degrassi Spring Break Movie, the network's first Degrassi TV movie,
scheduled to premiere in April 2008, will feature the cast from
Degrassi Community High as they take their first college road trip;
-- The N also has acquired the hit That '70s Show (June 2008), which will
join the recently added Laguna Beach (45 eps) and The Hills (23 eps).
About Nickelodeon
Nickelodeon, in its 28th year, is the number-one entertainment brand for kids. It has built a diverse, global business by putting kids first in everything it does. The company includes television programming and production in the United States and around the world, plus consumer products, online, recreation, books, magazines and feature films. Nickelodeon's U.S. television network is seen in almost 94 million households and has been the number-one-rated basic cable network for 13 consecutive years. Nickelodeon and all related titles, characters and logos are trademarks of Viacom Inc. (NYSE:VIA) (NYSE:VIA.B) .
About MTV Networks and Viacom
MTV Networks, a unit of Viacom (NYSE:VIA) (NYSE:VIA.B) , is one of the world's leading creators of programming and content across all media platforms. MTV Networks, with 137 channels worldwide, owns and operates the following television programming services - MTV: MUSIC TELEVISION, MTV2, VH1, mtvU, NICKELODEON, NICK at NITE, COMEDY CENTRAL, TV LAND, SPIKE TV, CMT, NOGGIN/THE N, VH1 CLASSIC, LOGO, MTVN INTERNATIONAL and THE DIGITAL SUITE FROM MTV NETWORKS, a package of 13 digital services, all of these networks trademarks of MTV Networks. MTV Networks connects with its audiences through its robust consumer products businesses and its more than 200 interactive properties worldwide, including online, broadband, wireless and interactive television services and also has licensing agreements, joint ventures, and syndication deals whereby all of its programming services can be seen worldwide.
Viacom is a leading global entertainment content company, with prominent and respected brands. Engaging its audiences through television, motion pictures and digital platforms, Viacom seeks to reach its audiences however they consume content. Viacom's leading brands include the multiplatform properties of MTV Networks, including MTV: Music Television, VH1, CMT: Country Music Television, Logo, Nickelodeon, Nick at Nite, COMEDY CENTRAL, Spike TV, TV Land, and more than 130 networks around the world, as well as digital assets such as MTV.com, comedycentral.com, VSPOT, TurboNick, Neopets, Xfire and iFilm; BET Networks; Paramount Pictures; DreamWorks; and Famous Music. More information about Viacom and its businesses is available at http://www.viacom.com/.
Source: Nickelodeon
Web site: http://www.nick.com/
http://www.viacom.com/
COMEDY CENTRAL(R) Cleans Up Its Act and Starts To Address The Mess With Pro-Social Initiative Geared To Reducing Waste and Reviving The Planet
Network To Launch Public Service Announcements, a Comprehensive Digital Media Site, Recycling Components Of Its COMEDY CENTRAL Live Stand-up Tours and Produce First Carbon Neutral "Roast"
First Stage Of Campaign To Focus On E-Ware Recycling, Proper Waste Disposal and Fossil Fuel Emissions
Will Partner With Experts Including The Natural Resources Defense Council, Earth 911 And GreenDimes To Educate And Provide Real, Tactical Ways To Take Action
NEW YORK, Aug. 13 /PRNewswire/ -- Now that Pluto is gone as a back-up, COMEDY CENTRAL is poised to step up and Address the Mess. The network has launched a new pro-social campaign committed to showing viewers easy ways to reduce waste, improve their lives and help revive the planet, it was announced today by Michele Ganeless, executive vice president and general manager for COMEDY CENTRAL, part of Viacom's (NYSE:VIA) (NYSE:and) (NYSE:VIA.B) MTV Networks.
The first phase of Address the Mess features a Public Service Announcement (PSA) campaign designed to introduce the initiative and prompt a call-to- action to visit AddressTheMess.com (www.addressthemess.com) , an engaging, interactive and educational Web site that will inform visitors on a variety of environmental issues and provide links to partner sites such as the Natural Resources Defense Council, Earth 911 and GreenDimes that offer specific information about what people can do and how they can effect change by providing real, tactical ways to take action.
"Address the Mess takes on a critical issue at a critical time with a flexible and far-reaching approach," said Ganeless. "The Address the Mess message will extend across multiple COMEDY CENTRAL platforms and will support people looking to make a difference not just on the national and global scale, but on an individual level and in their own communities."
"A lot of people in the COMEDY CENTRAL audience want to do their part; they just aren't sure where to begin. We want to help them find that starting point and inspire and move others to act as well," said Kelleigh Dulany, vice president, public responsibility, COMEDY CENTRAL and Spike TV. "Environment concerns are especially relevant to our audience and we've made the message of this initiative accessible to them by putting it in the unique COMEDY CENTRAL voice. We can be direct and concise without appearing pushy or preachy."
Address the Mess aims to help individuals identify their own carbon footprint and offer information on how to reduce it. Visitors to AddressTheMess.com will be invited to take a quiz to determine how large or small of an impact their footprint makes. Specific area of focus will be education on proper trash disposal of household items, motor oil and e-ware (COMEDY CENTRAL's audience has one of the largest concentration of early- adopters to the latest and greatest gadgets -- what's the best way to dispose of that six-month old cell phone they now consider hopelessly outdated?), as well as ways to reduce the amount of junk mail cluttering mailboxes and claiming trees. Also on a personal and local level, Address the Mess will encourage action with community clean-up projects and the revitalization of neighborhoods and historic venues.
Along with its presence on-air and online, COMEDY CENTRAL will spread the message of Address the Mess through the network's successful COMEDY CENTRAL Live stand-up tours, beginning with a college tour this fall which will include student involvement in recycling drives. The network is also in discussions with its national advertising and affiliate partners to build the reach and impact of the initiative (details to be announced at a later date). COMEDY CENTRAL has previously announced that, with the help of NativeEnergy, a national marketer of carbon offsets and renewable energy credits (RECs), this year's "COMEDY CENTRAL Roast of Flavor Flav" was the network's first-ever carbon neutral production.
COMEDY CENTRAL, the only all-comedy network, currently is seen in more than 91 million homes nationwide. COMEDY CENTRAL is owned by, and is a registered trademark of, Comedy Partners, a wholly-owned division of VIACOM Inc.'s (NYSE:VIA) (NYSE:and) (NYSE:VIA.B) MTV Networks. COMEDY CENTRAL's Internet address is www.comedycentral.com. For up-to-the-minute and archival press information and photographs visit Press Central, COMEDY CENTRAL's press web site at www.comedycentral.com/press.
MTV Networks, a unit of Viacom (NYSE:VIA) (NYSE:VIA.B) , is one of the world's leading creators of programming and content across all media platforms. MTV Networks, with 137 channels worldwide, owns and operates the following television programming services - MTV: MUSIC TELEVISION, MTV2, VH1, mtvU, NICKELODEON, NICK at NITE, COMEDY CENTRAL, TV LAND, SPIKE TV, CMT, NOGGIN/THE N, VH1 CLASSIC, LOGO, MTVN INTERNATIONAL and THE DIGITAL SUITE FROM MTV NETWORKS, a package of 13 digital services, all of these networks trademarks of MTV Networks. MTV Networks connects with its audiences through its robust consumer products businesses and its more than 200 interactive properties worldwide, including online, broadband, wireless and interactive television services and also has licensing agreements, joint ventures, and syndication deals whereby all of its programming services can be seen worldwide.
Source: COMEDY CENTRAL
Web site: http://www.comedycentral.com/
http://www.addressthemess.com/
Christopher Cain's 'September Dawn,' Starring Jon Voight and Terence Stamp, About 1857 Mountain Meadows Massacre, Opens Nationwide Aug. 24, 2007
Highlighted Links |
Christopher Cain's film "September Dawn" that stars Jon Voight as a zealot Mormon bishop and Terence Stamp as Brigham Young and chronicles the controversial real-life 1857 massacre by Mormons of 120 men, women and children traveling through Utah in a wagon train from Arkansas to California, will open theatrically in 800 to 1,000 theaters on August 24, 2007. "September Dawn" will open this month as one of the most anticipated films of the year at a time when issues of Mormonism are in heightened areas of the news.
Although occurring 150 years ago, "September Dawn" graphically dramatizes a tragedy about religious fanaticism that resonates strongly today. The film costars Trent Ford, Tamara Hope, Lolita Davidovich, Dean Cain, Jon Gries, Taylor Handley, Huntley Ritter, Krisinda Cain and Shaun Johnston. The film that includes a Romeo & Juliet relationship love story is being released through Black Diamond Pictures in association with Slowhand Cinema Releasing.
The Mountain Meadows Massacre, as it is known, occurred on September 11, 1857, and was the first known act of religious terrorism on U.S. soil. A group of Mormons, many disguised as Paiute Indians, slaughtered all but 17 small children on a wagon train on its way to California. One man, the adopted son of Mormon leader Brigham Young, was eventually executed for the crime -- 20 years after the event. The film is deemed controversial because it presents a point of view held strongly by hundreds of direct descendants of the massacre: that the iconic Brigham Young had complicity in the massacre, a view denied by the Mormon Church, even today.
Cain says he was drawn to the project because "it so closely resembles the religious fanaticism the world is seeing today. People were killed in the name of God 150 years ago and they're still being killed in the name of God."
Excerpts of initial reviews herald the film as follows:
"Stunning... shocking... powerful. Jon Voight gives a compelling performance." -- Jeffrey Lyons, NBC & Reel Talk
"Gripping and fascinating... a pulse-pounding experience that is bound to create waves of controversy." -- Pete Hammond, Maxim
"A shocking piece of history about a particularly vicious religious war fought right here on American soil... told with artistry, conviction, power, and entertainment value. It opens your eyes and packs a wallop!" -- Rex Reed, The New York Observer
"Bound to incite controversy... a stirring drama with a timely, pertinent message." -- Susan Granger, SSG Syndicate
"Paints an incendiary portrait... of a paranoid religion." -- Stephen Schaeffer, Boston Herald
The trailer for the film narrates the following message:
"On September 11, 1857, in an unspoiled valley of the Utah territory -- and in the name of God -- 120 men, women and children were savagely murdered. Who ordered the massacre, and why, has been hidden in a cloak of secrecy and conspiracy. And the reputation of one of this nation's mightiest religious figures has been preserved and protected. Until Now."
Cain ("Young Guns") also co-wrote and produced "September Dawn." The film was produced by Scott Duthie and Kevin Matossian, and co-written by Carole Whang Schutter. Michael Feinberg, Patrick Imeson and Wendy Hill-Tout were executive producers. Handling U.S. and international distribution for "September Dawn" is Marty Zeidman. The film is MPAA rated "R" and has a running time of 110 minutes. The trailer and other information is available on the website, www.septemberdawn.net
ASCAP Tops 300,000 Members
Milestone Underscores Diversity and Growth of World's Leading Performing Rights Organization
From Irving Berlin to Beyoncé, George Gershwin to Green Day, Henry Mancini to Joan Sebastian, Duke Ellington to Hans Zimmer, the American Society of Composers, Authors and Publishers (ASCAP), the first and leading performing rights organization, has long been driven by the talent and vision of its music creator members. Today, ASCAP announced a new milestone: the number of songwriters, composers and music publishers to join the Society has now surpassed 300,000, providing the voice of the music creator with increasing strength and influence in the future of the music industry.
With reported record revenues of $785 million and royalty payments of $680 million for 2006, as well as an all-time low operating expense ratio of 12.0 percent, ASCAP emphasizes that its membership is the focal point of the organization. Founded in 1914, ASCAP is the only U.S. performing rights organization created and controlled by composers, songwriters and music publishers, with a Board of Directors elected by and from the membership. During its 93-year history, ASCAP has developed a robust membership. In 2006 alone ASCAP elected over 40,000 new members.
"Today, the range of media, delivery systems and venues for performances of music is vast and expanding," said ASCAP CEO John LoFrumento. "Music is everywhere and the fact that the public wants to discover new music and listen to music all the time, wherever they are and whatever they are doing, attests to music's popularity and importance. Music creators are joining ASCAP in record numbers because, in the face of such great change in the music industry, they see the value in a member-run organization whose sole interest is in protecting their rights and cultivating their careers."
Reflecting the continuing evolution of the musical spectrum, ASCAP's repertory of over 8.5 million songs represents all genres of music. And, with ASCAP membership now growing by over 700 music creators a week, to celebrate the 300,000th member milestone, ASCAP presents the profiles of new members that are typical of today's ASCAP: up-and-coming pop/rock bands The Amaury and The Undeserving; established bluegrass family band Cherryholmes, teenage rap phenomenon Lil' Mama; award-winning television composers Jeff Lippencott and Mark T. Williams; and legendary Regional Mexican music icon Ramon Ayala. Cherryholmes, Ayala, Lippencott and Williams switched from another performing rights society to join ASCAP, further emphasizing ASCAP's leadership and the advantages of member-ownership. To view profiles of these new members and check out their music, please visit http://www.ascap.com/playback/2007/summer/new_members/.
As music creators pursue their goals in the industry and make their living writing music, many join ASCAP to leverage the organization's wide range of customized member benefits. Some of the value-added benefits ASCAP has created for its members include: MusicPro Insurance®, which provides affordable insurance for music professionals; Mediaguide, a state-of-the-art music tracking service; and the annual ASCAP "I Create Music" EXPO which helps attendees obtain the knowledge, tools and contacts to maximize their success and inspire their work. ASCAP also offers a wide variety of retail, travel and association discounts. For more information about ASCAP or how to become a member, please visit http://www.ascap.com
About ASCAP
Established in 1914, ASCAP (American Society of Composers, Authors and Publishers) is the first and leading U.S. Performing Rights Organization representing the world's largest repertory totaling over 8.5 million copyrighted musical works of every style and genre from more than 300,000 songwriter, composer and music publisher members. ASCAP also represents the repertories created by the international affiliates of 90 foreign performing rights organizations. ASCAP protects the rights of its members and foreign affiliates by licensing the public performances of their copyrighted works and distributing royalties based upon surveyed performances. ASCAP is the only American Performing Rights Organization owned and governed by its writer and publisher members. www.ascap.com
Applications for the 2008 JCK Show ~ Las Vegas Design Center Are Now Being Accepted
- JCK Events are searching for jewelry designers to participate in the 2008 Design Center at the JCK Show ~ Las Vegas. The Design Center will provide a warm, inviting environment for a small selection of designer-owned companies with similar artistic product and marketing missions; as well as offer retail buyers an organized and varied assortment of designer jewelry expertise and products from all facets of the design jewelry world.
To participate in the Design Center, companies must complete the 2008 Design Center Application and return it with six (6) digital images and any support materials (press kit, photos, marketing materials, and catalogs). Applications can be found online at www.jckshows.com. The deadline for submission is October 12, 2007.
Once all applications have been received they will be reviewed by a jury of industry members including designers, retailers and other trade representatives who have experience in evaluating the design of fine jewelry. Overall appearance, originality, and salability are what will be taken into consideration. Following the jury, all available booths will be assigned based on the results of the jury tally. This year's Jury will take place in November 2007 and results will be announced the first week in December. Applicants will be contacted within two weeks following the jury tally.
In addition, the Jury will also choose The Rising Stars, which offers several designers the chance to make their debut in the fine jewelry market.
The 17th Annual JCK Show ~ Las Vegas will run Friday, May 30 through Tuesday, June 3, 2008 at the Sands Expo Center/Venetian Resort Hotel Casino. JCK Events are produced by JCK, the leading producer of trade events in the fine jewelry industry and include JCK Toronto: August 12-14, 2007 in the Metro Toronto Convention Centre in Ontario, Canada; the 6th Annual Swiss Watch by JCK: May 30 through June 3, 2008 at the Venetian Resort Hotel Casino; the 9th Annual LUXURY by JCK and the 2nd Annual PREMIERE: May 27 -29, 2008 at the Venetian Resort Hotel Casino; and JCK New Delhi: July 4-6, 2008 at the Pragati Maidan Exhibition Centre in India. For more information on any of JCK Events, please visit us at www.jckshows.com