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ABOUT THE PRODUCTION |
| This
page was created on October 2, 2004
This page was last updated on
December 28, 2004
—Overview
—Review
by Kevin Miller
—Trailers, Photos
—About this Film
—Spiritual Connections |
| ABOUT
THIS FILM |
|
"LADDER
49"
Production Information
What does it take to be the man who runs headlong into a burning building
when everyone else is trying to get out? LADDER 49 is a moving look
at how extraordinary heroes emerge out of ordinary lives, relationships
and dreams. Set against a busy Baltimore engine company, the film
peers into the private world of a typical urban firehouse and exposes
the often hidden human element that lies behind the familiar headlines
of firefighters battling furious blazes. It does so by probing one
emblematic fireman's story - from his gonzo drive to join the brotherhood
of firefighters and his first encounter with the woman who will become
the love of his life; to the harrowing shifts that keep him from home,
the conflicting emotions that grip him as he starts a family and the
bold rescues that are the job's true reward. A starkly intimate homage
to the everyday sacrifices of firefighters, LADDER 49 also reveals
that behind every person who selflessly saves lives are many others
who make it possible. LADDER 49 enters the life of devoted firefighter
Jack Morrison (JOAQUIN PHOENIX) as it hangs in the balance. In his
zeal to help rescue a trapped civilian, Jack has been swallowed deep
inside a warehouse now transformed into a furnace of snarling flames,
impenetrable black smoke and collapsing debris. Cut off from all help,
Jack fights for survival, while outside his mentor and Fire Chief,
Mike Kennedy (JOHN TRAVOLTA), battles to get his best friend out alive.
As the two men make a desperate last gambit, Jack reflects, moment
by moment, year by year, on how he got himself into this predicament.
Starting with the day he first met then-Captain Kennedy and joined
the Baltimore Fire Department, Jack journeys back in time to reveal
a gripping account of a hero-in-themaking. He recalls his initiation
into the close-knit, prank-filled, courage-fed band of brothers at
the firehouse, and the discovery of his own deeply held compulsion
to save lives. But beyond the thrills and excitement of fighting fires,
also lies something else: the powerful bonds of friendship with his
fellow firefighter Tommy Drake (MORRIS CHESTNUT) and the enduring
romance that he has fought to keep alive with his equally strong wife
Linda (JACINDA BARRETT). Pushed to the limits of loyalty and courage,
Jack holds tight to indelible memories as he waits for his own rescue.
LADDER 49 is directed by Jay Russell from a screenplay by Lewis Colick.
The film was produced by Casey Silver and stars Joaquin Phoenix, John
Travolta, Jacinda Barrett and Morris Chestnut. Armyan Bernstein and
Marty Ewing executive produced. Also starring are Robert Patrick,
Balthazar Getty, Jay Hernandez, Billy Burke, and Tim Guinee. The film's
accomplished, behind-the-scenes creative team includes production
designer Tony Burrough, art director Kevin Constant, set decorator
Maggie Martin, cinematographer James L. Carter, costume designer Reneé
Ehrlich Kalfus, editors Bud Smith and Scott Smith, sound mixer Kirk
Francis, special effects coordinator Larry Fioritto, stunt coordinator
George Aguilar, visual effects supervisor Peter Donen, visual effects
producer Henric Nieminen, and fire consultant Lt. Mark Yant.
INTO THE FIRE:
The Making of a Different Kind of Firefighting Movie
In the wake of the sacrifices and tragedies of 9/11, Americans have
never been more acutely aware of the honorable and heroic men and
women who serve as firefighters in every community. And yet, few people
really know the essence of their everyday lives. Firehouses are private
places, the walls of which are rarely breached by outsiders. Nor is
much known about the lives behind firemen: the children, wives, families
and friends who stand by them as they take on one of the modern world's
most dangerous, demanding and essential professions.
For this reason, producer Casey Silver wanted to approach the subject
of firefighters in a way that had never been done before cinematically.
Silver envisioned a film that would explore in a stark, candid style
the strong traditions, intense pressures, tight bonds of friendship,
innate sense of duty, need for family love and ability to face heartbreak
that hold firemen together on a daily basis.
"I wanted to make a firefighting movie in an unsentimental, honest
way that would celebrate the dignity and nobility of these guys,"
Silver states. "I was thinking of a film that would, at its core,
be about characters and human emotions, but at the same time would
capture the dramatic spectacle and suspense of firefighting."
He continues: "So with these ingredients in mind, I brought the idea
to screenwriter Lewis Colick. I told Lewis I wanted to explore firefighters
from an entirely new angle, not from the usual thriller or adventure
perspective, but instead taking a very truthful, noholds- barred view
into their world. I asked him to go as far into the firefighters'
reality as possible and to focus on their families - not just as the
wives who simply kiss their men goodbye, but as a central part of
their lives, ambitions and motivation. The idea was to give a real
sense of these two powerful families that sustain firefighters - their
brothers on the job and their wives and children at home."
Colick, whose previous work includes the civil rights drama "Ghosts
of Mississippi" and the cop thriller "Unlawful Entry," began by doing
extensive research into the everyday lives of urban firemen as well
as firemen's wives, interviewing dozens about every aspect of their
experience - from their wildest stories to their most closely held
fears. He was overwhelmed by the emotional nature of what he learned
but the biggest challenge lay in searching for the best way to turn
all he learned into one man's story.
At last, Colick came up with an unconventional narrative structure
which would allow him to address the multiple themes he uncovered:
he wove a kind of tapestry around the attempted rescue of a typically
devoted, happily married, fire rescue veteran named Jack Morrison.
"With Jack, I wanted to create a guy who would be symbolic of a certain
kind of fireman I got to know - a good-hearted family man who loves
his friends, loves his wife, but, when that bell rings, is ready to
risk it all, no matter what, to save somebody he doesn't even know,"
says Colick.
The screenwriter continues: "Creating Jack gave me a chance to reveal
what a fireman's life is really like. Because a lot of it is just
waiting around for a fire, playing games, pulling pranks, shooting
the breeze, but then it's punctuated by these highly dramatic events
that can change other people's lives and affect you forever. I thought
having Jack look back on his life would give us a chance to tell a
lot of the great stories I heard about of life-altering fires and
near-miraculous rescues. It was also a chance to have him look back
at why he became a fireman in the first place, what it means to him,
and most of all, how he has managed to juxtapose the incredible risk
of a deadly job with his familycentered personal life."
As he wrote, Colick continued to meet with working firemen, and the
more he got to know them the more he was impressed. "I honestly believe
that a lot of these guys are just born or raised a certain way that
give them this unshakable feeling that they just want to do good in
this world. It's an inspiring thing to see first-hand. At the same
time, they're also husbands and dads and buddies just like the rest
of us. They're definitely not somber people who sit around being grave
and serious, they love to have a good time and they also make mistakes
and have very typical problems," Colick explains. "They love to have
a good time and party and spend time just being with their families.
I wanted to get across some of their fun spirit, some of their difficulties
dealing with the pressure of the job, but also show that when the
bell rings, everything changes for these guys and they become lifesavers."
Revealing the bittersweet family side of fire-fighters was a priority
for Colick. While the firehouse often becomes a tight-knit "second
family" for many of its men, Colick also wanted to celebrate the rarely
revealed and far quieter heroism of the women and children who watch
their husbands and fathers walk out the door every morning, never
quite certain they will return.
"For me, Linda was a very important character because she's the ultimate
firefighter's wife," says Colick. "When she falls in love with Jack,
almost at first sight, she is completely unprepared for what her life
is going to be like. She has no idea she'll be living with constant
danger, sleepless nights, the bad dreams that the red car is going
to pull up and tell her the worst possible news. But the truth is,
a woman like Linda would never ask a guy like Jack to stop running
into burning buildings. What's so powerful to me is that Linda knows
firefighting is what Jack is about and, in her heart, she respects
and admires that to the point that it comes to mean more to her than
the risk of losing him. That's a beautiful thing, but it's very hard
to live with."
Colick's completed screenplay wound up on the nightstand of director
Jay Russell, who had recently directed the family adventure "Tuck
Everlasting" as well as the acclaimed "My Dog Skip." A filmmaker with
documentarian roots, and experience with a wide range of dramatic
material, Russell was looking for a project unlike anything he had
seen before. Picking up LADDER 49 late at night, Russell expected
to quickly lay it aside.
Instead, he couldn't put it down and stayed up half the night reading
and thinking about the lives of firemen. "I was really moved," he
recalls. "I was touched not only by the subject matter but especially
by the lives of these characters who you come to know and who really
mean something to you by the end."
Right then, Russell determined that he wanted to make the movie -
and that he wanted to do so with a distinctly emotional and intimate
style not usually seen in firefighting movies. "I really wanted to
bring these characters to life," he says, "and I wanted to take the
audience into authentic fires like they've never been taken into fire
before. I wanted to capture not just the look of a fire, but the intensity,
the fear and the amazing things the people do to battle them and save
innocent civilians."
He especially liked the structure of the film - building around Jack's
deepening career and respect for the job he has undertaken. "The idea
for me was that the audience would learn more and more as Jack learns
more and more - and hopefully, they would be drawn not only into the
excitement and heroism of his life but the heartbreak and personal
dilemmas of it as well," he says. "I think we are all fascinated by
how people live with the knowledge that every single day might be
their last. It's a question we all have to face but firemen are an
inspiration because they really live it."
THE QUINTESSENTIAL YOUNG FIREMAN:
Casting Joaquin Phoenix as Jack Morrison
Key to creating LADDER 49's intimate exploration of the inner lives
and familial bonds of firemen was casting the right actor to play
Jack Morrison, the still-young firefighter who looks back on a life
that is now threatened by an out-of-control fire in which he is trapped.
Rather than a typical "action hero," the filmmakers decided to seek
out an actor more known for his emotional versatility and intensity
and give him a "trial by fire," as it were, by training him to become
an urban fireman.
For director Jay Russell, Academy Award® nominee Joaquin Phoenix -
noted for his often unconventional and unpredictable performances
- was a compelling choice. "I've always admired Joaquin," says Russell,
"especially the way he seems to be able to just disappear into a role.
And I knew that's what he would do with Jack Morrison. He embodied
this role from the inside out, capturing the soul of Jack first and
then his physicality. He also commits like no one else I've ever met.
He spent months and months training for this movie - not so that he
could look like a firefighter, but so that he could essentially become
a full-fledged firefighter. You really see the effect of everything
he went through for this role in his face and his performance."
In the beginning, Phoenix found himself drawn in by the themes of
LADDER 49 and its unusual opportunity to explore the human capacity
for bravery, nobility and sacrifice in the face of ordinary life and
commitments. "We all have heard about the special bond between firefighters,
but until I read this script, I didn't really think about how deeply
those bonds extend beyond the job," he notes. "I didn't know how their
lives at work intertwine with their family lives. And that's what
I loved about the script. To me, it's very much about family. It's
about Jack finding his role in two different families that he is equally
passionate about - the firefighting family and his real family at
home - even though they are often in conflict."
He continues: "I was impressed that the film was so much about family,
because I think the families of firefighters are as much the heroes
as the men and women in the field fighting fires. They experience
virtually everything the firefighters do, both the glory and the tragedy.
And I think what LADDER 49 shows is that it takes a lot of very special,
very strong people to allow these guys to do what they do. The irony
is that Jack Morrison needs his family to sustain his courage as a
firefighter, but his life as firefighter in turn puts his family at
risk of losing their father."
Phoenix was riveted by the character's emotional dilemmas, but he
quickly realized that to really, physically transform into a firefighter
he would have to live the life 24-7 - so he dove into the role with
typical intensity, joining the Baltimore Fire Academy as a student
for six incredible weeks. "I wanted to personally experience as much
as I could about what real firefighters go through," he explains.
"Not just fighting fires but also hitting the books and taking the
tests and learning to deal with the public and all the little details
that go into creating a firefighter. After that, I signed up with
an actual Baltimore firehouse and spent a month with a truck company
there, going out to real fires and rescues. All together, it was an
amazing experience."
Still, at the outset, it was not entirely clear that Phoenix had the
right stuff. "Interestingly, when I first met Joaquin, he was so terrified
of heights, we had to have a little stepladder that took him halfway
up the fire pole," recalls Casey Silver. "He was dripping in sweat.
And yet a few months later he was fearlessly going over the side of
a fifteen-story building, supported only by a single thin rope. He
became so skilled, he did nearly 100% of his stunts himself. There
was absolutely no trickery involved."
Ultimately, Phoenix's training achievements were so considerable that
the infamously tough Baltimore Fire Academy informed him that if he
wanted, he could always come back and get a job with the Baltimore
Fire Department.
Along the way, Phoenix tried to figure out just what it is that allows
firefighters to become "the last man out," risking their own safety
so that others might live. To a certain degree, as it does to the
men who do it on a daily basis, the answer remained a mystery. "I
don't think they really can say exactly why," observes Phoenix. "I
learned that when you go into a burning building, everything in your
body tells you 'don't go in there.' It's smoky, it's dark, it's totally
confusing. But there's some kind of instinct that takes over and overcomes
all that. There was a poster in the firehouse that said 'Courage is
not the absence of fear, but the realization that there's something
more than fear.' I think that's what it's about. Guys like Jack realize
that no matter how scared they are, no matter how difficult it may
be, there's a chance there's someone trapped inside that fire even
more scared than they are. And that moves them to act."
In addition to embodying the instinctual compassion and courage of
a fireman, Phoenix wanted to convey the darker side of a fireman's
emotional life: the ethical quandaries, guilt and fear that spring
up over not spending time with the family and potentially leaving
them to confront death and grow up without a father. For Phoenix,
this is the one thing that Jack has to face in order to become the
person he has always wanted to be from the start. "To me, Jack is
an idealist who is driven by doing good things," says Phoenix, "but
when he meets Linda and he starts a family, and he becomes more aware
that he could die or get severely injured, he begins to see that he's
in a double bind. By doing his job, he could be hurting his family.
It's a big moment for him and I think it changes him. You see him
mature and become someone more complex, someone who has to balance
a lot of things in his heart."
For Jay Russell, Phoenix's fervid devotion to the role was a constant
inspiration. "Working with Joaquin was a complete joy because of his
total commitment, and because we were able to have such positive and
creative conversations about how to make the role the best it could
possibly be. He was always concerned with how to strip away any baloney
and make it absolutely real, which is a goal we shared."
Sums up Casey Silver: "Joaquin was passionate about this material
and felt a real sense of obligation to get it right. Joaquin just
doesn't know how to do things in a false way. He brings to the character
of Jack Morrison an authenticity and emotional truthfulness that carry
the humor, the meaning and the poignancy of the story home. Perhaps
he was an unconventional choice, but he was the right choice for this
film."
A LEADER AND A FRIEND:
Casting John Travolta as Mike Kennedy
When Jack Morrison is trapped in a burning building in LADDER 49,
he places his trust in the one friend he knows he can count on to
do his very best: the man who has mentored him since he was a rookie,
Chief Mike Kennedy. To play the firehouse leader, a man known for
his steadfast leadership as much as his prankster humor, the filmmakers
cast John Travolta who turns in yet another diverse performance.
Ever since hearing about the character from Lewis Colick, producer
Casey Silver had envisioned Travolta taking the part, hoping for someone
who could bring at once a commanding presence and a grounded human
touch. "I always felt that John's ethnicity and his earthiness, and
all those qualities that made him a big star early in his career,
were in sync with this role," Silver explains. "He brings a great
deal of warmth, dignity and charisma to the role of Kennedy as he
wins Jack's respect and becomes a role model and friend. We were blessed
that John brought so much generosity to what is essentially an ensemble
role."
Adds director Jay Russell: "We were so excited to have John be a part
of this film, but the challenge was to get around the fact that he's
such a huge movie star. I told him right away that he was going to
have to go into training with the other guys and that it would be
tough and there wouldn't be any kind of special treatment - and it
turns out that's exactly what he wanted to hear. In the end, it was
the perfect casting because Kennedy is really the big dog in the firehouse,
the guy everyone else looks up to, and that dynamic just developed
naturally between all these young actors and Travolta."
For Travolta the attraction to LADDER 49 was similar to that of Joaquin
Phoenix: "I saw it as my personal opportunity to give homage to firefighters
because they've meant so much to each of us over the years, and especially
now."
He continues: "To me this film is about capturing the humanity of
firefighters, rather than the myth. The story reveals that they're
just like everyone else in the world with one big difference, which
is that every day they lay their lives on the line for everyone else."
Travolta was particularly drawn to the brother-like closeness that
develops between his character and Joaquin Phoenix, a relationship
that seems to almost mirror the intensity of biological family, and
is rare among male characters in modern films.
"I think Kennedy makes a very interesting human mistake as a leader
in that he gets a bit too close to Jack," comments Travolta. "My character's
got to be the toughest guy on the force, make all the hard decisions,
but then he bonds to Jack emotionally to the point that he's like
family, and that confuses everything. You have a complicated thing
going on between them where Kennedy knows Jack is a good firefighter
but he worries about him like he's one of his own. I think this happens
in part because Kennedy himself doesn't really have a family - he
was married once but it failed because of his commitment to such a
dangerous job. So Jack's family almost becomes a substitute for the
one my character dreamed about but never had."
There's a lighter, more whimsical side to Travolta's character as
well: a sparkling sense of humor that emerges frequently, keeping
the whole firehouse's spirits elevated. Firemen are renowned for their
cleverly planned practical jokes and pranks - an ancient firehouse
tradition - and for Travolta this added to the fun of a role that
traversed a wide range of emotions.
Travolta spent a lot of time getting to know the film's fire consultant
- veteran Baltimore firefighter Mark Yant - who helped him to assume
the right kind of leadership role when tragedy strikes the firehouse.
Says Yant: "What impressed me abut John Travolta is that he was so
interested in every aspect of firefighting and asked me so many questions,
from 'how would you hold this hose?' to 'how would you say this to
your men?' He made me feel so at ease. I simply told him stories of
things I'd heard or done myself and let him choose how to use them
for his performance."
"The one thing I wanted to capture about Kennedy is that he's the
one who ultimately has to be in charge," says Travolta. "He has to
carry that burden of knowing whatever it is he says is going to be
taken to heart, and in the end he'll be responsible for men's lives.
It's a lonely job and one that takes its toll, even though it has
its wonderful moments and rewards."
Working with Joaquin Phoenix also became a major revelation for Travolta.
"He is very original as an actor and originality is something you
rarely see on screen anymore," he observes. "Joaquin gives off strength
and power and vulnerability all at once. He's a lot of fun to watch
because you never know if he's going to show nerves of steel or break
your heart."
FINDING THE HEART OF A FIREMAN'S WIFE:
Casting Jacinda Barrett as Linda Morrison
At the heart of LADDER 49 is also a love story, simply told, without
sentimentality, about a husband and wife who must learn to let one
another be individuals within their strong partnership. From the minute
Jack meets a beautiful young woman named Linda in the supermarket,
he is smitten. Soon, they will marry and his family life will stand
in stark contrast to his life at the firehouse, becoming his greatest
source of inspiration and motivation, as well as his greatest worry,
when he busts into buildings on dangerous rescue missions.
As a character, Linda becomes a way into the everyday reality of a
fireman's life - which often centers just as much around family as
it does around smoke, flames and axes. To play the prototypical fireman's
wife, the filmmakers wanted someone who would be natural, accessible,
down-to-earth and palpably real as she struggles with fear, loneliness
and her own limits in trying to love Jack despite the pressures of
his job. They found that combination in rising young Australian actress
Jacinda Barrett, who was recently seen in "The Human Stain" with Anthony
Hopkins and Nicole Kidman.
"Linda is such an important character to this film because she represents
the other side of firemen like Jack Morrison - the heroines who as
mothers and wives bear with the pain, the struggle and the conflicts
to do their best to be supportive," says Casey Silver. "When Jacinda
Barrett came to audition she just blew us away."
Perhaps Barrett embodied the role of Linda so completely because she
herself is a firefighter's daughter and understood from deep personal
experience what it's like to wait on pins and needles for a loved
one to come home from work. Barrett's father served with the Brisbane,
Australia Airport Crash and Rescue, recently retiring after 33 years
of service. Growing up, Barrett remembers how much she loved being
around her father and other firefighters who displayed such wonderful
humor, affection and respect for one another. Although she doesn't
recall ever being scared for her father's life, it wasn't hard to
put herself in Linda's place and understand her conflicted feelings
about Jack's passion and his vulnerability.
"When I read the script it really resonated with me," explains Barrett.
"Linda seemed so real to me because I know that most of the women
who marry firefighters are really proud of their husbands, and they
love the life for the most part, but that it definitely isn't easy."
Indeed, firefighter's wives frequently watch their husbands return
home soot-covered, exhausted, scalded and deeply affected by what
they've seen and experienced to the point of not being able to talk
about it - a challenging place for any spouse to find herself. As
firefighter and LADDER 49 consultant Mark Yant says: "The balancing
act of firemen and marriage is a notoriously difficult one, as I personally
know. It takes a very special woman to deal with a man who's a fireman
and one of the things I really like about this movie is that it shows
the husband-wife relationship so realistically that I think people
get a sense of what it really feels like from both sides."
Barrett sees Linda as a woman who learns to deal with the fear as
she grows up and comes to better understand herself and what she loves
about Jack. "In the beginning, Linda's just very intrigued by what
Jack does. But as the years go by, and she witnesses firsthand some
of the tragedies and the grief, and then when she herself becomes
pregnant, everything changes and she begins to worry," she says. "But
what I love about Linda is she finds a way to make it work. She picks
herself up and realizes firefighting is Jack's dream and that means
so much to her that she's willing to sacrifice for it. Ironically,
Jack's the one who is more worried about the toll on his family than
she is. In a sense, Jack has to discover that his family is simply
very proud of him and wants him to do what he's doing. Miscommunication,
love, hurt, acceptance - Linda and Jack work through it all."
Says Joaquin Phoenix of Jacinda Barrett: "What a find she is. I didn't
know anything about her and she came in with this wit and strength
that I think really elevated our scenes together. It was really exciting
to discover her character at the same time as Jack did and be surprised
by her wisdom and generosity."
Jay Russell believes that Jacinda Barrett brings to light the part
of firefighters' lives that are most hidden from view. "I think Jacinda's
role may be the most difficult in the film," he states. "Her character's
conflict is entirely internal. She's not battling fires, but she has
her own battles to deal with, and for a young actress to really be
able to go beneath what's happening on the surface and somehow show
what's going on inside is very rare.
From the first time we saw her read, it was clear Jacinda had a different
approach to this character. It's very personal, because she's had
this life experience that she brought to the part, but she's also
a very talented actress. It was exciting for us to see her take this
complicated role and make it a real touchstone for audiences to understand
the family side of Jack's life."
On the set, Barrett also had to be able to hold her own amidst the
often mischievous camaraderie that evolved among the mostly male set.
"She's pretty tough," says Russell. "She was really the only woman
in a group of rowdy guys who were constantly pulling practical jokes
- and it's a testament to Jacinda's strength of character that she
could just jump in and find her place among them."
BROTHERS ON THE JOB:
Casting Morris Chestnut and Jay Hernandez
The camaraderie and loyalty between firemen working on the job together
is legendary - crossing all barriers of age, race and background -
and comes to the fore in LADDER 49 as Jack Morrison befriends a group
of men who will, once the bell rings, be responsible for one another's
lives. Despite the seriousness of their occupation, these male friendships
are anything but solemn - they are boisterous, playful and as tight
as they get. In the course of his career, Jack makes a number of good
friends including Tommy Drake, a more experienced firefighter who
helps Jack as he rises through the ranks; and Keith Perez, the rookie
Jack in turn takes under his wing.
Tommy is played by Morris Chestnut who ever since his debut in "Boyz
n' the Hood" has played a diverse range of characters. He was especially
drawn to playing a firefighter, and the chance to explore an authentic
type of contemporary bravery. "I just feel really proud to even play
someone like Tommy," says Chestnut. "I also like him a lot as a character.
In the beginning, he becomes Jack's friend because he's the only one
willing to come to the defense of a rookie. I think he relates to
what Jack is going through, and he becomes like a big brother to him."
In spending time at various firehouses in preparation for the film,
Chestnut got a taste of just how close friendships inside these incendiary
communities can become. "When you know you're going to have to go
into battle with someone, and that the guy who's sitting next to you
is going to have your back, depend on you for survival and you on
him, it really makes for a strong bond," he explains. "There's no
stronger bond you can have, except with your mother, your wife and
your kids. I had no idea how intense it was until I saw it for myself."
Tommy also becomes a harrowing reminder to Jack of just how fragile
a fireman's existence is when he is severely burned by a burst of
scorching steam during an electrical plant fire. "This is an important
moment for both men," says Chestnut. "Jack really helps Tommy to move
forward with his life. He gets Tommy to see that he still has a family
to live for and that it's worth fighting to be with his kids. Jack
helps him to believe he can still be their hero."
Playing Tommy against Joaquin Phoenix's Jack also proved to be a powerful
experience. "Those eyes," comments Chestnut. "You can't train an actor
to have those eyes, that intensity. It's a God-given gift."
For Jay Hernandez, who portrays rookie Keith Perez, the film is all
about one thing: "Insight," he sums up in a word. "A lot of people
right now, and even the media, are very interested in firefighters
and the sacrifices they make. But this film really gives you the inside
view and takes you behind the news clips into the firefighter's world.
We only notice them during tragedies, but they're out there every
day working really hard and I think it's time their stories were told."
Hernandez particularly enjoyed playing a rookie learning the ropes
for the first time. "It's such an incredible thing to experience a
fire for the first time, as I learned during the training for the
film, and I think the film shows how it can overwhelm you and shock
you and fill you with all kinds of fear and adrenaline - and yet what
you also see in LADDER 49 is how firefighters learn to control that
and totally trust one another to do the right thing."
OFF TO FIRE CAMP:
Training the Cast
Firefighting is not just about courage - it's also about skills and
instincts that are honed in intensive training regimens that are famous
for their brutal difficulty and ability to separate out the truly
fit and daring from everyone else. In order to forge a tightly bonded
team of authentic-seeming firefighters on screen, LADDER 49 director
Jay Russell asked his actors to undertake a good chunk of that grueling
training themselves. It was more than just a test of the actors' commitment,
it was an essential initiation into their roles and the mindset of
young firefighters. Even Russell attended "Fire Camp," for an intensive
introduction to his film's subject and themes.
"If I was going to ask the actors to put on 100 pounds of gear every
day, get inside a fire, be blinded by smoke and experience a thousand
degrees of heat right next to their faces, I figured I should be willing
to do it myself," explains Russell. "So I did do it, and honestly...
it was terrifying."
Among the many nerve-wracking drills at Fire Camp was one that many
of the cast found the most daunting - The Maze. Created to simulate
a situation in which a firefighter is trapped inside a building, The
Maze requires that a person make his way through a pitch- black, smoke-filled,
debris-packed room, often crawling, lurching and stumbling blindly
to find a safe way out. For many, The Maze was a real eye-opener that
revealed just how mentally tough and physically agile a fireman must
be to succeed.
"Inside The Maze you can't even see your hand in front of your face,"
recalls Russell. "You almost start to hallucinate because you're trying
to picture the space around you, and just hoping you find your way
out. It's extremely difficult and very frightening. But it was also
a great thing for me to go through because it helped me to come up
with visual ways to convey the confusion and chaos of a fireman being
lost inside the smoke."
v John Travolta was also taken aback by The Maze. "Fire Camp was a
whole new universe of experience," he says, "but my absolute least
favorite part was The Maze. It's very claustrophobic and not something
I'd ever like to do again. Still, I did find it extraordinary and
life-changing in a way, because it really alters your perspective
and gives you a chance to experience pure instinct."
Another adrenaline-pumping exercise several cast members had to attempt
was learning how to rappel on a thin climbing rope down the side of
a multi-story building, with nothing but air below. This turned out
be a favorite of Morris Chestnut's. "I was never truly scared, because
I thought it was so fun," admits Chestnut. "It's really amazing what
it is possible for humans to do when an urgent need strikes."
For Jay Hernandez, the most awe-inspiring moment came when he was
given the chance to experience up-close-and-personal the 1,000-degree
heat of a major blaze in progress. "It was incredible to be right
next to real fire. We've all seen it before on the news, but to be
right up close, so close our helmet visors were melting, that's a
whole different thing." John Travolta adds: "Another thing I did not
comprehend before is how much smoke a fire creates - you can't really
comprehend that kind of density until you see it. You get maybe an
inch or two of visual information. You might see someone's feet, but
that's about it. And firefighters move through this with a hundred
pounds of gear on them that's knocking them off-balance!"
The Baltimore firefighters consulting on the film watched with personal
glee as actors who, under any other circumstances, would be considered
to be in great shape struggled through exhaustion, frustration, soreness
and fear. "It was comical at times and at other times it was flattering
to us to see these strong guys struggle with what we do every day,"
comments Yant. "But I think what happened along the way is they developed
a greater appreciation for what we do and we, in turn, learned to
really respect these guys for what they were willing to go through
to portray us."
v Everyone agrees that the one person involved in LADDER 49 who trained
the hardest was Joaquin Phoenix - who actually graduated with the
Baltimore Fire Academy class he joined in the winter. He went on to
serve with a west Baltimore truck company for a month, working his
appointed shifts and responding to real alarms, fires and rescues.
Says fire consultant Mark Yant: "By that time, I couldn't tell Joaquin
from a regular fireman on the street. The guy has just got it. He
fell right into the mode and I'm sure if he wanted to do that line
of work he'd make out quite well."
"For me it was just so important to get every aspect of this story
right," explains Phoenix. "I wanted to be comfortable in real-life
situations. But then, after seeing the real thing, my one fear became
whether or not the production would be able to recreate realistic
fires on the screen. Fire is such an organic, unpredictable thing
- how real could the effects be? So what's really gratifying to me
is how amazing the effects team on LADDER 49 was. The fires they created
felt like the real thing and allowed all of us to create something
very true in our performances."
A CITY OF WATER AND FIRE:
Shooting in Baltimore
LADDER 49 takes place in the historic city of Baltimore, one of America's
major urban centers, yet one not often depicted in films. For the
filmmakers, the city's unique working-class character, charming urban
neighborhoods and strength of pride made it the perfect locale for
a story about firemen and their family relationships. The fact that
Baltimore is currently undergoing an urban renaissance that has cleaned
up and restored the city's beauty made the location even more attractive.
Says Jay Russell: "Finding the right locale for this story was key,
and Baltimore was the right fit because it's a city with so much character.
It's very diverse - it has extreme wealth and also poverty, it has
skyscrapers but also quiet working-class neighborhoods. To me, it's
like every great American city rolled into one. The other beautiful
thing about it is that is sits on a harbor and I loved the idea of
a city of water and fire. Water and fire are such big metaphorical
icons in this movie. Finally, one of the other reasons I wanted to
shoot in Baltimore is that it's a city that has struggled. It's a
city on the rebound, but it has had its economic difficulties over
the years. So there are a lot of abandoned warehouses that we were
able to use for the fire sequences and yet there's also a really strong
spirit among the people."
Adds Casey Silver: "Baltimore was a wonderful city to shoot. Everyone
was cooperative, from the city to the firefighters to the people on
location. We had a great experience." Baltimore is also a city with
a nationally renowned fire department. Established in 1859, the Baltimore
City Fire Department began with one steam engine, a hose reel and
truck. In 1904, the devastating Great Baltimore Fire nearly destroyed
the city and was valiantly fought by local fire crews. Today, Chief
William J. Goodwin, Jr. oversees a department of 1,700 men and women
dedicated to protecting the lives and property of a population of
well over 675,000 citizens. The city's 39 fire stations house over
100 vehicles utilized by firefighters and paramedics. The fire department's
dedication is perhaps best summed up in its motto, a motto that came
to be shared by members of the LADDER 49 production as a theme: "Pride
Protecting People."
Once Baltimore had been chosen, the filmmakers immediately befriended
the local fire departments to gather as much knowledge and cooperation
as possible. Notes executive producer Marty Ewing: "The approach to
firefighting on the East Coast is very different from that elsewhere
so we needed to learn the Baltimore way of fighting fires. It was
very important that we had cooperation from the city to use their
actual equipment - everything from the apparatus in the fire trucks
to the halogen axes, fittings and hoses that they use in Baltimore.
We also were given a fantastic opportunity to use real Baltimore firemen
as extras. They arrived on the set in authentic wardrobe: soiled hats,
coats, the proper belts, tools, etcetera. This really contributed
to the authenticity of the picture. Add to this the fact that we found
a real firehouse and restored it to operational condition for use
as a movie set and you see that Baltimore provided us with incredible
good fortune."
To bring both Baltimore's charms and more dangerous industrial spaces
to life, Jay Russell collaborated closely with production designer
Tony Burrough (an Oscar® nominee for his work on "Richard III"), who
created sets both on the home front and for the "fire event" locations.
On the home front, Burrough's challenge was to carry his carefully
designed sets subtly through a decade of changes. "We wanted to give
a sense of shifting time as Jack matures and becomes a family man,"
says Burrough. "The idea was to shift the details in the houses and
fire station to emphasize the changing times while keeping other elements
consistent. The emphasis of the film of course is on human relationships
and the primal nature of fire so I tended to restrict my palette elsewhere
to a very balanced color scheme."
Burrough spent weeks of preparation visiting the homes of real Baltimore
Fire Department employees to get a sense of their family-oriented
aesthetic. "As in our film, most of these guys come from traditional
working-class families who have been in the fire service for generations,
and their neighborhoods and home interiors reflect that," he comments.
"We were most interested in capturing a bit of the city's unique personality,
and thus setting a world for these guys to live in."
In contrast to the firefighters' domestic surroundings, Burrough also
had to come up with much more complex sets that would accurately recreate
a burning building in various phases of destruction. He worked closely
with Jay Russell to create one of the film's center pieces - the grain
elevator in which Jack Morrison is trapped throughout the film - and
developed a unique design for a "collapsible interior" that could
be used over and over.
"This building required a very clever design from Tony that allowed
us to have the building collapse around the actors and then four hours
later we could put the set right back up again and shoot some more,"
says Russell.
One of the cast and crew's favorite sets became the defunct turn-of-the-century
Gorsuch Fire House that Burrough refurbished in full firehouse regalia
for the film. "It became a real home for all of us," says Russell.
"I mean when the actors were going down the poles, they were going
down poles that firemen have been using for 100 years. It provided
just the sort of gritty reality we needed to bring things to life
for us."
Throughout the production, Jay Russell gave his artisans one word
to live by: authenticity. This also came through in the film's costumes,
overseen by costume designer Reneé Ehrlich Kalfus, which mix working
man's casual wear with highly detailed replications of fireman uniforms.
Explains associate costume designer Liz Shelton: "We started by researching
what firefighters wear in Baltimore City, meeting with both a lot
of young firefighters as well as the upper brass. We got to see them
socially and we got to see them in uniforms, and from that we began
to sketch out the cast's costumes."
The costume team was also provided real fire department "turn-out
gear" - the large coats, pants and helmets most associated with firemen
- that they modified to work for each of the various fire scenes and
actor's needs. In getting to know the outfits and the men, the costume
designers also learned something important. "We realized that the
older and dirtier a uniform looks, the bigger a badge of honor it
is to the firefighter," says Shelton. "The sootier the better, as
far as a firefighter is concerned, so as Jack moves through the years,
his outfits become more aged and seared and give him a sense of someone
who's been through some incredible things."
STARTING FIRES:
Creating Authentic Blazes for LADDER 49
Going into LADDER 49, Jay Russell knew he wanted to capture two aspects
of a firefighter's reality that he felt had never been adequately
seen on film before: first, the conflicting emotions and family ties
that grip firefighters even as they risk their lives; and second,
the visceral nature of fire itself, which is blinding, confusing and
mercurial, as if, as many firefighters have said before, it has a
twisted mind of its own.
Early on the filmmakers made the decision to cautiously set real,
so-called "controlled fires" for the production in real buildings
- rather than relying primarily on computers or studio environments.
Obviously, for safety and environmental reasons, they couldn't simply
burn real buildings to the ground, but they went as far as possible
while remaining safe for the cast, crew and community.
"We ultimately created some of the largest fires ever committed to
film," notes Russell. "We felt strongly that digital fires just don't
seem real enough, and that extremely controlled studio fires just
weren't going to give us that visceral excitement of being in a real
fire. So 99% of what you see in LADDER 49 is actually happening. When
you see Joaquin Phoenix crawling through an apartment engulfed in
flames, that really is Joaquin crawling through an apartment engulfed
in flames. It's a character-driven film but I really felt that the
more believable the fire scenes, the more the audience would become
involved with these characters and what they're experiencing."
He adds: "I certainly didn't want to make another artificial Hollywood
movie about firefighting. I felt we had a responsibility to these
brave people we are depicting to get it right, and the only way to
do that was to get it as real as possible."
With realism as the end goal, the filmmakers were faced with how to
achieve it with an appropriate margin of safety. They walked a fine
tightrope of managing risk through much of the film. "Logistically,
this movie was a nightmare," admits Russell. "I honestly believe there's
a reason not very many firefighting movies have been made and the
biggest reason is that it's so dangerous. It's almost like shooting
under water because you're making a movie with oxygen masks on!"
Adds Casey Silver: "I think that the filmmakers and the cast were
extraordinarily courageous in the way that they approached the fire
scenes. These were challenging sets to work on. It was hot. It was
smoky. It was frightening. If it looks difficult on the screen, that's
because it was difficult - even with all of those precautions that
real firefighters don't get to rely on in the course of their daily
experience."
When asked, many firefighters agreed that the one thing they'd always
felt was missing from Hollywood depictions of raging fires was the
thick, black, lung-clogging smoke that is the bane of the firefighter's
existence. To give the behind-the-scenes talent a better idea of what
that smoke looks and feels like, as well as other ineffable qualities
of fires the filmmakers wanted to capture, several members of the
production were also sent off to Fire Camp, including director of
photography James L. Carter. Through this intense, unforgettable experience,
Carter determined that what he most wanted to reveal through the camera
lens is the disorienting, isolating feeling of being without the basic
human senses that normally keep us sane.
Because of the potential danger involved in shooting the film's seven
"fire events," each scene was meticulously planned out and storyboarded
- but even that wasn't a guarantee that nothing would go wrong. Explains
the film's fire consultant, Mark Yant: "The thing about fire is, no
matter how much you think it's controlled, the truth is - I've never
seen a truly controlled fire. You just never know what it's going
to do. You can't trust fire and you never should."
In one instance, Joaquin Phoenix was hit by a flying ember and found
his fire suit going up in flames. Thanks to his training and the production's
precautions, the fire was quickly extinguished and the actor was unharmed
but the incident drove home just how truly unpredictable fire can
be, no matter if it's part of a fictional movie.
Yant assisted the production in forging fire scenes that are almost
documentary-like in their heightened realism. "Jay always stressed
that it was up to me to keep the technical aspects of the film as
honest as possible. What kept me inspired is knowing that this film
will show people what the life of firemen is really like, which is
something I don't think a lot of people know about. Fire is only one
aspect of their lives, but it's an important part, and we wanted to
get it right."
The film's central fire is set in a grain elevator building. Grain
elevator fires are particularly fierce because super-heated grain
dust becomes like virtual dynamite, setting off interior explosions
that can destroy a building's very structure. In this case, Jack Morrison
searches for and rescues a fire victim whose life is in danger by
lowering him via a bucket out a window. Moments later, a spontaneous
blast occurs beneath Jack, and he drops some three stories into the
building's inaccessible no-man's-land, trapped in rubble and encroaching
smoke.
In shooting the extensive sequences inside the grain building, the
entire crew had to wear CBAs - or Self-Contained Breathing Apparatuses
- so that they wouldn't be overcome by breathing difficulties.
Special effects supervisor Larry Fioritto and visual effects supervisor
Peter Donen worked in tandem with the firefighter consultants to recreate
the sudden explosions and dense, dizzying smoke that make the fire
so dangerous. For Mark Yant, the special effects were like watching
pure magic. "It's amazing for a firefighter to see a huge explosive
fireball rip through a room and think for sure people are going to
get hurt and everything's going to be destroyed, but instead nothing
happens," he says. "These guys knew how to rig everything so that
it was very impressive but kept us all out of harm's way."
Although it was certainly the most challenging shoot of Jay Russell's
career, he ultimately feels that the long, difficult days of shooting
risky fire scenes helped to forge a closeness among the cast and crew
- a closeness and commitment reflected on screen in every performance
and design element. "It could be very stressful on the set on when
things didn't go perfectly, but we all bonded in a wonderful way because
of it," says Russell.
The effect was a lasting one. Says the director: "The amazing thing
now, even after the film is completed, is that when I see a fire engine
going down the street, I look and realize I know who's on there, what
they're each going to do, and I know that no matter how much danger
their lives are about to be in, they will do their jobs with pride
and commitment, hoping to return home to their families. Seeing a
fire engine go by is something I don't think any of us involved with
this film will ever take for granted again."
SHINE YOUR LIGHT:
A Final Ode to the Firefighter's Heroism
When Jay Russell reached the end of his film, he knew he needed a
musical counterpoint to LADDER 49's climactic scene - a scene that
becomes both shocking and emotionally resonant as it explores the
costs of a firefighter's commitment to the community. Unable to find
a popular song in existence that could capture all the hues of that
moment, Russell reached out to a musician he and the producers had
always admired: Robbie Robertson, a man widely considered to be one
of the preeminent songwriters of the rock and roll generation. "He
takes a soulful, human approach to writing music that we knew would
be in sync with what we were hoping to achieve with the film," says
Russell.
Although Robertson's songs have been heard in countless feature films,
this was the first time he had been asked to write a song specifically
for one powerful scene. "I was interested right away in the challenge
of it," Robertson says, "and then I met Jay Russell, who is from Little
Rock, where I lived for a time while I was with Ronnie Hawkins and
the Hawks - and I thought: this is meant to be."
Still, Robertson waited until he saw the movie to make up his mind.
"I was worried that the film wouldn't be what I hoped," Robertson
admits, "but instead I was just incredibly moved by it. It took me
right inside the very private club of firefighters and gave me a view
of a world that I've never quite experienced before. I also thought
it was extraordinary that someone had finally done a real, honest
movie about everyday firefighters without making it about over-the-top
heroics or cornball sentiment. That's what makes it so moving."
He continues: "The biggest thing for me is that I felt the film was
such a beautiful tribute to these guys who we usually forget about.
I thought, my goodness, this is a worthy project."
After seeing the film, Robertson began writing. Unable to screen the
movie in his studio, he worked entirely from memory, creating a rhythm
and structure for the song that later, almost eerily, would keep perfect
time with the scene. As he wrote, he had in mind an abstract, but
clear, concept of what he hoped to create. "I wanted to find the right
vibe," he explains. "I wanted something that would be strong but not
too obvious and that would underline the finale of the film in a meaningful
way. I didn't want it to be too on the nose - or in any way corny.
What came to me was something with an edgy street feel yet also a
subtle gospel tinge to it - a soulful, almost spiritual, sound that
I hope shows deep respect to the people it's about."
Robertson brought the song in a bare-bones version - just him singing
at the piano - to Jay Russell and Russell immediately fell in love.
Skipping the usual stage of making a demo, they went straight to the
recording process. "They had confidence that I was going to nail it,"
says Robertson. The result was "Shine Your Light."
Later, Robertson continued his work on the song, transforming it into
an adagio that runs over the end credits. "I'd never done anything
like this before, so it was a very interesting process," he says.
Working with arranger David Campbell (father of the rock star Beck),
Robertson created an orchestral piece woven from the rich themes of
his rock tune. "The idea was to create something with a haunting quality
that would also bring back memories of the final scene," he explains.
"David Campbell was wonderful to work with because we really understood
each other. I told him I had a simple phrase for what I wanted from
the piece - 'bent hymn' - and he just got it right away."
In the end, Robertson was thrilled by the experience of working on
LADDER 49. "I learned a lot," he says. "And it was something I really
wanted to do - because this is for all those guys who every day are
putting it on the line for all the rest of us."
ABOUT THE CAST
JOAQUIN PHOENIX (Jack Morrison)
JOAQUIN PHOENIX has demonstrated a unique ability to embody diverse
characters with depth and intensity. In the last few years, he has
earned rave reviews for his performance in four wide-ranging films.
In an Academy Award®-nominated turn, he portrayed Emperor Commodus
in Ridley Scott's epic blockbuster "Gladiator" garnering both critical
acclaim and Best Supporting Actor awards from the National Board of
Review and the Broadcast Film Critics, among others. He was also lauded
for his performances in James Gray's "The Yards," in Philip Kaufman's
"Quills," and in Disney's blockbuster supernatural thriller "Signs"
for director M. Night Shyamalan. He recently reunited with Shyamalan,
joining the cast of "The Village." He next will portray the legendary
Johnny Cash in James Mangold's "Walk the Line."
After getting his start in commercials, Phoenix starred in his first
feature, "Space Camp," followed by "Russkies," "Parenthood," "To Die
For," "Inventing the Abbots," "U-Turn," "Return to Paradise" and "Clay
Pigeons." Most recently Phoenix starred in "Buffalo Soldiers," directed
and written by Gregor Jordan, based on Robert O'Connor's cult novel
of the same name, and was the voice of Kenai in the Walt Disney animated
feature "Brother Bear."
In addition to his big-screen roles, Phoenix, a long-time vegan, is
a spokesperson for PETA (People for the Ethical Treatment of Animals).
He was recently honored by this organization for his dedicated involvement.
JOHN TRAVOLTA (Mike Kennedy)
JOHN TRAVOLTA has been honored twice with Academy Award® nominations,
the latest for his riveting portrayal of a philosophical hit-man in
Quentin Tarantino's "Pulp Fiction." He also received BAFTA and Golden
Globe nominations for this highly acclaimed role and was named Best
Actor by the Los Angeles Film Critics Association, among other distinguished
awards.
Travolta garnered further praise as a Mafioso-turned-movie producer
in the comedy sensation "Get Shorty," winning the Golden Globe Award
for Best Actor in a Motion Picture, Musical or Comedy. In 1998, Travolta
was honored by the British Academy of Film and Television Arts with
the Britannia Award, and in that same year he received the Lifetime
Achievement Award at the Chicago Film Festival.
Travolta also won the prestigious Alan J. Pakula Award from the US
Broadcast Critics Association for his performance in "A Civil Action,"
based on the best-selling book and directed by Steve Zailian. He was
nominated again for a Golden Globe for his performance in "Primary
Colors," directed by Mike Nichols and co-starring Emma Thompson and
Billy Bob Thornton. He previously starred in some of the most monumental
films of our generation, including earning his first Oscar® and Golden
Globe nominations for his role in the blockbuster "Saturday Night
Fever," which launched the disco phenomenon in the 1970s. He went
on to star in the big screen version of the long-running musical "Grease"
and the wildly successful "Urban Cowboy," which also influenced trends
in popular culture. Additional film credits include the Brian DePalma
thrillers "Carrie" and "Blowout," as well as Amy Heckerling's hit
comedy "Look Who's Talking" and Nora Ephron's comic hit "Michael."
Travolta starred in "Phenomenon" and took an equally diverse turn
as an action star in John Woo's topgrossing "Broken Arrow." He also
starred in the classic "Face/Off" opposite Nicholas Cage and "The
General's Daughter" co-starring Madeline Stowe. Most recently Travolta
co-starred in the movie version of the wildly successful comic book
"The Punisher," as well as the drama "Basic" directed by John McTiernan,
the psychological thriller "Domestic Disturbance" directed by Harold
Becker, the hit action picture "Swordfish" with Halle Berry and Hugh
Jackman directed by Dominic Sena, and the successful sci-fi movie
"Battlefield Earth," based upon the best-selling novel by L. Ron Hubbard.
His forthcoming films include "A Love Song for Bobby Long" which was
screened at this year's Venice Film Festival where both Travolta and
the film won rave reviews. He'll also once again play Chili Palmer
opposite Uma Thurman's Edie Athens in F. Gary Gray's version of Elmore
Leonard's "Get Shorty" sequel entitled "Be Cool."
JACINDA BARRETT (Linda Morrison)
JACINDA BARRETT is a rising young actress who has already made her
mark as a beautiful and talented performer. Barrett most recently
starred in "The Human Stain" joining a cast that included Anthony
Hopkins, Nicole Kidman, Ed Harris and Gary Sinise. She will next be
seen starring with Renée Zellweger in "Bridget Jones: The Edge of
Reason" and in Roger Spottiswoode's "Mr. Ripley's Return."
Born and raised in Brisbane, Australia, Barrett came to the fore when
she was featured in People's "50 Most Beautiful People" issue in May,
1997. She studied acting at the British Academy of Dramatic Arts in
Oxford, England, and went on to star in such feature films as David
Semel's "Campfire Tales," Dominique Faix' "Immaculate Springs" and
Leigh Slauner's "Art House."
On television, she has been seen in the critically acclaimed series,
"Citizen Baines," playing the youngest daughter of a retiring senator
played by James Cromwell.
MORRIS CHESTNUT (Tommy Drake)
MORRIS CHESTNUT has consistently portrayed powerful African American
characters since his debut as "Ricky Baker" in John Singleton's "Boyz
N the Hood." He starred in the Twentieth Century Fox feature "Like
Mike" starring opposite Bow Wow, as well as the Lion's Gate feature
"Confidence" starring opposite Dustin Hoffman and Edward Burns. He
can also be seen in the Screen Gems' romantic comedy "Breakin' All
the Rules" opposite Jamie Foxx and will soon appear in "The Cave"
for Lakeshore Productions, which just completed photography in Romania.
Chestnut starred opposite Alan Alda in the Showtime feature "The Killing
Yard" which premiered at the Toronto Film Festival. He played Bernard
Stroble, an inmate on trial for the state prison murders of two fellow
prisoners during the 1972 prison riots in "Atikka." This true story
takes place during his 1974 trial and focuses on his relationship
between his legendary attorney Ernest Goodman (Alan Alda) and Stroble's
decision to act as his own co-council.
He is well known for his role as "Lance" in Malcom Lee's "The Best
Man" in which he portrays a hot pro running back at the top of his
game, a role for which he earned an NAACP Image Award nomination.
Also notable was his role in "The Brothers" in which he played opposite
Bill Belamy, D.L. Hughley, and Shemar Moore - men who are four friends
who begin to question relationships when one of their own gets engaged.
He has also starred in such features as "G.I. Jane," "Under Siege
II," "Dark Territory," "Half Past Dead," "Two Can Play that Game."
His television credits include "ER," "Out All Night," "C-16," and
"Scenes of the Crime."
ROBERT PATRICK (Lenny Richter)
ROBERT PATRICK has had a career distinguished by performances of unusual
depth and range. Perhaps best known for his role as the unforgettable
cyborg 'T-1000' in "Terminator 2: Judgment Day" opposite Arnold Schwarzenegger,
Patrick was most recently seen in "Charlie's Angels 2: Full Throttle"
opposite Cameron Diaz, Lucy Liu and Drew Barrymore, and in "Pavement"
opposite Lauren Holly. Audiences remember his starring turn as Agent
John Doggett on the final two seasons of the now-classic TV series,
"The X Files." His strong performance in three high-profile, second-season
episodes of "The Sopranos" also received wide critical acclaim.
Patrick's many recent film roles include the Robert Rodriguez box-office
hit, "Spy Kids" and "All the Pretty Horses" directed by Billy Bob
Thornton. Other notable films include "Eye See You" opposite Sylvester
Stallone, "A Texas Funeral," "The Faculty" directed by Robert Rodriguez,
"From Dusk Till Dawn 2: Texas Blood Money," "Copland" opposite Sylvester
Stallone and Robert De Niro, as well as the independent film "The
Only Thrill," starring opposite Diane Lane, Diane Keaton and Sam Shepard.
He made a chilling cameo in John Singleton's "Rosewood" and took a
hilarious turn in "Striptease" opposite Demi Moore, as her low-life,
thieving ex-husband. He also starred in "Fire in the Sky," "Double
Dragon," "The Cool Surface," "Decoy," "The Last Gasp" and "Hong Kong
'97" as well as a popular Showtime episode of "The Outer Limits."
BALTHAZAR GETTY (Ray Gauquin)
BALTHAZAR GETTY most recently starred in the critically acclaimed,
Emmy®- nominated mini-series "Traffic" about the intricacies of the
drug trade. An actor who has grown both in stature and ability before
the eyes of the public, Getty is coming into his own. In addition
to his film work, he will also soon release his first album with the
band Ringside on Flawless/Geffen Records.
He most recently completed production on the independent film "Slingshot"
with David Arquette, Thora Birch and Julianna Margulies. Getty's film
credits also include "Deuces Wild," David Lynch's "Lost Highway,"
"Mr. Holland's Opus," Ridley Scott's "White Squall," Oliver Stone's
"Natural Born Killers," "Where the Day Takes You," and "Young Guns
II." His debut film was "Lord of the Flies," for which was he critically
lauded for his impressive work at just 14 years of age. Getty also
starred in the Diane Keaton-directed and produced television series
"Pasadena" with Peter Sarsgaard, and in Wayne Wang's digital film
"Center of the World" for Artisan Entertainment.
JAY HERNANDEZ (Keith Perez)
JAY HERNANDEZ burst onto the film scene as the romantic lead opposite
Kirsten Dunst in "Crazy/Beautiful" and has quickly become one of the
most sought-after actors of his generation. He went on to take a starring
role as Dennis Quaid's student in the hit film "The Rookie," joined
the cast of John Dahl's critically admired thriller "Joy Ride," and
most recently appeared in the action thriller "Torque," set in the
fast-paced world of motorcycle racing. Jay can soon be seen starring
in "Friday Night Lights" opposite Billy Bob Thornton.
BILLY BURKE (Dennis Gauquin)
BILLY BURKE currently stars as John Rangosa on the FOX television
series "The Jury." He made his feature film debut in the indie "Dare
Dreamer" and went on to take roles in "Lost Junction," "Along Came
a Spider," "Komodo," "Jane Austin's Mafia!," "Without Limits," "Marshall
Law," "S.F.W.," "Roman Paris," "A Good Kill" and "To Cross the Rubicon."
On television, Burke has been a series regular on "Wonderland" and
"Roadie." He has also had guest-starring appearances on "Monk," "Karen
Sisco," "The Gilmore Girls," "24," "Party of Five," "Gone in the Night,"
"VR.5," "All American Girl," "Vanishing Son," "Star Trek: Deep Space
Nine" and "Traps."
TIM GUINEE (Tony Corrigan)
While training for "Ladder 49," Tim Guinee and the rest of the cast
spent time going on working fire calls with the Baltimore City Fire
Department. During one of these, a fivealarm blaze on the tenth floor
of a high-rise, he found and rescued a woman. He was subsequently
awarded a citation from the Baltimore City Fire Commissioner for his
actions. Upon completion of "Ladder 49" and as a result of his experiences
on the film, Tim joined the volunteer fire department in the small
town in upstate New York where he lives.
As an actor, Tim has appeared in a long list of films including: "Personal
Velocity," which won Best Picture at the Sundance Film Festival in
2002, the film adaptation of Horton Foote's "Lily Dale," Oliver Stone's
"The Doors," and "Heaven and Earth," "Courage Under Fire," "Once Around,"
"Blade," "How to Make an American Quilt," "Sudden Manhattan," "The
Pompatous of Love," " Beavis and Butthead Do America," "Back Day/Blue
Night," "The Night We Never Met," "American Blue Note," "The Young
Girl & The Monsoon," and the Academy Award®-nominated short film "The
Duke of Groove." He can also be seen starring in the upcoming indie
"A Hole in One" with Michelle Williams.
His television appearances include: "The Road From Coorain"(Australian
Broadcasting Company), "The Suitor" (PBS Masterpiece Theatre), "Comics"
(Channel 4), "Moby Dick" (BBC), HBO's "Vietnam War Stories," as well
as "The Practice," "Law and Order: Criminal Intent," "Warning: Parental
Advisory," "Strange World," "Gore Vidal's Lincoln," "Queen," "Breathing
Lessons," "L.A. Law," "Wiseguy," and "The Golden Years." He has just
completed "Vinegar Hill" for CBS in which he stars opposite Mary Louise
Parker.
Tim was born in California and grew up in Illinois and Texas. After
graduating from Houston's High School for the Performing and Visual
Arts, he attended New York's American Academy of Dramatic Arts and
then graduated from the North Carolina School of the Arts in Winston-Salem.
He is currently in post-production on a documentary he directed entitled
"American Backyard."
KEVIN DANIELS (Don Miller)
KEVIN DANIELS will be next seen in the television adaptation of Zora
Neale Hurston's "Their Eyes Were Watching God" starring Halle Berry.
He recently appeared in "Hollywood Homicide" starring Harrison Ford,
"Kate and Leopold," and had the title role in the Walt Disney animated
short "John Henry," directed by Forest Whitaker. Mr. Daniels has had
numerous television appearances including guest star roles on "Frasier,"
"Buffy the Vampire Slayer," "In-Laws," "JAG," "Law & Order," "Third
Watch" and the pilot episode of "Deadline" with Oliver Platt. His
theatre credits include "Twelfth Night" at Lincoln Center with Helen
Hunt and Kyra Sedgewick and a starring role as Richard in the LA Theatreworks
radio version of "The Lion in Winter" with Alfred Molina. He recently
starred in the American premiere of Israel Horovitz's newest play
"Compromise" directed by Michael Morris. Kevin is a graduate of the
prestigious Juilliard School.
KEVIN CHAPMAN (Frank McKinney)
KEVIN CHAPMAN was recently seen starring with Sean Penn and Tim Robbins
in the award-winning Clint Eastwood film "Mystic River" and also starred
with Penn in the critical hit "21 Grams." He recently finished "Irish
Eyes" for director Daniel McCarthy and Paul Weitz's comedy "Synergy"
with Dennis Quaid.
After making his motion picture debut in the late Ted Demme's film
"Monument Avenue," he went on to appear in such acclaimed features
as "The Cider House Rules," "In the Bedroom," "What's the Worst That
Could Happen?" and "The Boondock Saints." In addition to his film
work, Chapman has guest starred on such prime time network shows as
"24," "The Agency," "CSI," "The Practice" and "Dr. Vegas." He is currently
shooting the Showtime pilot "Southie" and then goes straight into
production on the Al Pacino feature "Two for the Money." Prior to
becoming a working actor, Chapman worked for many years as the film
commissioner for the city of Boston, MA. ABOUT THE FILMMAKERS
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