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THIS FILM |
"Luck
is when preparation meets opportunity"
- Stacy Holt (Brittany Murphy)
SYNOPSIS
From Revolution Studios comes a dark comedy about new boyfriends,
exgirlfriends and little black books.
In Little Black Book, Stacy Holt (Brittany Murphy), an associate producer
for daytime talk show hostess Kippie Kann (Kathy Bates), is frustrated
when her boyfriend Derek (Ron Livingston) refuses to discuss his past
relationships. With the encouragement of her co-worker Barb (Holly
Hunter), she delves into his Palm to learn about his ex-girlfriends.
Using the show as a ruse and Barb as her guide, Stacy interviews and
befriends them, only to discover that the past, in a few instances,
is rather present.
A modern day immorality tale of snooping in the electronic age, Little
Black Book asks the question: Have you ever been tempted to go where
you shouldn't? Further, it delves into the consequences of what can
happen to you when you succumb to temptation.
Revolution Studios Presents A Blue Star Pictures Production Little
Black Book, a Columbia Pictures release. The film stars Brittany Murphy,
Holly Hunter, Ron Livingston, Julianne Nicholson and Kathy Bates.
Little Black Book is directed by Nick Hurran. The screenplay is by
Melissa Carter and Elisa Bell from a story by Melissa Carter. The
producers are Elaine Goldsmith-Thomas, Deborah Schindler, William
Sherak and Jason Shuman. The executive producers are Herbert W. Gains,
Rachael Horovitz, Warren Zide and Craig Perry. The director of photography
is Theo Van de Sande, ASC. The production designer is Bob Ziembicki.
The editor is John Richards. The costume designer is Susie DeSanto.
The music is by Christophe Beck. The music supervisor is Randall Poster.
Little Black Book has been rated PG-13 by the Motion Picture Association
of America for Sexual Content/Humor and Language.
Little Black Book will be released nationwide on August 6, 2004. 'THE
TANGLED WEB'
Producers Jason Shuman and William Sherak, partners in Blue Star Pictures,
were introduced by mutual friends while in college. Soon after, they
co-directed the short film Spoof! An Insider's Guide to Short Film
Success. After each working stints as production executives, Sherak
and Shuman formally paired up to produce their own films starting
with the independent features Comic Book Villains and Four Dogs Playing
Poker. After bringing their Blue Star Pictures shingle to Revolution
Studios in the fall of 2000, they produced the horror/thriller Darkness
Falls, which debuted at #1 its opening weekend.
Little Black Book fit in perfectly with the young producers' creative
goals - to tell great stories that feature multi-faceted characters,
in a wide variety of genres. "It was an interesting character choice,
and an interesting story to tell," says Sherak. "That's what attracted
us initially."
They first heard about the project about two and a half years ago
when a manager friend of theirs who represented screenwriter Melissa
Carter recommended the screenplay. "We read it and thought it was
really universal and provided the framework for a really great movie,"
says Sherak.
Another screenwriter, Elisa Bell, was brought in to work on the script.
Blue Star submitted an early draft to producer Elaine Goldsmith-Thomas
(Mona Lisa Smile, Maid in Manhattan), a partner in Revolution Studios
who runs the company's New York office. Goldsmith-Thomas became the
driving force behind the film. Says Shuman: "Elaine brought the movie
to where it is today."
"I'm attracted to movies with flawed heroes, and what Melissa Carter
beautifully outlined in her script was a story about a real character
who you do love, but who is compelled to go in the wrong direction,"
notes Goldsmith-Thomas. "I knew that if we could layer this story
with real people who are both heroic and flawed, it would be that
much more compelling. Audiences are used to rooting for the innocent
heroine against a guilty villain. However in this movie every character,
either by action or by omission, is a bit guilty. We brought in Elisa
Bell in hopes of making the story that much more layered, and we continued
to do a great deal of work on it throughout the process."
Goldsmith-Thomas played a major role in the script's development.
"The thing Elaine has that is so amazing is her ability to convey
the idea of real people," says Sherak. "When you watch the movies
she's produced, you're always watching real people living their lives.
You're getting a glimpse into the characters' lives and what they
do every day. She makes them compelling to watch."
Shuman concurs. "That was the goal from the beginning," he says. "The
story had to be real. Nothing on Stacy's journey should make you think,
'That couldn't happen.' It all had to stem from a place people could
identify with."
Adds executive producer Herbert W. Gains: "It's a very smart script
with a lot of dialogue, and we needed it to come off as real," he
says. "In terms of the locations and the cast and the dialogue, it
all had to have the unmistakable feel of truth." The project picked
up further steam when actress Brittany Murphy was added to the mix.
The star of such films as Uptown Girls, 8 Mile and Riding in Cars
with Boys, she was the first and only choice for the role of Stacy.
"Deb (producer Deborah Schindler) and I were at my house reviewing
lists of potential actors, and my niece happened to be there. When
we mentioned Brittany Murphy, her face lit up," recalls Goldsmith-Thomas.
"Both Deb and I had been great admirers of Murphy's work and her range.
She is quite adept at comedy and drama, and she has this very real
vulnerability, which is the perfect embodiment of our lead character."
Murphy, who had read an early draft of the script, showers equal praise
on Goldsmith-Thomas. "Three days after our first conversation, Elaine
sent me a revised script," remembers Murphy. "And in reading the new
draft I realized she'd studied my rhythm and speech patterns from
our first meeting."
Murphy fell in love with Goldsmith-Thomas' approach to the story.
"I really adored the concept of the film," she says. "I was overwhelmingly
impressed by not only how thematically relevant the script is, but
how fresh, witty and real this modernday romantic comedy is."
v "As a story, I see it as an ensemble piece about a lot of people
who are all harboring their own little secrets while, in their work
on the Kippie Kann Show, they expose other people's lives," Murphy
adds. "That got me excited."
Murphy welcomed Goldsmith-Thomas' generosity. "Elaine accorded me
a lot of respect in allowing me to be part of the entire process,"
says Murphy. "She was very receptive to my ideas."
With the script coming together, the focus now turned to the search
for a director. British-born Nick Hurran had directed the British
film Plots with a View starring Brenda Blethyn, as well as a number
of British television shows.
"We went through the process of looking for a director with a unique,
fresh voice," explains Shuman, "and realized there are a lot of amazing
people out there. Then we got a call from Nick's agent. We knew his
work and loved it." "Deb, Rachel (executive producer Rachel Horovitz)
and I watched a tape of Hurran's Plots With A View," recalls Goldsmith-Thomas.
"What most impressed us was that there was a life on the edge of the
screen. You really believed that this wasn't just happening, but that
the camera happened to catch it. I remember screaming and saying 'Oh,
my God, can we get him?!' Luckily for us, Nick had flown himself in."
For Hurran, the key attraction to the material was the overarching
idea of "biting betrayal," says the director. "The characters all
have something to face in themselves that they're not quite facing.
That mixed with the wonderful humor of the script made it a joy to
read."
Hurran quickly recognized that the story combined both contemporary
and classic elements. "This story is told in a very contemporary way,"
says Hurran. Indeed, it is a very modern form of technology - the
Palm - that gets Stacy into her complex predicament. "Stacy is kind
of prodded by her work colleagues to use the technology with Derek,"
says Hurran. "The Palm is the modern equivalent of the little black
book or diary. It's dangerous to leave around if you have something
to hide - as Derek soon discovers."
Despite its contemporary themes, the film has the feel of a classic
comedy. "While it's contemporary, it has that romantic feel of Hollywood's
golden era, and I wanted the audience to look at it and think, 'This
has the same timeless appeal as a Doris Day/Rock Hudson movie.'"
Hurran and his fellow filmmakers set out to cast the film's other
key roles, which included dozens of speaking parts and a wide range
of characters. Ultimately, the movie was populated with a blend of
up-and-comers, well-known Oscar® winners and veteran stage actors.
Though Murphy relates to Stacy on a number of levels, she confesses,
"I've never done anything like this character does. Snooping is just
not in my bag of tricks. It just wouldn't feel right. Plus, I'm not
technologically sophisticated enough to pull it off," she laughs.
For the character of Barb, the grand puppet master of the "Kippie
Kann Show" control room, the filmmakers were searching for the ideal
foil for Stacy and found her in one of today's finest actresses. A
four-time Academy Award® nominee and Oscar winner for The Piano, Holly
Hunter accepted the role of the woman who used to work on Wall Street,
then drove a bus and now works in television. "This script is interesting
because the characters continually reveal themselves. They continue
to develop throughout," she says. "Often in Hollywood scripts, the
characters are too simplistically drawn. By page 60, you know exactly
who they are. Nobody changes much after that. But in this movie, they're
all constantly revealing themselves in new ways to the audience, until
the very last moment." Hunter describes Barb's duplicitous nature
as less good-versus-evil and more "creator-destroyer. She inhabits
both actions. In some ways Barb is just curious and wants to help.
And then other, darker motives occur to her."
Stacy is largely unaware of Barb's machinations, says Murphy. "She
sees her as a comrade. But all along, Barb is pulling strings and
doing it brilliantly." Barb is also very adaptable, according to Hunter.
"That's one of the reasons why I wanted to play Barb. She loves to
discover, and we get to see her do a lot of that in this movie," says
Hunter.
Barb also serves as the impetus for Stacy's self-discovery. "Stacy's
been willing to believe instead of understand," continues Hunter.
"That was one of the reasons why I was attracted to this script -
do you believe or do you know? It takes slightly less work to believe
in what you're doing than to really understand it. Barb really forces
this conflict in Stacy. She forces her to reckon with the people she's
chosen to have in her life."
It was important that the ensemble of characters around Barb and Stacy
in the control room of the "Kippie Kann Show" have the right chemistry.
"It's kind of a cacophony of personalities in there," says Hunter.
"Most of us are stage actors, so we made very bold choices. It was
a fantastic working experience. They were a blast."
Kevin Sussman, whose credits include Sweet Home Alabama and Changing
Lanes, plays "senior associate producer-slash-producer" Ira who is
constantly seeking Kippie Kann's attention. "Ira's up for a producer
promotion," says Sussman, "so for him, it's all about Kippie."
For Sussman, the entire film revolves around the theme of betrayal.
"That's really what this movie is about - trust and betrayal. And
it happens on many levels. It happens in Stacy's personal relationships,
and it happens in her work relationships."
Stephen Tobolowsky, a veteran character actor who has brought his
talents to such comedies as Win a Date with Tad Hamilton and Freaky
Friday, plays Carl Todd, the executive producer of the "Kippie Kann
Show." Like Hunter, Tobolowsky was drawn in by the script. "The script
is different from most scripts I read," he comments. "It is a masterpiece
of confusion and chaos. What it's really about is, 'Oh, what a tangled
web we weave when first we practice to deceive.'" Tobolowsky's character
is no stranger to deception himself. "Carl will destroy anyone to
keep his position and power," says the actor. "He will do anything
to maintain his position, including interviewing supermodels as possible
replacements and zooming in on a clueless Kippie's makeup and wig
to make her look grotesque."
Carl is also on the lookout for the deceptions of the other producers
- "All those little scorpions and piranhas that are picking at me,"
laughs Tobolowsky. "As long as Carl can steal their ideas, everything's
fine. Carl is also a master schmoozer, and he gets ahead by either
kissing or kicking ass. This is the way these people operate. "
The third member of the "Kippie Kann" producing team is Larry, played
by Jason Antoon (Minority Report, Two Weeks Notice). "Larry's the
guy who steals from Ira, picks his nose, grabs his crotch, farts,
yells, is louder and more obnoxious at meetings, and is always on
Ira's back," says Antoon with hilarious bluntness. Phil Walsh, the
director of the "Kippie Kann Show," is played by Cress Williams. "Phil
is calling the shots up in the booth," says Williams. "And I think
for the audience he's the everyman. He is the average American person
witnessing this crazy situation."
Playing the once mighty daytime talk show host Kippie Kann, whose
ratings have recently taken a nosedive, is three-time Oscar® nominee
and Best Actress winner for Misery, Kathy Bates.
"Kathy Bates plays Kippie Kann with a sort of manic desperation, and
it was an honor to watch her create this character. We were blessed
with great actors who created an amazing ensemble," says Deborah Schindler.
"Kathy adds another layer of sophistication to this project. The character
of Kippie is like a great piece of furniture that's a little worn.
She wears her desperation," adds Goldsmith-Thomas. "Everyone is younger,
tighter, smarter - and in her efforts to stay afloat, Kippie has no
moral boundaries about doing to Stacy what ultimately happens."
The casting of the characters in Stacy's personal life was also crucial
to the success of the film. Ron Livingston ("Sex and the City," The
Cooler, Office Space) joined the cast as Derek, Stacy's boyfriend
and a scout for the NHL's New Jersey Devils. It was one of the most
difficult roles to cast.
"The character of Derek was difficult to cast because his appeal had
a lot to do with what the actor brought to it," says Murphy. "He had
to be endearing, strong, and just as importantly, someone you believed."
When Livingston auditioned, "he completely nailed it," says Murphy.
"It was like he'd fallen from the heavens."
Livingston saw the story as "a comedy about love and secrets. How
much do you really want to know about your boyfriend's past?'"
Derek's former girlfriends also presented a casting challenge. "We
were looking for some diversity in the girlfriends," says Gains. "We
wanted some contrasting images, different personalities, and people
from different walks of life. That way, there was always someone the
audience could relate to."
Julianne Nicholson, most recently in Seeing Other People and The Visitors,
was assigned the role of Joyce, the young chef who secretly hopes
that Derek will someday come back to her. "I thought she was really
interesting," says Nicholson. "She was smart and motivated, but also
really easygoing. She was a girl's girl, but she could hang out with
the guys as well. She wasn't just the typical clichéd ex-girlfriend.
She was a fully developed young woman."
When Nicholson first heard the title of the script, she was unsure.
But then she read it and was pleasantly surprised. "When I first heard
it was called Little Black Book, I thought it would be women being
catty, lying and deceiving. There's some of that, but in a very fresh
way. I particularly liked the ending because it wasn't obvious or
expected."
"We were on the set of Mona Lisa Smile when we saw Julianne Nicholson's
taped audition, and it rendered us speechless," recalls Goldsmith-Thomas.
"She had an honesty to her performance that was absolutely Joyce."
Joyce doesn't know that Stacy is investigating her, "but actually,
Joyce doesn't want to know who her ex-boyfriend is dating," adds Goldsmith-Thomas.
"She doesn't ask and in that way, she doesn't have to feel she is
participating in or perpetrating a fraud. So, really, nobody is innocent
here."
Josie Maran, one of the faces of Maybelline cosmetics who recently
starred in Van Helsing and the upcoming The Aviator, plays the bulimic
model Lulu Fritz "It was fun to blow the stereotypical model thing
out of proportion for this character," says Maran. "She's not from
France, but I played her as if she's obsessed with being French and
being fancy and international."
Harvard graduate and rising film and television star Rashida Jones
plays accomplished gynecologist Rachel Keyes, who has one of the film's
most outrageous scenes. Jones thinks that many women have investigated
their boyfriends' past. "Even though they know it's the wrong thing
to do, even though they know that maybe they're going to uncover something
they don't even want to know, there's just this huge curiosity and
temptation. So the storyline felt very real."
The stellar cast is rounded out by Sharon Lawrence as Stacy's mother.
Caitlin Murphy, Brittany's real life cousin, plays the role of young
Stacy when she is about eight years old.
Of course, no discussion of the cast is complete without a mention
of Bob, the dog. Bob won the filmmakers over at his first audition.
"He has a tendency to do that," smiles the bullmastiff's trainer,
Larry Madrid, who looks for "a winning personality, a certain sparkle
in the eye, and an attitude that says, 'I'm a star,'" when choosing
his animals. When Madrid found Bob in England, "He was just irresistible."
"Our whole cast was something special," concludes Sherak. "But it's
only when all of them were on stage together, that we realized how
amazingly well the talent fit together and complemented one another."
The success of the ensemble was vital to the trajectory of Stacy's
story. "This is definitely a film about Stacy discovering herself,
her truth. She is trying to find order in her life, to find a way
of living without chaos. But she learns that maybe you have to let
go, roll the dice and see what happens," says Hurran. "It's her interaction
with the other characters that leads her to this conclusion."
Murphy echoes those sentiments. "Stacy finally learns not to fight
life, and that you can't control everything. You can be aware of yourself
and learn and make yourself grow, but you can't control the world."
The film was a learning experience for Murphy as well as her character.
"This whole experience has been a privilege for me," she continues.
"To have been a part of it from the ground floor and to watch Elaine
and learn the ropes of producing - that was a true blessing."
ABOUT THE PRODUCTION
Though the story is set in New York and New Jersey, Little Black Book
was shot mainly near Los Angeles. One of the biggest overall challenges
for production designer Bob Ziembicki was making a very hot, dry Pasadena
summer look like a green, lush New Jersey/New York spring. But the
filmmakers overcame that hurdle with some creative location selections.
For the style of the movie, Ziembicki followed director Hurran's dictate
that the production avoid the color blue. "He felt that would keep
our overall palette in very warm tones, particularly for the night
time scenes."
The chaotic nature of some of the film's key scenes, were another
challenge. "There was so much going on at once," says Murphy. "There
were sometimes half a dozen scenes in one, because we were shooting
the 'Kippie Kann' audience reacting, the warm-up man and whatever
was going on onstage. On top of that, we were shooting in the control
room and the characters in there talking to the people on the floor
and to the cameramen. In the background there were emus and orangutans
walking down the hallway where Holly and I were doing a scene. I've
never been in a picture where there were so many different things
going on at once."
It's also doubtful that Murphy ever had a scene in which she has to
submit to a pelvic exam. "It is sort of fascinating how real that
scene turned out to be," says Hurran. "In the story Stacy discovers
that one of her boyfriend's exes, Rachel, is a gynecologist, and submits
to the procedure in order to meet her."
"Brittany and I got very comfortable with each other very quickly,"
says Rashida Jones, who plays Rachel. "There was so much activity
and so much to be done that it almost made our interaction easier.
But it was really funny." Every time Jones would pop up from behind
Murphy's dressing gown, Murphy cracked up. "But she made it through,"
says Jones.
Another memorable scene was the lengthy "Kippie Kann Show" pitch-meeting
sequence. The cast members got a bit carried away, coming up with
outrageous pitches for the show. "Every take, we would pitch the shows,
and then at the end of the take, we'd keep going with things like
'midgets who got kicked out of the KKK,'" says Kevin Sussman.
Jason Antoon came up with some of the most memorable pitches. "I made
up absurd things, like '80-year-old virgins,'" he says. "It was actually
a lot of fun. Because after doing it a few times, we'd just take an
idea and run with it." The climactic scene at the end of the movie
where nearly all the film's characters converge on the stage of the
"Kippie Kann Show" encompassed nearly 15 script pages. "It didn't
feel that long when I read it," admits Hurran. "So much is happening
within that scene. Yet, it never read to me like such a mountain to
climb. It proved to be all-consuming technically. But in the end,
it was a joy." "Most of the third act of the film is the climactic
'Kippie Kann Show,' so it was imperative that we really nail it,"
says Goldsmith Thomas. "Nick did an amazing job orchestrating the
dozens of cameras in what was essentially shooting a television show
within a movie."
In the scene, the show's host, played by Kathy Bates, is a "fallen
Oprah" whose once popular New York show is now syndicated out of New
Jersey. Taking pride in their successful efforts to eternally lower
the bar, her producers serve up such slop as "cheerleading midget
lesbians" and "hoochie mama makeovers."
The production created a perfectly functioning TV show within a film.
Film cameras shot the TV cameras that shot the action on stage and
the live studio audience. "The TV show is kind of another character
in the movie. It had a whole reality unto itself," says Holly Hunter.
Video supervisor Dean Striepeke was the "Wizard of Oz" who controlled
the TV show. "Everything on the set worked essentially the same way
it would at a TV station," says Striepeke. "It was a much smaller
installation and we didn't have quite as many monitors. We didn't
have exactly the top-notch professional gear that they would have
at a television station. But essentially it all worked in the same
way."
Five television cameras were used on the set, as well as several monitors.
Hurran's concepts for Kippie's set were inspired by his early career
in live British television. "From there," says Ziembicki, "we 'Americanized'
it and added a sense that both Kippie and her low-end New Jersey station
had seen better days. We toyed with the idea that everything off camera
from the TV set was archaic, falling apart and/or out of order - a
reflection that Kippie and her show were past their prime."
"Obviously," he continues, "creating an entire live TV show with all
the behindthe- scenes elements was very gratifying."
"The Kippie Kann set was an interesting challenge," says Hurran. "We
had to make Kippie's world absolutely real. Kippie is a character
who's not at her best. So I wanted the feeling of the studio to be
slightly jaded. From the TV cameras, to the corridors and the control
room, it all had to look old, as if it was always on the verge of
breaking down."
Just as music is important in Stacy's life, so too it was important
in the movie. "There was music everywhere in the movie. Everybody
sang," says Murphy. "It was fantastic because there was music around
all the time."
That's not surprising since beloved Grammy-winning recording artist
Carly Simon is one of the main features of the story.
"Originally, there was no sort of 'musical hero' in this script,"
says Goldsmith- Thomas, "but we all began talking and we realized
that some of the most seminal songs that have transcended generations
have been by Carly Simon. There is something about her music - the
honesty, the passion, the complexity and the words - which is a treasure
chest of beautiful emotions, beautiful stories about passion, remorse,
love, regret and sorrow."
In particular, Goldsmith-Thomas and her fellow filmmakers were struck
by Simon's song "No Secrets."
"We listened to the words, and I thought 'Carly Simon wrote a song
in 1972, which speaks directly to the heart of a film we are doing
in 2004. It says 'What do you do with the information once you have
it?' People claim that information is power, but then you have to
act on it, and you always live with the knowledge once you have it,"
says Goldsmith-Thomas. "In 'No Secrets,' Carly says she wishes she
didn't know so much. The song was an anthem, our anthem."
"When Carly and I spoke on the phone for the first time we both wound
up crying during the conversation," says Murphy. "We are kindred spirits.
The first day we met in person, she came into my trailer and we danced.
We played music and danced. I really just adore her so much."
Adds Hurran: "Carly Simon is a terrific icon for all of us, and for
our leading characters in the story. She is the beacon of our story.
Our characters turn to her if they're in doubt. To have Carly Simon
actually with us was terribly exciting."
Reflecting on the film's themes, Simon says: "I think it's ideal to
connect with someone to whom you can tell almost everything. If there's
a deep, dark hidden secret, hopefully you can tell that one person
what it is. If you don't then perhaps it is a form of betrayal because
you're not connecting, you're not allowing the person that you really
want to be intimate with, to be a part of you."
If Carly Simon was the beacon for the characters in the movie, then
Hurran was the guiding light on the set. "It's so great to be on a
set with a director who genuinely likes being a director," says Hunter.
"Nick thoroughly enjoys working with actors and isn't intimidated
by them. He is always relaxed enough to be able to listen and engage
in a real creative conversation about a moment."
"Nick is great. He has the ability to remain calm and to keep an upbeat
attitude in the face of anything," says Livingston. "And he has an
English accent, which I think should be a requirement for a director.
It makes them sound like they know what they're doing."
The filmmakers hope that Little Black Book strikes a chord with audiences
as they follow Stacy and her duplicitous fellow characters. "In essence,
this movie is about a young woman who is crippled by doubt," says
Schindler. "And she discovers-only after going through the chaos-that
she has the power to forge her own life."
ABOUT THE CAST
BRITTANY MURPHY (Stacy) continues to be one of Hollywood's most sought
after and engaging young actresses. She was most recently seen in
Uptown Girls, in which she played Molly Gunn, a New York socialite
who takes a job as a nanny to regain the respect of her boyfriend.
Murphy also recently appeared in the hit romantic comedy Just Married,
Curtis Hanson's 8 Mile opposite Eminem and the ensemble film Spun
directed by Jonas Akerlund.
Murphy has also starred in Ed Burns' ensemble drama Sidewalks of New
York, Penny Marshall's Riding in Cars with Boys opposite Drew Barrymore
and Gary Fleder's Don't Say A Word opposite Michael Douglas.
Murphy starred alongside Winona Ryder and Angelina Jolie in Girl,
Interrupted and in Alan Rudolph's Trixie opposite Emily Watson. She
gained national attention from her breakthrough role as "Tai Frasier"
in the box office smash Clueless. Her additional credits include Summer
Catch, Drop Dead Gorgeous and Cherry Falls.
On television, Murphy starred opposite Lukas Haas and Sidney Poiter
in Harpo Productions' "David and Lisa," Showtime's critically acclaimed
"Devil's Arithmetic" opposite Kirsten Dunst and Showtime's "Common
Ground." Her talent for voices and accents can be heard each week
on Fox-TV's animated comedy 'King of the Hill," as she gives life
to "LuAnn" and "Joseph" on the hit series. Murphy performed on Broadway
with Allison Janney in Arthur Miller's Tony Award-winning "A View
From the Bridge" directed by Michael Mayer. Born and raised in New
Jersey, Murphy currently resides in Los Angeles.
HOLLY HUNTER (Barb) is an Academy Award®-winning actress who continues
to demonstrate her range and versatility. This fall, Hunter can be
heard in the animated film "The Incredibles" along with Samuel L.
Jackson, Jason Lee and Craig T. Nelson.
Hunter was recently seen in director Catherine Hardwicke's Thirteen,
for which she received an Academy Award® nomination as well as Golden
Globe, SAG, BAFTA and Broadcast Film Critics nominations. Hunter was
also in Levity with Billy Bob Thornton and Morgan Freeman.
In 2001, Hunter starred in ABC's "When Billie Beat Bobby," in which
she portrayed tennis legend Billie Jean King in the infamous 1973
"Battle of the Sexes" tennis match between King and Wimbledon champion
Bobby Riggs. The role garnered Hunter an Emmy nomination for Best
Actress in a Television Miniseries or Movie. In the fall of 2001,
Hunter starred in the American premiere of "By the Bog of Cats," a
modern day retelling of "Medea" by Marina Carr at the San Jose Repertory
Theatre in California.
In 2000, Hunter starred in Showtime's "Things You Can Tell Just By
Looking At Her" which garnered her another Emmy nomination. The film
won an award in Un Certain Regard at the Cannes Film Festival and
also screened to critical praise at the 2000 Sundance Film Festival.
That same year, Hunter starred in Showtime's original movie, "Harlan
County War," for which she has received both an Emmy and Golden Globe
nomination for Lead Actress in a Miniseries or Movie. Also in 2000,
Hunter appeared in the Coen brothers' film O Brother, Where Art Thou?
with George Clooney and John Turturro as well as Mike Figgis' Time
Code. In 1999, she starred in Jesus' Son, released by Lion's Gate
opposite Billy Crudup. In 1998, Hunter starred in New Line Cinema's
adult-comedy Living Out Loud opposite Danny DeVito, Elias Koteas and
Queen Latifah.
In 1993, she received the Academy Award® for her remarkable performance
as a mute Scottish widow in Jane Campion's The Piano. She also received
a Golden Globe Award and a Best Actress award from The British Academy,
the New York Film Critics Circle Award, the Los Angeles Film Critics
Association Award, the National Board of Review Award and the Cannes
Film Festival Award.
During the same year Hunter was also nominated for Best Supporting
Actress for The Firm. She was previously nominated for her performance
in James L. Brooks' Broadcast News, which brought her the New York
Film Critics Circle Award, the Los Angeles Film Critics Award, The
National Board of Review Award and the Berlin Film Festival Award.
Other film credits include Home For the Holidays, Copycat, Once Around,
Always, Raising Arizona, Crash and A Life Less Ordinary.
In 1982, Hunter made her Broadway debut in Beth Henley's "Crimes of
the Heart" and followed that with another Broadway play by Henley,
"The Wake of Jamey Foster." Her other New York stage appearances include
"The Miss Firecracker Contest," "Battery," "The Person I Once Was,
" "A Weekend Near Madison" and "Impossible Marriage."
Hunter co-produced and starred in Beth Henley's "Control Freaks" and
produced Ray Barry's "Mother' Son" at the Met Theatre in Los Angeles.
Her television work includes HBO's "The Positively True Adventures
of the Alleged Texas Cheerleader-Murdering Mom," for which she won
the Emmy Award for Best Actress. This role also garnered her a Golden
Globe nomination. Hunter was awarded another Emmy for her role as
Jane Roe in NBC's "Roe vs. Wade."
Hunter currently resides in New York.
RON LIVINGSTON (Derek) will next be seen in Winter Solstice, which
recently premiered at the Tribeca Film Festival and stars Anthony
La Paglia and Allison Janney. The film was written and directed by
Josh Sternfeld. Livingston recently starred in The Cooler, which premiered
at the Sundance Film Festival and opened the Los Angeles Film Festival
in 2003. The critically acclaimed film also stars William H. Macy,
Maria Bello and Alec Baldwin.
Last year Livingston starred as Jack Berger on the popular HBO series
"Sex and the City" opposite Sarah Jessica Parker. In 2001, Livingston
starred as Captain Lewis Nixon in HBO's "Band of Brothers," for which
he was nominated for a Golden Globe in the Best Supporting Actor category.
Livingston also appeared on the Emmy-winning drama "The Practice"
as the hot shot Assistant District Attorney Alan Lowe.
In 1999, Livingston starred in the cult hit Office Space for director
Mike Judge opposite Jennifer Aniston. In the film, he played a disgruntled
young office worker caught up in the corporate rat race. Judge also
wrote the film as derived from his animation piece "Milton." The film
has garnered a huge fan base over the years and sells briskly in the
home video market.
Livingston's other film credits include a memorable turn as Nicolas
Cage's agent in Adaptation for director Spike Jonze, Swingers opposite
Jon Favreau and Vince Vaughn, Ink, Two Ninas, A Rumor of Angels, which
starred Vanessa Redgrave, Ray Liotta and Catherine McCormack, and
the critically acclaimed independent film The Low Life.
Raised in Iowa, Livingston attended Yale University, where he earned
his BA in Theatre Studies and English Literature. During his term
at Yale, he performed in the Williamstown Theatre Festival. Soon after
graduating, Livingston moved to Chicago where he landed roles in a
number of theater productions, including shows at the Goodman Theatre.
He currently resides in Los Angeles.
JULIANNE NICHOLSON (Joyce) was born and raised in Medford, Massachusetts.
Following a modeling career in New York and Paris, Nicholson landed
her first feature film role opposite Michael Caine and James Spader
in Curtain Call. She later took on what proved to be her breakout
role as the headstrong young feminist in The Love Letter with Tom
Selleck and Kate Capshaw. Her other feature film credits include Long
Time Since with Julian Sands and Paulina Porizkova, Carl Franklin's
One True Thing starring Meryl Streep and Renee Zellweger as well as
the independent films Seeing Other People, for which she won a Best
Actress award at the 2004 U.S. Comedy Arts Festival in Aspen, Tully,
which was honoured with six Independent Spirit Award nominations including
one for Nicholson as Best Supporting Actress, Speakeasy, Passion of
Mind and Harvest. She recently completed production on Two Seagulls
and will appear this December in Bill Condon's Kinsey with Liam Neeson
and Laura Linney.
Nicholson's television credits include series regular roles on "Ally
McBeal" and "Presidio Med." Her other credits include a starring role
in the television miniseries "Storm of the Century" and guest-starring
roles on "ER" and "Law & Order."
KATHY BATES (Kippie Kann) is an Academy Award®-winning actress who
earned her reputation on Broadway. She was nominated for a Tony Award
for her portrayal of the suicidal daughter in Marsha Norman's Pulitzer
Prize-winning play " 'night, Mother" and won the Obie Award for her
performance as Frankie in the original off-Broadway production of
"Frankie and Johnny in the Clair de Lune." Bates created an indelible
impression as Annie Wilkes in Misery (1990), for which she won the
Best Actress Academy Award® and the Golden Globe. She has appeared
in such critically acclaimed films as James Cameron's Academy Award®-winning
Titanic (1997), Dolores Claiborne (1995) and Jon Avnet's Fried Green
Tomatoes (1991), which earned her a Golden Globe nomination. She has
been twice nominated for the Best Supporting Actress Oscar® for her
performances as Roberta Herzel in About Schmidt (2002) and as Libby
Holden in Mike Nichols' Primary Colors (1998), for which she also
won the Screen Actors Guild Award. Other film credits include The
Waterboy (1998), The War at Home (1996), Dick Tracy (1990), Men Don't
Leave (1990), Come Back to the Five & Dime, Jimmy Dean, Jimmy Dean
(1982), Straight Time (1978) and Milos Forman's Taking Off (1971).
For her performance as Helen Kushnick in the HBO film "The Late Shift"
(1996), she won a Golden Globe, a Screen Actors Guild Award and the
American Comedy Award. In 1995, PBS's "Great Performances" aired her
directorial debut "Talking With." Bates has directed five episodes
of HBO's critically acclaimed series "Six Feet Under." Her episode,
"Twilight" (2003), was nominated for a Directors Guild Award. Her
directorial credits include NBC's "Homicide," ABC's "NYPD Blue," HBO's
"Oz" and the A& E original movie, "Dash and Lilly" starring Sam Shepard
and Judy Davis, which was nominated for 13 Golden Globes and three
Emmys - both included a nomination for Best Director.
ABOUT THE FILMMAKERS
NICK HURRAN (Director) makes his American feature directorial debut
with Little Black Book. The British helmer's most recent credit is
the British feature Plots With a View. Hurran previously directed
such films as Virtual Sexuality, Girls Night, and Remember Me? For
British television his directorial credits include the series "The
Last Detective," "Outside Edge," "Frank Stubbs Promotes," "Boon" and
"Telly Addicts."
He has also directed the British telefilms "Take a Girl Like You,"
"Happy Birthday Shakespeare" and "Sailortown."
MELISSA CARTER (Screenplay, Story by) Little Black Book is Carter's
first produced screenplay, which she wrote as her MFA thesis script
at Florida State University. She has sold three pilots over the past
two years and is currently a staff writer on ABC's new high school
dramedy "Life as We Know It" featuring Sean Faris, Jon Foster and
Kelly Osbourne.
Carter began her career by selling Catch of the Day to New Line Cinema.
She currently resides in Los Angeles with her husband Matthew and
their son Elijah. ELISA BELL (Screenplay) most recently wrote the
MGM comedy Sleepover.
She is currently writing Honey West for Miramax and Dirty Little Secret
at Paramount for Matthew McConaughey. She is also penning a thriller
for Stephen Sommers at Universal.
Her other feature credits include National Lampoon's Vegas Vacation
as well as the NBC telefilm "Behind the Camera: The Unauthorized Story
of Three's Company."
Bell attended the USC film school.
ELAINE GOLDSMITH-THOMAS (Producer) is a partner and head of New York
operations for Revolution Studios, where she oversees and develops
projects for the company.
In the three and a half years Revolution Studios East has been in
existence, Thomas has developed an impressive slate of films. Her
debut film, Maid in Manhattan starring Jennifer Lopez and Ralph Fiennes,
opened #1 at the box office and earned in excess of $200 million in
worldwide gross receipts. Mona Lisa Smile, Thomas' second feature,
starred Julia Roberts, Kirsten Dunst, Maggie Gyllenhaal, Marcia Gay
Harden, and Julia Stiles and made in excess of $150 million worldwide.
Directed by Mike Newell, Mona Lisa Smile explores the relationship
between a young teacher and her students in 1953 at Wellesley. Thomas'
third feature, Little Black Book, is a summer 2004 release. Little
Black Book is a modern day immorality tale about an aspiring newswoman
who opens a Pandora's box when she uses her boyfriend's Palm to access
his past. The film stars Brittany Murphy, Holly Hunter, Kathy Bates
and Ron Livingston and was directed by Nick Hurran.
In addition to her feature productions, Thomas serves as executive
producer on two television projects, which are currently in post-production.
The first is "Design Intervention," a new NBC special with designer
Vern Yip, ("Trading Spaces") who helps a family beat the obstacles
that have precluded them from completing their dream home. The second
is "American Girl/Samantha," a film for television done in conjunction
with WB-TV and is The WB's first made-for-TV movie. Based upon the
best-selling "American Girls" line of dolls and books from Pleasant
Company and Mattel, "Samantha" is the story of a nine-year-old orphan
living with her grandmother in 1904 America and is the first in a
potential telepic franchise.
"Our goal is simple," states Thomas. "We develop the scripts until
we love them. Until we see them so clearly in our heads, that we are
driven to find the right filmmakers and stars to bring that vision
to life. However long it takes," adds Thomas, "we're not in a race."
Prior to joining Revolution Studios, Thomas was a Senior Vice President
at International Creative Management, a position she held since joining
the company in 1991. In addition to Julia Roberts, she has represented
such talents as Jennifer Lopez, Tim Robbins, Susan Sarandon, Darren
Star, Rupert Everett, Matt Dillon, Spike Lee, Roger Michell and Jonathan
Lynn. She began her career as a secretary at the William Morris Agency,
where she was promoted to agent in 1985.
DEBORAH SCHINDLER (Producer) is head of the New York-based Red Om
Films and Julia Roberts' producing partner. Red Om Films is based
at Revolution Studios East where Roberts and Schindler work in association
with Revolution Studios partner Elaine Goldsmith-Thomas.
Schindler and Thomas' third feature, Little Black Book, is being released
on August 6, 2004. Little Black Book is a comedy about an aspiring
newswoman who opens a Pandora's box when she uses her boyfriend's
Palm to access his past. The film stars Brittany Murphy, Holly Hunter,
Kathy Bates and Ron Livingston and was directed by Nick Hurran.
Next up for Red Om and Revolution East is the "American Girl/Samantha"
filmfor- television. The Toronto-based shoot recently wrapped production.
Produced with Warner Brothers TV, it is the WB's first made-for-TV
movie and is based on the best-selling American Girls line of dolls
and books from Pleasant Company and Mattel. "Samantha" is the story
of a nine-year-old orphan living with her grandmother in 1904 America
and is the first in a potential telepic franchise. Starring AnnaSophia
Robb ("Because of Winn Dixie," based on the best-selling children's
novel and about to begin production on "Charlie And The Chocolate
Factory") as Samantha and Mia Farrow in the role of 'Grandmary,' it
was directed by Nadia Tass ("The Miracle Worker" for ABC, "Undercover
Christmas" for CBS). Marsha Norman ("'night Mother") wrote the teleplay
and Richard LaGravenese (The Fisher King, Erin Brockovich) is executive
producing with Goldsmith- Thomas and Schindler.
"Both Elaine and I feel committed to story, plot and dialogue. We
have the utmost respect for writers and, therefore, try to give them
the room they need to allow their projects to grow," says Schindler.
"Our goal is simple," states Goldsmith- Thomas. "We develop the scripts
until we love them, until we see them so clearly in our heads that
we are driven to find the right filmmakers and stars to bring the
vision to life."
Over the past three and a half years, Revolution Studios East and
Red Om Films have together developed an impressive slate of projects.
Their debut film was the hit romantic comedy Maid in Manhattan starring
Jennifer Lopez and Ralph Fiennes, which was released by Columbia Pictures
in December 2002 and has earned in excess of $200 million in world-wide
gross receipts.
During post-production on Maid in Manhattan, principal photography
began on Mona Lisa Smile directed by Mike Newell and starring Julia
Roberts, Kirsten Dunst, Julia Stiles, Maggie Gyllenhaal and Marcia
Gay Harden. The film opened nationwide December 2003.
Previously, Schindler produced How Stella Got Her Groove Back starring
Angela Bassett, Whoopi Goldberg and Taye Diggs and Waiting to Exhale
starring Whitney Houston, Angela Bassett, Loretta Devine, Lela Rochon
and Wesley Snipes under the direction of Forest Whitaker. Both films
were adapted from best selling novels by Terry McMillan.
Prior to joining Red Om Films, Schindler enjoyed a 10-year relationship
with 20th Century Fox that began in 1990 when Joe Roth, then president
of the studio, made an overall deal with her.
Schindler's filmmaking experience has been extensive and varied. She
served as Vice President of Creative Affairs, East Coast, for Columbia
Pictures under David Puttnam. She was also Associate Producer on Prelude
to a Kiss starring Alec Baldwin and Meg Ryan.
Schindler began her film career as an assistant to Martin Scorsese
with whom she worked on Raging Bull, The King of Comedy, The Last
Temptation of Christ and The Color of Money. She served as associate
producer on Scorsese's After Hours.
She lives in New York City with her husband and daughter.
WILLIAM SHERAK (Producer) and JASON SHUMAN (Producer) are founding
partners of Blue Star Pictures, a full service production company
with a first look deal at Revolution Films. Under the banner, Sherak
and Shuman produced the 2003 hit horror film Darkness Falls as well
as the thriller Totem. The duo's other producing credits include Comic
Book Villains for Lions Gate and the independent Four Dogs Playing
Poker.
Sherak and Shuman are currently in production on the television drama
"Dawn Anna," for the Lifetime Network. The show stars Debra Winger
and follows a single mother who has recently recovered from a brain
disease and must contend with a life-threatening situation affecting
one of her children. HERBERT W. GAINS (Executive Producer) most recently
served as producer on Michael Tollin's Radio with Cuba Gooding Jr.
and Ed Harris. His other recent projects include executive producer
credits on the comedy hit Orange County, Cradle 2 The Grave, the Tollin/Robbins
production Hardball starring Keanu Reeves and Diane Lane, and Summer
Catch starring Freddie Prinze, Jr. His other credits include serving
as co-producer for the highly successful Varsity Blues, Ready to Rumble,
Daylight and Dragonheart.
Previously, Gains was production manager on films such as The Negotiator
and Mouse Hunt. As assistant director, he worked on a variety of films
that included Natural Born Killers, Heaven & Earth, Point Break, Pacific
Heights, Dragon: The Bruce Lee Story, Dirty Dancing and The Fan.
Gains is the executive producer on producer Joel Silver's upcoming
remake of the thriller House of Wax.
RACHAEL HOROVITZ (Executive Producer) recently returned to producing
after nearly 10 years as an executive at Revolution Studios, New Line
Cinema and Fine Line Features, where she oversaw projects by such
filmmakers as Michel Gondry, Wes Anderson, Bernardo Bertolucci, David
Mamet, and Alexander Payne, on whose award-winning About Schmidt she
served as Executive Producer. A long-time New York-based producer
of film and theater, her credits include State and Main and Next Stop,
Wonderland.
WARREN ZIDE (Executive Producer) partnered with Craig Perry in 1997
to form Zide/Perry Entertainment. Their first production was the successful
action film The Big Hit. Other productions include American Pie, American
Pie 2, American Wedding, Repli-Kate, Final Destination, Final Destination
2, and Cats and Dogs. Zide/Perry Entertainment's upcoming projects
include Hell Week, the thriller Westward and Cats and Dogs 2.
Zide is also one of the leading literary managers in the business,
representing many talented young screenwriters. His clients include
Ben Ramsey, (The Big Hit), Tom Wheeler (The Arcanum and Simeon's Code),
Damian Shannon and Mark Swift (Freddie vs. Jason and Sharkslayer),
and Craig Titley (See Spot Run and Scooby-Doo). He has been selected
for Fade-In magazine's "One of the Top 100 People in Hollywood You
Need to Know," The Hollywood Reporter's "Next Generation" and was
the youngest manager to appear on Weekly Variety's "Top 10 Spec Salesman"
list.
Zide began his entertainment career at New Line Cinema as a part-time
employee building shelving units before being promoted to a full-time
mailroom position, where he worked alongside Perry. He then served
as an assistant to a top literary agent at International Creative
Management, helping to sign such clients as director Robert Rodriguez
(The Faculty, From Dusk Till Dawn, Spy Kids 1- 3) and screenwriter
Gregory Allen Howard (Rosewood, Remember the Titans).
CRAIG PERRY (Executive Producer) partnered with Warren Zide in 1997
to form Zide/Perry Entertainment. Their first production was the successful
action film The Big Hit. Other productions include American Pie, American
Pie 2, American Wedding, Repli-Kate, Final Destination, Final Destination
2 and Cats and Dogs. Zide/Perry Entertainment's upcoming projects
include the horror film Hell Week, the thriller Westward and Cats
and Dogs 2.
Previously, Perry served as Vice President of Development for Scott
Rudin Productions and Director of Development for Silver Pictures.
He was an associate producer on The First Wives Club, and worked in
developing such films as Rules Of Engagement, Sleepy Hollow, A Simple
Plan, The Truman Show, In & Out, Ransom, Clueless, Lethal Weapon 3,
Executive Decision, Richie Rich, Demolition Man and Twilight.
THEO VAN DE SANDE, ASC (Director of Photography) has worked on 45
feature films, nine feature-length documentaries and more than 45
short films, documentaries, television series and music shows.
Van de Sande's most recent film credits include Out of Time, Eddie
Live, Crimes, Double Take, Little Nicky, Big Daddy and Cruel Intentions.
Previously, he worked on such films as Blade, Volcano, Bushwacked,
Wayne's World, Body Parts, Once Around, Crossing Delancey and Miracle
Mile.
Born in Tilburg, Holland, Van de Sande graduated from the Dutch Film
Academy in Amsterdam and began working as a cinematographer in 1972.
In 1982 and 1987, Van de Sande received the Golden Calf for Best Cinematography,
the highest award bestowed upon a director of photography in the Netherlands
for a body of work every five years.
Among the feature films Van de Sande worked on in Europe before relocating
to Los Angeles in 1987 were The Girl With the Red Hair, which received
the Dutch Film Critics Award in 1982, The Illusionist, which received
the Dutch Best Film and the Dutch Film Critics Awards in 1984, and
The Pointsman, which won the prize for Best Cinematography at the
Madrid Film Festival. The Assault received the Academy Award® and
the Golden Globe Award for Best Foreign Film.
Colors Straight Up was nominated for an Academy Award®, the DGA Award
and the Independent Spirit Award for Best Feature-length Documentary
in 1997. Van de Sande's other documentary film credits include It
Was a Wonderful Life (1992), Let the Good Times Roll (1991), We Are
Coming As Friends (1985), Stranger at Home (1985), The Future of '36
(1983), Drown Country (1980), The Factory (1979) and The Alien's Place
(1977).
For television, Van de Sande's credits include the made-for-television
movie "Tuesdays With Morrie," which received three Emmy Awards in
2000, as well as the pilots for "Cruel Intentions" and "The Practice"
and episodes of "The Profiler."
BOB ZIEMBICKI (Production Designer) has extensive feature and television
credits, including Masked and Anonymous, The Wedding Planner, Boogie
Nights, Freddy Got Fingered, The Waterdance, Eat A Bowl Of Tea, Fires
Within, Dudes, 29th Street, Wait Until Spring, Bandini, Blast From
The Past, Scream 2, The Skulls, Dudley Do-Right, Trapped In Paradise,
Black Magic, Dragon: The Bruce Lee Story, End Of Summer, and Barfly
with Mickey Rourke. He recently completed The Moguls.
Ziembicki won the award for Best Art Direction at the First Native
American Film Festival for his work on Jim Jarmusch's Deadman.
Trained in Chicago, he won a Regional Student Academy Award for his
first film. Ziembicki began his film career with Roger Corman's New
World Pictures, working his way up through the art department to become
a production designer. JOHN RICHARDS (Editor) has been an editor with
the BBC since 1992 and has worked on numerous documentaries, TV series
and feature films, including The Healer directed by Mike Hodges and
Blood and Belonging: The Road to Nowhere directed by Tim Lambert.
He won the prestigious BAFTA Cymru Award for Best Editor in 1993 for
"Tender Loving Care," a BBC drama directed by Dewi Humphryes and again,
in 1994, for "William Jones," a three-part drama series directed by
Peter Edwards.
His most recent work includes the HBO Emmy Award-winning mini series
"Band of Brothers," as well as Plots with a View, Room to Rent, One
of the Hollywood Ten and Girls' Night.
On TV, Richards' recent credits include "Hearts of Gold," "The Last
Detective," "The Miracle Maker" and "Insiders." SUSIE DESANTO (Costume
Designer) most recently designed the costumes for White Oleander,
I Am Sam, Miss Congeniality, What Lies Beneath and The New Guy.
DeSanto's other feature film credits include Hope Floats, One Fine
Day, Teaching Mrs. Tingle, The Deep End of the Ocean, Bad Girls, Stuart
Saves His Family, The Babysitters Club, A Dangerous Woman, Book of
Love, Johnny Be Good, Twenty Bucks and Ruby. Upcoming for DeSanto
is Christmas with the Kranks starring Tim Allen and Jamie Lee Curtis.
CHRISTOPHE BECK (Music) has written the music for a wide range of
features. He recently scored Under the Tuscan Sun, Cheaper by the
Dozen, Garfield: The Movie, Saved!, Just Married, American Wedding,
A Cinderella Story, Without a Paddle and the upcoming The Pink Panther
and Fun With Dick and Jane. Other recent scores include The Tuxedo,
Confidence, Big Fat Liar and Bring It On, as well as the Tom Green
comedy Stealing Harvard.
Beck's other film credits include The Broken Hearts Club: A Romantic
Comedy, Guinevere, Coming Soon, Thick as Thieves, Dickie Roberts:
Former Child Star, Bone Daddy, Dog Park, Airborne, Past Perfect and
Star Struck.
The Academy of Radio and Television Association recognized Beck's
talent in awarding him an Emmy for his work on the hit series "Buffy
the Vampire Slayer." "ACADEMY AWARD®" and "OSCAR®" are the registered
trademarks and service marks of the Academy of Motion Picture Arts
and Sciences." |
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