FOX SEARCHLIGHT PICTURES and ATO PICTURES PRESENT A

Home , Brad William Henke, Ian Somerhalder, Paz de la Huerta, Red Bull

FOX SEARCHLIGHT PICTURES and ATO PICTURES PRESENT

A CONTRAFILM / ATO PICTURES Production

In Association with ARAMID ENTERTAINMENT FUND

SAM ROCKWELL

ANJELICA HUSTON

KELLY MACDONALD

BRAD WILLIAM HENKE

JONAH BOBO

WRITTEN FOR THE SCREEN AND DIRECTED BY...... CLARK GREGG BASED ON THE NOVEL BY...... CHUCK PALAHNIUK PRODUCED BY...... BEAU FLYNN ...... TRIPP VINSON ...... JOHNATHAN DORFMAN ...... TEMPLE FENNELL EXECUTIVE PRODUCERS ...... MIKE S. RYAN ...... DERRICK TSENG ...... GARY VENTIMIGLIA ...... MARY VERNIEU DIRECTOR OF PHOTOGRAPHY ...... TIM ORR PRODUCTION DESIGNER...... ROSHELLE BERLINER EDITOR...... JOE KLOTZ COSTUME DESIGNER...... CATHERINE GEORGE ASSOCIATE PRODUCERS...... LISA ZAMBRI ...... LAURIE MAY COMPOSER ...... NATHAN LARSON MUSIC SUPERVISORS ...... LYLE HYSEN ...... KEN WEINSTEIN CASTING BY...... MARY VERNIEU ...... SUZANNE SMITH CROWLEY

Rated R Running time 92 minutes “If you are going to read this, don’t bother. After a couple of pages, you won’t want to be here. So forget it. Go away. Get out while you’re still in one piece. Save yourself.” -- Chuck Palahniuk, Choke

From maverick author Chuck Palahniuk (Fight Club) and breakout new writer-director Clark Gregg comes the subversively comedic tale of Victor Mancini, con artist, sex addict, Colonial village re-enactor, angst-filled son, serial restaurant choker . . . and unsuspecting romantic antihero for our unsettling times. Victor (Sam Rockwell), in an effort to pay for his once radical, now demented mother’s (Academy Award® winner Anjelica Huston) expensive care in a private hospital, engages in a brazen scam. While dining in upscale restaurants, he deliberately chokes on his food, allowing himself to be “saved” by good Samaritans who grow so close to him in the wake of their heroic Heimlich Maneuvers, they lavish him with checks. His day job is no more conventional: he portrays an indentured Irish servant in full 18th Century garb at a historical theme park. And when he isn’t busy being a put upon Pilgrim, gagging violently or visiting the mother who doesn’t recognize him, Victor is attending sexaholic recovery meetings (or having forbidden encounters in the meeting hall bathroom.) It’s no wonder Victor feels adrift. But when his declining mother hints that she might be ready to spill the secret identity of his long lost father, Victor hopes it can finally provide the answers he has been searching for. With the help of his fellow sex addict Denny (Brad William Henke), Victor befriends his mother’s alluring young physician (Golden Globe® nominee Kelly Macdonald), who leads him to believe his origins may be far more shockingly divine than he ever could have imagined. So is Victor Mancini still the no-good loser he has always thought he would be for the rest of his life or could he possibly be . . . some crazy kind of savior? CHOKE, which ran away with the Special July Prize for Best Work by an Ensemble Cast at this year’s Sundance Film Festival, is not only a cathartic and romantic satire about uncontrolled lust, lost faith, childhood trauma, mad addictions, bizarre fantasies and blockages both emotionally and literally, but also about second chances, redemptive moments and true love – that is, it’s about modern life. Fox Searchlight Pictures and ATO Pictures present a Contrafilm/ATO Pictures Production in association with Aramid Entertainment Fund, CHOKE, written for the screen and directed by Clark

2 Gregg, based on the novel by Chuck Palahniuk. The producers are Beau Flynn, Tripp Vinson, Johnathan Dorfman and Temple Fennell. The executive producers are Mike S. Ryan, Derrick Tseng, Gary Ventimiglia and Mary Vernieu. Sam Rockwell, Anjelica Huston, Kelly Macdonald, Brad William Henke and Jonah Bobo headline an ensemble cast that includes Heather Burns, Paz De La Huerta, Clark Gregg, Joel Grey, Viola Harris, Gillian Jacobs, Matt Malloy, Bijou Phillips and Isiah Whitlock, Jr. The film’s behind-the-scenes team is made up of accomplished indie veterans including director of photography Tim Orr (SNOW ANGELS), production designer Roshelle Berliner (JOSHUA), editor Joe Klotz (JUNEBUG), costume designer Catherine George (RESERVATION ROAD), composer Nathan Larson (THE WOODSMAN, BOYS DON’T CRY) and music supervisors Lyle Hysen (LOVE, LUDLOW) and Ken Weinstein. The soundtrack features songs by indie darlings Radiohead, as well as Clap Your Hands Say Yeah, the Fiery Furnaces, Ben Kweller and the Twilight Singers.

CHOKING UP: ADAPTING CHUCK PALAHNIUK “Everything we do is an attempt to fool people into loving us or wanting us, and so my characters are really no different from ordinary people.” -- Chuck Palahniuk Chuck Palahniuk’s fourth novel Choke is an amped-up, relentlessly satirical look at sex, work, identity and bottomless yearning in contemporary America. Much like his earlier novel, Fight Club, which sparked a cult phenomenon and became a critically acclaimed hit movie starring Brad Pitt, Choke is a story that blasts through one taboo after the next. It tackles bad parenting and degenerate sex, consumerism and addiction, Colonial history and holy relics, medical horrors and blatant con games, an adult sense of failure and the freaky transcendent power of love. Like its self- asphyxiating main character, the book was all about people getting stuck . . . and suddenly dislodged from the patterns of their pasts. Most shied away from its tricky tone and uninhibited themes, but when executive producer Gary Ventimiglia showed filmmaking newcomer and actor Clark Gregg the manuscript for Choke, Gregg was driven to try to adapt the book. Not only that, he had his own daring and unlikely vision for the movie version of CHOKE: as a wicked, Palahniuk-style twist on that age-old heartwarming genre, the romantic comedy. “I had never read anything so painful and yet also so funny,” Gregg says of the novel. “I know Chuck is usually seen as this dark, nihilistic writer but I saw more than that in CHOKE. I felt the story was actually very hopeful and romantic, in its own perverse, post-modern way.”

3 He continues: “Palahniuk’s got so many clever, brilliant, satirical ideas and his finger on the pulse of what works and what doesn’t work in this country. For me, the book hit that chord where I thought ‘I have to make this; nobody’s going to let me do this but I’ve got to find a way.’” Best known for his work as an actor, theatre director and a founding member of New York’s Atlantic Theater Company, Gregg earlier made his screenwriting debut with the horror thriller WHAT LIES BENEATH, starring Harrison Ford. He has appeared in dozens of stage productions, films and, most recently, in the sitcom “The New Adventures of Old Christine” with Julia Louis- Dreyfus. But Gregg had never directed a feature film before and he knew he might be a little crazy to attempt his first outing with such provocative material. He began by getting Palahniuk’s blessing. “Chuck was very patient because it took me a year and a half, two years maybe, and a couple of drafts before I could really get a handle on taking this surreal, satirical world from the page to the more three-dimensional realm of a movie,” Gregg recalls. “Fortunately, Chuck, like a lot of the smartest novelists I know, is really aware that for a movie adaptation to work, at a certain point, you’ve got to just put the book away. From the first time I spoke to him he told me ‘Don’t be too faithful, don’t stick to the book.’ I really had to do that because there is just so much brilliant stuff in Victor’s voice, I could have just basically made my own book on tape and it would never have worked. Whatever I understood about the book, I had to let it no longer be a book and become a screenplay.” To accomplish that, Gregg followed the trail of his own emotional reaction to the novel. “My mother is not Ida and I never worked in a Colonial village, but there was something about the story that always felt painfully familiar,” he says. “Along with its themes of sexuality and obsession, I found it to be a really heartbreaking story about the way people recover from emotional trauma in their lives so that they can give and receive love.” He also hung on to Palahniuk’s mix-mastering of contrasting tones. “One of the things that constantly drew me to the material was how it managed to have scenes that I found hysterically funny in a black comedy vein and then, two minutes later, there would be a really heartbreaking exchange that felt like Chekhov. In retrospect, I didn’t realize how difficult a balancing act it would be to make it work on those trenchant dramatic levels and still have it be funny. It was a wonderful challenge.” Early on during the development process, Beau Flynn and Tripp Vinson of Contrafilm, whose previous films include such box-office hits as THE GUARDIAN with Kevin Costner and Disney’s THE WILD, came on board with great enthusiasm – ready to do whatever it might take to bring this intimate and ambitious story to the screen. The two had been friends with Gregg for years, having first known him as an accomplished actor, and had watched his talents as a writer blossom. “We had felt for a long time that Clark was a director at heart and when he brought us CHOKE, we

4 said we’re making this movie with you,” Flynn and Vinson recall. “We so believed in Clark and the movie that we weren’t going to let it go anywhere but forward.” They knew there were going to be massive challenges involved in taking on Palahniuk’s work, especially on the heels of David Fincher’s nearly iconic adaptation of FIGHT CLUB, but the possibilities seemed to make the risk worth it. “I think the material hit very close to home with Clark because there’s a lot of Victor in him. In fact, there’s a lot of Victor in everyone. Once you boil down all of these wild experiences and comical situations in the novel, it really becomes a story about a mother and a son and a man falling in love and Clark understood that,” says Flynn. Later, when the script was complete, Johnathan Dorfman and Temple Fennell of ATO Pictures joined the team and helped to put the financing together. ATO, which is run by Dorfman, Fennell and acclaimed singer/songwriter Dave Matthews, only take on films when all three of the company’s co-heads fall madly in love with a script – which is exactly what happened with CHOKE. “Temple, Dave and I each took home the script and the very next day we were all on the phone saying we’ve got to do this,” recalls Dorfman. “None of us had read the book. We all came to it fresh and thought it was extremely good.” ATO was also willing to take a major gamble on a first-time director tackling high-risk material. “A lot of independent movies are about taking a bet on the director,” offers Dorfman. “We had already done one film with a first-time director on JOSHUA, which had turned out well and we liked that Clark was already a known writer, that he was an adult not a kid, and that he was extremely articulate and passionate about the project. He had a very full vision of how to approach this material early on, talking about how he was going to balance the comedy with the poignancy.” Dorfman continues: “Most of all, we knew that this film ran the risk of trying to exist in the shadow of David Fincher’s style on FIGHT CLUB, and we were very pleased that Clark said, ‘No, I’m going to try something quite different.’ The film was a very intense crash course in filmmaking for him but he is very astute and we were right behind him the whole way.” Says Chuck Palahniuk: “Here is a spot-on, instant classic. Like THE GRADUATE or HAROLD & MAUDE, Clark Gregg's work is funny and tragic at the same time. I could not be happier with this film.”

5 GETTING CHOKED: THE CHARACTERS “I really wanted to find a way to trick Victor into thinking he could be so much better than he ever imagined himself and find himself thrust into this legacy of goodness. He has to reinvent himself according to what other people want him to be.” -- Chuck Palahniuk

When it came time to cast CHOKE, the filmmakers knew everything would hinge on finding actors who could nail the right tone. They were helped tremendously by Mary Vernieu who joined CHOKE as an executive producer in the very early stages. Vernieu is a highly regarded casting director who has worked with such character-driven directors as Quentin Tarantino, David O. Russell and Darren Aranofsky. Ultimately, the casting was so successful that the film garnered the Ensemble Cast Award at this year’s Sundance Film Festival. The first thing the film needed was an actor who would be completely fearless in the role of the rather flagrantly flawed Victor Mancini. He had to be willing to be eccentric, neurotic, needy, lusty, manipulative and disillusioned. At the same time he also needed to be charming, funny, heartbreakingly vulnerable and able to fall headlong not only into unexpected love but into a radically different view of who he might be in life. In other words, he had to be a devilish soul with the potential for redemption. To fill this difficult bill, Clark Gregg right away thought of Sam Rockwell, with whom he had worked in a play many years ago. Rockwell has been acclaimed in a number of memorably unconventional roles, from an unhinged Chuck Barris in George Clooney’s CONFESSIONS OF A DANGEROUS MIND to the insane double-murderer “Wild Bill” Wharton in THE GREEN MILE to his recent roles in the horror-thriller JOSHUA, the revisionist Western THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD and the contemporary drama SNOW ANGELS. “I think Sam’s one of the few people working in movies in America today who can blend fully committed drama with totally absurdist comedy,” says the director. “He always felt right to me because CHOKE takes so many stylistic chances and I needed someone like Sam who can take risks without the audience doubting his reality for a second. I knew from the beginning that he was the perfect person to play Victor.” Gregg continues: “And the bonus was his generosity of spirit and commitment. Nobody works harder than Sam. He was listening to the book on tape on an endless loop, over and over, throughout the entire production. Later when I watched dailies I realized that his ‘improves’ often contained his favorite lines from the novel.”

6 Palahniuk was equally pleased with the casting. “As soon as they said Sam Rockwell, it just seemed perfect because he is funny and he also has a fantastic vulnerable quality. Ever since THE GREEN MILE or CONFESSIONS OF A DANGEROUS MIND, I couldn’t think of anyone who would be better.” Rockwell responded to the script instantly. “I thought it was really unique among screenplays I’ve read and I also thought that Clark did a great job capturing that very specific and unusual Chuck Palahniuk tone, which is kind of like Ken Kesey meets John Irving,” says the actor. Most of all Rockwell couldn’t resist the idea of trying to embody Victor with all his massive foibles, rampant sex addiction and highly unlikely destiny as the messiah of a private mental hospital. He affectionately calls Victor “a highly dysfunctional Casanova.” Rockwell continues: “I saw Victor as kind of an amalgam of all the great movie anti-heroes. I was thinking of Jack Nicholson in FIVE EASY PIECES, Paul Newman in COOL HAND LUKE and Albert Finney in TOM JONES -- and even John Travolta in SATURDAY NIGHT FEVER and Billy Bob Thornton in BAD SANTA. He’s just a fascinating guy and almost like a modern Hamlet with this whole weird Oedipal thing going on. He’s a real piece of work, but I like that his story is about a man trying somehow to become an adult and that it’s a love story, too – a love story that creeps up on you.” To get deeper into the role, Rockwell confesses that he attended a number of real-life twelve- step sex addiction meetings. “I couldn’t really identify with some of the stuff that goes on with Victor at first,” he admits, “so I went to a few meetings and I watched a great documentary on sex addicts and read Chuck’s book over and over and then it all started to come together. Meanwhile, Clark was very specific about what he wanted and kept me on track with the character’s journey.” Rockwell also had to learn another rare art he never expected to take on: choking on demand. For Rockwell, the key to this unusual performance requirement was Victor’s underlying intent. “I think it’s a very interesting thing that he does, this choking,” he says. “By allowing himself to be totally humiliated and in danger and left drooling and crying, Victor provides people with a real service. He creates heroes out of ordinary people, he puts adventure back in their lives. And he gets a lot out of it, too, because he’s so lonely and screwed up and filled with self-loathing, his intense need to be held and cared for is partially fulfilled.” Rockwell used soft pieces of watermelon in place of such items as sushi for his choking scenes, but those on the set were still stunned by just how far he was willing to go. “Right from the very first choke, he just went for it,” recalls producer Johnathan Dorfrman of the dramatic asphyxiations. “We were all ready to do the Heimlich.”

7 Adds producer Beau Flynn: “Tripp and I kept trying to call ‘cut’ because we thought he was really choking. Sam is such a great actor and he committed to the role so much that as producers, you’re sitting there thinking ‘my lead actor is going to die.’ It was a real credit to Sam that he made us believe. He really took it right to the edge and you could see the exhaustion in his face at the end of those scenes. But we all understood that if those scenes didn’t feel absolutely real, the audience wouldn’t follow the rest of the story.” Far less taxing for Rockwell were his scenes with Anjelica Huston in the role of Victor’s highly complicated and less than forthcoming mother, Ida. “Anjelica is a monster talent,” Rockwell comments. “She’s got strength and vulnerability and she’s the real deal.” Huston, an Academy Award winner for PRIZZI’S HONOR, has played a number of unusual mothers in acclaimed films, from John Cusack’s con-artist parent in THE GRIFTERS (for which she garnered an Oscar® nomination) to her recent turn as the mother (turned nun) of Owen Wilson, Adrien Brody and Jason Schwartzman in Wes Anderson’s THE DARJEELING LIMITED. But this role would be yet another twist on maternal love. Chuck Palahniuk describes Ida as “someone who has been so concerned with tearing things down, she never has had the power to actually create anything, to really even create herself” – and Clark Gregg knew that Huston would be unafraid to explore that with honesty. “Ida can be a bit of a monster, but Anjelica never shied away from those aspects of her character. She was very brave and she found this very strong center for Ida, which is her overwhelming love for her son, even when it’s expressed though the prism of her damage,” says Gregg. “She brought a tremendous intellectual rigor to the whole process, and ultimately made Ida a facet of the film’s core theme – that the damaged can also give and receive love – in a way that I hadn’t fully foreseen.” Huston’s interest was initially piqued by her nephew. “I’d been a fan of FIGHT CLUB, but I hadn’t read a lot of Palahniuk’s work. My nephew saw that I had the script for CHOKE and said ‘oh, that’s a fantastic novel – are you going to do this?’ And then I read the script and I found it very off- the-wall and wild and also very amusing and when I read it again, I liked it better and better. And by the third go-round I thought: I obviously have to make this movie.” Despite the tale’s dark and sometimes blasphemous themes, she saw eye-to-eye with Gregg’s approach to the film as a love story. She continues: “I think the entire story of CHOKE is very much about love, what you expect of love, the perversion of love and what love really is. There is a tremendous amount of love between Victor and Ida as well but it’s not straight-forward at all and it’s often pretty devious and warped. Yet, I think in the end Victor is able to understand life in a way he might not have if he didn’t have this insane mother to deal with.”

8 By this point, Huston had also become completely taken with Ida. Once a fierce revolutionary whose mothering skills left something to be desired, she has now vanished into a haze of fantasy- driven dementia. “Ida’s a combination of someone very tough and crafty with someone quite vulnerable and sensitive,” notes Huston. “She really called for quite a large range – and I like that. There was also a wonderful opportunity with this role to play Ida in both younger and older guises.” What really sealed the deal for Huston was that she immediately felt she was able to put her trust in Clark Gregg, despite this being his first outing as feature film director. “I found Clark to be very sensitive, perceptive and incredibly sure for a first-time director,” she says. “He gave us the safety net we needed.” Huston was equally excited to work with Sam Rockwell. “Sam reminds me of Humphrey Bogart, but in a modern way,” she says. “I think he’s a very inventive, energetic and interesting actor.” Victor Mancini’s troubles with women start with his mother, but certainly don’t end there. While woman have long been a source of temptation not to mention obsession for Victor, he never thought he’d be the kind to fall in love, especially with his mother’s doctor. And yet that’s what seems to happen to him when he meets Dr. Paige Marshall, the physician who is ready to go to rather intimate lengths in her quest to save Ida Mancini from total decline. To play Paige, once again the filmmakers needed to find someone who could ride a very fine line between funny and sincere, who could tell lies while exposing a certain amount of human truth – all in a demurely sexy way. The name that kept coming up for the role was Kelly Macdonald, the Scottish actress who achieved recognition in Danny Boyle’s gritty comedic hit TRAINSPOTTING and has gone on to a number of acclaimed roles, recently garnering a Golden Globe nomination in the title role of HBO’s THE GIRL IN THE CAFÉ and starring as a savvy West Texas wife in the Coen Brothers’ Academy Award-winning adaptation of NO COUNTRY FOR OLD MEN. “I’ve been a huge fan of Kelly ever since TRAINSPOTTING,” says Gregg. “When we were getting close to production, she was already in the U.S. on a work visa to do NO COUNTRY FOR OLD MEN and I thought she was just perfect for the role. Kelly has that volcanic reservoir of silent strength that a character like Victor needs to break free of his past. Her acting is invisible and the one thing the movie hinges on is the audience buying that Paige is not like other people in Victor’s world.” For Macdonald, it was the film’s humor that grabbed her first and wouldn’t let go. “I was in hysterics reading the script,” she recalls. “I was staying with a friend while I was reading it and she kept coming into the room to ask ‘what is so funny?’ because she could hear me laughing through the walls. I really liked the humor and the quirkiness and especially the heart.”

9 Naturally, she was intrigued by Paige, the doctor with a dark secret with whom Victor starts a highly unconventional relationship. “Paige is a lot like Victor in that it’s hard for her to show her feelings and she has problems with intimacy, and they’re quite an odd match in so many ways, but that’s what so lovely about their love story,” she muses. “It’s completely unexpected, and they each kind of open up the other’s world view.” While Macdonald was thrilled to have a few scenes with her idol Anjelica Huston, most of her interaction in the film was one-on-one with Sam Rockwell, who credits Macdonald with making Paige a completely unique creation. “What I loved about Kelly’s performance is that she brought this very unexpected sweetness and warmth to the character. Paige is written as a very sharp, strong kind of women but Kelly brings her own irresistible earthy quality to it,” he says. Another actor who brought something new to his character was Brad William Henke, who has co-starred in such acclaimed indie films as YOU AND ME AND EVERYONE WE KNOW and NORTH COUNTRY. But the role of Denny – a chronic masturbator and two-bit Colonialist who discovers the life changing power of love – was like no other. Clark Gregg always saw the character as a major catalyst. “Denny seems like he’s going to be this sort of chronically masturbating village idiot who’s just a sidekick for Victor to bounce his ideas off of, but he turns out to be the real trailblazer and quickly steps past Victor in his emotional development and makes it possible for Victor to move forward.” He continues: “I always knew I wanted Denny to be a big person, to be this sort of gentle giant who accompanies the much smaller Victor everywhere, because I just liked that visual image. But with Brad, we also found someone who was able to form a real bond and truly keep up with Sam. He has tremendous sincerity and was able to capture the sort of half-full element of Denny.” Comments Johnathan Dorfman: “I thought Brad really stole the show. He brought something out from the character we hadn’t even seen was there before.” The ensemble was completed by a number of exceptional actors in supporting roles including Academy Award winner Joel Grey (Clark Gregg’s father-in-law) in the role of sex addict Phil, Heather Burns as the woman who hires Victor to violate her, Jonah Bobo as a young Victor on the run, Viola Harris as the accusatory dementia patient Eva, Bijou Phillips as Ursula the Colonial village Milk Maid, Matt Malloy as the detective who interrogates Victor after he’s arrested and Gillian Jacobs as Denny’s unexpectedly serious girlfriend, the stripper Cherry Daiquiri. “It was a real testament to Clark’s ability to work with actors that he was able to get such remarkable performances out of all these roles,” says Dorfman. “I think it’s really all these wonderful, eccentric characters that make the movie.”

10 Meanwhile Gregg himself took on the role of Lord High Charlie at the Colonial village where Victor works, which meant he most often found himself directing in a puffy Colonial costume. Admits Gregg: “It was kind of hard to get people to take me seriously when I was talking to them in knickers and a frilly shirt.”

CHOKING HAZARD: THE DESIGN OF THE FILM “Even the most ordinary person might have a fantastically rich, private, secret life, and I find that concept really cheerful.” -- Chuck Palahniuk

In true indie fashion, CHOKE was shot in just 25 lightning-paced days, primarily in Essex County, New Jersey, which fortuitously contained all of the unusual elements needed for the story, including an abandoned mental hospital, a preserved Colonial village and a zoo, many of which the producers were able to wrangle for use without fees. They were even able to take advantage of the crew from HBO’s “The Sopranos” series, which had just shut down for good. “It was all very kismet,” says producer Tripp Vinson, “because we could not have afforded to create or even shoot at all these locations without this turn of luck.” Despite the budgetary constraints and challenging locations, Clark Gregg made the most of all his creative resources, especially an artistic team headed by director of photography Tim Orr and production designer Roshelle Berliner. “Tim and Roshelle did a fantastic job of creating the very lush world of CHOKE on a very tough budget,” says Gregg. Orr shot the film in 16mm, but aimed to avoid the more typical dark and grainy look of an indie film – opting for a brighter, more fantastical realm for Victor and his cohorts. “Tim had a sensibility that really matched the film,” says Beau Flynn. “Clark didn’t want to make it gritty and muted – he wanted the look of the film to have color, energy and life, and Tim was able to find precisely the right balance in his work.” Adds Gregg: “Tim was able to light the film in such a way that made it possible to move between extremes of tone. It’s buoyant one minute and more gritty the next as you move from laughter to heartbreak. He also works incredibly fast.” Meanwhile, Roshelle Berliner had her hands full with two tricky locations: Colonial Dunsboro, the simulated historic village where Victor is employed as an indentured servant; and St. Anthony’s, the sprawling private mental hospital where his mother Ida is being cared for with the money he earns by choking in restaurants. Palahniuk notes that he originally created the humorously intolerant world of Dunsboro based on experiences friends of his had working at Disneyland – where the employees must never break

11 character -- inspiring a workplace in which insubordination can be punished by a day in the stocks. To bring to life this amusement park-style view of history, Berliner had the luck to start with the now defunct colonial theme park in New Jersey, which until it closed in 2006, was a living museum replete with Colonial houses, general store and a stone grist mill. The village’s many preserved locations lent a perfect touch of authenticity to the antic moments that unfold there. “Roshelle did a great job taking the Colonial village’s practical locations and making it feel not only real and alive but also give it this kind of run-down feeling that was so important,” says Vinson. “She found a really nice tone.” For St. Anthony’s Hospital, Berliner was able to start from another extraordinary base: the now abandoned Essex County Psychiatric Hospital in Cedar Grove, New Jersey, which had been built at the turn of the century (then known as the Essex County Asylum for the Insane) and became a populous, 350-acre mental institution replete with red-brick Victorian buildings, as well its own power house, laundromat and theatre in the 50s and 60s, before psychiatric treatment radically changed with the advent of pharmaceutical drugs. In 2007, with a new hospital opened up nearby, the facility closed for good and was slated to be torn down to put up condos. The place turned out to be architecturally stunning, as well as dripping with an eerie, pungent sense of the past that added to the film’s intensity of atmosphere. So thick were the hallways with history that several crew members reported ghost sightings. The former patients had also left behind walls covered in curiously bright and cheery murals they had painted as therapy, which inspired Berliner to commission several more murals, some involving the worship of the unexpectedly messianic Victor. Another favorite set became the eccentric rock house that Denny builds, stone by stone, on a vacant lot with his new girlfriend Cherry Daiquiri. “The rocks become a kind of symbol, of the extra weight we carry around – and Denny is the one who sees a way to turn those burdens into a tool, into something supportive,” says Gregg. “What we tried to show with the house he builds is that he never attempts to decide what it’s going to look like. He just lets it take its own shape.” Shape was also on the mind of costume designer Catherine George, who despite this being a contemporary comedy had to delve into the intensive research of a period film. “The costume design for the Colonial village was especially important,” notes Vinson. “The costumes had to be true to the time period but they also had to reflect this kind of ramshackle theme park feeling. We didn’t want to hit people over the head with the comedy of it, but the costumes had to strike just the right tone.” Also helping to pull the entire fast-moving production together was executive producer and line producer Mike Ryan. Says Flynn: “Mike was the only person who came to us and said ‘I can

12 pull this off for you.’ He said ‘it will be a battle and we’ll have to use a lot of young crew but I can do it.’ And he did it very, very well.” The atmosphere of CHOKE began with the visuals but was further crafted in the film’s sound, including the score by composer Nathan Larson (the former lead guitarist of the influential band Shudder to Think) – who collaborated entirely by phone and e-mail with Clark Gregg from his private studio without ever meeting in person. Equally key is the film’s indie band-driven soundtrack featuring a song that was a particular coup for the filmmakers: “Reckoner” from one of todays most widely acclaimed and iconoclastic bands, Radiohead. Chuck Palahniuk notes even while writing the novel he was listening intently to Radiohead; and later, independently, Clark Gregg turned to the band’s melodic sounds for inspiration while he was penning the adaptation of CHOKE and only later learned that Palahniuk had penned the novel while listening to the band’s “Creep.” So it was an exciting moment when, through a series of lucky connections, the filmmakers were able to get the band’s go-ahead to use their song. “We’re all huge Radiohead fans and we were very gratified that they were really, really into it,” says Dorfman of Radiohead, “and we were able to build quite a nice indie soundtrack around their participation.” When Contrafilm and ATO Pictures joined forces on CHOKE with Clark Gregg, the producers had ambitiously stated they would begin production in July of 2007. Just a few months later, the film had already been accepted into Sundance and the filmmakers had to scramble to complete the movie in the nick of time. “We finished the film on a Thursday and showed the movie that Monday to a great response,” says Vinson. “It was all pretty amazing. It really felt like it was all meant to be.” Throughout the production and right through to the end, Palahniuk remained a big supporter, spending time on the set and supporting the film at Sundance. “He was the nicest, sweetest man and his presence was very, very encouraging,” says Dorfman. For Clark Gregg, having Palahniuk around so much kept him constantly in mind of the inspiration for the film: his original gut reaction to the novel. Gregg concludes: “I feel like everybody in CHOKE, from Denny and Cherry Daiquiri to Ida and most primarily Victor are all people who are damaged, yet have a lot of love to give and are trying to figure out a way to do that – but definitely not in the usual ways.”

# # # # #

13 ABOUT THE CAST

SAM ROCKWELL (Victor Mancini) Sam Rockwell has emerged as one of the most dynamic actors of his generation by continuing to take on challenging roles in both independent and studio productions. Rockwell was most recently seen in David Gordon Green's acclaimed film SNOW ANGELS opposite Kate Beckinsale; and starred opposite Brad Pitt and Casey Affleck in Andrew Dominik's critically acclaimed film THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD. Rockwell can next be seen in Ron Howard's FROST/NIXON, scheduled for release by Universal Pictures in fall 2008; the upcoming GENTLEMEN BRONCOS from the director of NAPOLEON DYNAMITE, Jared Hess; EVERYBODY’S FINE with Robert De Niro and Drew Barrymore and the lead in Duncan Jones’ film debut, MOON. Rockwell has created memorable characters in several films including: the Russo brothers' comedy WELCOME TO COLLINWOOD opposite George Clooney, Patricia Clarkson, Jennifer Esposito, and William H. Macy; David Mamet's HEIST opposite Gene Hackman, Rebecca Pidgeon and Danny Devito; the blockbuster CHARLIE'S ANGELS with Drew Barrymore, Cameron Diaz and Lucy Liu; and Frank Darabont's Oscar-nominated THE GREEN MILE, opposite Tom Hanks. Rockwell also appeared in DreamWorks' box office hit, GALAXY QUEST opposite Tim Allen, Sigourney Weaver, Alan Rickman and Tony Shalhoub. Additional credits include: JOSHUA opposite Vera Farmiga; the lead in George Clooney’s CONFESSIONS OF A DANGEROUS MIND; THE HITCHHIKER'S GUIDE TO THE GALAXY opposite Zooey Deschanel, Mos Def and Martin Freeman; and the Warner Bros' comedy-drama MATCHSTICK MEN directed by Ridley Scott, starring opposite Nicolas Cage. He has also appeared in Woody Allen's CELEBRITY; Michael Hoffman's A MIDSUMMER NIGHT'S DREAM with Kevin Kline and Michelle Pfeiffer; John Duigan's LAWN DOGS; John Hamburg's SAFE MEN; Saul Rubinek's dark comedy JERRY AND TOM; Tom DiCillo's BOX OF MOONLIGHT opposite John Turturro; Peter Cohen's DRUNKS with Richard Lewis, Parker Posey and Faye Dunaway; Paul Schrader's LIGHT SLEEPER with Willem Dafoe; Uli Edel's LAST EXIT TO BROOKLYN with Jennifer Jason Leigh; and his feature film debut in Francis Ford Coppola's CLOWN HOUSE while he was still a student at the High School of the Performing Arts.

14 ANJELICA HUSTON (Ida Mancini) An award-winning actress and director, Anjelica Huston continues her renowned family's legacy in film, which began with her grandfather, Walter and her father, John. Huston was most recently seen in an acclaimed cameo in THE DARJEELING LIMITED, directed by Wes Anderson and starring Adrien Brody, Owen Wilson, and Jason Schwartzman. Huston is currently filming WHEN IN ROME, opposite Josh Duhamel, Danny DeVito, and Kristen Bell. In it, a young art curator (Bell) finds herself aggressively pursued by a band of wannabe lovers after she steals coins from a Roman fountain. WHEN IN ROME is slated for a 2009 release. Throughout her career, Huston has received 29 honors for her work including multiple honors from the National Society of Film Critics, two Independent Spirit Awards, the Los Angeles and New York Film Critics Awards and an honor from Women in Film. Huston received a Best Supporting Actress Oscar for her role as ‘Maerose Prizzi’ in the black comedy PRIZZI'S HONOR in which she starred opposite Jack Nicholson and Kathleen Turner. In 2005, Huston received a Golden Globe® Award for her role in HBO's original movie IRON JAWED ANGELS in which she starred opposite Hilary Swank and Julia Ormond. Huston's additional credits include memorable turns in hit ADDAMS FAMILY and ADDAMS FAMILY VALUES films as well as in Stephen Frears' THE GRIFTERS, Wes Anderson's THE ROYAL TENENBAUMS and THE LIFE AQUATIC WITH STEVE ZISSOU, Nicholas Roeg's THE WITCHES, Woody Allen's MANHATTAN MURDER MYSTERY and CRIMES AND MISDEMEANORS, Paul Mazursky's ENEMIES: A LOVE STORY, Sean Penn's THE CROSSING GUARD, Frances Ford Coppola's GARDENS OF STONE, Mira Nair's THE PEREZ FAMILY and her father's final film, THE DEAD. Her directorial debut was an unflinching adaptation of Dorothy Allison's best-selling memoir, Bastard Out of Carolina, which garnered Huston critical acclaim. She received an Emmy® nomination for her work on the controversial drama as well as a Director's Guild nomination. Huston directed, produced and starred in AGNES BROWNE, which was presented at the Directors' Fortnight at the 2000 Cannes Film Festival. Additional film credits include EVER AFTER, SERAPHIM FALLS, THE GOLDEN BOWL, HANDFUL OF DUST, MR. NORTH, BUFFALO 66, ART SCHOOL CONFIDENTIAL and Clint Eastwood's BLOOD WORK. Her television credits include Robert Ludlum's “Covert One: The Hades Factor,” as well as a recurring role on Showtime's original series “Huff,” starring Hank Azaria. Huston received Emmy nominations for her performance in the CBS mini-series “Buffalo Girls,” her performance

15 opposite Robert Duvall and Tommy Lee Jones in the mini-series “Lonesome Dove,” her performance opposite Sam Neill in the television film “Family Pictures,” and her work in the TNT mini-series “The Mists of Avalon.” Huston recently starred on “Medium” opposite Patricia Arquette in a seven-episode arc which debuted in January 2008.

KELLY MACDONALD (Paige) Kelly Macdonald’s career took off after her role as Ewan McGregor’s one-night stand in 1996’s TRAINSPOTTING. She followed with starring roles in numerous feature films, most poignantly as the teenage prostitute in STELLA DOES TRICKS; as the feisty girl who charms a schizophrenic Daniel Craig in SOME VOICES; and more than held her own in the all-star cast of Robert Altman's British country-house thriller, GOSFORD PARK, for which she received an Empire Award nomination for Best Actress and shared the Screen Actors Guild Award® for Outstanding Performance by the Cast of a Theatrical Motion Picture. Kelly was most recently seen in the Coen Brothers’ film NO COUNTRY FOR OLD MEN, winner of the Academy Award for Best Picture of the Year. The film, which made over 50 top ten critic’s lists, also stars Tommy Lee Jones, Javier Bardem, Josh Brolin and Woody Harrelson. She will re-team with Tommy Lee Jones in the forthcoming IN THE ELECTRIC MIST. For her role in Richard Curtis’s THE GIRL IN THE CAFE, Macdonald was honored with an Emmy, as well as a Golden Globe nomination. Macdonald has also starred in INTERMISSION, Marc Forster’s highly acclaimed FINDING NEVERLAND (as Peter Pan), TRISTRAM SHANDY: A COCK AND BULL STORY for Michael Winterbottom, ALL THE INVISIBLE CHILDREN for Mehdi Charef and Emir Kusturica and LASSIE, directed by Charles Sturridge. Other feature film credits include COUSIN BETTE, MY LIFE SO FAR, ELIZABETH, THE LOSS OF SEXUAL INNOCENCE, SPLENDOUR, ENTROPY, HOUSE!, and TWO FAMILY HOUSE, for which Macdonald was nominated for an Independent Spirit Award for Best Female Lead.

BRAD WILLIAM HENKE (Denny) Brad William Henke is quickly making a name for himself as one of the busiest actors in Hollywood. Henke recently completed filming a role in STAR TREK for director JJ Abrams and Paramount. He also recently starred as 'Owan Rowan' on the ABC drama "October Road." Henke has co-starred in such acclaimed films as ME AND YOU AND EVERYONE WE KNOW and NORTH COUNTRY. He recently appeared in Oliver Stone's WORLD TRADE

16 CENTER for Paramount Pictures. The drama reunited him with his SHERRYBABY co-star Maggie Gyllenhaal. SHERRYBABY first premiered in competition at the 2006 Sundance Film Festival. He also appeared opposite Adrien Brody in Focus Features' HOLLYWOODLAND and the Warner Brothers romantic comedy, MUST LOVE DOGS as Diane Lane’s gay best friend. Other television credits include a starring role on the Showtime original series "Going to California" and a memorable recurring role on the Showtime drama "Dexter." While shooting "Going to California," Henke had the opportunity to work with notable film directors Gary Fleder, Griffin Dunne, Peter Howitt and D.J. Caruso. Caruso was the first to put a camera in Henke's hands to mentor his directing aspirations, allowing him to shoot on the B camera while not acting in a scene. This experience led Henke to explore other aspects of filmmaking and he has since written many television and film projects with his wife, Katelin.

JONAH BOBO (Young Victor Mancini) Jonah Bobo, a New York City native, began his film career sharing the screen with Mary Louise Parker in THE BEST THIEF IN THE WORLD, which also had its premiere at Sundance in 2004. Jonah went on to star with Christopher Walken, Michael Caine, and Josh Lucas in Warner Independent Picutres’ AROUND THE BEND, and Sony Pictures’ ZATHURA: A SPACE ADVENTURE, directed by Jon Favreau. Jonah’s voice is familiar to many households with kids because he is the voice of Austin on the Nickelodeon series “Backyardigans,” as well as the voice of Tod and Toulouse in FOX AND THE HOUND TWO and THE ARISTOCATS II for Disney Animation. Jonah loves good ‘ole rock-n-roll music, enjoys playing the guitar and piano, and is a huge baseball fan (where he roots for both the New York Mets and the New York Yankees)

BIJOU PHILLIPS (Ursula) Bijou Phillips is a multi-talented actress, singer and model, who has accomplished many goals despite her young age. She just wrapped the independent film WAKE, in which she stars with Ian Somerhalder. Other films include MADE FOR EACH OTHER; a comedy in which she stars opposite Chris Masterson and Abel Ferrara’s bio picture about New York’s famous Chelsea Hotel called CHELSEA ON THE ROCKS that recently screened at the 2008 Cannes Film Festival as well as Cine Vegas. Last year, she was seen in HOSTEL II, directed by Eli Roth co-starring Lauren German and Roger Bart.

17 Additionally, Bijou portrayed 'Lorna Doom' of the 70’s punk band The Germs in WHAT WE DO IS SECRET with Shane West which will premiere August, 2008. In 2005 she completed a leading role alongside Anne Hathaway in Oscar winning writer, Stephan Gaghan's, HAVOC, directed by Oscar winning documentary filmmaker, Barbara Kopple. She also earned a role opposite Jeff Bridges and Kim Basinger in THE DOOR IN THE FLOOR, a film adaptation of John Irving's novel A Widow for One Year. Bijou is no stranger to Hollywood, growing up as the daughter of the late singer- songwriter John Phillips of The Mamas and the Papas, spending her time between New York, California and South Africa. At the age of 13, she started modeling, to become one of the youngest people to grace the covers of Interview Magazine, Italian Vogue and several ads for Calvin Klein. At 17, she acquired a record deal and began work on her album 'I'd Rather Eat Glass' produced by The Talking Heads' Jerry Harrison. Bijou’s big screen debut was in BLACK AND WHITE by director James Toback which garnered glowing praise from critics for her performance. Larry Clark then cast her in BULLY which also aided in paving the way for her ongoing successful career.

GILLIAN JACOBS (Cherry Daiquiri/Beth) In addition to her role in CHOKE, Gillian Jacobs also stars in GARDENS OF THE NIGHT which premiered at this year’s Berlin Film Festival and will appear in theaters this fall. Gillian recently completed THE BOX written and directed by Richard Kelly and starring Cameron Diaz, James Marsden and Frank Langella. She is currently shooting the lead in the feature WATCHING TV WITH THE RED CHINESE. Other films include Adam Rapp’s BLACKBIRD. Gillian had a recurring role on the NBC series, “The Book of Daniel” starring Aidan Quinn and has filmed several pilots. On stage, she recently starred in A Feminine Ending off-Broadway at Playwright’s Horizons and in Stephen Adly Guirguis’ The Little Flower Of East Orange directed by Philip Seymour Hoffman at the Public Theater in New York.

18 ABOUT THE FILMMAKERS

CLARK GREGG (Writer/Director/Lord High Charlie) A founding member and former artistic director of the Atlantic Theater Company in New York whose members include David Mamet, William H. Macy and Felicity Huffman, Clark Gregg directed the New York and Los Angeles premieres of Kevin Heelan’s searing racial drama, Distant Fires. The New York production was nominated for Drama Desk, Obie® and Outer Critics Circle awards and was moved to the Circle-in-the-Square downtown for an extended run. The Los Angeles production starring Samuel L. Jackson won three L.A. Weekly awards including Best Direction, Best Ensemble and Best Play and was nominated for four Ovation Awards including Best Director. He directed the critically acclaimed 1998 New York revival of Mamet’s play, Edmond, and created, co-wrote and directed the Los Angeles serialized play, The Big Empty. His screenwriting debut, WHAT LIES BENEATH (Dreamworks) starred Harrison Ford and Michelle Pfeiffer and was directed by Robert Zemeckis. In addition to CHOKE, he has written or re-written scripts for Universal, Disney, Paramount, Warner Brothers and Fox 2000. Also an actor, Gregg’s film work includes IRON MAN, IN GOOD COMPANY, IN THE LAND OF WOMEN, SPARTAN, STATE AND MAIN, LOVELY AND AMAZING, WHEN A STRANGER CALLS, THE HUMAN STAIN, 11:14, HOOT, WE WERE SOLDIERS, ONE HOUR PHOTO, and MAGNOLIA. He played the role of Hank/Henrietta in Tod Williams' debut feature THE ADVENTURES OF SEBASTIAN COLE for which he received an Independent Spirit Award nomination. Clark co-stars with Julia Louis Dreyfus in the hit CBS comedy “The New Adventures of Old Christine." Past television work includes recurring roles on “The West Wing,” "Sports Night" and "The Shield" among others and the HBO movies “Tyson” and “Live From Baghdad.” New York stage credits include the premieres of Jez Butterworth’s plays Mojo and The Night Heron, Boys’ Life at Lincoln Center (Drama Desk nomination), Aaron Sorkin’s A Few Good Men on Broadway, David Mamet's Sexual Perversity in Chicago as well as new works by Mamet, John Guare, Craig Lucas and others.

CHUCK PALAHNIUK (Novelist) Chuck Palahniuk is the bestselling author of nine novels, Fight Club, Survivor, Invisible Monsters, Choke, Lullaby, Diary, Haunted, Rant, and his latest work, Snuff, which will be published in May by Doubleday. He is also the author of the nonfiction profile of Portland, Oregon, Fugitives

19 and Refugees, and the nonfiction collection Stranger Than Fiction. More than 3 million copies of his books have been sold. He lives in the Pacific Northwest.

BEAU FLYNN (Producer)

Beau Flynn launched his own New Line Cinema based production company, Contrafilm, in March 2004 with partner Tripp Vinson. Since Contrafilm’s inception, Flynn and Vinson have earned over $500 million in world wide box office gross. The first release under their banner was AFTER THE SUNSET, directed by Brett Ratner. Also produced by Contrafilm, in conjunction with Lakeshore, is Screen Gem’s THE EXORCISM OF EMILY ROSE, directed by Scott Derrickson, which not only grossed in excess of $150 million worldwide, but was also one the most profitable and successful films of 2005. Easter of 2006 Contrafilm released their CG film, THE WILD for Disney, which has grossed over $100 million worldwide. That fall, Flynn and Vinson produced THE GUARDIAN for Disney’s Touchstone Pictures, starring Ashton Kutcher and Kevin Costner. In February of 2007 the duo released the Jim Carrey thriller, THE NUMBER 23, also starring Virginia Madsen and directed by Joel Schumacher for New Line Cinema. Contrafilm produced THE JOURNEY TO THE CENTER OF THE EARTH 3D, the first ever live action film to be shot in HD-3D. JOURNEY 3D is a co-production between New Line Cinema and Walden Media and is the widest digital release in history, making $21 million dollars in its opening weekend. Coming up for Flynn and Vinson are THE RITE by Michael Petroni, DAN MINTNER: BADASS FOR HIRE by Chad Kultgen and remaking RED DAWN at MGM with Carl Ellsworth writing and Dan Bradley directing. Prior to launching Contrafilm, Flynn’s first job in the industry was as Scott Rudin’s first assistant. From there, he became a partner at The Firm where he ran the motion picture and television production divisions. There he produced the critically acclaimed films TIGERLAND, REQUIEM FOR A DREAM, THE HOUSE OF YES, THE ALARMIST, GUINEVERE, and JOHNS.

TRIPP VINSON (Producer) Tripp Vinson launched his own New Line Cinema based production company, Contrafilm, in March 2004 with partner Beau Flynn. Since Contrafilm’s inception, Vinson and Flynn have earned over $500 million in world wide box office gross.

20 The first release under their banner was AFTER THE SUNSET, directed by Brett Ratner. Also produced by Contrafilm, in conjunction with Lakeshore, is Screen Gem’s THE EXORCISM OF EMILY ROSE, directed by Scott Derrickson, which not only grossed in excess of $150 million worldwide, but was also one the most profitable and successful films of 2005. Easter of 2006 Contrafilm released their CG film, THE WILD for Disney, which has grossed over $100 million worldwide. That fall, Vinson and Flynn produced THE GUARDIAN for Disney’s Touchstone Pictures, starring Ashton Kutcher and Kevin Costner. In February of 2007 the duo released the Jim Carrey thriller, THE NUMBER 23, also starring Virginia Madsen and directed by Joel Schumacher for New Line Cinema. Contrafilm produced THE JOURNEY TO THE CENTER OF THE EARTH 3D, the first ever live action film to be shot in HD-3D. JOURNEY 3D is a co-production between New Line Cinema and Walden Media and is the widest digital release in history, making $21 million dollars in its opening weekend. Coming up for Vinson and Flynn are THE RITE by Michael Petroni, DAN MINTNER: BADASS FOR HIRE by Chad Kultgen and remaking RED DAWN at MGM with Carl Ellsworth writing and Dan Bradley directing. Vinson and Flynn first worked together at Bandeira Entertainment in 2000 and then headed up Firm Films. Vinson started in Hollywood at Jerry Bruckheimer Films, after he graduated from USC.

JOHNATHAN DORFMAN (Producer)

Johnathan Dorfman is a founding partner of ATO Pictures, an independent feature film company based in New York. The company was co-founded in 2002 by Dorfman, Temple Fennell, and music artist Dave Matthews. Their producing credits include 2007’s acclaimed thriller JOSHUA, which was nominated for the Grand Jury Prize at the Sundance Film Festival and won the Grand Jury Prize at the GenArt Festival in 2007; SAVAGE GRACE, which was an official selection at the 2007 Cannes Directors Fortnight and AMANDLA! which won multiple awards including both the Audience and Freedom of Expression Award at Sundance. Projects currently on the company’s slate include: END ZONE, an adaptation of the Don Delillo novel; GASTRONOMICON, an adaptation of a Joanne Harris (CHOCOLAT) short story; THE COLOR OF WATER, an adaptation of the best-selling novel by James McBride. Before joining ATO and relocating to New York, Johnathan Dorfman was a producer in South Africa with over 15 years of experience in film, television and radio production. Highlights include his founding of the first independent radio station in post-Apartheid South Africa and

21 developing and producing the popular television drama series, TSHA TSHA, for the South African Broadcasting Corporation. The TV show has won numerous local and international awards, including the US Film and Video Festival and the NHK Award in Japan. Dorfman graduated from the University of Witwatersrand in Johannesburg, South Africa with a Degree in Law and completed an additional Honors Degree in Comparative Literature. He has directed two documentary films, LIVING OPENLY and BACK TO ALEXANDRA, which was an official selection at the prestigious FESPACO festival in Burkina Faso.

TEMPLE FENNELL (Producer)

Temple Fennell is a founding partner of ATO Pictures, an independent feature film company based in New York. The company was co-founded in 2002 by Fennell, Johnathan Dorfman and music artist Dave Matthews. Their producing credits include 2007’s acclaimed thriller JOSHUA, which was nominated for the Grand Jury Prize at the Sundance Film Festival and won the Grand Jury Prize at the GenArt Festival in 2007; SAVAGE GRACE, which was an official selection at the 2007 Cannes Directors Fortnight and AMANDLA! which won multiple awards including both the Audience and Freedom of Expression Award at Sundance. Prior to joining ATO, Temple Fennell worked for Media General, Inc. as president of Boxerjam Media, Inc., an interactive entertainment company. Fennell co-founded Boxerjam in 1994, with Julann Griffin, the creator of the television show JEOPARDY! and co-managed the company to become the leading interactive entertainment provider for AOL, Sony Station and Yahoo! Games. In 1995, Fennell co-founded Boxer Learning, an award-winning, online education company distributed in over a thousand schools worldwide. As an executive of Boxerjam and Boxer Learning, he was the lead in negotiating strategic relationships with Sony, AOL Time Warner, Pearson, EA Entertainment, CBS, Yahoo and others. Fennell graduated from the University of Virginia with a Bachelor of Science and was member of the Omega Rho academic honor society. He began his corporate career as a management consultant for KPMG before working in the leveraged buyout division of boutique investment company Clinton Capital. He attended the American Film Institute as a directing fellow and directed the award winning short, HOWARD BLACK, starring John C. Reilly.

MIKE S. RYAN (Executive Producer) Mike S. Ryan is an Independent Spirit “Producer of the Year Award” Nominee and currently one of Variety’s Top Ten Producers To Watch. His films have garnered nominations and prizes from the Academy Awards, Independent Spirit Awards, Gotham Awards and many

22 more. JUNEBUG, starring Amy Adams, made its international premiere at Sundance in 2005 and went on to be one of the lowest-budgeted feature film ever nominated for an Oscar (Best Supporting Actress, 2005.) His credits also include Todd Solondz’s PALINDROMES, Kelly Reichardt’s OLD JOY (winner, Rotterdam International Film Festival 2006) and Ira Sach’s 40 SHADES OF BLUE (winner, Sundance Film Festival 05). Hal Hartley’s FAY GRIM, starring Parker Posey and Jeff Goldblum; LAKE CITY, starring Sissy Spacek, Keith Carradine, Rebecca Romijn; Ilya Chaiken’s LIBERTY KID (in competition at the 2007 Los Angeles Film Festival and currently playing in LA.). Future projects include new work by Nick Gomez, Todd Solondz, Sara Driver and the Dan Mirvisch film BETWEEN US. Mike is a NYC native and a graduate of NYU's Graduate School of Film.

DERRICK TSENG (Executive Producer) Derrick Tseng has co-produced or line produced numerous feature films, including Adrienne Shelly’s SUDDEN MANHATTAN, Kevin Smith's CHASING AMY, Katherine Dieckmann's A GOOD BABY, Brad Anderson's HAPPY ACCIDENTS, Peter Lauer's CRY BABY LANE, Patrick Stettner’s THE BUSINESS OF STRANGERS, Bertha Pan’s FACE, David Gordon Green’s ALL THE REAL GIRLS and SNOW ANGELS, Fenton Bailey and Randy Barbato’s PARTY MONSTER, Steve Buscemi’s LONESOME JIM, Robert Altman’s “Tanner on Tanner,” and David Wain’s THE TEN. Tseng has produced Todd Solondz’s PALINDROMES; “The Difference,” a pilot for Nickelodeon; the first season of Comedy Central’s “Stella”; and, most recently, Randy Sharp’s HENRY MAY LONG. He is currently producing, among other projects, Alex Steyermark’s REAGAN YOUTH, Nate Meyer’s FRAT GIRL, Michael Tully’s PING PONG SUMMER, and a new film by Todd Solondz. He has also worked extensively on other feature films as the 1st AD or Production Manager, and, formerly, as an IATSE Electrician. Tseng has assisted on, or helped develop, projects with Kimberly Peirce, Lodge Kerrigan, Maggie Greenwald, Steve Buscemi, Jonathan Nossiter, Jay Chandrasekhar, and Jim McKay. Tseng attended NYU’s Graduate Film Program, and holds an M.A. in English and Comparative Literature from NYU and a B.A. in English and Art History from Columbia University.

TIM ORR (Director of Photography) A native of North Carolina, Tim Orr studied cinematography at the North Carolina School of the Arts School of Filmmaking. He was nominated for an Independent Spirit Award for his first film GEORGE WASHINGTON directed by David Gordan Green. Peter Sollett’s award-winning

23 RAISING VICTOR VARGAS followed in 2001 along with the Sundance award winner ALL THE REAL GIRLS. He spent the several years living in New York working on numerous independent feature films and commercials, before moving to Los Angeles with his family in 2006. Some of his other feature film credits include DANDELION, for which he was nominated for an Independent Spirit Award; IMAGINARY HEROES, UNDERTOW, LITTLE MANHATTAN, TRUST THE MAN and YEAR OF THE DOG. He most recently shot SNOW ANGELS and PINEAPPLE EXPRESS, both with director David Gordan Green.

ROSHELLE BERLINER (Production Designer)

Roshelle Berliner most recently served as the production designer on the psychological thriller JOSHUA. Her other films include IN THE BEDROOM, THE CITY (LA CIUDAD) and HDNet Films’ DIGGERS. She also recently worked on another HDNet film, QUID PRO QUO. Berliner’s fine arts degree from Parsons School of Design led to the start of her career as a Production Designer. Her approach as a designer is to keep the sets looking natural while still maintaining the demands for high production value.

JOE KLOTZ (Editor) Joe has cut dramas, comedies, and documentaries. He was an editor on the Comedy Central hit “Chappelle’s Show", as well as "The Upright Citizen Brigade.” Joe edited JUNEBUG for director Phil Morrison, which was released by Sony Picture Classics. The film premiered at the 2005 Sundance Film Festival and won a Special Jury Prize for Amy Adams' outstanding performance. The film also screened at the 2005 Cannes Film Festival as part of the "Critics Week" program. In 2006 he edited THE LIVING WAKE for director Sol Tryon, which premiered at CineVegas. A comedy, PATRITVILLE for director Talmage Cooley. And GRACE IS GONE for director James Strauss, which stars John Cusack and won the Audience award for Narrative feature at Sundance in 2007. Joe is currently working on PUSH for director Lee Daniels.

CATHERINE GEORGE (Costume Designer)

Belfast native Catherine George initially studied fashion before going on to design in

24 London. She began her career in film on Jim Sheridan's THE BOXER, which was co-written by her brother Terry George went on to work as wardrobe supervisor on IN AMERICA, again for Jim Sheridan; the “Cousins" segment of Jim Jarmusch's COFFEE AND CIGARETTES, with Cate Blanchett in a dual role; and Jon Favreau's ELF. As assistant costume designer, her credits include Zach Braff's GARDEN STATE; Dan Harris' IMAGINARY HEROES; and, Shari Springer Berman and Robert Pulcini's THE NANNY DIARIES. She made her costume-designing debut with Yale Strom's musical drama ON THE Q.T. She has since designed the costumes for Katherine Dieckmann's DIGGERS; Lodge Kerrigan's award- winning KEANE; Peter Mattei's LOVE IN THE TIME OF MONEY; and Amos Kollek's ANGELA. She most recently designed the costumes for Terry George’s RESERVATION ROAD.

NATHAN LARSON (Composer) As a former lead guitarist for the influential American art-punk band SHUDDER TO THINK, New York-based composer Nathan Larson continues to create highly acclaimed and challenging work. His bands’ early scores for October Film’s HIGH ART and FIRST LOVE LAST RITES (on which Nathan wrote and/or produced tracks featuring such artists as Billy Corgan, Jeff Buckley, and THE THE’s Matt Johnson ) earned rave reviews, as did his songwriting for Todd Haynes’ VELVET GOLDMINE. Nathan’s score for 20th Century Fox’s BOYS DON’T CRY established him as a film- scoring force on his own. Since then Larson has created scores for many more controversial and critically-acclaimed films; among them are Todd Solondz’s STORYTELLING, PALINDROMES, Joel Schumacher’s TIGERLAND and PHONE BOOTH, PROZAC NATION starring Christina Ricci and Jessica Lange, Lukas Moodyson’s LILJA 4-EVER, and Stephen Frears’s DIRTY PRETTY THINGS. Other past projects include A LOVE SONG FOR BOBBY LONG with John Travolta and Scarlett Johansson , and THE WOODSMAN (starring Kevin Bacon, and produced by the MONSTER’s BALL team) , for which he was awarded the Gras Savoye Award at Cannes 2004, and LITTLE FISH, starring Cate Blanchett, for which he was nominated for several awards, including an Australian Academy Award. FILMMUSIK, a CD compilation of his selected works, is out now in the states on Commotion Records/ Rykodisc, and has garnered much critical praise. In addition to film related projects, Nathan has continued to produce records for and perform with several European and American artists of note, and A CAMP, a collaboration between Larson and his wife Nina Persson, is slated to release their second album Fall of 2008.

25 LYLE HYSEN (Music Supervisor) Lyle Hysen is the founder and president of Bank Robber Music (BRM), a music licensing company, which he started in 2004. Working with bands including Nada Surf, Death Cab for Cutie and Spoon, Hysen has placed songs in television shows including "Grey's Anatomy", "Friday Night Lights", "Gilmore Girls" and "One Tree Hill", as well as in commercial campaigns for Apple, Volkswagen, Sunkist, and a number of other internationally renowned brands. In 2007, Lyle created House of Hassle (HOH), a music publishing company with partner Ken Weinstein. House of Hassle's roster includes, among others, The Rosebuds, John Vanderslice, The Black Hollies, Nina Nastasia, Jennifer O'Connor and The Long Winters. Before founding BRM and HOH, Lyle was head of Film and TV licensing at Matador Records. Previous to that (1986-1994), Lyle was Drummer/Manager of the band Das Damen, touring throughout the US and Europe and releasing records on a number of major independent labels including SST, Sub-Pop, and Twin Tone.

KEN WEINSTEIN (Music Supervisor) Ken Weinstein worked as editor on various magazines for several years before starting his career as a music critic in 1987. Shortly thereafter, he became National Director of Beggars Banquet/Thirsty Ear Press and Video where he helped break The Charlatans UK and Matthew Sweet's "Girlfriend" album. In 1992, Weinstein led Caroline Records' press and video department where he helped name and establish Astralwerks, one of America's first electronica labels. In 1993, Weinstein was appointed Director of Media Relations for Atlantic Records. While at Atlantic, he worked with a diverse roster of artists, including Duncan Sheik, Page & Plant, Yo La Tengo, Liz Phair, Melvins, Bad Religion and Victoria Williams, among many others. Ken also has years of experience as Director of Marketing at Mercury Records, where he worked with Elvis Costello/Burt Bacharach, Spalding Gray, Allen Ginsberg and Peter Wolf. In 1999, Weinstein co-founded Big Hassle Media and became the sole proprietor in 2004. In a deliberate effort to keep the roster as eclectic as his record collection, Big Hassle’s clients have always covered many genres. Among the many bands Big Hassle has worked with over the years include, among many others: Kings of Leon, Ray Davies, Ornette Coleman, Bonnaroo, Ben Folds, King Sunny Ade, Burning Spear, Clap Your Hands Say Yeah, George Carlin, Regina Spektor, The Strokes, Liz Phair, Patti Smith, Rufus Wainwright, John Waters, Joe Jackson, Jose Gonzalez, Ben Kweller, North Mississippi Allstars, Stone Temple Pilots, Gillian Welch, Robert

26 Randolph, The Libertines, Rhett Miller, The Sounds, The Wallflowers, Tom Dowd, Townes Van Zandt, Kaki King, The Bad Plus and Fountains of Wayne. In 2007, Weinstein created House of Hassle Publishing with partner Lyle Hysen. Besides music supervising Choke, House of Hassle’s roster includes, among others: Clap Your Hands Say Yeah, John Vandeslice, The Black Hollies, Nina Nastasia, Jennifer O’Connor and The Long Winters.

MARY VERNIEU (Casting) Mary Vernieu got her start in casting working for Oliver Stone on THE DOORS as a Casting Assistant. In the years since she’s developed a reputation as one of Hollywood’s heavy hitters in the world of casting. Known not only for consistently casting A-List, big budget Hollywood fare, Mary is also well known for taking risks on daring new filmmakers, many of whom have developed into Hollywood’s new elite. Her eye for talent both in actors and in filmmakers is acclaimed. In addition to her career as a casting director, Mary is also the proprietor of two restaurants in Venice, California – Primitivo Wine Bistro and Meditrina Café.

SUZANNE SMITH CROWLEY (Casting) Suzanne Smith Crowley began her career as a casting director in the 1990’s on features like SOMMERSBY starring Richard Gere and Jodie Foster, and THE CROW with Brandon Lee. Since then she has served as casting director for over 100 films and television shows, including the hit HBO Series “Sex and the City” for which she was nominated for an Emmy Award. Recently Crowly did the casting for John Krasinski’s directorial debut BRIEF INTERVIEWS WITH HIDEOUS MEN also starring Timothy Hutton.

27 CAST (in alphabetical order)

Mousy Girl / Agnes KATHRYN ALEXANDER Jamaican Lady TEODORINA BELLO Edwin’s Wife KATE BLUMBERG Young Victor JONAH BOBO Deranged Socialite WILMA “WILLI” BURKE Internet Date / Gwen HEATHER BURNS Edwin DAVID FONTENO Detective Ryan MATT GERALD Lord High Charlie CLARK GREGG Phil JOEL GREY Eva Muller VIOLA HARRIS Denny BRAD WILLIAM HENKE Nico PAZ DE LA HUERTA Shapely Nurse MICHELLE HURST Ida J. Mancini ANJELICA HUSTON Cherry Daiquiri / Beth GILLIAN JACOBS Old Lady with Note JEN JONES Mob Member #1 JORDAN LAGE Paige Marshall KELLY MACDONALD Detective Foushee MATT MALLOY Detective Dorfman MARY MCCANN Lanky Woman on Airplane ALICE BARRETT MITCHELL Second Trooper MARTIN MURPHY Zoo Security Guard NEIL PEPE Ursula BIJOU PHILLIPS Sister Angela PEGGY POPE Pretty Foster Mom DENISE RAIMI Guard Captain Norm DONALD RIZZO Elegant Lady JUDITH ANNA ROBERTS Victor Mancini SAM ROCKWELL Cute Teacher YOLONDA ROSS Lonnie MICHAEL S. RYAN Mob Member #2 SOLO SCOTT Waitress SUZANNE SHEPHERD First Trooper DAVID SHUMBRIS Tito SEBASTIAN SOZZI Tall Nurse KATE UDALL Mob Leader MELINDA WADE Detective Palmer ISIAH WHITLOCK, JR.

Stunt Coordinators MANNY SIVERIO JEFF WARD

Stunts MICHAEL ANGELO ELLIOT SANTIAGO KIMBERLY SHANNON-MURPHY

Stunt Driver PAUL MARINI

28 Loop Group MOOSIE DRIER EDDIE FRIERSON BRIDGET HOFFMAN MARIBINA JAIMES MICHELLE RUFF GEORGIA SIMON SKIP STELLRECHT

Unit Production Manager TONY HERNANDEZ First Assistant Director STUART J.C. WILLIAMS Second Assistant Director NICHOLAS R. BELL

MADE IN ASSOCIATION WITH DUNE ENTERTAINMENT III LLC

Associate Producer MIA LEE

PRODUCTION

Production Office Coordinator JOSHUA HUFFMAN Assistant Production Office Coordinator THALIA HARITHAS Production Secretary JOHN SKIDMORE Office Production Assistants NICHOLAS BRYAN DELIANA DASKALOVA

Production Accountant MICHAEL WIGGINS First Assistant Accountant PAUL MYERS Accounting Production Assistant JENNY LOVIN

Script Supervisor KIRSTEN KEARSE

Second Second Assistant Director BORYAN JOVANOVICH

Key Set Production Assistants LUKE MARION JAMES FITZGERALD Set Production Assistants JAMES CONABOY KEITH MARLIN LUKE T. SHERMAN SAMANTHA TREIBER LAUREN D. VANDERSCHUUR JEFFREY M. WEBER

Location Manager LOUIS ZUPPARDI Assistant Location Manager DAVID OCCHINO Location Assistants RICHARD BARTHOLOMAY BETH DETTMORE Location Scout GRACE DOHERTY Location Interns MICHAEL BRETTLER JAY SCRIMIZZI GREGORY WALSH JOSH WASSERMAN

29 Parking Coordinator DAVID PHILLIP

Camera Operators ALBINO MARSETTI STEVE CALITRI First Assistant Camera CRAIG PRESSGROVE Second Assistant Camera MEG KETTELL Film Loaders LAUREN HABER MATT PEBLER

Steadicam Operator MACEO BISHOP

Stills Photographer JESSICA MIGLIO

Gaffer SHAWN GREENE Best Boy Electric SEAN TAYLOR Generator Operator JEFF NIGGEMEYER Electrics MATTHEW MENDELSON COLIN OBERSCHMIDT BEN SALLEY

Key Grip ERIC GEARITY Best Boy Grips STEVE BAKER BOBBY CARNEVALE Dolly Grip MELISSA GUIMARAES Grips COREY GAGNER ROBERT T. GEARITY PAUL GRUNKE CHRIS HERNANDEZ CHRISTOPHER T. KEENAN JAMES MCFAYDEN FLETCHER PERRY IAN PRATT LEO SCHOTT III MATTHEW VAN DOREN

Location Sound Mixer CHRISTOPHER GEBERT Boom Operator NEIL DANZIGER Additional Sound Mixer GRIFFIN RICHARDSON

Art Director MATTEO DE COSMO Art Department Coordinator MELISSA B. MILLER Art Production Assistants NAOMI BOMBARDI-WILSON DARIN PATTERSON

Set Decorator KATE FOSTER Lead Dresser EDUARDO GARABAL On-Set Dresser MAX SHERWOOD ADRIANO VALLE Set Dressers JUSTIN BENNETT DAVID BRENNER BRANDON T. CONNELLY

30 LINETTE MCCOUN CHRIS POTTER BRENDAN RUSSELL Set Dressing Production Assistant GERARDO VILLARROEL

Charge Scenic KRISTEN EMERY Camera Scenic CATHY WASSYLENKO Journey Scenic CHUCK VARGA

Construction Coordinators RICHARD HEBRANK MARK SONDERSKOV

Key Construction Grip JOHN JACKSON

Prop Master YOLAN FISHER Assistant Prop Master SHANNON FINNERTY Prop Assistant RENE SEKULA Graphics KEVIN RAPER Additional Graphics ALICIA VAN COUVERING JOJO LI

Product Placement & Clearances WENDY COHEN PRODUCTION RESOURCES

Assistant Costume Designer CAMERON FOLAN Wardrobe Supervisor DIANA J. COLLINS Set Costumer SUZANNE KELLY Costume Intern ELIZABETH DRAN

Key Makeup Artist STACEY PANEPINTO Assistant Makeup Artist CYNDIE BOEHM

Key Hair Stylist CHRISTINE FENNELL Assistant Hair Stylist CHARLES MCKENNA

Set Medics ROBERT BRODER DENNIS YEANDLE

Casting Associate LA LINDSAY GRAHAM Casting Associate NY PAUL SCHNEE Extras Casting KAREN E. ETCOFF KEE CASTING, INC. Extras Casting Assistant BILL TRIPICIAN

Transportation Captain KEVIN FLYNN Transportation Co-Captain JIM KELLY

Drivers TERRY ADAMS GEORGE CAMPBELL CHRIS DEFEO WALLACE MOSLEY

31 Caterer GOURMET TO U, LLC Chefs DAN LASIK JORGE PINA ANTHONY TORRE

Craft Service DANIELLE WILSON EAT CATERING

On Set Tutor AMY WOLK ON LOCATION EDUCATION

Production Physician LOUIS A. KATZ, M.D.

Technical Advisor SEANE MCFARLAND

Assistant to the Executive Producers ALICIA VAN COUVERING Assistant to Clark Gregg WILL FRANK Assistant to Beau Flynn ALEX CHURCH Assistant to Tripp Vinson LAURA MARTINEZ Assistant to Lisa Zambri TUCKER WILLIAMS

Interns CHELSEA E. BRUCE DANIELLE CARTER SUNGMI CHOI LAURA CRAMER ZOE FORD ABIGAIL HANSEN JOE IRELAND CLAIRE NEWLANDS MAHER SATTAR JONATHAN SCHWARTZ NATALIE M. VASQUEZ

Legal Services JOSEPH J. DAPELLO, ESQ. ALAN D. SACKS, ESQ. SCHRECK ROSE DAPELLO ADAMS & HURWITZ LLP Assistant to Mr. Dapello MARIE DURKAN

POST PRODUCTION

Post Production Supervisor JOHN PORTNOY

Assistant Editors KYLE GILMAN ANN TRULOVE

Music Editor ALICE WOOD

Post Production Coordinator JOAN MALLOCH

32 Post Production Assistants SARAH GIBBINS DUNCAN SKILES

Post Production Accountant KATHY WELCH

ADR Casting GEORGIA SIMON

Audio Post Production Provided by TECHNICOLOR SOUND SERVICES

Supervising Sound Editor RICHARD TAYLOR

Sound Designer ALBERT GASSER

Dialogue Editors JOHN GREEN STEVE STUHR

ADR Editors ROBB NAVRIDES CHRISTIAN BUENAVENTURA

Foley Editor JOHN BENSON

Assistant Sound Editor JOEY BILGER

Re-Recording Mixer TAMARA JOHNSON

ADR Mixer BOB LACIVITA

Mix Tech DAVE HANCOCK

Post Audio Coordinator DAVE DAVENPORT

Foley by QUALITY SOUND WORKS

Dolby Sound Consultant BRYAN PENNINGTON

Digital Intermediate by TECHNICOLOR CULVER CITY A TECHNICOLOR COMPANY

Digital Film Colorist MIKE UNDERWOOD

Digital Intermediate Producer MICHAEL L. HOLLAND

Digital Conform & Opticals REZA AMIDI

Imaging ALEX HERNANDEZ ANN LOPEZ EDUARDO CISNEROS DANIEL “ISHI” CRUZ

33 JOHN FLORES

Digital Restoration ELIZABETH OSTERMANN PAOLA VARVARO

Data Wrangling GEORGE ZIDD TIM HEUGELE KEVIN LOMET

Music Clearances GANDHAR SAVUR

Completion Guarantor FILM FINANCES, INC.

International Sales WILD BUNCH

Insurance ROSS MILLER RONA KATZ D.R. REIFF & ASSOCIATES

Payroll Service AXIUM INTERNATIONAL, INC.

Script Clearance PETER MADAMBA ACT ONE SCRIPT CLEARANCE, INC.

Film Processing POSTWORKS, NEW YORK

Dailies Telecine POSTWORKS, NEW YORK Dailies Colorist IRA SCHWEITZER Telecine Assistant JOHN GARDINER Dailies Project Manager SHANNON K. HALL

Titles and VFX by JOHN PORTNOY UPLOAD FILMS

Laboratory DELUXE

Camera, Lighting & Grip Equipment ARRI-CAMERA SERVICE CENTER

Filmed on EASTMAN KODAK FILM

Filmed with ARRI CAMERAS

Additional Footage Provided by

BBC MOTION GALLERY GETTY IMAGES THE PRELINGER COLLECTION AT THE INTERNET ARCHIVE OF MOVING IMAGES

34 Songs

THE RULES Written and Performed by Ben Kweller Published by Twelve Sided Die Music (ASCAP) Courtesy of ATO Records By arrangement with Bank Robber Music

NAVY NURSE Written by Matthew Friedberger and Eleanor Friedberger Performed by The Fiery Furnaces Courtesy of Thrill Jockey Records By arrangement with Bank Robber Music

SAKURA (CHERRY BLOSSOMS) Written and Performed by Aiko Hasegawa Courtesy of Sir Groovy on behalf of Arc Music

IF YOU FEEL IT Written by William Harris and Ed McCoy Performed by Ms. Tyree "Sugar" Jones Published by Big Mack Music (BMI) Courtesy of The Numero Group By arrangement with Bank Robber Music

SATAN SAID DANCE Written by Alec Ounsworth Performed by Clap Your Hands Say Yeah

MELLOW SAMBA Written and Performed by Smokey Hormel Published by Showpoodle Music (BMI)

PADRE, GERMANI, ADDIO! – ILIA, IDAMENTE Performed by Heather Harper and Jessye Norman Courtesy of Opera d’Ora Records and Allegro Corporation

SIN TERROR Written and Performed by Alap Momin Published by House of Hassle o/b/o Asphault Pavement Songs (SESAC) Courtesy of Deadverse Massive

THERE’S BEEN AN ACCIDENT Written by Greg Dulli Performed by Twilight Singers Courtesy of One Little Indian Records Under license from Chrysalis Songs o/b/o Kali Nichta Music (BMI)

35 RECKONER Written by Thomas Yorke, Jonathan Greenwood, Colin Greenwood, Edward O’Brien and Philip Selway Performed by Radiohead Under license from Warner/Chappell Music LTD

Thanks to

AIM PRODUCTIONS, INC. APPLE COMPUTERS ASCOT RACE TRACK/J.C. AGAJANIAN BRAVADO PROMOTIONS CLÉ DE PEAU BEAUTÉ, A DIVISION OF SHISEIDO COSMETICS (AMERICA) LTD. CLEM CHIPS/UTZ COCA-COLA CORONA HOSTESS HUMCO ICON ESTATES WINES INFORMATION SOCIETY/PAUL ROBB INTERNATIONAL PROMOTIONS JACK LINK’S JERKY KOHLER-BRIGHTSTAR LANCÔME MAGLITE MASTADON/SANCTUARY MANAGEMENT NEGRO MODELO ODDS COSTUMES THE PATRÓN SPIRITS COMPANY PIATNIK TOYS POWER HORSE ENERGY DRINK RED BULL TOPO CHICO MINERAL WATER TROJAN TSING-TAO TWEEZERMAN TYNANT UPP USA TODAY VIBRATEX, INC. VITAMIN WATER

The Producers Wish to Thank

STEVE GORELICK, CHARLES RICCIARDI, NEW JERSEY MOTION PICTURE & TELEVISION COMMISSION DANIEL K. SALVANTE, ESSEX COUNTY DEPT. OF PARKS, RECREATION & CULTURAL AFFAIRS THE COUNTY OF ESSEX, NEW JERSEY STATE OF NEW JERSEY DEPARTMENT OF ENVIRONMENTAL PROTECTION

36 MAGGIE MCGILL PHOTOGRAPHY, RUTHERFORD, NEW JERSEY MESOB, MONTCLAIR, NEW JERSEY NOUVEAU SUSHI, MONTCLAIR, NEW JERSEY MIGNON STEAKHOUSE, RUTHERFORD, NEW JERSEY TITILATIONS, BLOOMFIELD, NEW JERSEY EAGLE ROCK DINER, WEST ORANGE, NEW JERSEY

THE ATLANTIC THEATRE COMPANY CENTURY 21 DEPARTMENT STORES EDWARD HIBBERT AT DONADIO AND OLSEN MEREDITH MORGAN AND EVERYONE AT THE BOWERY HOTEL, NEW YORK CITY ARIEL AND EVERYONE AT SUTRA, NEW YORK CITY “SAM HAS 7 FRIENDS,” VUGURU & BIG FANTASTIC PRODUCTIONS WILSON METZ BUSES, INC.

LAURYN FLYNN AT CALVIN KLEIN CREATIVE ARTISTS AGENCY/RICH GREEN EASTMAN KODAK/ANNE HUBBELL THE GERSH AGENCY/RHONDA PRICE, LORRIE BARTLETT HLUBIK DAIRY/PAT HLUBIK INTERNATIONAL CREATIVE MANAGEMENT/TONI HOWARD MARK WOOLEN AND ASSOCIATES POCKET-SIZE GOATS/TERI STANTON SCREEN ACTORS GUILD/KATIE WATSON UNITED TALENT AGENCY/BLAIR BELCHER, RICH KLUBECK AND JEREMY BARBER

HOWARD ABRAHAMSON MARK KAPLAN PAULETTE BARTLETT KRISTEN KONVITZ JACLYN BASHOFF KARI LIZER MATTEO BORGHESE BOB LUTTRELL JESSE CAIN DAVID MAMET CORAN CAPSHAW PETER MARRA FRANK DEL GAUDIO DAVID MATTHEWS MATT DILMORE ANGES MENTRE BRYCE EDGE MICHAEL MONCREIFF ALLISON EMMETT CHUCK PALAHNIUK ELIZABETH FENNELL WES REYNOLDS MICHAEL J. FOX DON ROOS ANDY FREEDMAN ALAN SACKS PHILIP GOODPASTURE JAY SHANKER DR. ROBERT C. GREGG ED SOLOMON SOPHY HOLODNIK SAMANTHA TULY JANE HU JIMMY WHEAT CHRIS HUFFORD CHRIS WRIGHT MARC HYMAN BILL WRUBEL ADAM KALLER NADINE ZYLSTRA

THRILL JOCKEY ROGUE WAVE ZEITGEIST MANAGEMENT NUMERO GROUP

37 NICK STERN KEITH HAGAN BEN KWELLER GINNA FAULKNER CLAP YOUR HANDS SAY YEAH THE TWIGHLIGHT SINGERS JESSICA SOBHRAJ GUILHERME CAMPELLON SIR GROOVY

DELUXE (logo)

KODAK (logo)

TECHNICOLOR (logo)

NEW JERSEY FILM COMMISSION (LOGO)

NEW JERSEY ECONOMIC DEVELOPMENT (LOGO)

Dolby In Selected Theatres (logo)

IATSE (logo)

SAG (logo)

MPAA #44083 (Logo)

38 CHOKE FILM LLC IS THE AUTHOR OF THIS MOTION PICTURE FOR THE PURPOSES OF COPYRIGHT AND OTHER LAWS.

THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES OF AMERICA AND OTHER COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.

THE CHARACTERS AND INCIDENTS PORTRAYED AND THE NAMES HEREIN ARE FICTITIOUS, AND ANY SIMILARITY TO THE NAME, CHARACTER OR HISTORY OF ANY PERSON LIVING OR DEAD IS ENTIRELY COINCIDENTAL AND UNINTENTIONAL.

©2008 TWENTIETH CENTURY FOX. ALL RIGHTS RESERVED. PROPERTY OF FOX. PERMISSION IS GRANTED TO NEWSPAPERS AND PERIODICALS TO REPRODUCE THIS TEXT IN ARTICLES PUBLICIZING THE DISTRIBUTION OF THE MOTION PICTURE. ALL OTHER USE IS STRICTLY PROHIBITED, INCLUDING SALE, DUPLICATION, OR OTHER TRANSFER OF THIS MATERIAL. THIS PRESS KIT, IN WHOLE OR IN PART, MUST NOT BE LEASED, SOLD, OR GIVEN AWAY.