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Rating: PG-13 (for language and some sexual content) Run time: 98 mins.

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Todd Nickels Jamie Blois Ivette Rodrigues Lionsgate Lionsgate American Entertainment Marketing 75 Rockefeller Plaza 2700 Colorado Avenue 4519 Admiralty Way, Suite D New York, NY 10007 Santa Monica, CA 90404 Marina Del Rey, CA 90292 (212) 386-6895 (310) 255-4910 (310) 574-0600 x304 [email protected] [email protected] [email protected] THE CAST

Alejandro……………………………………………….…………FERNANDO COLUNGA Emilio…………………………………………………………….……...MIGUEL VARONI Gloria…………………………………………………….……...... …….JULIE GONZALO Miguelito…………………………………………………….…………...…OSCAR TORRE Anival………………………………………………….………...….…...... GABRIEL SOTO Rafaela……………………………………………………...….….…..IVONNE MONTERO Moctezuma………………………………………………………...….….….SAUL LISAZO Veronica………………………………………………….………...….…....SONYA SMITH

THE FILMMAKERS

Directed by……………………………………………...….….………….JOE MENENDEZ Written by………………………………………...….….…..JOSÉ ANGEL HENRICKSON Produced by……………………………………………...….….……….RONI MENENDEZ ………………………………………………………...….….…….....JAMES MCNAMARA ………………………………………………………………...….….…BENJAMIN ODELL Director of Photography…………………………...……………...….….….ADAM SILVER Production Designer…………………………………...….….…CHRISTOPHER TANDON Editor………………………………………………………...….….……..JOE MENENDEZ Costume Designer……………………………………………...……ELAINE MONTALVO Music by…………………………………………………...….….………..ANDRÉS LEVIN Co-Producer………………………………………...….….…………….META VALENTIC Casting Directors……………………………...….….…………..……MICHELLE MORAN ………………………………………………...….….……..ROSALINDA MOARLES (LA)

2 SYNOPSIS

“Ladron que roba a ladron tiene cien años de perdon.” “A thief who steals from a thief will receive 100 years of forgiveness.” - Latin American proverb

A heist movie in the classic Hollywood tradition, LADRON QUE ROBA A LADRON follows two veteran thieves, Emilio and Alejandro, who reunite to rob the biggest thief they know – Moctesuma Valdez, a TV infomercial guru who’s made millions selling worthless health products to poor Latino immigrants. Valdez’s empire is next to impossible to infiltrate. But Emilio and Alejandro know if they go undercover as day laborers – chauffeurs, gardeners, maids, and repairmen – they can rob Valdez blind right under his nose. It’s a perfect plan…except that no one on their team wants the job.

Refusing to give up, Emilio and Alejandro come up with a solution so insane it might just work – use real day laborers. Within days, they form a team of criminal amateurs with just the right skills. There’s Julio, a TV repair shop employee who’s also an electronics expert, Rafa and Rafaela, a valet and his mechanic daughter in charge of transportation, Miguelito, a Cuban refugee actor and master of disguises, and the metro-sexual ditch digger, Anival, who plays the token heavy.

None of them has ever committed a crime -- much less a con – in their lives, but this motley crew of underdogs – so often taken for granted – is ready to face impossible odds and “receive 100 years of forgiveness.” Full of humor and heart, LADRON QUE ROBA A LADRON proves that being underestimated is sometimes your best advantage.

Starring Fernando Colunga, Miguel Varoni, Julie Gonzalo, Oscar Torre, Gabriel Soto, Ivonne Montero, Saul Lisazo and Sonya Smith.

3 ABOUT THE PRODUCTION

“ In the U.S., there are three Spanish language TV networks, 700 radio stations, a couple thousand Spanish language newspapers. But who is making commercial Spanish language films for that market? Nobody,” says producer James M. McNamara.

Lionsgate’s LADRON QUE ROBA A LADRON…is one such film that hopes to give the underserved Latin American audience a taste of commercial, entertaining storytelling that actually reflects Latino culture within the United States. Produced in Spanish by McNamara’s production company, Panamax Films, set in Los Angeles, and featuring actors from South America, Latin America and the U.S., the film represents the incredible diversity of the Latino community. It’s both a fresh, class-conscious spin on the heist genre and a rousing underdog story about the immigrant experience in America.

Born and raised in Panama, McNamara has a unique understanding of Latin American culture and the diverse communities in the U.S. who fall under the Latino umbrella. He was the former CEO and president of Telemundo Communications, the second largest Spanish-language televisions station in the U.S., and he formed Panamax Films precisely to produce projects like LADRON: American productions filmed in Spanish for Latinos living in America.

But finding Panamax’s first project was no easy task for McNamara and his development and producing partner, Benjamin Odell, a former screenwriter in South America and independent producer in New York. “We were looking for writers and producers who had both the skills to make commercial Hollywood style films, but who also understood the sensibilities of the large and disparate Spanish language market in the US,” explains McNamara.

Adds Odell, “We looked under every rock. But most Latino writers and directors, and there are certainly many talented ones, have already gone mainstream and are working in the studio system for the general market.”

The Birth of Ladron

After months of searching, McNamara and Odell discovered the writer/director team of Jojo Henrickson and Joe Menendez. “An agent sent us this little movie called HUNTING OF MAN, and Jim and I really liked it,” explains Odell. “When we met with Joe Menendez, we knew we had found an interesting director. He loved Spielberg and Lucas movies but he was Cuban and grew up in Hialeah speaking Spanish. He really understood Panamax’s point of view.”

In addition to directing two features, Menendez had directed and or/written television shows for Nickelodeon, Fox, HBO, PBS and Spike TV. He had also previously directed and written sitcoms for Telemundo just as McNamara took over the network in 1999. “I didn’t know Joe at the time but I canceled all the shows he was working on,” says McNamara with a smile. “Not

4 because of their quality, they were as good as any English language sitcom, but because they were too expensive and way ahead of their time.”

Menendez pitched several ideas, but it was one in particular, the story of a heist pulled off by a group of immigrants, which caught McNamara’s attention. “I really liked how this motley group of immigrants could pull together and outsmart everyone. Not only was there lots of action and suspense, but it was really speaking to our audience.” The pitch Menendez referred to was the idea of his frequent collaboration and the star of his previous movie, Jojo Henrickson.

A third generation Mexican-American who grew up in McCallen, Texas, Henrickson moved to Los Angeles twenty years ago to pursue a career in stand-up comedy, and has since worked as an actor in Hollywood and written and directed several features of his own. The idea for LADRON QUE ROBA A LADRON… came to Henrickson in 2001, when he was getting a copy of a key made for a house that belonged to friends. “This older, weathered Mexican immigrant that reminded me of my grandfather was making my key and that's when it hit me…heist movie!” he recalls. “This guy was probably making keys for mansions in Hollywood. What if someone could convince him to take advantage of this? I took it a step further. A multimillionaire has security guards and cameras and dogs, but he’ll let the landscapers on his property without thinking twice. In other words, the immigrant day laborers have access everywhere. They’re invisible, and though they’re not educated, it doesn't mean they’re not intelligent. That’s what makes this different from other heist movies. It’s about taking advantage of being underestimated. That’s the secret weapon.”

Odell, who has developed many scripts with Latino writers, particularly appreciated Henrickson’s distinctive voice. “He’s a little guy, five feet two maybe, and I think a biting sense of humor is what kept him alive as a kid,” he says. “Now he uses that voice in his scripts and it gives them a unique flavor.”

To supply the film with an appropriate villain, Henrickson created the character of Claudio Silverstrini, an Argentinean thief and infomercial guru (he changes his name to Moctezuma Valdez to pander to the mostly Mexican audience) who sells worthless cures for arthritis and impotence. According to McNamara, the character is not such an outlandish creation: “If you watch Spanish language television in the U.S., it’s plagued with commercials selling video tapes that will teach you English in three hours or some elixir that will cure every disease known to man,” he says. “The FCC just doesn’t monitor Spanish language television like it does in English. There are a lot of people who have gotten rich selling tortoise shell dust to cure warts.”

By agreeing to take down such an odious man, Emilio, Alejandro and their rag-tag group of day laborers become heroes rather than villains. “This story is about stealing from a thief, hence the title,” says Odell. “It’s a revenge story where the good guys get even. We wanted the immigrants to sign on for the job not because they wanted to get rich, but to do the right thing.”

Adds Menendez, “To see the immigrants not only thrive, but to later discover they are really Latino Robin Hoods, gives this movie a heart that a lot of people don’t expect.”

5 Within six months, Henrickson had completed the script and Panamax began preparing for production. While the company couldn’t make the movie for Hollywood prices, the filmmakers were adamant that it have similarly high production values. “Latinos rarely get fun, commercial films that are shot on 35mm in big beautiful locations,” says McNamara. “There are some great art house films coming out of Latin America, but we were interested in creating slick, well-made entertainment like the films from ‘La Epoca de Oro’ in Mexico in the 40s and 50s.”

In order to generate as much quality as possible without resorting to astronomical budgets, McNamara and Odell turned to producer Roni Eguia Menendez, Menendez’ wife. A fourth generation Mexican-American, Equia Menendez had produced several low budget features and many hours of television. “Roni is one of those producers who just knows how to get the money up on the screen,” says Odell. “She produced Joe’s feature, HUNTING OF MAN, for almost no money, but the production value was really astounding.”

Casting

“ The heist movie is a genre, and what’s always made the genre work was the richness and diversity of the characters coming together to pull off the heist. That’s where the real fun lies,” says Odell. The filmmakers knew that in order to get a star-studded roster of talented Spanish- speaking actors, they would have to mine the Latino telenovela world.

In the fall of 2006, McNamara flew down to Mexico City to meet with Fernando Colunga, arguably the world’s biggest telenovela star. “Stars just have a quality that is impossible to put a finger on and just can’t be manufactured,” says McNamara. “Fernando just oozes star power. And he’s had not one, not two, but eight consecutive number one rated telenovelas in Mexico and the U.S. in the last ten years.”

Colunga, whose TV shows regularly sell in over a hundred countries around the world and have made him a star in such unlikely places as Slovakia and Thailand, had been looking for the right role in a feature film. He responded enthusiastically to the script and to the role of Alejandro, as well as to the opportunity to work in Hollywood. “I liked the project because it was about respecting the Latino community, and on top of that the script was fun and entertaining,” says Colunga. “My character, Alejandro, reflects the great potential of every immigrant who is ignored or abused by the system.”

For the role of Emilio, Alejandro’s anxiety-ridden partner in crime, McNamara and Odell approached Miguel Varoni, a Colombian telenovela star. He explains, “Emilio is scared to death of putting everything on the line with a group of immigrants. He’s cool on the outside, but he’s a ball of nerves on the inside. We needed a leading man, but someone who could bring humor to the role as well. Miguel was perfect.”

As for the pivotal role of Moctezuma Valdez, McNamara had only one actor in mind: Saul Lisazo. Lisazo began his career as a professional soccer player in South America before turning to modeling, which led to a flourishing career as a telenovela superstar. Known primarily for playing good guy heart throbs, Lisazo jumped at the opportunity to play the devious Moctezuma Valdez.

6 Says Lisazo, “I took the role of the bad guy as a challenge to do something different from my usual roles. I am at a point in my career where I like to try new things and antagonists tend to be more fun to play.”

“We thought it would be exciting for his audience to see him in something completely different.” explains Odell. “And we also thought it would be great to see Saul doing infomercials where he’s selling hair tonic to bald men.”

With all of the professional thieves in place, it was time to cast the immigrants. In the role of Anival, the muscle-bound ditch digger who struggles with his own vanity, the producers turned to Mr. Universe runner up and top Televisa actor, Gabriel Soto. “I was a little worried when his name first came up because I thought he was just a pretty face,” admits Menendez. “But he brought humor and drama to the role, and I think he’s really going to surprise his fans. He’s got a career as a film actor if he wants it.”

The filmmakers had a harder time casting Gloria, Alejandro’s love interest, because Colunga had already co-starred with every major telenovela actress in the industry. “We wanted his fans to get a new thrill, to see him with an exciting, new love interest,” explains McNamara. McNamara got his wish with Julie Gonzalo.

Born in Argentina and raised in Miami, Gonzalo had already appeared in a number Hollywood films, including MUST LOVE DOGS, CHRISTMAS WITH THE KRANKS, FREAKY FRIDAY and DODGEBALL; but the actress wanted to surprise her growing fan base and try a role in her native tongue. “I decided to do a role in Spanish because I was born and raised in Buenos Aires, Argentina and I thought it would be a great chance to finally put both of my passions together: my heritage and acting,” says Gonzalo. “I'm proud to be Hispanic and I want to embrace that and work in my native language. This film is just the beginning of hopefully many, many Spanish films to come. “

Gonzalo, who grew up watching telenovelas with her mother and grandmother, was also excited to be part of the all-star telenovela cast. “My mom was more excited about this project than anything else I’ve done because it had Saul Lisazo, Fernando Colugna and Miguel Varoni,” laughs Gonzalo. “She insisted on coming to visit me on set.”

As for Rafaela, the juvenile delinquent turned car mechanic, Menendez wanted an actress with range, a comic touch and a special kind of beauty that can hide quietly under car grease. McNamara suggested Ivonne Montero, a telenovela star (“Anita, No Te Rajes”) who trained in Mexico at the Televisa acting school before performing on Televisa and in Mexican films.

“Ivonne is an actress with a capital A. She transforms herself when she takes on a role,” says McNamara. “I knew she’d be convincing sliding under a Chevy to change the oil and looking stunning in a cocktail dress.”

To round out the cast, Menendez brought back actors from his previous movies and television projects. “I’ve been in Hollywood for fifteen years, and I’ve built up a group of Latino actors

7 who I know can deliver. We’re like a family. As long as I’m working so will they. And the best thing about them is that they’re all bilingual, and can act just as well in Spanish as in English.” Those actors include Cuban-Americans Oscar Torres and Jon Molerio, Mexican-American Ruben Garfias, Philipino-Cuban Richard Azuria, and Puerto Rican Manolo Travieso.

Menendez was adamant about finding a part in the film for screenwriter Jojo Henrickson; but Henrickson, while bilingual, speaks with a thick American accent. Ever resourceful, Henrickson wrote himself a winning comic part as a mumbler. “Jojo’s character doesn’t like to annunciate,” explains Menendez. “So the audience will never know how pocho his Spanish really is!”

Finally, Menendez called his friend, Venezuelan telenovela actress Sonya Smith, to play a cameo as Moctezuma’s cold hearted (but strikingly beautiful) wife. She agreed and the cast was set.

Luces, Camara, Acción!

Preproduction began July 1st, 2006, with a production date set for July 22nd. When the cast convened for the first time for a table read, McNamara was visibly stunned. “In my six years running Telemundo, I had never seen so much star power in a room together. It was electrifying,” he says.

Menendez had only twenty production days to shoot the entire script, but the tight schedule didn’t faze him. “Joe is a very well prepared director. He designs the movie in his head months before he begins shooting,” says Eguia Menendez. “We just needed to make sure everything in front of the camera was ready to go as quickly as he was.”

With his multi-cultural heritage, Menendez is well-versed in many styles of filmmaking including being an unabashed fan of Hollywood blockbusters and Hollywood filmmaking. “As a filmmaker, I’ve studied everything from Bergman to Fellini. But as a moviegoer, I love Spielberg, Zemeckis, Lucas, directors like that and watching the classics of Michael Curtiz. Seeing the latest well-made popcorn movie is what I truly enjoy, and those are the movies I want to make.”

Yet Menendez avows that he doesn’t subscribe to needlessly flashy camera work or frenetic editing. “For me, every cut, every camera move has to make sense,” he says. “I consider myself a neo-classical director. I block and design scenes specifically so that the camera is always in the right spot at the right time. In other words, stylistically, I shoot knowing precisely where the cut will go.”

Shooting in Los Angeles

The experience of shooting in Los Angeles quickly revealed the cultural divide that exists between Latino communities and the rest of America. Observes Odell, “We would go into non- Latino neighborhoods and the on-lookers would think we were just some little low budget movie with unknown actors. Then we would roll into a Latino neighborhood and crowds would flock to the set. It really accentuated this parallel universe of Spanish speakers in the United States. They have their own star system.”

8 Eguia Menendez was surprised by the convivial atmosphere on set, which she felt was uniquely Latino. “I’ve only worked on American movies. So when all these Latin American stars showed up each morning and greeted me with a kiss, at first I was a little taken aback. But by day two, it felt so natural and warm. The set really was a fusion of both the American and Latino world. It was really special.”

On one occasion, during a lunch break in Highland Park, local residents heard about the production and an elderly Hispanic woman outwitted security and approached Fernando Colunga, who was in the middle of his lunch. He graciously gave her his autograph and spent several minutes talking with her and posing for pictures. “His lunch sat there and got cold,” recalls Eguia Menendez. “I asked Fernando later if that bothered him and he told me, ‘I can eat anytime, but I may never get a chance to talk to that woman again.’ It was then that I understood what made Fernando such a major star. There’s a certain kindness and respect there that I think is unique and really moving.”

Post Production

Having cut his last two features, as well as hundreds of hours of television, Menendez opted to edit LADRON QUE ROBA A LADRON… himself. With only one more creative position to fill, the producers turned to composer and musician Andres Levin to write the film’s score. “I wanted the movie to have a big Hollywood score, but also a sound that was somehow unique and identifiable for our audience,” says Menendez.

Adds McNamara, “Music is the one area that can really bring together all the different Latino cultures in the U.S. Andres has a very eclectic style, you hear the Argentinean influence, the Caribbean, the Spanish. He represents the Latino melting pot that has developed in this country.” Trained at Berklee College of Music and Julliard, Levin has produced for some of the biggest names in R&B and soul, including Tina Turner, Chaka Khan and Gladys Night, as well as for Latin music stars like Caetano Veloso, Cuban rap group Orishas, Colombian rock group Aterciopelaos, and others. He also has his own Latin-funk fusion band called Yerba Buena and recently scored several films, including EL CANTANTE, starring Jennifer Lopez and Marc Anthony.

“I fell in love with the movie immediately,” recalls Levin. “It was really funny and heartfelt and the characters were so colorful. I wanted the score to reflect the multi-cultural vibe of the movie.”

McNamara is particularly proud of the way LADRON QUE ROBA A LADRON… represents all of the diversity within the Latino community. He says, “This film was written by a Mexican- American, directed by a Cuban-American, produced by a Panamanian, a gringo-Colombian and a Mexican American, scored by a Venezuelan and stars actors from Colombia, Mexico, Venezuela, Cuba, the Dominican Republic, Argentina, and the U.S. It’s about the Latino experience in the United States, but at the end of the day, it’s just a fun and thrilling ride. We’re really proud of it. And I think anyone who likes to see the underdog triumph will like this movie.”

9 ABOUT THE CAST

Fernando Colunga (Alejandro)

Fernando Colunga is considered the world’s leading telenovela actor, he is Televisa’s and by extension Univision’s biggest star. After bursting on the scene in late 80’s with Maria, La del Barrio, co-starring Thalia, he solidified his position as the world’s leading Spanish language actor with the telenovela, Esmeralda (broadcast in over 100 countries). He followed these up with smash hits, La Usurpadora, Abrazame Muy Fuerte, Amor Real and El Alborada. He is the only actor in the history of Spanish language novelas to star in seven number one hits in succession. Each of these productions has sold in more than a hundred countries. Colunga makes his US feature film debut in MOVIDAS.

Miguel Varoni (Emilio)

Miguel Varoni is considered one of Colombia’s leading TV and film actors. He starred in several successful novellas such as La Caponera, Las Juanas, and La Potra Zaina before rocketing to international super stardom in the title role of Pedro El Escamoso. Breaking with traditional novella paradigms, Pedro El Escamoso mixed farcical comedy with melodrama and utilized a male lead rather than female per the usual conventions of telenovelas. In 2004, he had a leading role in the hit Telemundo novella, Te Voy a Enseñar a Querer, which was seen in more than 60 countries. Last year he starred in the Colombian film and box office hit, Mi Abuelo, Mi Papa y Yo.

Julie Gonzalo (Gloria)

Julie Gonzalo was born in Buenos Aires, Argentina and has done leading roles in a number of films including Must Love Dogs, Christmas with the Kranks, Dodgeball and Freaky Friday and has a recurring role on the television series “Veronica Mars.” She makes her Spanish language feature debut in MOVIDAS.

Gabriel Soto (Anival)

Gabriel Soto Borja Díaz was born in Mexico City, Mexico. He represented his country in the 1996 Mister World pageant, where he finished the first runner-up and caught the eye of novela power house, Televisa. After graduating from their dramatic school where he was groomed for leading man roles, he first won the public’s adulation as his role as El Feito in Las Vias del Amor. He has since had leading roles in Mujer de Madera, and the just completed La Verdad Oculta. He is now one of Mexico’s most popular leading men. MOVIDAS is his film debut.

Ivonne Montero (Rafaela)

Ivonne Montero was born in Mexico City. She is considered one of Mexico’s most versatile actresses. In true thespian fashion, she defies categorization as a leading lady. Beautiful as she is, her most important roles have been bold characterizations. She was schooled at the Televisa School of Acting and rose up

10 the ranks in such novelas as Las Vias del Amor and Alma Rebelde. She established herself as a leading lady in Telemundo’s Amor Descarado and followed that up with an exceptional performance in the title role of Anita No Te Rajes. In Mexico she is also known for strong performances in such acclaimed films as Aesino en Serio and El Tigre de Santa Julia.

Saul Lisazo (Moctezuma)

After a ten year career in European professional soccer, Saul Lisazo moved to Mexico to launch his career as an actor and model. He achieved international stardom in the Televisa and Univision hit novelas Por Tu Amor, and the all-time classic, El Derecho de Nacer. Having conquered the Televisa market, Lisazo moved to Telemundo where he starred in some of their biggest hits including Gitanas and Tierra de Passiones. MOVIDAS is his feature film debut.

Sonya Smith (Veronica)

Sonya Smith is the daughter of Venezuelan actress, Ilana Jacquet. Both mother and daughter are beautiful blue-eyed blondes, although Sonya has starred in hit novelas in Venezuela, Colombia, Mexico and the US such as Destino de Mujer, Guajira, and Maria Celeste.

11 ABOUT THE FILMMAKERS

Joe Menendez (Director) -- Named one of “The Top 100 Latinos on the Move” by Latino Impact Magazine, Menendez’ feature directing credits include his debut, “Lords of the Barrio,” which he also wrote and edited. His second feature, “Hunting of Man,” won Best Picture at the New York Latino International Film.

In addition to his film work, Menendez has directed more than 57 hours of television, written numerous teleplays and produced a reality TV show.

Menendez began his filmmaking career at seven commandeering his grandmother’s Super 8 movie camera to direct, shoot and edit movies starring his younger brother, cousins and friends.

This early filmmaking continued including working as a cameraman and editor in the sports department of Univision’s Miami affiliate at 17, while making short films at Miami – Dade Community College. A stint as a cameraman and editor followed for Miami’s Jewish Federation Television, where he also directed various talk shows.

This hands-on experience provided the inspiration for the mostly self taught filmmaker to move to Los Angeles at 22. Landing various odd-jobs including writing and producing on-air promos for Fox in Latin America, his break came at 24 when he was hired as a staff writer on a soap opera.

After, he quickly landed his first directing job on “Real Stories of the Highway Patrol,” where Menendez’s slick-looking reenactments helped make the show a national syndicated success. From “Real Stories,” he moved to “Placas” for Telemundo. Over a three-year period, he directed 215 reenactments along with editing and often writing these “mini movies.”

His extensive television directing credits include winning an Alma Award for Outstanding Directing in A Comedy for Nickelodeon series “The Brothers Garcia” in 2001. As a writer, Menendez’ other scripting credits include the PBS kids show “Dragon Tales,” and staff writer on Fox’s Luis Guzman sitcom, and HBO’s “The Twelve Dancing Princesses.”

Also a producer, he along with his wife, Roni Menendez, produced the reality television series “Urban Jungle” for SiTV, under their company’s Narrow Bridge banner.

Born in New York and raised in Miami, Menendez is the son of Cuban exiles. He currently lives in Los Angeles.

James McNamara (Producer) is the founder and chair of Panamax Films, a Spanish language film production company with an output deal with Lion’s Gate Films. Prior to founding Panamax, McNamara was CEO and President of Telemundo Communications, the second largest Spanish language TV network in the United States. He was also president of International Sales and Production for Universal Television and CEO of New World Entertainment. He has been an executive producer on several features including ROCKAWAY (in postproduction) and PADRE NUESTRO (Grand Jury Prize winner, Sundance 2007).

Benjamin Odell (Producer) recently produced the feature PADRE NUESTRO, which won the grand jury prize at the Sundance Film Festival this year. Odell moved to Colombia, South America out of

12 college where he worked as a screenwriter, TV writer and producer. He wrote over 300 hours of Spanish language television as well as the feature film GOLPE DE ESTADIO, nominated for the Spanish Academy Award, the Goya, and was Colombia’s nomination to the Oscar in 2000. He worked as an independent producer in NY for several years before joining Panamax Films as Head of Development and Production.

Roni Menendez (Producer) – Roni Menendez’ vast experience ranges from features and reality shows to documentaries and late night television.

Her film credits include producing “Hunting of Man” starring Douglas Spain (“Band of Brothers,” “Star Maps”). Among the awards the film won, include Best Picture at the New York Latino International Film Festival and the coveted Festival Director’s Award for Best Film at the 2003 Method Fest. She also produced Jon Bokenkamp’s (“Taking Lives”) directorial debut “Bad Seed,” starring Luke Wilson and Dennis Farina.

Her first feature film credit as producer was “Scrapbook,” starring Justin Urich (“The Rage: Carrie 2”) and Eric Balfour (“24,” “Six Feet Under”). The film screened in more than 15 film festivals, and won two Audience Awards and one Grand Jury Prize.

In addition to working in various productorial capacities for companies like Vin DiBona and Columbia Tri-Star, Menendez has served as a field producer for ABC’s popular “Jimmy Kimmel Live” and a production manager on Comedy Central’s “Con.”

In addition to her film and television credits, Menendez produced two seasons of the hit reality show “Urban Jungle” for SiTV. “Urban Jungle” centers on nine privileged suburbanites and places them in the inner-city for a month. Leaving all their amenities behind, they have to get a job and learn how to survive on minimum wage. The contestant who best adapts to the new surroundings wins $50,000.

Menendez is a graduate of the prestigious USC School of Cienema-Television. While at USC, she produced and edited several short films including “Remembrances,” which screened at several film festivals including the 1995 Telluride Film Festival, and the 1996 Houston Worldfest where it won the Silver Award for Best Short Subject. The short also won a 1995 CINE Golden Eagle for Outstanding Short Film.

Upon graduation, Menendez served as associate producer on “After Sunset: The Life and Times of the Drive-in Theater.” The documentary aired in more than two million homes on American Movie Classics.

Jojo Henrickson (Screenwriter/actor “Julio”) Born Jose Angel Henrickson to his south Texas Mexican mother and half Mexican marine corp., father, Henrickson is a writer, director, actor, editor, producer, Henrickon does it all. Moving to Los Angeles at nineteen, Henrickson performed stand up comedy in and around Los Angeles for over six years. Improvisational comedy followed shortly thereafter and then dramatic theater. Henrickson wrote, directed, and produced feature film, The Barrio Murders, in 2000. In 2003, he wrote, co-directed and produced, GB 2525, a sci-fi, urban Latino action adventure epic. Prior to that Henrickson wrote, directed and edited Placas, a reality based Spanish language TV show for the Telemundo network. In 2004, Henrickson wrote, produced, co-directed and edited the festival award winning, indie horror film Stump The Band. To date Henrickson has written over six feature films, four of which have been produced.

13 Adam Silver (Director of Photography) is a Director of Photography based in Los Angeles and New York. He shoots feature films, television, music videos, commercials and documentaries. Recent feature credits include Year of the Fish, which premiered at the 2007 Sundance Film Festival, and Kush, the gritty story of LA’s notorious Jesse James Hollywood. Adam has also shot the feature films And So Life Goes On and Apocalypse, and the television pilot Aftermath for producer Rob Minkoff. Originally from Seattle, Adam earned his undergraduate degree at Yale, where he gained experience in documentary filmmaking and still photography. He trained for several years as a film lighting technician in New York, then continued his studies at Columbia’s Graduate Film Program. While immersed in Columbia’s rigorous writing and directing work, Adam shot more than thirty short films including Student Academy Award winner Jesus Henry Christ.

Andres Levin (Composer) Born in Venezuela, Andres went on to study music and composition at both The Berklee School of Music and Julliard. Between his early work with famed producer Nile Rodgers and the start of his own production company in 1991, Levin worked with Diana Ross, Tina Turner, Chaka Khan, David Byrne and many more. Having established himself within R&B, Andres decided to focus on the music of his heritage and began work with many Latin artists. Quickly embraced for his innovative sound, Levin wrote and/or produced critically acclaimed records for pioneering rock artists such as Aterciopelados, Los Amigos Invisibles, El Gran Silencio (& more), and famed Brazilian musicians such as Caetano Veloso. Levin’s work in these two genres led to his contribution of tracks for the Red Hot Organization’s AIDS fundraising records Red Hot. Levin also has his own Grammy-nominated band YERBA BUENA. As a film composer he has worked on several upcoming motion pictures including “El Cantante” starring Jennifer Loper and Marc Anthony.

Christopher Tandon (Production Designer) Recent Production design credits include BUG, THE DEEP END, and GOLD CUP. He has also worked as a supervising art director, art director, and assistant art director on films including WHERE THE WILD THINGS ARE, THE BLACK DAHLIA, THE CHUMSCRUBBER, COLLATERAL, SPARTAN, KILL BILL (1 and 2), and THE RULES OF ATTRACTION. He studied design at the University of Pennsylvania and holds a masters degree in architecture from Harvard University's Graduate School of Design.

Elaine Montalvo (Costume Designer) has costume designed twenty feature films including the winner of the 2002 Sundance Audience Award, REAL WOMEN HAVE CURVES. Amongst some of her numerous movie credits are: CHUCK AND BUCK, winner of the Independent Spirit Award, Best Film 2000; the stylish noir film, LA CUCARACHA, starring Eric Roberts and Joaquim De Almeida; the thriller NEWSBREAK, starring Michael Rooker, Judge Reinhold and Robert Culp; the street drama, ROAD DOGZ, starring Jacob Vargas and Clifton Collins Jr.; the teen comedy, TEQUILA BODYSHOTS, with popular television star Joey Lawrence; the action drama, SUPERCROSS: THE MOVIE, starring Steve Howey, Daryl Hannah, Robert Patrick, and Robert Carradine; and the drama, AMERICAN GUN, starring Academy Award-winning legend, James Coburn, and Academy Award Nominee, Virginia Madsen. Some of Elaine’s television work includes the widely acclaimed PBS magical-realist series FOTO-NOVELAS and the Nickelodeon family series THE BROTHERS GARCIA. Elaine recently completed the Nickelodeon hit television series, NED’S DECLASSIFIED SCHOOL SURVIVAL GUIDE, and the edgy comedy film SEX AND BREAKFAST, starring Macauley Culkin, Alexis Dziena, Kuno Becker, and Eliza Dushku.

Meta Valentic (Co-Producer) began her career in 1994 as the youngest member of the DGA Assistant Director’s Training Program. Her credits include One Night Stand, Bride and Prejudice, Miss

14 Congeniality II, Must Love Dogs and television shows such as Sliders, Felicity, ER, Bones, and Lost. In addition to her work as co-producer on Ladron Que Roba a Ladron, Meta has produced 4 independent feature films, including the critically acclaimed Urbania, which played the Sundance and Toronto film festivals and was released by Lionsgate in the fall of 2000.

Michelle Moran (Casting Director) is a top Latin American talent manager representing some of the biggest names in Spanish language television. In 2004 she began casting for telenovelas and series. This is her first foray into feature television. She is currently casting Mexican/Chilean co-production, ALL INCLUSIVE, which Panamax Films is co-producing.

Rosalinda Morales (Los Angeles Casting Director) began her career in the entertainment industry, over twenty-five years ago, as a Casting Associate moving on to become a Talent Agent where she developed up and coming talent in the areas of television, film, theater and commercials. After a ten year stint, representing talent, Rosalinda returned to casting and production, working with such notable industry professionals as, veteran television producer, Stu Segall (Reyes y Rey and Angeles – Telemundo Network/Sony) and indie filmmaker, Ken Loach (Bread and Roses). Rosalinda has worked throughout the Southwestern U.S. and internationally on U.S./Mexico - Mexico/US. film, television and theatre projects in the areas of Production and Casting. Notable Casting Credits include La Misma Luna (The Same Moon) - Fox Searchlight/The Weinstein Co and Bread and Roses - Artisan Entertainment/Parallax Pictures. And for television Desire (Pilot) – 20th Century Fox Television; Fashion House (Pilot) – 20th Century Fox Television.

15 END CREDITS

Informerciales Escrito y Producción Jose Angel Henrickson Dirección de Fotografía Kieron Estrada

Equipo Coordinador de Dobles Manny Siverino

Dobles Toby Holgiun Eddie J. Fernandez Bud Blackburn Director de Arte Adam Mull Asist. Director de Arte Sasha Freedman Decoración de Escenario Lisa Fischer Coordinación de Escenario Gerard Marin Diseño Gráfico Kyle Valentic Katie L. Fetting Operador de Cámara Adam Silver Primer Asistente de Cámara Mike Jechort Segundo Asistente de Cámara Jorge Devotto Mathew Rudenberg Cargador de Cámara Kyle Redman Nancy Piraquive Micahel Bosman Operador de Steadicam Erwin Landau SOC Foto Fija Dan Austin Cámara Asistente Héctor Espinosa Supervisora de Continuidad Belinda Salazar Mezcla de Sonido Douglas Tourtelot, CAS Microfonistas Michael Davies Stacey A. Washer Asistente de Sonido Mauro Flores Paul Pérez Asistente de Edición Gabrielle Thorbourn Jefe de Eléctricos David McGrory Best Boy Eléctrico Adam Peabody Eléctricos Nate Brown Eric Snow Halsey Corbin James Ryan Copeland Brian D’Haem Kelly C. Gallamore Jean-Paul Bonneau Ben Vancleave Jonathan Cushing Eric Bennett Jefe de Tramoyistas Ryan Bradley Best Boy Tramoyista Richie Brush Tramoyistas de Dolly Gerardo Morena Brian Kronenberg

16 Julian S. López Jeff Wessels Fulterton Singleton Tramoyistas Chris Updegrave Joe Roach Stephen Furry Robert Head Steve Fish Joshua Martin Alex Selkowitz Kenneth Woodbury George Cranford Zachary Miller Adam Sheedy Robert Richard McFall Atrecista Laura Diamond Atrecista Asistente Michael Francisco Atrecista Asistente Mike “Solid” Nelson Coordinador de Efectos Especiales Jefferson Wagner Supervisora de Vestuario Diana Chan Vestuarista en Escena Emilia Montalvo Vestuaristas Mariana Moramarco Jesse Anderson César Franchesco Escobar Maquillaje Elvia Romero Asistentes de Maquillaje María Guarín Ingrid Hartowicz-Fuentes Estilista Sergio López Asistente de Estilista Nicole Mumford Contador de Producción Charles Holloway Asistente de Contabilidad Ryan Toyama Traducción de Guión Andrzej Rattinger Gerente de Locación Kieron Estrada Bud Blackburn Scouts de Locación Josie García Belinda Salazar Brian Sullivan Segundas Asistentes de Dirección Jackie Lee Patricia Bidone-Valdiserra Segundos Segundos Asistentes de Dirección George Boyd Elen Rosentreter Casting de Fondo Lisa Garr/Standing Room Only Maestro de Dialecto Rob Macie Coordinador de Transportación William Cope Capitanes Timothy Fagan Jason Messersmith Conductores Robert Cope Miguel Navarrete Cody Herpin Michael Whitney Sean P. Mulgrew Robert Wood

17 Chad Lovoy Ted Mayer Nathan Antunez Jon Altoff Darin Chisholm Anthony Detiege Kevin Becker Servicio de Aperitivos Barbara Fleeman Banquetes Alex’s Gourmet Catering Chefs Joe Aranda Jorge Santos Profesor en Estudio Jean Erickson Jan Turetsky Doble de Luces Valerie McGinnis Oswaldo Calderón Doble de Fernando Colunga Meta Valentic Doble de Miguel Varoni Héctor Espinosa Doble de Julie Gonzalo Belinda Salazar Seguridad en Locación Bob Alaniz Guardias de Seguridad Gill Castillo Val Hovanesian Fernando Jiménez Leonardo A. Bondani Jorge López Arutyan Mananchyan Kevin Cruz Ulysses Medrano Lenell Timberlake Luis Rivas Coordinación de Asistentes Tammy Thomas Asistentes de Producción Maia Nealy Reed Humberto Meza Mauro Flores Paul M. Pérez Josif Ruzer Mauricio Hoyos Angela Patterson Yaniv Fituci Emma Puluti Megan Ottman Michael Keeper Rene González Stephanie Kinch Coordinador de Talento Ismael Jiménez Interno Andy Schlachtenhaufen

2da Unidad Coordinador de Producción Geoff Hale Diseño de Producción Nanci Roberts 1er Asist. Cámara Karl Waechter 2do Asist. Cámara KT Comkowycz Cargador Austin Smoak

18 Eléctrico Lincoln Lewis Jefe de Tramoyistas Chris Updegrave Mezcla de Sonido James Ridgley Maquillaje/Estilista Pamela Lljubo Coordinación de Asistentes Josif Ruzer Asistentes de Producción Andrew DeCrocker Héctor Espinosa Valerie McGinnis Servicios de Laboratorio Technicolor Creative Service, Montreal-Canadá Dailies Colorist Julie Charette HD Colorist Richard Lessard Film Color timer Pierre Provost Project Manager Jean-Paul Mageren Account Manager Luis Furtado

Intermedio Digital Filmosonido, Santiago de Chile Coordinador de Postrpoducción Marcos de Aguirre Conformación y Corrección de Color Ismael Cabrera Nicolás Ibieta VFX Mario Villalobos Postrpoducción de Sonido Filmosonido, Santiago de Chile Diseño de Sonido y Mezcla 5.1 David Miranda Edición de Sonido Nadine Voullìeme Christian Cosgrove Martín Seltzer Foley Mauricio Castañeda Daniel Heusser Coordinación Técnica Claudio Hijerra Oscar Carabante Consultor Dolby Mario Faucher

Musica compuesta, producida, editada y mezclada por Andres Levin

Guitarras Electricas y Acusticas, Bajos , Teclados y percussion Andres Levin Arreglos de Cuerdas, Piano, B3, musica adicional Stephen Barber Asistente a Andres Levin, diseño aural, musica adicional Keith Robinson

Sesiones Austin TX Cuerdas The Tosca Strings Violin Leigh Mahoney Violin Tracy Seeger Viola Ames Asbell Cello Sara Nelson Contrabajo Jessica Gilliam-Valls Acordeon Joel Guzman Clarinetes, Flauta Y Saxos John Mills Bajo Acustico Chris Maresh Bateria Kyle Thomson

Sesiones NYC Trompeta Brian Lynch

19 Trombone Clark Gayton Saxo Ron Blake Piano Pablo Vergara Bateria Gene Lake Percusion Pedro Martinez Percusion Mauricio Herrera Percusion Luis Quintero Teclados additionales Joe Trupiano Palmas y Gritos Joe Menendez Violin Sandy Park Violin Ann Lehmann Viola D. Shmue Cello Jeremy Turner

Grabado en Fun Machine y Elias Arts (NYC) Grabado en Carl Thief Music, Austin TX Grabado por: Carl Theif, Goeff Sanoff, Keith Robinson & Dan Dzula

Music Supervisor Tricia Holloway Music Consultant Diana Beas Music clearance Jeanne Fay

Promoción de Producto General Motors Corporation Norm Marshall & Associates Mike's Tuxs Budweiser Heinekin Oakley Glaceau – Smart Water

La Producción Agradece a William Morris Agency Eric Rovner Raul Mateu Margarita Montilla Joe Bonilla Gabe M. Gordon Donna Schmidt Michael David Thomson Steve Tihanyi Daniel Edward Mora Robert Arévalo Kurt Kuenne Maria Bencomo Comisión de Cine de California Departamento de Transportación de la ciudad de Los Angeles Screen Actors Guild Gail Glaser Juan San Carlo Mondrian

20 Kodak Loretta Bayle Technicolor Montreal Luis Furtado Jean-Paul Mageren Filmosondo Marcos de Aguirre Bill Puluti Kenny Catando Debra Spidell Linda Barcero Alex’s Gourmet Catering Al Uceea Maggie Preciado Redemption Studios Universal Props and Sets Jon Favaro Hart Family Cineworks Kent Hamilton Otto Nemenz Fritz Heinzle California Independent Facility Maria Marical Maricela Garcia Luis Lara Catalina's Bridal Beatriz Leon La Fuente Resturante Abel Sapien Santiago Villar – Cartier San Juan, Puerto Rico Jorge Rocha Jorge Aragón Matt Barker Vapor Post Alex Barreto Katie L. Fetting Chris Schlerf Kyle Valentic Vicky Eguia Rita Menendez Maya Annette Menendez

Para Juan

Nómina Axium Payroll Services Eléctricos & Tramoya Cineworks Online Technicolor Montreal Corrección de Color Filmosonido Servicios Legales Law Offices Mark Litwak & Associates Seguro Truman Van Dyke Company Detrás de Cámara Dan Austin

21 Perro Paws for Effect Viaje World Travel Management Sonido en Posproducción Filmosonido Cámara & Dollies Chapman/Leonard Studio Equipment

LOGOS Dolby SAG American Humane Otto Nemenz Kodak

EDITADA EN AVID

Ningún animal fue lastimado en la producción de este largometraje.

La propiedad de esta obra está protegida por leyes de derechos de autor y otras leyes aplicables, y cualquier duplicación, distribución o exhibición no autorizada puede resultar en pena y persecución criminal así como daños civiles.

Los eventos y personajes en esta obra son ficticios; cualquier similitud con personas reales, vivas o muertas, o con eventos reales, es puramente coincidencia.

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