’ ADDITIONAL CAST

“” Ari Tenenbaum...... GRANT ROSENMEYER Uzi Tenenbaum ...... JONAH MEYERSON CAST Young Chas Tenenbaum. . . ARAM ASLANIAN-PERSICO Young Margot Tenenbaum...... IRENE GOROVAIA Young Richie Tenenbaum ...... AMEDEO TURTURRO as Dudley Heinsbergen...... STEPHEN LEA SHEPPARD Royal Tenenbaum Young Eli Cash...... JAMES FITZGERALD Peter Bradley ...... Detective ...... DON MCKINNON as Hotel Manager...... FRANK WOOD Etheline Tenenbaum Walter Sherman...... AL THOMPSON Rachael Tenenbaum ...... JENNIFER WACHTELL Hotel Clerk ...... DONAL WARD as Farmer Father/Tex Hayward...... Chas Tenenbaum Doctor ...... DIPAK PALLANA Sanjay Gandhi...... SANJAY MATHEW as Chas’ Secretary...... MARY WIGMORE Margot Tenenbaum Sing-Sang ...... SONAM WANGMO Neville Smythe-Dorleac ...... PAWEL WDOWCZAK Yasuo Oshima ...... PETER LEUNG as Franklin Benedict ...... WILLIAM STURGIS Richie Tenenbaum Reporter in Blue Cardigan ...... LIAM CRAIG Eli’s Aunt ...... SHEELAGH TELLERDAY Cote d’Ivoire Attendant ...... MAX FAUGNO as Cote d’Ivoire Radio Operator . . . . . GUIDO VENITUCCI Eli Cash Frederick (Bellboy) ...... EBON MOSS-BACHRACH Elderly “Baumer” Fan #1 ...... BRIAN SMIAR Elderly “Baumer” Fan #2 ...... JAN V.E. AUSTELL as Raleigh St. Clair Cemetery Maintenance Man ...... RONY CLANTON Anwar ...... SALIM MALIK Judge ...... TOM LACY as Royal’s Lawyer ...... KEITH CHARLES Henry Sherman Gypsy Cab Driver ...... GREG GOOSEN Nurse ...... SADIAH ARRIKA EKULONA Sanchez ...... VIC MATA as Irish Longshoreman ...... MICHAEL CONTI Dusty Parisian Girl ...... TATIANA ABBEY New Guinea Tribesman ...... KALANI QUEYPO Punk Rocker ...... MEL CANNON as Eli’s Egyptian Friends ...... LEO MANUELIAN Pagoda AMIR RAISSI ROGER SHAMAS Narrator Father Petersen...... PHILIP DENNING Police Officer ...... GARY EVANS Mr. Levinson ...... REX ROBBINS Elaine Levinson ...... NOVA LANDAEUS-SKINNAR

2 Paramedics ...... SAM HOFFMAN First Assistant Director BRIAN TENENBAUM SAM HOFFMAN STEPHAN DIGNAN Medical Student ...... Second Assistant Director MICHELLE L. KEISER

THE FILMMAKERS Additional Editor ...... DANIEL R. PADGETT Key Set Directed by Decorator ...... SANDY REYNOLDS WASCO, S.D.S.A. Richie’s Artwork & Original Illustrations ...... ERIC CHASE ANDERSON Written by Associate Producer ...... WILL SWEENEY WES ANDERSON & OWEN WILSON Sound Mixer ...... PAWEL WDOWCZAK Make-Up Designer ...... NAOMI DONNE Produced by Script Supervisor ...... SCOTT PETERSON WES ANDERSON Art Director ...... CARL SPRAGUE Hair Designer ...... MARIE-ANGE RIPKA “A” Camera Operator ...... DAVID M. DUNLAP Executive Producers Additional Camera Operator ...... SUSAN STARR RUDD SIMMONS First Assistant Camera...... STORN PETERSON OWEN WILSON Second Assistant Camera ...... STEVE SPEERS Loader ...... DAVID FLANIGAN Director of Photography Still Photographer ...... JAMES HAMILTON , A.S.C. Video Playback ...... GLENN BLOOM NILS JOHNSON Production Designer DAVID WASCO Department Of Props ...... SANDY HAMILTON KRISTINE MORAN Editor JONATHAN TESSLER , A.C.E. Chief Lighting Technician ...... ANDREW J. DAY Costume Designer Best Boy Electric...... ROCCO PALMIERI KAREN PATCH Generator Operator ...... MICHAEL L. REED Base Camp Generator Operator...... WILLIAM HINES Music by Rigging Lighting Technician...... LOWELL SCHULMAN Rigging Best Boy Electric...... KURT LENNIG Electricians ...... MICHAEL FRADIANNI Music Supervisor CHARLES GRUBBS RANDALL POSTER MICHAEL HUNOLD FRANCIS V.H. “BOSKO” LEACH Casting by CHRISTOPHER LISCINSKY DOUGLAS AIBEL JOSH SOLSON Key Grip...... ROBERT M. ANDRES Unit Production Manager Best Boy Grip ...... CHRIS SKUTCH DENISE PINCKLEY Dolly Grip ...... LAMONT CRAWFORD Key Rigging Grip ...... JOHN PANUCCIO Best Boy Rigging Grip ...... BOB PRATE

3 1st Company Grip ...... ALISON BARTON Boom Operator ...... PAUL KORONKIEWICZ Grips ...... MEL CANNON 2nd Boom/Cableman...... JOHN GUTIERREZ CHRISTOPHER DONOHUE Key Make-up Artist...... KATE BISCOE IGOR POTASHNIK Make-up Artists ...... MARTEL THOMPSON DUSTY SMITH JUDY CHIN Rigging Grips ...... PATRICK J. TAISTRA Key Hair Stylist ...... JERROLD DECARLO RICHARD YACUK Danny Glover Hairstylist ...... KASHKA BANJOKO

Tailor...... VAHRAM MATEOSIAN Location Manager ...... TOM WHELAN Wardrobe Supervisors ...... MICHAEL ADKINS Assistant Location Manager...... GAYLE VANGROFSKY HARTSELL TAYLOR Location Coordinator...... KRISTA HAIMOVITCH Assistant Costume Designer . . . . . SHARON GLOBERSON Assistant Costume Location Assistants ...... CHRIS MARSH Designer () ...... JOHN REED GRETCHEN PATCH GREG STILLMAN Set Costumer ...... LISA EMERSON MACHIONE Location Scouts ...... MARK VON HOLSTEIN Seamstress ...... STEPHANIE BIEAR STEPHEN CARR Additional Costumer ...... MARIAN TOY Parking Coordinator ...... DEREK PASTURES Additional Costumer (Los Angeles) . . . . . MAYA VAUGHN Assistant Parking Coordinator ...... DARREN GLOVER Costume Production Assistants ...... GALI NOY KATIE NOVELLO Production Coordinator...... SEAN FOGEL LISA SALOMON Assistant Production Coordinator ...... HEATHER NEELD 2nd 2nd Assistant Assistant Art Directors ...... DOUGLAS A. HUSZTI Director ...... KATHRYN-ANN O. SHERTZER ADAM SCHER Production Office Secretary ...... ELIOT GERSTEL Art Department Administrator ...... JULIA G. HICKMAN Office Production Assistants ...... JARED HOHL Researcher...... EMILY KLIMKIEWICZ CHRIS MCHENRY Graphic Artist...... MARK BACHMAN MIKE REILLY Book Cover Artist ...... JOAN WINTERS Portrait Artist ...... PEIRAN TENG Unit Publicist ...... FRANCES FIORE Model Maker ...... TOM SARR Art Department Assistant ...... DALIA BURDE Assistants to Mr. Anderson ...... WILL SWEENEY Archaeological Consultant . . . JOAN H. GEISMAR, PH.D. ALEXANDER MOORE Assistants to Mr. Mendel ...... JASON MILLER New York Set SARAH SCHECHTER Decorator ...... CAROLYN CARTWRIGHT, S.D.S.A. Executive Assistant to Mr. Rudin...... KEVIN J. WALSH Assistant Set Decorator ...... ALEXANDRA MAZUR Assistants to Mr. Rudin ...... MEGAN GERARD On Set Dresser ...... SHANNON CANFIELD LEDA NORNANG Leadman...... SCOTT ROSENSTOCK MALCOLM AUCHINCLOSS Greensmen ...... WILL SCHECK ASHLEE BURNETTE WILLIAM J. KOLPIN LARS KNUDSEN Set Dressers ...... MARK SIMON CHARLES PARLAPANIDES ROBERT A. DE MAR III SARAH E. MCMILLIAN Mr. Hackman’s Stand-In ...... GREG GOOSEN GERARD MORRONE KEVIN MELARKEY Assistant to Mr. Glover ...... SARISA MIDDLETON GARY WATTSON Assistant to Ms. Huston ...... GWENN STROMAN Assistant to Ms. Paltrow ...... JENNY TURNER

4 Assistant to Mr. Stiller ...... EDITH HAGIGI First Assistant Accountant ...... AMY CARTER Second Assistant Accountant ...... KELLY O’BIER Key Set Production Assistant ...... AUGIE CARTON Payroll Accountant...... PENNI MM SMITH

Production Assistants Accounting Clerks ...... STEPHEN DIGNAN JORDAN ALPORT NORA LYNCH SARA GAGLIARDI DAWN BRIDGEWATER ANDREW MCCABE Post Production Accountant . . . . . TREVANNA POST, INC. TERESA C. GILLEN PATRICK MCDONALD ELIZABETH KLENK TONY PHILLIPPE Casting Associate ...... CINDY TOLAN Extras Casting...... BYRON CRYSTAL Stunt Coordinator ...... MIKE RUSSO Extras Casting Coordinator ...... AMI ROTHSCHILD Buckley & Sparkplug Stunts Provided by ...... BIRDS AND ANIMALS UNLIMITED JIMMY WONG STEVE MACK PETER BUCOSSI Animal Trainers ...... APRIL MACKIN DON PICARD FRANK FERRARA JERRY HEWITT GWEN GRIFFITH ADAM SILFIN JENNIFER LAMB DONALD J. HEWITT AMANDA BLEW JANET PAPARAZZO DERRICK SIMMONS Mordecai and Other Animals TONY GUIDA JALIL JAY LYNCH JOANNE LAMSTEIN Provided by KEITH SIGLINGER MICK O’ROURKE ANDY DUPPIN ANIMAL ACTORS INCORPORATED JOE BARRY NORMAN DOUGLASS PAUL BUCCOSI HARRISON STIMMEL MANNY SIVERIO TIM GALLIN KRISTOPHER MEDINA ROY FARFEL CHRIS BARNES Animal Trainers ...... STEVE MCAULIFF VICTOR CHAN DON HEWITT JACK MCLAUGHLIN KIM KRAFSKY Medic...... STEVEN P. COSTABILE Special Effects Coordinator ...... BOB SCUPP Children’s Tutoring Construction Coordinator ...... TOM WHITE Provided by...... ON LOCATION EDUCATION Construction Foreman ...... JOHN S. CODA Key Construction Grip ...... KENNETH T. ENGELS Dialect Coach ...... JUDY DICKERSON Shop Coordinator ...... IRA PAUL TURNER Security ...... HAIL SWAM Carpenters ...... MIKE MELCHIORRE JOSE TEJADA JOE A. ALFIERI, JR. Catering . . . . . PREMIERE CATERING/MIKE HERNANDEZ Construction Grips...... JUSTIN CORBETT Chef ...... GINO J. BENEVENTANO DANIEL WOODS Craft Service ...... DAVID DREISHPOON’S Shop Electrician ...... PHILIP DEVONSHIRE GOURMET CRAFT SERVICE Charge Scenic ...... JON RINGBOM Assistant Craft Service ...... STACY HRISOHOIDIS Scenic Foreman ...... PETER G. HACKMAN NICK JULIOUS Scenic Shop Managers...... DIANE LAURIENZO ROBERT SCHIFF THOMAS NOUSIAS Projectionist ...... BOB DICKEY Camera Scenic ...... NELL STIFEL Scenic Painters...... LAURA GILLEN First Assistant Editor ...... CHRISTOPHER PATTERSON JULIE SLOANE Second Assistant Editor...... ERIN CRACKEL AVERY BRANDON Post Production Coordinator...... ANN GRAY GEORGE KOUSOULIDES Supervising Sound Editor ...... ROBERT HEIN Transportation Captain ...... JAMES P. WHALEN Transportation Co-Captain ...... TIMOTHY SHANNON First Dialogue Editor...... SYLVIA MENNO Dialogue Editor ...... BRANKA MRKIC-TANA Production Accountant ...... LYNDA VAN DAMM First FX Editor ...... GLENFIELD PAYNE FX Editor ...... MAGDALINE VOLAITIS

5 Music Editor ...... ANNETTE KUDRAK Digital Visual Effects by ADR Editor ...... KENTON JAKUB BIG FILM DESIGN Foley Editor ...... TODD MILNER First Assistant Sound Editor ...... DAVID WAHNON Visual Effects Supervisor ...... RANDALL BALSMEYER Assistant Sound Editor...... ERIC MCALLISTER Visual Effects Producer...... KATHY KELEHAN Apprentice Sound Editor ...... AKIL JELANI WILSON Digital Animation/ Sound FX Recordists...... BEN CHEAH Compositing Artists ...... J. JOHN CORBETT JOHNPAUL FASAL JIM RIDER ERIC POTTER AMIT SETHI WYATT SPRAGUE NAOMI NISHIMURA ERIC PERSON Re-Recording Mixers...... MARK BERGER JENNIFER COSSETTO DOMINICK TAVELLA STEVE SIMONS The producers wish to thank:

ADR Mixers ...... DAVID BOULTON BOBBY JOHANSON THE WALDORF ASTORIA HOTEL DOUGLAS L. MURRAY MS. PALTROW’S CUSTOM MINK-COAT Provided By ADR Boom ...... KAY DENMARK FENDI Voice Casting ...... SONDRA JAMES ROBERT C. JANISZEWSKI, HUDSON COUNTY Foley Recording Engineer...... RYAN COLLISON EXECUTIVE, AND Foley Artist ...... BRIAN VANCHO THE HUDSON COUNTY BOARD OF CHOSEN Post Production Services . . SOUND ONE CORPORATION FREEHOLDERS Music Engineered by ...... ROBERT CASALE THE CITY OF JERSEY CITY Music Recorded at ...... NBC NEWS ARCHIVES WEST HOLLYWOOD ABC SPORTS Music Coordinated by...... DANPING WONG JAMES L. BROOKS Orchestrations by ...... CHRIS GUARDINO GEORGE DRAKOULIAS ARLOS RODRIGUEZ MICHAEL BARRY Choir Contractor...... SALLY STEVENS JIM BERKUS Music Contractor ...... DAVID LOWE JOHN LESHER Music Preparation by ...... BOOKER WHITE BOB WALLERSTEIN WALT DISNEY MUSIC LIBRARY PACIFIC TITLE, LADD LANFORD Piano...... LARRY DOMINELLO SOUND ONE, JONATHAN PORATH

Dailies Consultant ...... JOEY VIOLANTE “Dog Race Audio” Courtesy of Dailies by ...... TECHNICOLOR‚ NEW YORK PHOENIX GREYHOUND PARK Titles & Opticals ...... PACIFIC TITLE Negative Cutter. . . . . BUENA VISTA NEGATIVE CUTTING Color Timer ...... DANA ROSS “” Paintings at Eli Cash’s by Written by , Paul McCartney MIGUEL CALDERON Published by Sony/ATV Tunes LLC ELIOT PUCKETTE Produced and Performed by Elliot Smith HUGO GUINESS Courtesy of DreamWorks Records

6 “String Quartet in F Major” “Gymnopedie #1” Written by Maurice Ravel Written by Exclusive representation Editions DURAND, () Published by G. Schirmer Performed by Ysaye Quartet Performed by Aldo Ciccolini Courtesy of Decca Music Group Courtesy of EMI Records Under license from Universal Music Enterprises Under license from EMI-Capitol Music Special Markets

“Happy Birthday To You” “Lullabye” Written by Mildred Hill and Patty Hill Written by Emitt Rhodes Published by Summy-Birchard Music, Performed by Emitt Rhodes A division of Summy Birchard, Inc. Published by Thirty-Four Music West Courtesy of MCA Records “Sonata For Cello & Piano In F Minor” Under license from Universal Music Enterprises Written by George Enescu Published by “Me And Julio Down By The Schoolyard” Associated Music Publishers o/b/o Enoch & CIE Written by Published by Warner Tamerlane Publishing Corp. o/b/o “Christmas Time Is Here” Paul Simon Music Written by and Lee Mendelson Performed by Paul Simon Published by Lee Mendelson Film Productions, Inc. Courtesy of Warner Bros. Records Inc. Performed by Vince Guaraldi Trio By arrangement with Warner Special Products Courtesy of Fantasy Inc. “Billy - Main Title” “These Days” Written by Bob Dylan Written by Jackson Browne Published by Ram’s Horn Music Published by Open Window Music Performed by Bob Dylan Performed by Courtesy of Columbia Records Courtesy of The Verve Music Group By arrangement with Sony Music Licensing Under license from Universal Music Enterprises “Judy Is A Punk” Written by Douglas Colvin, John Cummings, “Police And Thieves” Thomas Erdelyi and Jeff Hyman Written by Lee Perry and Junior Marvin Published by WB Music Corp. o/b/o itself, Bleu Disque Published by Universal-Songs of Music Co., Inc. and Taco Tunes, Inc. PolyGram International, Inc. Performed by The Performed by The Clash Courtesy of Courtesy of Epic Records/ By arrangement with Warner Special Products Sony Music Entertainment (UK) Ltd. By arrangement with Sony Music Licensing “Needle In The Hay” Written by “Wigwam” Published by Spent Bullets Music/ Written by Bob Dylan Careers BMG Music Publishing Published By Big Sky Music Performed by Elliott Smith Performed by Bob Dylan Courtesy of Kill Rock Stars Courtesy of Columbia Records By arrangement with Ocean Park Music Group By arrangement with Sony Music Licensing

7 “Fly” “Fairest Of The Seasons” Written by Written by Jackson Browne and Greg Copeland Published by Pubco and Rykomusic, Ltd. o/b/o Warlock Published by Open Window Music Music, Ltd. Performed by Nico Performed by Nick Drake Courtesy of The Verve Music Group Courtesy of Universal-Island Records Ltd. Under license from Universal Music Enterprises Under license from Universal Music Enterprises “Sloop John B” “She Smiled Sweetly” Arranged by Brian Wilson Written by Mick Jagger and Keith Richards Published by New Executive Music Published by ABKCO Music, Inc. Performed by Performed by Courtesy of Capitol Records Courtesy of ABKCO Records Under license from EMI-Capitol Music Special Markets

“Ruby Tuesday” Written by Mick Jagger and Keith Richards Published by ABKCO Music, Inc. Performed by The Rolling Stones Courtesy of ABKCO Records American Humane Association monitored the animal action. No animal was harmed in the making of this film. “Stephanie Says” (AHA 00203) Written by Lou Reed Used by Permission of Screen Gems-EMI Music, Inc. Performed by Produced and Distributed on Courtesy of Universal Records EASTMAN FILM Under license from Universal Music Enterprises Prints by “Rock The Casbah” TECHNICOLOR® Written by Joe Strummer, Mick Jones and Topper Headon Filmed in Published by Universal-PolyGram International PANAVISION® Publishing Inc. o/b/o Universal Music Publishing, Ltd. and Ninden Ltd. Performed by The Clash Courtesy of Epic Records/Sony Entertainment (UK) Ltd. By arrangement with Sony Music Licensing

“Concerto per Liuto E Mandolino” Written by Antonin Vivaldi Performed by Il Giardino Armonico Courtesy of Teldec Classics International By arrangement with Warner Special Products MPAA #38556 “Look At Me” Performed by John Lennon Courtesy of Capitol Records Under License from EMI-Capitol Music Special Markets

8 IATSE

Copyright ©MMI TOUCHSTONE PICTURES All Rights Reserved

This motion picture was created by Mordecai Pictures for purposes of copyright law in the .

Distributed by BUENA VISTA PICTURES DISTRIBUTION

(Credits as of 11/30/01)

9 TOUCHSTONE PICTURES’ “THE ROYAL TENENBAUMS” sort of took over…Royal was not the main character at the beginning, everybody had this malaise and were swirling around each other PRODUCTION INFORMATION when that character came in and took over because he made things happen in the story.” Royal Tenenbaum and his wife Etheline had When Royal is evicted from the Lindbergh three children and then they separated. Chas Palace Hotel and shows up on the Tenenbaum started buying real estate in his early teens and doorstep claiming a terminal illness and a desire seemed to have an almost preternatural to regain a relationship with his family, he sets understanding of international finance. Margot the plot in motion. was a playwright and received a Braverman “Ultimately, I think Royal does want his Grant of fifty thousand dollars in the ninth grade. family back,” Anderson says. “He’s reached an Richie was a junior champion player and age where he starts to realize that there’s won the U.S. Nationals three years in a row. something he can’t get anywhere else that his Virtually all memory of the brilliance of the family provides for him.” young Tenenbaums was subsequently erased by Ben Stiller points out, “Royal’s not honest two decades of betrayal, failure, and disaster. with his family about why he’s coming home - he Most of this was generally considered to be their says he’s sick, when he’s not - but I think that father’s fault. “The Royal Tenenbaums” is the down on some gut level, one that he might not story of the family’s sudden, unexpected reunion even acknowledge, he feels that he is sick, one recent winter. and that this is his last chance to try to Touchstone Pictures presents an American make amends.” Empirical Picture, “The Royal Tenenbaums,” “What the story says is that even though directed by Wes Anderson (“,” everyone goes through hell with their family, “”) from a screenplay written by still–as corny as it sounds–family members are Anderson and his writing partner Owen Wilson. still the ones you have to be close to, and really The cast includes Danny Glover, Gene Hackman, the only ones who will understand what you’re Anjelica Huston, Bill Murray, Gwyneth Paltrow, going through. We don’t balk at showing some Ben Stiller, Luke Wilson, and Owen Wilson. The of the rough stuff families endure, but we show in film was produced by Anderson, Barry Mendel the end that it’s worth it,” Owen Wilson says. (“Rushmore,” “”) and Scott Rudin Producer Barry Mendel, who also (“Wonder Boys,” “Searching For Bobby Fischer”) produced Anderson’s “Rushmore,” observes that and distributed by Buena Vista Pictures although the screenplay says that it is often one’s Distribution. family that can do the most damage to people, The screenplay for “The Royal Tenenbaums” the family is finally also the most important and evolved over the course of a year. “We had the best place to return to heal. idea of a family of geniuses, each member being “The film says that one can act stupidly, exceptional and adept at a particular skill,” cruelly, and ineffectually in the world but that Anderson says. “But family life was so awful that there’s the possibility to take responsibility for it left each of the children as they grew older one’s actions; failures in life can destroy one particularly ill-suited to deal with any of the or can give one the opportunity to reconnect,” problems that most people are able to handle. he says. “We had a good idea of the characters Anderson says that the idea he and Wilson and who they were long before there was any first developed had to do with the figure of story. I’ve never had a movie where it started Richie, the youngest Tenenbaum child, coming with a plot, but the characters gave us a plot and home after having been away for a long period

10 of time. Richie had been a champion tennis Rudin says, “The relationship between player and experienced a breakdown on the irony and emotion is unique here. court during the U. S. nationals. As a result he Most films tend to use irony to distance you. isolated himself from everyone in his world, This film uses irony to bring you in emotionally.” traveling the seas aboard an ocean liner. Part of Anderson’s inspiration for the But Richie’s situation in the film has roots in project stems from his vision of New York. the malaise that affects the way his brother and According to Wilson, “Wes wanted to try to do sister also lead their lives. “The characters had a big ensemble movie and wanted to do these terrific accomplishments and a kind of something that would involve New York. But New supreme confidence in themselves,” Anderson York in a romantic way that doesn’t really exist.” says. “What is interesting to me is how they deal “The entire film is steeped in some kind of with the fact that it’s all behind them, that New York literary history,” Anderson explains, they must find their self-esteem elsewhere, and noting that many of the characters in the movie, that leads them back to their family, where their personalities, temperaments, habits, and everything begins.” emotional exploits, could have easily come off Producer Scott Rudin points out that what the pages of magazine as it “started out to be more about geniuses, ended existed in a bygone era. up being more about failure. “Authors like Joseph Mitchell, A. J. Liebling, “I think ‘The Royal Tenenbaums’ represents Lillian Ross, J. D. Salinger, John O’ Hara, a big advance over Wes’s earlier films, E. B. White, James Thurber, all of them provided ‘Rushmore’ and ‘Bottle Rocket,’ in terms of inspiration for the film in ways I’m not completely complex, fully developed, sophisticated adult conscious of. In recent years, I’ve read in relationships,” Rudin says. backdated New Yorkers various profiles of Anderson says, “In our earlier films nothing people you never heard of– intelligent, eccentric, could be that serious because of the tone. My unconventional personalities, the kind of profiles idea now was to make something that was more they don’t write anymore–and these profiles and ambitious on an emotional level. The other films personalities have also influenced me.” In fact, did deal with the issue of family, but they were Anderson grew up reading the New Yorker, and metaphorical families, groups of friends, has every issue of the magazine from the past 40 someone obsessed with a school and wants to be years in his office. part of it. This one is more directly connected But the New Yorker and its world is not the with issues of family, issues that are deeply only source of inspiration for the new film. “I also personal, emotional and serious.” read a lot of Kaufman and Hart,” Anderson says, Anderson was careful however not to referring to playwrights George S. Kaufman and abandon the stylized point of view and tone that Moss Hart, “including their play, ‘You Can’t Take shaped the material initially, and worked to It With You.’” maintain a proper balance between stylization Hart’s autobiography Act One, as well as and naturalism in the film. “It became something Hart and Kaufman themselves are also where you had to make a whole world that was influences, as are stories by F. Scott Fitzgerald, heightened so these things could naturally fit in it. plays and journalism by S.N. Berhman, and The whole goal is for that stylized stuff to help to ’s “.” As well as make it exciting to be in the world of these literary inspirations, there were a number of characters, but then to quickly seem natural, and personal inspirations that Anderson drew on in to give you details that you respond to and tell creating the world of the Tenenbaums. you more about them as you go along.” “Certainly the inspiration for the characters comes from real people that Owen and I have

11 known, people who have influenced us in life, Gene Hackman in the role of the family not only family members but also good friends. patriarch, Royal Tenenbaum. But it’s not really based on my family,” Anderson Once the character was created, points out. “My father is nothing like the “Gene Hackman seemed like the only choice for character of Royal. But the way Etheline, the the part,” Anderson says. “Usually in an mother in the family, encourages everyone ensemble piece, the central character is a kind of comes from my life, and also the way each of the straight man surrounded by a group of characters connects to someone else. But the eccentrics. In this case, however, he isn’t the characters themselves are not really based on straight man. He’s a wild character, a catalyst, a any one family. They’re based on many different kind of primal force. kinds of people.” “With Gene Hackman in the role we felt it In keeping with the inspirations of the world would be perfect casting. I don’t know why–it of New York literature, Anderson says, “I had wasn’t as if there was a conscious reason we had this idea that rather than the movie being based our minds set on him. It just always seemed like on a book, the movie would be the book.” The a natural thing, that we would have him playing novel would function as part of the narrative and Royal. But then everyone else would have to be the movie would be structured like a novel, very strong, just to balance everything out. I divided into chapters with a narrator leading the don’t know what we would have done if Gene audience through the story. turned us down, which he did.” Because of the idea of the movie as a Anderson describes the process: “About novel, it was important that story would work as two years before we starting filming, my agent a kind of fable, in a magical, literary, Jim Berkus set up a meeting with him. I enjoyed cosmopolitan . According to Anderson, the meeting and he was very nice and encouraging. a native of , “the movie’s about New York,” He said he’d be happy to read the script but said but from the perspective of “someone who has I shouldn’t tailor a part specifically for him, that come to the city with enthusiasm, not somebody it was usually bad luck.” who has known the city his whole life. It is much “I told Wes not to write the part specifically more of a dream idea” of New York. for me,” Hackman says. “Generally speaking, I don’t like things written for me – or rather Once the screenplay had been written and I don’t like having to be restricted to somebody’s the setting established, Anderson set out to cast idea of who I am. So we had this nice chat. the film. According to Anderson, “The characters I told him not to do it, and then he went off and always had to be in the forefront when we were did it anyway!” writing, and therefore we felt that what we were “I guess it’s fair to say that after our writing were eight roles for big stars. The roles meeting, he passed,” Anderson says. “I are written to be somewhat iconic. And that was appealed again, and he passed again. I had my why the issue of casting was also so important. brother do a drawing of the cast with him at the We wanted to cast the film with established center and sent it to him, and then I sent him actors, even in parts that may not have a lot of another draft and dozens of letters. I was screen time, because the characters were written essentially stalking him, even though for a while as larger-than-life people, people who can be I had no personal contact with him. seen as icons. I wanted to cast people who had “His agent wanted him to do the film but I the necessary presence and force, but who could think he was overwhelmed with a lot of other also function as part of an ensemble.” projects at the time. I think the one thing we did Central to Anderson’s process of writing have going on our side was the fact that I wasn’t and his vision of the film was the casting of sure I wanted to do the movie if he wasn’t going

12 to do it. I think that made him stop and rethink finally figures out how his being the favorite has his decision. His agent told me that he read him adversely affected his brother and sister. It’s my last letter over the phone, and Gene said, something he tries to deal with. ‘I guess maybe I should do it’.” “He’s caught in this loop where he sees Hackman appreciated the character of how everything in his life could be perfect, where Royal Tenenbaum. “There’s a lot to this guy - he’s everyone in his family is really smart and he’s in complicated. He’s coming to terms with his love, but it’s all wrong, because everyone in his mortality and I think he really is coming to terms family is an overachiever and the woman he with the fact that he’s been so selfish his whole loves is his adopted sister. Everything’s thrown off life, and I think he’s genuine when he says he for him.” wants to make amends and get back with the Another role written with a particular actor family and feel some love.” in mind was the part of the Tenenbaum family The theme of family also appealed to matriarch Etheline. Anderson saw Anjelica Huston the actor. as Etheline from the start. “Good families always keep trying,” “Along with being a great actor, she also Hackman says. “No, things aren’t always going has a warmth and sophistication and a very to work out smoothly, but the best families keep interesting background that seemed like going no matter what somebody does to you. something to draw on,” Anderson says. “Also, I The families that fall apart are the ones that don’t think she’s had experience with people who are care enough.” like the characters in the film, so she just seemed Anderson wrote several other roles with to fit in. But, mostly, I just wanted to write specific actors in mind. One was for Luke Wilson something specifically for her.” who plays Richie, the tennis star and youngest “I was already a fan of Wes’s work Tenenbaum. Wilson appeared in Anderson’s because I had seen ‘Bottle Rocket,” Huston says. two previous films and is the brother of “After we had lunch together, I watched Owen Wilson. ‘Rushmore’ and really enjoyed it. And then I “I wanted us to write Luke a fuller, more read the new script. I agreed to do it with very complex role than we had previously,” Anderson little deliberation. I like the interaction among the says. “I felt there was this potential for Luke. people, the fantasy quality and the dark humor. There’s a gentleness about him that comes across “Etheline is very loving toward her children clearly. He’s someone who can be soft-spoken, but she is bound to Royal. They’re devoted to good natured, really sweet-tempered…” each other in a way. I think for Etheline, Royal is That aspect of Wilson’s personality is a necessary heartbreak. So although he drives reflected in the film in the romantic longings her mad and she tries to protect the rest of her Richie has long harbored for his adopted sister family from him, she realizes that there is a need Margot, and in the fact that the character in the household for a father. pursues a solitary hobby–he raises falcons he “As soon as I accepted the role, I started to keeps in a coop on the roof of the family’s house. receive drawings that pertained to my “But there’s a dangerous side to Luke,” the character,” Huston continues. “Mostly, she director adds. “I’ve seen some things. You can appeared in very small suits with strange hairdos tap into something real there and I wanted to in the drawings. Wes also sent me photographs make that quality part of the character, too.” of his mother, who is called Texas Anderson, an “Richie is the one who gets along best archaeologist, like my character. He even with Royal,” Luke Wilson says. “Chas is uptight, produced his mother’s old eyeglasses for the and Royal can’t relate to Margot because he sees early scenes. I asked him, ‘Wes, am I playing himself as more of a man’s man. And Richie

13 your mother?’ I think he was astonished by that “And Royal makes it clear that his love is idea,” she laughs. unattainable…I think that we always try to act Anderson has long wanted to work with out what we haven’t come to terms with about Ms. Paltrow, and offered her the role of Margot our parents, so of course the situation exists with Tenenbaum. Margot and her brother that they are in love with “There’s something good-natured and each other–and that too is unattainable,” she always appealing about Gwyneth Paltrow, or the says. “Everything resonates beautifully.” roles she has played. This is sort of a departure Ben Stiller seemed like the natural choice from that, because Margot does many things for Chas Tenenbaum. specifically not to be appealing.” “Ben was one of the first people we heard The fact that Paltrow came from a from when we made ‘Bottle Rocket,’” Anderson sophisticated New York background would also says. “He loved Owen in it, and he and Owen add to her portrayal of the very precocious became good friends. He was really Margot, as well, says producer Mendel. “Margot encouraging.” at age twelve is twelve going on eighteen. And “The anger in this character seemed like you get a sense from Gwyneth Paltrow that is something Ben could really run with,” he says. exactly how she was.” Mendel agrees that Stiller excels at the Paltrow was eager to play Margot “angst-ridden” element of the part. “Ben knows Tenenbaum. how to play that very well, where his character “Wes’ movies have such a specific tone takes everything that is happening to him very and sense of humor that really appeals to me,” seriously, but we can laugh at what the character she says. “When he told me he was sending over is going through. I think that he is a very under- the script, I knew immediately I would be doing appreciated dramatic actor and that he gets a the film. When I read it, I saw what a great part chance to show his stuff here.” it was, and that was just icing on the cake. I’m “I thought the script was incredibly such a fan of both ‘Bottle Rocket’ and ‘Rushmore’ emotional. I had never read anything like it, and that whatever he asked me to do, I would do.” I really connected to the father/son theme,” The complex issues the film raises also Stiller says. “I like those kinds of stories. But I intrigued Paltrow. thought this story was unique, a weird and “I think what the film illustrates clearly is original amalgam of New York. Having grown that family is so crucial and so important to up in New York, I understood that this wasn’t the children, giving them a sense of identity and real New York. But Wes had created this special perspective. If children don’t feel validated by the world, and I felt really connected to it. family or by either parent or by their parents’ “Chas is really angry, so my challenge relationship, it can cause problems in life that are was, how do I make it clear that he’s angry - so not easy to surmount. angry that he has no problem telling Royal what “I definitely identify with the character of he thinks of him - but still make it so that the Margot as a younger incarnation of myself. I audience can connect with him on some level. If think Margot was never able really to grow up, he’s just angry, angry, angry all the time, I think, to grow past a stage where she felt acute people will just start to tune him out, because isolation. And I think she kind of gave up trying who wants to be around somebody that angry. to figure people out a long time ago and her So I’ve been concerned with trying to show power becomes other people trying to figure her where the anger is coming from.” out. And I think that stems from her relationship with Royal and always feeling unwanted and completely on the outside.

14 Also prominently cast are Danny Glover “Rushmore,” the role of Raleigh St. Clair, an and Bill Murray. eminent neurologist married to Margot, was an Anderson had admired Glover in many opportunity for Murray to be humorous as well films, particularly his performance in “To Sleep as further reveal his ability as a dramatic actor. with Anger.” When he met him at a function at Says Murray, “The sad thing I like to say is, the United Nations, where Glover is active as I’m in a movie about a family of geniuses, but I’m a cultural ambassador, Anderson was even an in-law.” more impressed. Speaking more seriously, Murray “As soon as I met him, I was hooked on comments on some of the film’s dramatic themes. him. He has a real leadership quality. He seemed “It’s about a family which has everything going perfect for the role of Henry Sherman, the family for it but still ends up being deeply troubled. I accountant who’s also Etheline’s suitor, and I was think most families have everything going for excited at the prospect of working with him.” them, so it’s not much of a reach to say it’s every The story’s themes of responsibility and family. A child’s love is a very powerful thing. accountability attracted Glover to the role Parents have a responsibility to deal with it of Henry. carefully.” “Those are attributes I associate with Rounding out the cast is Owen Wilson, family,” the actor says. “Certainly most families who has been prominent in Anderson’s are to some degree or other dysfunctional. But filmmaking career from the beginning. the capacity to forgive can help us to heal and “Wes and I went to similar schools, overcome our dysfunctional-ism. developed a similar sense of humor, went to Without a doubt, the sincerity and charm of college together at the University of Texas, and Henry Sherman seemed to fit Danny Glover. became friends there,” says Wilson, “and However, adds Mendel, “Henry is kind of meek through everything that’s happened since then, and bumbling, which Danny is definitely not. So the best part is that Wes and I are still really it is exciting to see him play a character so good friends.” opposite from who he is.” “I think I identify with the humor more than “Henry is dependable,” says Danny the sadness,” he says, “but then, the humor I like Glover. “In many ways, he’s the antithesis of is humor that comes from people’s insecurities Royal. He offers comfort and stability. [He] is not and vulnerabilities, and not so much from a man into self-promotion. So when he finally slapstick, broad comedy, so maybe it is both that asks Etheline to marry him, even though it’s I identify with. something he’s thought about a thousand times, “Eli is this Cormac McCarthy knockoff,” he it’s something that just slips out, and he’s says, “A guy who grows up in the city and writes immediately in over his head. And he sees all novels about the west - what if Custer hadn’t died these reasons why she shouldn’t marry him: they at Little Big Horn, that kind of thing. And for him, make great bridge partners, it would be better just like for the Tenenbaums, success doesn’t for tax purposes to be single…he can’t even say necessarily translate into happiness. Having a hit why it would be better to be married to him.” novel doesn’t make him a Tenenbaum.” For his part, Bill Murray had a very positive Once casting was completed, Anderson experience working with Wes Anderson on and the producers then assembled the crew for “Rushmore,” and received some of the best the film, using most of the same people who had reviews of his career for his performance. Both worked with the filmmaker in the past. Working he and Anderson were very enthusiastic about with his usual crew on “The Royal Tenenbaums” working together again, and Murray was aware was a source of satisfaction for the director. of the film in its earliest incarnations. And, as in

15 “We all know how to talk to each other,” “It was apparent that the house was one of Anderson explains. “We can also start talking the characters in the movie,” notes production about the film and figuring things out way before designer David Wasco. Finding the right one we would have been if we didn’t know each was essential. The building the filmmakers other so well.” decided on, a dilapidated limestone mini- As early as a year before the start of mansion in a historic neighborhood of production, Anderson and his crew scouted called Hamilton Heights, stood on the corner locations for filming in and around . of 144th Street and Convent Avenue, a “Though we never call it New York in the tree-lined byway, surrounded by many other film, I was looking for a certain feeling of living landmark buildings. in New York, not the real New York, more a New David Wasco understood at once that the York of the imagination,” Anderson says. house featured many of the details the The sense of the stylized, fairy tale city is filmmakers needed. There was a parlor floor with reflected in the screenplay by the faux-New York a dining room, living room and a foyer where neighborhoods, ubiquitous gypsy cabs and Etheline’s telephone room under the stairs could various landmarks: Archer Avenue, Mockingbird be added. The geography of the three Heights, Public Archives, the 375th Street Y as Tenenbaum children’s bedrooms also existed in well as public transport like the Irving Island the house as they were described in the script, Ferry, 22nd Avenue Express, and Greenline Bus. stacked one on top of another, which would “Since the people in the story are to some enable an opening crane shot outside of the degree made up from literary associations and house to show the three children, each in their characters from other films, they all sort of live in own window. an alternate reality, and that led us to creating an The house also had a rooftop where entire world in which the sense of reality is Richie’s falcon coop could be set up and Margot intensified and embellished. The house the family could sneak away to smoke, and a beautiful lives in, the clothes they wear, and the New York turret from which to fly the signature family flag. that they inhabit–everything in their world has a In addition, the entire block had a good look for heightened quality and is highly stylized. the exteriors and the house had a faded mansion “At one point I considered shooting the quality while maintaining the intimate feel of a entire movie on a soundstage–building all the family home. interior and exteriors on sets–to get the Yet there were drawbacks. The building exaggerated, almost surreal feel I was looking proposed many challenges for the filmmakers: it for. I was thinking that it would be snowing was small and unstable, and the floors were through the entire movie,” Anderson says. connected by one rickety staircase, which didn’t “But somewhere along the line I decided even go to the roof; the roof was accessible only that we had too much fantasy and that we should by ladder. go in the opposite direction to ground the story There was talk of returning to the plan of in the fact that the house really existed, that the shooting in a studio. streets really existed. So ultimately we decided to “Wherever this guy goes, he finds horrible shoot entirely on location in New York. You might places to work,” Murray jokingly notes. “On not necessarily recognize it as New York but ‘Rushmore,’ we were in some of the most horrible you’d know that the place is real and the locations outside . And now, we were in characters existing in it are real.” New York City, the biggest and best city in the The first location the filmmakers found was country, and he found some of the most awful the all-important Tenenbaum house. places to shoot in. So nothing’s that much

16 different. Except that now he gets carried to the of Margot, which hang in the family ballroom. set in a chair.” “He probably never even thought about the fact But Anderson remained adamant that they that he was obsessed with painting Margot,” film in a real house: “The house contains the observes Luke Wilson. “I think artists do that, and whole family history, and I wanted it to be as real it gives them away.” Eric Anderson also painted and present as it could be. We didn’t have any the murals that cover Richie’s bedroom walls and time to rehearse this movie, so to help the actors relate the history of the Tenenbaum family. with their parts, I wanted them to see the house “Richie’s paintings are his diaries, and that’s how their characters grew up in, and be able to walk he records the things that have happened in the through it. They wouldn’t have that sense of family,” says Luke Wilson. history if we had filmed on a soundstage.” Both Anderson brothers also made the In the end, the Hamilton Heights house and childhood artwork hung by Etheline in the foyer. each of its floors, all of its rooms, its rooftop Another key contributor to “The Royal garden and its exterior became the film’s Tenenbaums” who has been with Anderson since primary location. The few missing elements, a “Bottle Rocket” is costume designer Karen Patch. kitchen, Etheline’s study, and the ballroom, were Since they first began working together, says found in nearby homes or buildings. Patch, Anderson has had a great interest and “On many projects, we get the initial talk appreciation for clothing, and over the years and then we kind of just all go off on our own,” has become increasingly sophisticated and says Wasco. “But Wes has a strong visual sense knowledgeable about what makes great and a strong color sense that helps the camera, costumes: “He is so creative and fascinating to costume, and art department work together. He’s be around. He’s full of wonderful ideas. It’s a the one who is able to hold everything together.” huge pleasure to work with a director who Each room was painstakingly decorated to understands the importance of wardrobe in give a sense of character. For Etheline’s study (as building character.” well as the archeological dig), the heads of the Society of Archeology in New York were Patch and Anderson began speaking about consulted, along with Anderson’s mother. costumes for “The Royal Tenenbaums” in April The Tenenbaum children’s bedrooms, 2000, before the script was completed. They stacked above one another on the second, third kept up a running correspondence of sketches and fourth floor of the house, were dressed so and nightly emails for nearly five months before that they remained virtually unchanged from the she actually saw the script. siblings’ childhood until the time the adult Richie, Margot and Chas return home. In the film, each character has a “uniform,” Says Luke Wilson, “I think collecting things an idea that Anderson likes to include in each of always tells a lot about a person, what they keep his films. and what they get rid of. In the case of the In “The Royal Tenenbaums,” the “uniform” Tenenbaums, you wonder if it would be better if also helps to reinforce the idea that the the rooms were changed and the artifacts of their Tenenbaum children peaked in childhood. “We childhood did get put away. Maybe it would see these people at age 10, and then suddenly at enable them to move on and grow up.” age 30. And part of the story is how they’re connected to the way they were then,” says Eric Anderson, the director’s brother and a Anderson. “So much of who they are is formed gifted artist and illustrator, was another at that young age - they have the same clothes important contributor to the film. He painted all and the same hairstyle.” of Richie’s artwork, including seventeen portraits

17 Paltrow says, “As soon as I knew I was way to do my own thing. Usually what that wearing the little Lacoste dresses and loafers and meant was that I would simply step back and a fur coat, I said to myself, okay, I get it. It allow myself to be surprised by someone’s became pretty clear to me who Margot was.” brilliant take, someone’s spontaneity.” Slowly during production the sense of Filming on “The Royal Tenenbaums” began ensemble took shape among the cast. in March 2001 at the Hamilton Heights location. “For most of the film, scenes were shot that Mendel points out that “it’s a film with 240 contain only two or three characters in a scene. scenes in it and we have 60 days to shoot it, so Only every once in a while was there a scene mathematically that means we are shooting four with most of the cast being shot, so the feeling of scenes a day. It was a breathless pace.” ensemble grew up more off the set than during In addition to the central location of the actual filming,” Anderson points out. “There was Tenenbaum house, scenes were also staged at a room in the house that functioned as a kind of the Centre Court of the , green room. And whenever people weren’t the roof of Boy’s Harbor School overlooking working they’d gather in that room. People Central Park, the Waldorf Astoria (which stood weren’t off by themselves in their trailers, so in for Royal’s residence, the Lindbergh Palace dynamics began to develop. Things happened Hotel), and out at sea on a ship, the Kingspointer. that affected people’s ‘take’ on one another, and For Anderson, shooting on location in New different relationships developed, almost York City constituted a complete change of pace. contributed to the ensemble atmosphere.” “There’s a certain tension that exists on a “I enjoyed working with this ensemble set shooting in New York. New York can cast,” Hackman says. “Any time you’re definitely bring that out,” Anderson says. “But supported by really good people, you’re going sometimes that’s the right thing. The movie’s to be better. You can stretch, you can take about New York after all, and we couldn’t really chances, you have something to pick up and give film it any other place.” back. Plus you have more time off,” he laughs. In addition to the principal urban setting, “Sometimes, when I get a bad script, I the script also contained vignettes of Tenenbaum know that if I do the movie, we’ll end up family history that circled the globe. Remarkably, improvising a lot,” says Bill Murray. “That Anderson and his team managed to create very doesn’t happen with Wes - the whole movie is so real versions of Jamaica, Antarctica, the well-written that it doesn’t require the actors to Amazon, New Guinea, Indiana, North Dakota, do . He doesn’t need us to fix it. Paris and the Himalayas in places like Yonkers, That’s a good thing. He has a very strong vision, Westchester and . and knows what he wants to do, down to the The experience of directing a cast of movie clothes the characters are wearing and just how stars was also new for the director. odd the colors should be.” “One of the differences is that established “Wes is a wonderful director, who knows film stars have their own method of working exactly what he wants and how to get it, and that’s already developed, whereas on he’s also a wonderful human being,” says ‘Rushmore,’ for example, the leading role was Danny Glover. “Those qualities don’t necessarily played by , who had never go hand-in-hand. But Wes is really a gentleman.” acted before,” Anderson says. “Jason and I Owen Wilson felt a family atmosphere on figured out how he works as an actor, what he the set. “It’s been great having my brothers and needs and what he wants. Wes around. It gives you a good feeling to be “On ‘The Royal Tenenbaums’ there were around people like Wes, who you trust implicitly days when I had to adjust and figure out a new and has your best interests at heart and supports

18 you, especially on a movie about family. That “Every time he put on a record, it was like feeling seeps in and finds its way into the movie. everything is being fleshed out. All of the sudden It’s nice that I’ve been able to work with Wes so you know exactly the tone of that bit of the film. closely - he’s like a brother to me.” It just facilitates having every aspect of yourself “On this movie, the only word to describe there. It makes it very sensual. I wish other Wes is ‘controlling.’ He’s really putting me directors did that, because it really works.” through the paces on this one,” laughs longtime Anjelica Huston agrees, “It’s really great to friend Luke Wilson. have an idea of the kind of music that Wes is But Paltrow says, “Wes is so specific, things going to use for the film. He played Ravel for us, are so well set up, all the foundations laid, that I a particular piece that is very lyrical and upbeat, find it frees me in a way because I don’t have to but it’s also a little dark. There’s a lot that you can worry about all that.” take from that to influence what you’re doing.” For his part, Luke Wilson was excited to be The score by Mark Mothersbaugh also adds an working so closely with Gene Hackman. important element in the texture of the film. “Just watching him on set couldn’t be more “When we first started working, I felt that exciting. I always love watching him in movies we needed the music to feel magical in order but when you get up close to him in a scene you to support a character like Royal, to keep find yourself thinking, they’re not even getting on everything in the right tone, the magical tone” film how really great he is. It’s like watching Anderson says. But their collaboration led them basketball close up seeing how big and fast the in unexpected directions. “As we were working guys are in a way you can’t see on TV.” on it, on a cue by cue basis, the goal changed. Anjelica Huston adds, “I just love working Mark can quickly bring a magical feeling to it, as part of an ensemble because you get so much but his desire for it, and mine, became more and from everyone else and from the way all the more about deepening the movie. His music was relationships evolve. And you meet all the people more ambitious than the music we had done for you’ve admired for so long. I’m ravished to be in the two previous films.” a movie with Billy Murray, and extremely proud For the opening seven-minute sequence that to be in one with Gene Hackman. And everyone recounts the Tenenbaum family history, Anderson got on. There were no bummers in the group. and Mothersbaugh created a scored rendition of That’s sort of unusual.” ’ “Hey Jude.” The Anderson and Mothersbaugh version is built upon the Another Wes Anderson passion is music. foundation of electric bass, acoustic guitar, drums, Anderson uses music in every step of the and piano and also uses oboe d’amour, English filmmaking process, as early as the writing stage. horn, piccolo trumpet, flute, string quartet, According to Mendel, “Wes is very inspired in harpsichord, Celeste, trombone, euphonium, terms of how he uses music and he makes electric organ, harp, bass trombone, shakers, and choices that are constantly surprising. It’s very tambourine. During this sequence specific fun to have him very early in the first draft of the instruments become associated with individual script play you a and explain each moment characters, and this continues throughout the rest of of what’s happening and then a year and a half the film. Anderson says that it is, “the most complex, later you see exactly what he described.” ambitious musical piece I’ve ever worked on.” During production, Anderson has the “The Royal Tenenbaums” will be released advantage of knowing a great deal of the music exclusively in New York and Los Angeles that he would like to use in the film and plays the on December 14th, almost 3 years to the day music on the set. Gwyneth Paltrow finds it an from the release of Anderson’s previous enormously helpful tool. film “Rushmore.”

19 ABOUT THE FILMMAKERS the Academy Award®-winning “He Makes Me Feel Like Dancing.” WES ANDERSON (Director/Co-writer/ Upcoming: “Marci X,” “Iris,” “Changing Producer) is the director and co-writer of Lanes,” “The Hours” and “Orange County.” “Bottle Rocket” (1996) and “Rushmore” (1998). Theater: “Passion,” “Indiscretions,” He also co-wrote and directed the 16mm short “Hamlet,” “Seven Guitars,” “Skylight,” “A Funny film upon which “Bottle Rocket” was based. He Thing Happened On The Way To The Forum,” currently resides in New York City. “On The Town” (with the New York Shakespeare Festival), “The Chairs,” “The Judas Kiss,” OWEN WILSON (Eli Cash/Co-Writer/ “Stupid Kids,” “The Blue Room,” “The Most Executive Producer) marks his third collaboration Fabulous Story Ever Told,” “Closer” ( and with director Wes Anderson with “The Royal New York), “Amy’s View,” “The Wild Party” Tenenbaums” after co-writing and starring in (with the New York Shakespeare Festival), Anderson’s first film, “Bottle Rocket,” and “The Ride Down Mt. Morgan,” “Copenhagen,” co-writing and co-executive producing his and “The Designated Mourner” and second feature, “Rushmore.” “The Caretaker” (London). As an actor, Wilson’s films include “,” “Shanghai Noon,” RUDD SIMMONS (Executive Producer) “Armageddon,” “Breakfast Of Champions,” most recently produced “High Fidelity” and “The “The Haunting,” “The Minus Man,” “Permanent Hi-Lo Country” for director and Midnight,” “Anaconda” and “.” “Dead Man Walking” for director . Most recently, Wilson was seen in “” Based in New York City, Simmons has worked with Ben Stiller, and will soon be seen in “Behind with Nick Gomez as a co-producer of “New Enemy Lines” with Gene Hackman. Jersey Drive,” with Stacy Cochran as co-producer Wilson also served as the associate of “Boys” starring and with producer of the Academy Award®-nominated Warren Leight as co-producer of “The Night We film “.” Never Met” starring . His other credits include line producing “Night On Earth,” BARRY MENDEL (Producer) produced “Mystery Train,” and “Down By Law” “Rushmore,” “The Sixth Sense,” and for director . “Unbreakable.” ROBERT YEOMAN (Director of Photography) SCOTT RUDIN (Producer) Film: worked with Wes Anderson on “Rushmore” and “Zoolander,” “Shaft,” “Sleepy Hollow,” “Bottle Rocket.” His other credits include “Dogma,” “Angela’s Ashes,” “Rules Of Engagement,” “Drugstore Cowboy,” “Permanent Midnight,” “Wonder Boys,” “Bringing Out The Dead,” “Substance of Fire,” “Beautiful” and “Down To You,” “South Park: Bigger, Longer & Uncut,” as well as the upcoming “C.Q.” from director “The Truman Show,” “A Civil Action,” Roman and “Double Whammy” from “In And Out,” “Ransom,” “Mother,” director Tom DiCillo. “Marvin’s Room,” “The First Wives Club,” “Twilight,” “Clueless,” “Sabrina,” “Nobody’s Fool,” DAVID WASCO (Production Designer) “The Firm,” “Searching For Bobby Fischer,” worked with Wes Anderson on “Rushmore” and “Sister Act,” “Sister Act II,” “The Addams Family,” “Bottle Rocket” as well. Wasco began his career “Addams Family Values,” “Little Man Tate,” in production design in 1980. He has since “Regarding Henry,” “Pacific Heights,” worked on over twenty films as production “Flatliners,” “Jennifer Eight,” “Mrs. Soffel” and designer, including “” and the

20 Academy Award® nominee “El Norte.” Prior to MARK MOTHERSBAUGH (Music) also this film, Wasco most recently worked with David worked with Wes Anderson on “Bottle Rocket” Mamet on the upcoming “Heist” with Gene and “Rushmore.” Mothersbaugh’s other credits Hackman, Danny DeVito and . include: “Rugrats,” “The New Age,” “Pee Wee’s Other credits include “Bounce,” “Reservoir Dogs,” Playhouse” and “Liquid Television.” In addition, “Oleanna,” “Killing Zoe,” “Smooth Talk,” Mothersbaugh was one of the founders of the “In a Shallow Grave,” “She’s So Lovely” and influential punk band, . “Jackie Brown.” His television credits include ’s “A Life in the Theatre,” the Emmy Award-winning “Marciela” and “Traveling Man.” ABOUT THE CAST Wasco lives in Los Angeles with frequent collaborator, Sandy Reynolds-Wasco, who DANNY GLOVER (Henry Sherman) worked alongside him as the set decorator on began his career in the theater and first achieved this film. Experts on Los Angeles architecture, the national recognition for his performance in the husband and wife team served as set decorators New York production of Athol Fugard’s play for the hugely successful 1989 Case Study House “Master Harold and the Boys.” He recently Exhibit: “Blueprints for Modern Living” at LA’s starred with Angela Bassett in the film version of Museum of Contemporary Art. Fugard’s “Boesman And Lena,” directed by the late John Berry. KAREN PATCH (Costume Designer) Glover’s other film credits include collaborated with Wes Anderson on “Bottle “Beloved,” “Places In The Heart,” “Witness,” Rocket” and “Rushmore” as well. Her additional “The Color Purple,” “Silverado,” the “Lethal Weapon” feature credits include “My Girl,” “Bright Angel,” series, “Bat-21,” “Grand Canyon,” “To Sleep “Chattahoochee,” “The Big Picture,” “Aspen Extreme,” With Anger,” “Angels In The Outfield,” and “Dennis the Menace Strikes Again” “The Saint Of Fort Washington.” Glover has and ’ live-action hit received an NAACP Image Award as well as “Homeward Bound – The Incredible Journey.” a CableACE Award for his performance in Patch’s theater credits include: “King Lear,” HBO’s “Mandela.” He also received Emmy “A Midsummer Night’s Dream,” “Henry V” and nominations for his roles in the television “Pericles” for FreightTrain Shakespeare. For mini-series “Lonesome Dove” and for TNT’s television she designed for the Fox series “Sliders.” “Freedom Song.” Glover is currently hosting and executive DYLAN TICHENOR, A.C.E. (Editor) most producing “Courage,” a weekly series on the Fox recently served as editor for writer/director Family Channel. The show, which profiles M. Night Shyamalan on the film “Unbreakable.” ordinary people who have shown courage and Before that, he worked with writer/director Paul bravery in moments of crisis, was selected by TV Thomas Anderson on the Oscar-nominated films Guide as one of the top ten inspirational shows “Magnolia” and “.” Tichenor also on television in 2000. edited the feature film “Hurlyburly” directed by In response to the AIDS crisis in Africa, and Anthony Drazan and was nominated for an in order to raise awareness about the impact of Emmy Award for his work on “’s the disease on underserved communities in the “Jazz 34: Remembrances of Kansas City Swing.” , Glover is serving as Goodwill Ambassador for the United Nations Development Program. He is also a major supporter of the TransAfrica Forum, the African-American lobbying organization on Africa and the

21 Caribbean, and the Algebra Project, a mat Hackman made his stage debut with Zazu Pitts in empowerment program developed by civil rights “The Curious Miss Caraway.” veteran Bob Moses. After a period of summer stock, he moved to New York. He studied with George Morrison GENE HACKMAN (Royal Tenenbaum) and began getting small parts on television and has received two ®: Best Actor in stage productions. He won the Clarence for “The French Connection” and Best Derwent Award for his performance in Irwin Supporting Actor for “Unforgiven.” He also Shaw’s “Children at Their Games,” and won his received Oscar® nominations for “Bonnie And first starring role on Broadway opposite Sandy Clyde,” “I Never Sang For My Father” and Dennis in the hit comedy, “Any Wednesday.” “Mississippi Burning.” His list of honors also In addition to his wide-ranging acting includes two British Academy Awards®, two talents, Hackman is the author of the novel Wake Golden Globes, two National Organization of of the Perdido Star with Daniel Lenihan. When Theatre Owners Awards, the Cannes Film he’s not working, Hackman paints, flies his Festival Best Actor Trophy, and a comprehensive plane, and races automobiles. He is also an avid collection of awards from leading critics’ groups. film collector. He has received retrospective tributes from the British Film Institute, the San Francisco Film ANJELICA HUSTON (Etheline Festival, and the . Tenenbaum) received the Academy Award® for Hackman began his career in the theater Best Supporting Actress, as well as the Los and made his screen debut in the 1964 film Angeles and New York Film Critics Awards, for “Lilith,” with . He went on to her performance as Maerose Prizzi in “Prizzi’s appear in more than 70 films, ranging Honor,” directed by her father, . from comedies to action films to westerns Anjelica Huston would appear in many of her to dramas, including “The Conversation,” father’s films, including “Sinful Davey” (in which “The Poseidon Adventure,” “Reds,” “Scarecrow,” she made her feature film debut), “A Walk with “Hoosiers,” “Another Woman,” “Under Fire,” Love and Death,” and his final film, “The Dead.” “All Night Long,” “Twice In A Lifetime,” Huston has also been honored with two other “Night Moves,” “Twilight,” “The Birdcage,” Academy Award® nominations, for her roles in “The Firm,” “Get Shorty,” “Absolute Power,” ’s “Enemies: A Love Story” and “Crimson Tide,” “The Quick And The Dead,” Stephen Frears’ neo-noir “The Grifters.” “Enemy Of The State” and “The Replacements.” Additional film credits include ’s He also appeared in first, second, and fourth “Crimes And Misdemeanors” and “Manhattan “Superman” films as Lex Luthor. He was most Murder Mystery”; “The Addams Family” and recently seen in David Mamet’s “Heist” and will “Addams Family Values”; Francis Ford soon reunite with “Tenenbaums” co-star Coppola’s “Gardens Of Stone”; “Buffalo ‘66”; Owen Wilson in “Behind Enemy Lines.” “The Witches”; “The Perez Family”; and Hackman was born in Riverside, “Ever After.” Huston most recently co-starred with , and brought up in Danville, , and in the Merchant- where his father was a newspaper printer. He Ivory adaptation of Henry James’ novel, joined the Marines at 16 and became a radio “The Golden Bowl.” In March of 2000, Huston operator. After his discharge from the service, directed, produced, and starred in “Agnes Browne,” Hackman moved from radio to television and which was presented at the Director’s Fortnight at worked at various small-town television stations. the 2000 . He eventually returned to the West Coast and Huston received an Emmy nomination for enrolled at the Pasadena Playhouse. There, her performance in the mini-series “Buffalo Girls”

22 and another for her role in the mini-series acclaimed role in “Flesh and Bone.” Upcoming “Lonesome Dove.” She made her directorial films include “A View From The Top” and Neil debut in 1996 with an adaptation LaBute’s “Possession.” of Dorothy Allison’s best-selling memoir In summer 2000, she received rave reviews “Bastard Out of Carolina,” for which she was in a sold-out run at the Williamstown, nominated for a Director’s Guild of America Massachusetts Theater Festival production of Award and an Emmy Award. “As You Like It” in the role of Rosalind. Born in Los Angeles, Paltrow’s father is a BILL MURRAY (Raleigh St. Clair) earned highly successful producer and her mother is the several major critics awards and a Golden Globe award-winning actress Blythe Danner. She nomination for his portrayal of Herman Blume in currently resides in New York City. Wes Anderson’s second film, “Rushmore.” He has been praised for his performances in both BEN STILLER (Chas Tenenbaum) most dramatic films as well as blockbuster comedies, recently served as director, producer, co-writer, including “,” “” and and star of “Zoolander,” based on the character “Ghostbusters II.” of male model Derek Zoolander, which he created Murray made his feature-film debut in Ivan with Drake Sather for the VH-1 Fashion Awards. Reitman’s “Meatballs” and reteamed with the The film teams Stiller with “Tenenbaums” co-star director in the box-office smash, “Stripes.” Owen Wilson, , , Some of his other film credits are Milla Jovovich, and his father, . “,” “,” “Zoolander” is Stiller’s third film as a director; “,” “The Razor’s Edge,” “,” previously, he directed with “Reality Bites,” in “,” “What About Bob?,” which he also co-starred, and “The Cable Guy,” “Ed Wood,” “Kingpin,” “The Man Who Knew starring . Too Little,” “Wild Things,” “,” Stiller’s film acting credits include “Meet The and, most recently, “.” Parents,” “Keeping The Faith,” “There’s Born in Chicago, Murray began his acting Something About Mary,” “Permanent Midnight,” career with the improvisational troupe Second “Mystery Men,” “Your Friends And Neighbors,” City. He joined the cast of NBC’s “Saturday Night “Zero Effect” and “Flirting With Disaster.” He will Live” in its second season and won an Emmy soon be seen in “Duplex” with . Award for writing the series. Stiller made his professional acting debut Also an author, Murray penned onstage in “The House of Blue Leaves.” While Story: My Life in Golf. in that production, he made a , “The Hustler of Money” (a parody of “The Color GWYNETH PALTROW (Margot of Money”), which eventually aired on NBC’s Tenenbaum) won the Golden Globe Award, “,” where it was so well Screen Actors’ Guild Award, and Academy received that he was hired as a featured player Award® for Best Actress for her performance and writer for the series. as Viola de Lessups in “.” In 1990, Stiller created “The Ben Stiller Most recently, she can be seen in “Shallow Hal” a Show,” which aired on MTV and Fox. A critical Farrelly Brothers film. success, “” won Stiller and Other film credits include “The Anniversary his writing staff an Emmy for outstanding Party,” “Bounce,” “Duets” (directed by her father, comedy writing. Bruce Paltrow), “The Talented Mr. Ripley,” “A Perfect Murder,” “Sliding Doors,” “Emma,” “Seven,” “Great Expectations,” and her critically-

23 LUKE WILSON (Richie Tenenbaum), like recently appeared in ’s acclaimed his brother, Owen Wilson, made his acting debut HBO film, “61*.” starring in director Wes Anderson’s “Bottle Rocket.” He also made a as Dr. Peter Flynn in Anderson’s “Rushmore.” 11/20/01 Wilson was most recently seen in last TMK summer’s smash comedy hit, “Legally Blonde,” opposite . Other film credits include the smash hit “Charlie’s Angels”; the well-received family film “My Dog Skip”; “Home Fries,” in which he starred opposite Drew Barrymore; and “Blue Streak” with Martin Lawrence. In January, he begins production on the feature film “Old School.

SEYMOUR CASSEL (Dusty) is an Oscar® nominee whose career includes almost 100 films. With his role as Dusty, he reteams with Wes Anderson, following up his role in the director’s second film, “Rushmore.” Other film credits include ’s “Trees Lounge,” ’s “It Could Happen to You” and “,” Adrian Lyne’s “,” Warren Beatty’s “Dick Tracy,” Randal Kleiser’s “White Fang,” ’s “Chasers” and Alexandre Rockwell’s “In the Soup,” for which he won a Special Outstanding Performance Award from the . Cassel’s early career was highlighted by his Academy Award® nomination and the National Film Critics Award as Best Supporting Actor in ’ “Faces.” His eight picture association with Cassavetes includes Cassel’s New York Film Critics Award for his starring role in “” and an associate producer credit for “Shadows.” On television, Cassel played recurring characters on HBO’s “Tracey Takes On,” and “Matlock” and was a series regular on “Under Suspicion” and “Good Company.” He appeared in the miniseries, “The Last Don” and the television movies, “Face of a Stranger,” “Dead in the Water,” “Beverly Hills Madam,” Nicolas Roeg’s “Sweet Bird of Youth” and Don Siegel’s “I Want to Live” and “The Hanged Man.” He also

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