JULIANNE MOORE STEPHEN DILLANE

EDDIE REDMAYNE

ELENA ANAYA Directed By Tom Kalin UNAX UGALDE Screenplay by Howard A. Rodman Based on the book by Natalie Robins & Steven M. L. Aronson BELÉN RUEDA HUGH DANCY Julianne Moore, Stephen Dillane, Eddie Redmayne Elena Anaya, Unax Ugalde, Belén Rueda, Hugh Dancy

CANNES 2007

Directed by Tom Kalin Screenplay Howard A. Rodman Based on the book by Natalie Robins & Steven M.L Aronson

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“Savage Grace”, based on the award winning book, tells the incredible true story of Barbara Daly, who married above her class to Brooks Baekeland, the dashing heir to the Bakelite plastics fortune. Beautiful, red-headed and charismatic, Barbara is still no match for her well-bred husband. The birth of the couple’s only child,Tony, rocks the uneasy balance in this marriage of extremes. Tony is a failure in his father’s eyes. As he matures and becomes increasingly close to his lonely mother, the seeds for a tragedy of spectacular decadence are sown. Spanning 1946 to 1972, the film unfolds in six acts. The Baekelands’ pursuit of social distinction and the glittering “good life” propels them across the globe. We follow their heady rise and tragic fall against the backdrop of New York, Paris, Cadaques, Mallorca and London. INTERVIEW WITH TOM KALIN

What do you think it was that initially attracted you to ‘Savage Grace’? As in SWOON you have again chosen a ‘taboo’ love story that culminates in murder, why?

Christine Vachon gave me ‘Savage Grace’ by Natalie Robins and Steven ML Aronson to read many years ago. I was riveted by the sensational truth at the core the Baekeland story, but even more by the echoes of classical tragedy. The sad beauty of the material drew me to it, the collision between elegance and violence. But the film’s terrible climax, Barbara’s death, is only part of her story. The originality of her uniquely American character (self-made woman of the 1940s with a born gambler’s instinct) and her glittering rise and devastating fall contained the elements of what I believed would be an amazing drama. After researching SWOON, I was intrigued by the central ambiguities of that case, particularly the riddle of which (if either) partner was dominant in that relationship. Though in the end, I believe Richard Loeb physically committed the murder of Bobby Franks, I also believe that Leopold and Loeb’s shared chemistry was particularly combustible. So too, with SAVAGE GRACE, I wondered about the central question: did Tony murder his mother or did in fact Barbara cultivate Tony, in a complicated form of narcissism, as the tool with which to kill herself?

Finally, and most importantly, I was drawn to these deeply flawed characters, and in the end, feel a complicated loyalty and empathy for them. (Orson Welles, “Judge not lest ye bore the audience”). Tragedy, of course, is one of the inevitable human stories. To paraphrase a review of the book Savage Grace, the tale of the Baekelands is one of ‘profound failure in the simplest duties of love.’

The film has an epic sweep over periods when atmosphere and attitudes were constantly changing. What sort of artistic licence did you have to take in the adaptation? And do you think that this particular type of structuring distances you from the original story?

I had an amazing collaboration with the writer of the film, Howard Rodman. We both knew the book was too sprawling in its scope for a simple adaptation. (Savage Grace consists primarily of first-person accounts of witnesses and participants in the Baekeland saga, spanning nearly a century.) Howard and I began by separately identifying what we considered the five key moments of Barbara’s story. When we compared results, most of them were the same.

In large part, our question was what to leave off screen and how to construct a story around the significant turning points of these lives. Howard was brilliant at imagining scenes – the Cadogan Square sequence, for instance, that had been merely hinted at by photographs included in the book and by others I uncovered. Everything I needed to know about what happened between Barbara and Tony seemed hidden in a 1971 photograph of Tony -- exquisitely slouched posture, cradling a cigarette -- sitting next to Barbara, armoured in her Chanel and pearls, on a perfectly proper sofa.

The bathtub scene in Paris 1959 is also based on a rather startling photograph of an angelic twelve year old Tony lounging in the tub, his gaze directed at the camera. Surely snapped by Barbara. The picture is both tender and chilling and captures a moment of behaviour that hints at the iceberg below the surface.

These photographs were an invaluable resource for my later collaborators : Director of Photography Juanmi Azpiroz, Production Designer Victor Molero and Costume Designer Gabriela Salaverri as well as an army of others. Juanmi has remarkable skill at using light to express the evolution of atmosphere and stillness to amplify growing tensions. Both Victor and Gabriela created a believable world for the actors to occupy, with a subtle and exacting approach to period. For instance, the easy style of Tony and his friends in mid-Sixties Cadaques was surprisingly timeless – no white go-go boots and miniskirts required. This orchestration of a constantly changing mise-en-scène was remarkable, even more when you realise the film was shot entirely in and around Barcelona. The experience of making a film in Spain has been one of the highlights of my career.

In any story of this complexity there are inevitable simplifications, omissions and even modifications of characters. Howard and I tried to capture what we believed to be emotionally truthful while maintaining a healthy scepticism about the slippery nature of what becomes known as official history.

What drew you to Julianne Moore for the role of Barbara?

I met Julianne briefly when Todd Haynes made SAFE and then again later on the set of FAR FROM HEAVEN. Julianne is one of the most gifted actors working today and she brings an astonishing range and complexity to her work. I knew she would be unforgettable as Barbara and would instinctively know how to convey the humanity and emotional depth the role demanded.

I sent her the script and we met for lunch shortly after. I chattered nervously, while she looked at a binder of photographs of Barbara, Tony and Brooks I had brought. There was no denying her strong physical similarity to Barbara. Though this was an added bonus, it is Julianne’s ability to reveal emotion through the smallest moment of behaviour that brings Barbara to life. It was exciting too, to follow this character over an extended period of time, to watch Julianne convey the arc of a life through both triumph and failure.

The characters in SAVAGE GRACE are complex. Could you give us a quick overview from your point of view of the three main characters of Barbara, Brooks, and Tony?

BARBARA DALY BAEKELAND

Barbara Daly was born near Boston in 1920. When she was a teenager, her father committed suicide and his body discovered by her brother, who later died in a car crash (perhaps not accidental). Like many beautiful young women of her generation with little money, she was urged by her mother to make a successful marriage. Courted by John Jacob Astor, she was declared one of the ten most beautiful women in New York. She went to Hollywood briefly in the early Forties and did a screen test with Dana Andrews.

She possessed a reckless charisma rare among women in her social circle and this volatility made her a magnet for Brooks. Her fatal flaw lay in her narcissism (rooted in deep insecurity) and her obsession with an unachievable notion of “society” and appearances. To those around her, she seems both brave and foolish, and her acts of self-invention display great strength of imagination but also reveal her fear of discovery and unmasking. But “society” alone is not enough for her and her need for love (from Brooks, from Tony, from Sam) is both deeply vulnerable and, at times, all consuming.

BROOKS BAEKELAND

From ‘Savage Grace’ by Natalie Robins,Steven ML Aronson :

“ He [Brooks’ father George] also had dash, or what the French call panache. It was show. He was always, metaphorically speaking, standing at a mirror. ...But finally, his arrogance and his misanthropy were ego saving rationalizations for a deep shyness and sense of his social incapacities. I know this because I am his son and have inherited many of the same disabilities. My father roared out in the dark to keep the demons away. It was easy, being such a rich and protected man. As my grandfather used to say, “One of the uses of money is that it allows us not to live with the consequences of our mistakes.”

Though Brooks represents “society” to Barbara, he conceals from her his doubt as to whether this is indeed true. (His father’s bad business decisions diminished the family fortune and Brooks privately despaired that the genius of his grandfather was apparently not passed down to him.) He alternates between snobbery and the knowledge that his grandfather despised all the affectations and trappings of society. To a degree, Brooks will always hate himself for not rising above the limits of the world in which he lives.

Trapped in his vanity and self-regard, he feels obligated to say what he believes to be the truth, without tenderness or compassion. He continues the family cycle and finds a new object of contempt in his own son, just as his father had in him. ANTONY BAEKELAND

Tony never matures enough to transcend the conflicting, unbalanced sum of his parents’ influence, frozen between Barbara’s possessive love and Brooks’ contempt and indifference. He has grown to be unbalanced, with a highly developed imagination – he could become an artist or poet but is left weak and lacking resilience in other parts of life. Outwardly appealing to those around him, he possesses a kind of passive beauty, almost the mirror opposite of Barbara’s, inwardly fearing that he is ugly. He’s guilt ridden in part by the failure of his parents’ relationship. He once said to a friend, “My parents are both very young souls.”

Remarkably poised and apparently self-confident at age twelve, Tony never again feels this secure. When we meet him in Cadaques at age twenty, he rebels against his parents (sleeping with Jake, taking drugs). He unfortunately does not succeed in breaking free, however, and when Blanca leaves him for Brooks he is never able to fully recover.

Though at first he wants to escape (his parents, his heritage) and to make something of himself (and in this way he resembles Brooks) he finally loses his tenuous grasp on his motivation and his sanity and finds himself watching his life unfold from a great distance.

Is there still a real attraction between Brooks and Barbara despite his disdain, even disgust for her? Was their relationship not sadistic? What soured their marriage?

In many ways, Brooks was the weaker partner in an unbalanced marriage of extremes. Though, in his way, he deeply loved Barbara, he was ill equipped to deal with her violent nature. I believe he eventually began to despise Barbara for her ability to infiltrate his upper class world and blamed her for his unfulfilled potential.

After Barbara’s suicide attempt, Brooks wrote in a letter to a friend:

“Barbara has just about drained all there is to drain out of romantic (and not so romantic) violence where I am concerned... Her belief in force to get her way is fundamental in all things great and small, as everybody from waiter to prime ministers have experienced, and I have had to deal with that constantly for twenty five years. ...That is the trouble with melodrama – the climaxes are all used up in Act 1.

...She claims, (when it has sentimental social value), to be a Catholic born and bred. What she needs is some self-examination, not with a shrink but with a good old fashioned Irish priest, who will ask her “What about it?” in those old fashioned ethical terms that she understood before she went out to Hollywood in 1940 with John Jacob Astor hot on her lovely tail. It’s been show and little substance ever since. I help in that, of course.“

How do you see Barbara and Brook’s feelings with regard to Tony’s homosexuality? A delicate issue at the time, Barbara’s attitude seems all the while rather ambivalent...

Though some people believed that Barbara slept with Tony in an attempt to “cure him of his homosexuality”, I think the truth is far more subtle and complex. Sexuality was only one element of their ritual dance of dependence and wounding. Brooks was clearly repelled by Tony’s homosexuality and believed it was at the root of his failure in life. Barbara’s attitude, however, was more ambivalent. Though repelled by (Tony’s lover) Jake’s carnal magnetism and the spell he casts on Tony, she never abandons Tony in the way Brooks does.

Later, she disapproves of Tony’s decadent circle in London and can’t bear when he disappears for days on end, what she refers to in the bathtub scene as “the Afternoon of the Longest Laundry”. Her jealousy here I think is fuelled by narcissism.

When she and Tony sleep with Sam, some have suggested that they were all taking psychedelic drugs, and certainly hashish. An excerpt from a letter written by Barbara to Sam, after he visited them in Mallorca, speaks volumes about her state of mind at the time :

“Our time together was not a playlet of Williams or a monstrous evocation of de Sade – but an acting out in a truly classical & beautiful way of a very old myth. Because we are veterans of this century we were unable to be really free and it is perhaps better that we were not, for some of us have fragile psyches and the strain would have been too great.“

Is the film in some way a social issue movie, despite the milieu that it depicts? Do you think the decadence that the Baekelands were surrounded with permitted an erosion of a certain morality?

Brooks’ grandfather Leo wrote something that anticipates his grandson’s future dilemma:

‘‘Most of the time people who travel try to cajole themselves into the belief that they are enjoying themselves, while in reality they are merely spending money right and left in increasing amounts without great satisfaction, or they keep rushing from one country to another in vain search of happiness. Such people will ordinarily finish by finding that two or three large capitals in Europe, with very elaborately appointed hotels, agree best with their perverted psychological condition.” A Family Motor Tour Through Europe, Leo H. Baekeland, 1907

Many authors have written about the doomed lives of American expatriates including Fitzgerald, Hemingway, Bowles, and James. The role of class in American culture continues to define every social interaction. Savage Grace is both the story of this very specific family and a cautionary tale about the price of going so far from home (literally and spiritually) that you can never find your way back.

Tony’s parents are extraordinarily oblivious to the signs of his mental illness. Were they simply ignorant or incredibly self-centred?

Many witnesses to Tony’s final decline tried to intervene, with little success. A friend of the Baekelands confronted Brooks in the year before the murder :

I said, “Look here, your son is in a very bad state, he must have treatment.” He said, you know, “It’s just fun and games”—those were his words.

This escalating cycle of “fun and games”, between first Brooks and Barbara and, later, Tony took a devastating toll on all of them. Blind in so many ways to any alternative, their personalities bent under the collective strain. They lived their lives in a state of perpetual childhood, each in their own way. There’s also a delicate balance in this story between personal responsibility and inherited (or cultivated) self destructiveness.

Tony’s once enchanting, poetic personality gradually disintegrated and he became increasingly angry and violent toward Barbara. Ironically, he found some solace during his incarceration in Broadmoor through Buddhism :

“I feel mummy’s presence around me, all the time. She is in every tree.”

Even still, to the end of his life, Tony was haunted by violent thoughts and dreams:

“Then I dreamed that Barbara had cut the back of my neck open so I could breathe.”

In the book, Brooks emerges the sole survivor of the tragedy, and perhaps the most culpable. To the end, he disliked Tony—found him embarrassingly odd. What was at the heart of that? Why do you think Brooks is threatened by Tony?

Brooks may seem arrogant on the outside, but he was actually quite perceptive about his particular brand of marital unhappiness : “I soon realized that whether Barbara was pregnant or not – and she was not – I had not married a soul mate but a powerful and ambitious antagonist. She was a far more brilliant and a far stronger personality than I ever was or could be.”

“...I always felt I was not a great enough man for her. What she needed was a Henry VIII. But of course she finally had him – in her son, and he chopped off her head, so to speak.”

But he could be ruthless too, and remote in the extreme. When a friend confronted him about Barbara’s suicide attempt, Brooks took no responsibility at all :

And I said “Listen, I think it’s more than a bid for sympathy, because if that‘s what she intended it to be, she’s overdone it, because she damn near died... I told him she was in a coma. And he said, “Well, if she dies, you know where I am.” That chilled me... [Then] he said – and this is what really chilled me – he said, “When I met Barbara she was nothing, she was just this sort of redheaded Irish kid. I practically picked her out of the chorus line.”

Brooks is profoundly disappointed by his son’s inability to achieve what he believes to be the destiny of his family : greatness. But his disappointment with Tony is, in part, despair at his own failings.

Brooks is so annoyed by Barbara’s pretensions, but isn’t he just as pretentious? Does his conceit mask a weak intellect?

According to many who knew him, Brooks had an original mind but lacked the discipline to realize the fruits of his intellect. He excelled in his studies in Mathematics and Physics at Columbia University but never finished the degree. For years he claimed to be writing a novel, though none has ever surfaced. Both he and Barbara had a kind of brilliance, though each of a very different kind.

Do you see Brook’s new relationship with Blanca as different? Is their relationship more about him respecting her intellectually and socially rather than the fact that she’s younger?

It’s too easy to judge Blanca, or to reduce Brooks’ relationship with her to a pale imitation of his marriage to Barbara. Recently divorced and worldlier than many of the young expatriates who flock to Cadaques, Blanca stands out from the crowd with her enigmatic beauty and her self-contained aura. Although she is intellectually astute (she studied philosophy in Paris), she possesses a natural social charm and an innate instinct for the “youth style” of the 1960s. Born to a middle class family, she masks her ambition with a guileless, earthy quality that encourages people to underestimate her.

Blanca is a true chameleon, equally comfortable in jeans and peasant blouses and, later, when she marries Brooks, haute couture. Comfortable in her skin, her confidence and elusive personality draws people into her orbit. Initially attracted by Tony’s slightly passive, tender quality, she ultimately falls hard for Brooks’ (oddly charming) air of chilly egotism. The grandeur of the Baekeland family legacy fascinates her and she is swept up by Brooks’ aura of “old-money” entitlement. Under his tutelage she rapidly transforms from hippie-chick to bourgeois lady. Tony fails to hold her attention for long and he is wounded by her abandonment.

Barbara initially welcomes Blanca into their lives and encourages Tony to pursue a relationship, but recognizing an uncomfortably familiar social ambition, Barbara finally despises Blanca for her youth, beauty and success at attracting Brooks. Though Blanca’s social climbing is unmasked through her radical re- invention, I didn’t want to judge her. The fascination of this material lies in its many conflicting angles of view. It’s been a little while since SWOON – yet you have been working in film and video ever since. Why such a long wait to do another feature film? Has your work as a video artist informed your vision as a feature film director?

My feature work after Swoon includes work as a Producer. I was Executive Producer of Rose Troche’s debut feature, Go Fish that premiered to great acclaim at Sundance and Producer of Mary Harron’s remarkable first feature, I Shot Andy Warhol that came to Cannes in 1996.

I directed a short film to commemorate the thirtieth anniversary of fashion designer Geoffrey Beene inspired by silent film and featuring Marcia Gay Harden, Viveca Lindfors, Russell Wong and Claire Danes. My short film Plain Pleasures starring Frances McDormand, Lili Taylor and Will Patton received a national US broadcast on PBS. Since 1985 I have made a wide variety of short works in a range of media including video, super-8, 16mm and installation. Exhibited internationally in museums, galleries and festivals, these entirely hand-made works provide a liberating corollary to the enormity of feature film production. These short, experimental pieces offer a laboratory for invention; a place to play and differ sharply from my more classically structured narrative work.

FILMOGRAPHY

2007 Savage Grace (Director / Writer with Howard Rodman / Co-Producer)

1997 Office Killer (Co-Writer -- Directed by Cindy Sherman)

1996 I Shot Andy Warhol (Producer -- Directed by Mary Harron)

1994 Go Fish (Executive Producer)

1992 Swoon (Director / Co-Producer) TOM KALIN

Tom Kalin’s critically acclaimed films and videos have been screened at museums, film festivals, galleries and broadcast on television throughout the world. From short experimental videos to feature-length narrative films, he has created a diverse body of work, garnering top honors including the Berlin Film Festival’s Caligari Prize and the FIPRESCI Prize at the Stockholm Film Festival. His films and videos are in the permanent collection of the Centre Georges Pompidou, Paris and the Museum of Modern Art, New York. Kalin has been awarded support from institutions including the Rockefeller Foundation, the National Endowment for the Arts, the Jerome Foundation, the Paul Robeson Fund, the Peter Reed Foundation, the American Film Institute, New York State Council for the Arts and the Wexner Center. Commissions include The Whitney Museum, The American Center and The Kobe Museum, Japan.

Kalin’s debut feature, SWOON, was awarded Best Cinematography at the Sundance Film Festival, the Open Palm for best first film at the Independent Feature Project’s Gotham Awards, among others. Screened at festivals throughout the world, SWOON was released theatrically in over fifteen countries. In 1994, Kalin was Executive Producer of the critically acclaimed GO FISH, released by the Samuel Goldwyn Company. He was Producer of the award-winning I SHOT ANDY WARHOL in 1996 and Co- Writer of artist Cindy Sherman’s directorial debut, OFFICE KILLER, in 1997. He recently directed the feature film SAVAGE GRACE as Director, produced by Killer Films, Monfort Productions and Celluloid Dreams and starring Julianne Moore, Stephen Dillane and Eddie Redmayne.

He is also in production on BEHOLD GOLIATH, an experimental narrative inspired by the life and work of writer Alfred Chester. Combining super-8, digital video and 35mm film shot with an antique, hand-crank camera, this piece uses the language of early cinema to convey the ravishing imagery, pathos and surreal humor of Chester’s work. He recently screened a new piece, EVERY WANDERING CLOUD, at MoMA, Basel Viper 2006 and the Seoul Film Festival. His work was featured in SWOON: Ten Years of Killer Films at MoMA in 2005. Video Data Bank, Electronic Arts Intermix, V-Tape and Lux distribute his videos.

In 1993, fashion designer Geoffrey Beene commissioned the 35mm film, GEOFFREY BEENE 30; screenings include the Walker Center, the London Film Festival and the Whitney Museum. Inspired by the lyrical expressionism of silent film, GEOFFREY BEENE 30 unfolds in three short acts with no dialogue. Featuring an ensemble cast including Marcia Gay Harden, Viveca Lindfors, Russell Wong and Claire Danes, the film combines music and movement with lush, visual storytelling. In 1996, Kalin directed the dramatic short PLAIN PLEASURES, based on a Jane Bowles story, starring Frances McDormand, Lili Taylor and Will Patton. Screened at the Dresden Film Festival and the Wexner Center, it received a national broadcast through American Playhouse on PBS.

In 1999, he completed the series THIRD KNOWN NEST, which screened at the Berlin Film Festival, the Whitney Biennial, MoMA, the Guggenheim Museum, White Columns, the Getty Center, the Viper Festival, Biennale de Lyon, Kunst Haus Dresden, Museo Nacional Centro de Arte Reina Sofia and the ICA, London. His 1989 video, THEY ARE LOST TO VISION ALTOGETHER, screened at the Whitney Biennial, the European Media Festival, Osnabruck, New Langdon Arts Gallery, Central Park Summer Stage and the Foundation Calouste Gulbenkian in Lisbon.

Kalin was a founding member of the AIDS activist collective Gran Fury, which received The Brendan Gill Prize (1989) and was included in the 1991 Venice Bienale. Gran Fury created billboards, bus signs, posters and public projects in cities throughout the world with institutions including MoCA, Los Angeles; Neue Gesellschaft fur bildende Kunst, Berlin; The New Museum, The Studio Museum of Harlem and Tramways, Scotland.

He has taught at Brown University, Yale University and California Institute of the Arts. He is currently an Associate Professor at Columbia University School of the Arts, Film Division. His essays and art criticism have been published in Art Forum, Aperture, Us, The Village Voice, The Independent and book anthologies including A Leap In The Dark, Les Gays Savoirs and How Do I Look? Kalin received a BFA in Painting from the University of Illinois (1984); a MFA in Photography & Video from the School of the Art Institute of Chicago (1987) and did postgraduate study at The Whitney Museum, Independent Study Program (1988). JULIANNE MOORE

Julianne Moore, an actress of exceptional range, has delivered outstanding work in both box office hits and independent features. Moore will soon begin production on BLINDNESS, a film adaptation of Nobel Prize-winning novelist Jose Saramago’s book of the same name, to be directed by Fernando Meirelles. Her current films include the action-thriller NEXT, in which she stars opposite Nicolas Cage, the upcoming independent feature SAVAGE GRACE, about the Baekeland murders that took place in London in the 1970s, and I’M NOT THERE, the Todd Haynes film in which seven characters embody a different aspect of the life and works of Bob Dylan. Moore’s recent credits include CHILDREN OF MEN, directed by Alfonso Cuaron and starring Clive Owen, TRUST THE MAN, written and directed by Bart Freundlich, starring David Duchovny, Billy Crudup and Maggie Gyllenhaal and FREEDOMLAND, opposite Samuel L. Jackson and directed by Joe Roth. Moore is the ninth person in Academy history to receive two acting Oscar nominations in the same year for her performances in FAR FROM HEAVEN (Best Actress nomination) and THE HOURS (Best Suppor- ting Actress nomination). FAR FROM HEAVEN, the critically acclaimed film from Focus Features direc- ted by Todd Haynes, co-stars Dennis Quaid and Dennis Haysbert. She was the recipient of many critics’ honors for her performance in this film including the National Board of Review, Los Angeles Film Critics and Broadcast Film Critics, among others. She won the Independent Spirit Award for Best Actress for her performance in the film and received Golden Globe and Screen Actors Guild Award nominations in the same category. THE HOURS (Paramount Pictures), directed by Stephen Daldry, is based on the Pu- litzer Prize-winning novel of the same name by Michael Cunningham, and also stars Nicole Kidman and Meryl Streep. Among numerous honors for her performance in this film, and in addition to her Oscar nomination, she received a Screen Actors Guild Award nomination for Outstanding Supporting Actress. Moore’s additional film credits include: Joe Ruben’s THE FORGOTTEN, with Dominic West; the romantic comedy, LAWS OF ATTRACTION, co-starring Pierce Brosnan; Jane Anderson’s THE PRIZEWINNER OF DEFIANCE, OHIO; Lasse Hallstrom’s THE SHIPPING NEWS, with Kevin Spacey, Cate Blanchett and Judi Dench; Bart Freundlich’s WORLD TRAVELER and THE MYTH OF FINGERPRINTS; HANNIBAL, in which she starred as ‘Clarice Starling’ opposite Anthony Hopkins; EVOLUTION with David Duchovny; Neil Jordan’s THE END OF THE AFFAIR with Ralph Fiennes (Academy Award, Golden Globe and SAG Award nominations for Best Actress); Paul Thomas Anderson’s BOOGIE NIGHTS (Academy Award, Golden Globe and SAG Award nominations for Best Supporting Actress) and MAGNOLIA (SAG Award nomination for Best Supporting Actress); Robert Altman’s COOKIE’S FORTUNE with Glenn Close and Liv Tyler, and SHORT CUTS (Independent Spirit Award nomination for Best Supporting Female); Gus Van Sant’s re-make of PSYCHO with Vince Vaughn; AN IDEAL HUSBAND (Golden Globe nomination for Best Actress) with Rupert Everett; THE MAP OF THE WORLD with Sigourney Weaver; Steven Spielberg’s THE LOST WORLD; THE BIG LEBOWSKI, starring Jeff Bridges and directed by the Coen Brothers; the Todd Haynes film SAFE (Independent Spirit Award nomination for Best Female Lead); Louis Malle’s VA- NYA ON 42ND STREET; James Ivory’s SURVIVING PICASSO; THE HAND THAT ROCKS THE CRADLE; BENNY & JOON; THE FUGITIVE; NINE MONTHS; and ASSASSINS. Moore’s additional honors include the Excellence in Media Award at the 2004 GLAAD Media Awards, the Actor Award at the 2002 Gotham Awards and the “Tribute to Independent Vision” at the 2001 Sun- dance Film Festival. After earning her B.F.A. from Boston University for the Performing Arts, Moore starred in a number of off-Broadway productions, including Caryl Churchill’s ‘‘Serious Money’’ and ‘‘Ice Cream/Hot Fudge’’ at the Public Theater. She appeared in Minneapolis in the Guthrie Theater’s ‘‘Hamlet’’, and participated in workshop productions of Strindberg’s ‘‘The Father’’ with Al Pacino and Wendy Wasserstein’s ‘‘An American Daughter’’ with Meryl Streep. Moore made her Broadway debut in 2006 in the Sam Mendes production of ‘‘The Vertical Hour’’, an original play written by David Hare. FILMOGRAPHY

2007 SAVAGE GRACE Dir. Tom Kalin 2007 NEXT Dir. Lee Tamohori 2006 CHILDREN OF MEN Dir. Alfonso Cuaron 2006 FREEDOMLAND Dir. Joe Roth 2005 TRUST THE MAN Dir. Bart Freundlich 2005 THE PRIZE WINNER OF DEFIANCE, OHIO Dir. Jane Anderson 2004 THE FORGOTTEN Dir. Joseph Ruben 2004 LAWS OF ATTRACTION Dir. Peter Howitt 2004 MARIE & BRUCE Dir. Tom Cairns 2002 THE HOURS Dir. Stephen Daldry 2002 FAR FROM HEAVEN Dir. Todd Haynes 2001 THE SHIPPING NEWS Dir. Lasse Hallstrom 2001 WORLD TRAVELER Dir. Bart Freundlich 2001 EVOLUTION Dir. Ivan Reitman 2001 HANNIBAL Dir. Ridley Scott 2000 THE LADIES MAN Dir. Reginald Hudlin 1999 MAGNOLIA Dir. Paul Thomas Anderson 1999 THE END OF THE AFFAIR Dir. Neil Jordan 1999 A MAP OF THE WORLD Dir. Scott Elliott 1999 AN IDEAL HUSBAND Dir. Oliver Parker 1999 COOKIE’S FORTUNE Dir. Robert Altman 1998 PSYCHO Dir. Gus Van Sant 1998 THE BIG LEBOWSKI Dir. Joel Coen 1997 BOOGIE NIGHTS Dir. Paul Thomas Anderson 1997 THE MYTH OF FINGERPRINTS Dir. Bart Freundlich 1997 THE LOST WORLD: JURASSIC PARK Dir. Steven Spielberg 1996 SURVIVING PICASSO Dir. James Ivory 1995 ASSASSINS Dir. Richard Donner 1995 NINE MONTHS Dir. Chris Columbus 1995 SAFE Dir. Todd Haynes 1995 ROOMMATES Dir. David Yates 1994 VANYA ON 42nd STREET Dir. Louis Malle 1993 SHORT CUTS Dir. Robert Altman 1993 THE FUGITIVE Dir. Andrew Davis 1993 BENNY & JOON Dir. Jeremiah S. Chechik 1993 BODY OF EVIDENCE Dir. Uli Edel 1992 THE GUN IN BETTY LOU’S HANDBAG Dir. Allan Moyle 1992 THE HAND THAT ROCKS THE CRADLE Dir. Curtis Hanson 1990 TALES FROM THE DARKSIDE Dir. John Harrison S T E P H E N D I L L A N E

Stephen Dillane trained at the Bristol Old Vic Theatre School. His early theatre work included repertory seasons at Belgrade Theatre, Coventry, Contact Theatre, Manchester and Chester Gateway Theatre. Leading roles at the National Theatre followed with Archer in “The Beaux’ Stratagem,” Gerry Evans in “Dancing at Lughnasa,” Edmund Tyrone in “Long Day’s Journey Into Night,” and Prior Walter in “Angels In America,” followed by “Hush” written by April D’Angelis at the Royal Court. He won the Richard Burton Shakespeare Globe Award in 1995 for the title role in “Hamlet” at the Gielgud Theatre directed by Peter Hall. He played Clov in “Endgame” at the Donmar Warehouse directed by Katie Mitchell, Artie in “Hurlyburly” at the Old Vic, and the title role of “Uncle Vanya” for the Royal Shakespeare Company at the Young Vic, again directed by Katie Mitchell. He returned to the Donmar Warehouse to play Henry in Tom Stoppard’s “The Real Thing,” for which he won Best Actor at the Evening Standard Theatre Awards in 1999. He then played Tony in “Our Late Night” by Wallace Shawn at the Royal Court, directed by Caryl Churchill. He returned to “The Real Thing” for a limited run in the West End prior to Broadway where it played at the Barrymore Theater. On Broadway, Dillane won the Best Actor Tony Award in 2000, the Best Actor Drama Desk Award in 1999/2000, and the Theatre World Award in 2000, and was nominated for the Best Actor Outer Circle Award in 2000. He returned to the West End to play George in “Life After George” directed by Michael Blakemore. In 2002 he played Alexander Herzen in the Tom Stoppard Trilogy “Coast of Utopia” at the National Theatre directed by Trevor Nunn. In 05 and 06 he performed a much praised solo version of “Macbeth” directed by Travis Preston at the Redcat Theatre in Los Angeles, The Almeida in London, and the Sydney and Adelaide Festivals in Australia, where he was nominated for Best Actor in the Helpmann Awards. Most recent Theatre is the role of Jack in Caryl Churchill’s new two hander play “Drunk Enough To Say I Love You?” at the Royal Court Theatre. Dillane’s leading roles in films include Franco Zeffirelli’s “Hamlet” opposite Mel Gibson as Horatio, “Stolen Hearts” (known as “Two If By Sea” in America), “Firelight” directed by William Nicholson opposite Sophie Marceau, “Welcome to Sarajevo” directed by Michael Winterbottom with Woody Harrelson and Marisa Tomei, “The Darkest Light” directed by Simon (“The Full Monty”) Beaufoy and Bille Eltringham, “Ordinary Decent Criminal” opposite Kevin Spacey and Linda Fiorentino directed by Thaddeus O’Sullivan, and “The Parole Officer” written by and starring Steve Coogan. In 2001 he filmed starring roles in four films: Charles Harker in “Spy Game” directed by Tony Scott, Charlie in “The Truth About Charlie” directed by Jonathan Demme, Simon in “The Gathering” directed by Brian Gilbert and Leonard Woolf in “The Hours” directed by Stephen Daldry. “The Hours” was nominated for Outstanding Performance by a Cast in a Motion Picture at the 2003 SAG Awards. Also in 2003 he filmed Merlin in “King Arthur” directed by Antoine Fuqua. Recent films are Mr Allen “Haven” directed by Frank E Flowers, Martin in “Nine Lives” directed by Rodrigo Garcia, the lead role of Harry Vardon in “The Greatest Game Ever Played” directed by Bill Paxton for Disney, “Goal!” directed by Danny Cannon, The Secretary in “Klimt” directed by Raul Ruiz which was screened out of competition at The Berlin Film Festival 06 and “Goal II!” directed by Jaume Collet-Serra. In 2006 Dillane filmed the lead role of Jakob in “Fugitive Pieces” directed by Jeremy Podeswa, and Brooks Baekeland in “Savage Grace” opposite Julianne Moore directed by Tom Kalin. Both films are due for release in late 07. He is currently filming “John Adams” a seven part TV series for HBO in which he plays the leading role of Thomas Jefferson. FILMOGRAPHY

2007 SAVAGE GRACE Dir. Tom Kalin 2007 FUGITIVE PIECES Dir. Jeremy Podeswa 2007 GOAL! II Dir. Jaume Collet-Serra 2005 GOAL! Dir. Danny Cannon 2006 KLIMT Dir. Raul Ruiz 2005 THE GREATEST GAME EVER PLAYED Dir. Bill Paxton 2005 NINE LIVES Dir. Rodrigo Garcia 2004 HAVEN Dir. Frankie Flowers 2004 KING ARTHUR Dirs.Jerry Bruckheimer/Antoine Fuqua 2002 THE HOURS Dir. Stephen Daldry 2002 THE TRUTH ABOUT CHARLIE Dir. Jonathan Demme 2001 SPY GAME Dir. Tony Scott 2001 THE PAROLE OFFICER Dir. John Duigan 2000 ORDINARY DECENT CRIMINAL Dir. Thaddeus O’Sullivan 1999 THE DARKEST LIGHT Dirs. Simon Beaufoy/Bille Eltringham 1997 WELCOME TO SARAJEVO Dir. Michael Winterbottom 1997 FIRELIGHT Dir. William Nicholson 1996 TWO IF BY SEA (UK: STOLEN HEARTS Dir. Bill Bennett 1990/1 HAMLET Dir. Franco Zeffirelli EDDIE REDMAYNE

Eddie Redmayne, a new comer to the big screen, has already made his mark working with some of today’s top directors and talent in the industry.

Redmayne’s on screen debut hit theatres this past Christmas in Robert De Niro’s dramatic thriller, THE GOOD SHEPHERD starring Matt Damon and Angelina Jolie. He has completed filming on Shekhar Kapur’s ELIZABETH: THE GOLDEN AGE, in which he plays the renowned English assassin Babington, opposite Cate Blanchett, Geoffrey Rush and Clive Owen and will also appear with Toni Collette in the crime thriller LIKE MINDS as a student accused of murdering a fellow classmate.

Later this year, Eddie will star in the thriller SAVAGE GRACE. This film is based on a true story set in the high society of New York City in the 1940’s. Eddie plays the son of would-be Hollywood starlet, Barbara Baekeland, played by Julianne Moore. Baekeland was so distressed at her son’s homosexuality that she attempted to “cure” him, which led to tragic consequences. The film is directed by Tom Kalin (SWOON).

Eddie recently completed production of THE OTHER BOLEYN GIRL. Based on the hit novel of the same name and produced by Scott Rudin, the film follows the Boleyn sisters played by Natalie Portman and Scarlett Johansson as they vie for the affection of King Henry VIII. He has also just signed on to star in THE YELLOW HANDKERCHIEF with Maria Bello and William Hurt, directed by Udayan Prasad.

Born in London, Redmayne attended Trinity College, Cambridge, where he studied Art History. It was whilst at college that a scout from Shakespeare’s Globe Theatre recruited Redmayne to appear in the 400th anniversary production of ‘‘Twelfth Night.’’ His role as Viola opposite Mark Rylance got him favorable reviews from critics, as well as an acting agent.

He went on to receive critical acclaim for his West End performance in Edward Albee’s powerful drama ‘‘The Goat or Who is Sylvia?’’ where he played a troubled teen opposite Jonathan Pryce. The role won him the 2004 London Evening Standard Award and the 2005 London Critics Circle Theatre Award for Outstanding Newcomer. He was also nominated at the 2005 Olivier Awards for the Best Performance in a Supporting Role.

FILMOGRAPHY

2008 THE YELLOW HANDKERCHIEF Dir. Udayan Prasad 2007 THE OTHER BOLEYN GIRL Dir. Justin Chadwick 2007 SAVAGE GRACE Dir. Tom Kalin 2007 THE GOLDEN AGE Dir. Shekar Kapur 2006 THE GOOD SHEPHERD Dir. Robert DeNiro 2006 LIKE MINDS Dir. Gregory Read ELENA ANAYA

FILMOGRAPHY

2007 SAVAGE GRACE Dir. Tom Kalin 2007 MIGUEL & WILLIAM Dir. Inés Paris 2007 IN THE LAND OF WOMEN Dir. John Kasdan 2006 CAPTAIN ALATRISTE Dir. Agustín Díaz Yanes 2006 STAGE KISS Dir. Eduardo Carrillo 2006 ARTHUR & THE MINIMOYS Dir. Luc Besson 2005 FRAGILE Dir. Jaume Balagueró 2004 DEAD FISH Dir Charley Stadler 2004 VAN HELSING Dir. Steven Sommers 2003 TWO TOUGH GUYS Dir. Juan Martínez Moreno 2003 URBAN MYTH CHILLERS Dir. Oskar Santos 2002 TALK TO HER Dir. Pedro Almodóvar 2002 RANCOUR Dir. Miguel Albadalejo. 2001 NO NEWS FROM GOD Dir. Agustín Díaz Yanes. 2002 THE BLUE ROOM Dir. Walter Doehener 2001 SEX AND LUCIA Dir. Julio Medem Best Supporting Actress, Screen Actors Guild of Spain Award Best Supporting Actress Goya Nomination 2000 INVIERNO DE LAS ANJANAS Dir. Pedro Telechea. 2000 PENITENTS’ TREE2006 Dir. Jose María Borrell. 1999 THE WIPPED OUT FOOTPRINTS Dir. Enrique Gabriel. 1998 BLACK TEARS Dir. Ricardo Franco. 1998 WHERE THE WORLD ENDS Dir. Xavier Villaverde. 1998 GRAND OCCASIONS Dir. Felipe Vega. 1996 FAMILY Dir. Fernando León. 1996 AFRICA Dir. Alfonso Ungría.

THEATER

“HOMEBODY KABUL” Dir. Mario Gas “GELSOMINA” Dir. Aeysha Walsh.The Guggenheim Museum “MORSELS” Dir. Maxi Rodríguez - Sala Olimpia UNAX UGALDE

After having acted in several television series, Unax Ugalde moved into feature films and has since become one of the most important actors of his generation. He has played in “Bailame el agua” by Josetxo San Mateo, “Mi dulce” by Jesús Mora, “Héctor” by Gracia Querejeta, “Frió sol de invierno” by Pablo Malo, “Volverás” by Antonio Chavarrías o “Reinas” by Manuel Gómez Pereira and more recently in, “Alatriste” by Agustín Díaz Yanes and “Goya’s Ghosts” by Milos Forman. Since appearing in Tom Kalin’s “Savage Grace”, he has appeared in Nick Newell’s “Love in the Time of Cholera” with Javier Barden, playing the adult role of Florentino Atienza.

FILMOGRAPHY

2006 LOVE IN THE TIME OF COLERA Nick Newell 2006 SAVAGE GRACE Tom Kalin 2005 GOYA’S GHOSTS Milos Forman 2005 ALATRISTE Agustín Diaz Yanes 2004 REINAS Manolo Pérez Pereira 2004 ROSARIO TIJERAS Emilio Maille 2003 FRÍO SOL DE INVIERNO Pablo Malo 2003 CÁMARA OSCURA, Pau Freixas 2003 HECTOR Gracia Querejeta 2002 DIARIO DE UNA BECARIA Josetxo San Mateo 2002 VOLVERAS Antonio Chavarría 2001 LA BELLA DURMIENTE Eloy Lozano 2000 MI DULCE Jesús Mora 2000 BAILAME EL AGUA Josetxo San Mateo HUGH DANCY

After having graduated from St. Peter’s College, Oxford, in 1997, where he read English literature, Hugh moved to London to pursue his wish to become an actor.

His first acting job came from Lynda la Plante who cast him in the TV series ‘‘Trial and Retribution II’’ where he played one of the three disciples of a mesmeric killer (Ian Glenn). This introduction to television was quickly followed by a series of major roles in television series/ adaptions. The BBC’s ‘‘Dangerfield’’, starring Nigel Havers as ‘‘David Copperfield’’ in a production of the Charles Dickens’ novel, directed by Peter Medak, along side a large cast of British and American actors, including Eileen Atkins, Anthony Andrews, Nigel Davenport and Sally Field. Danny in the hugely popular ‘‘Cold Feet’’, Leon in an adaptation of Madame Bovary directed by Tim Fywell, and D’Artagnan in ‘‘Young Blades’’, a story inspired by Dumas’ Three Musketeers.

At the end of filming Young Blades in France Hugh returned to England to take on a stage role for the first time in several years. Billy and the Crab Lady, was one of the first staged at the newly renovated Soho Theatre and offered Hugh a new opportunity to play a comic role.

In May 2000 Hugh began filming on ‘‘The Sleeping Dictionary’’, a love story written and directed by Guy Jenkin and almost all shot on location in Sarawak, Borneo, playing alongside Bob Hoskins and Jessica Alba. August 2000 saw Hugh return to the theatre to perform in ‘‘To the Green Fields Beyond’’ by Nick Whitby and directed by Sam Mendes.

2001 took Hugh to Morocco to film Ridley Scott’s Oscar nominated ‘‘Black Hawk Down’’. Produced by Jerry Bruckheimer, it is the story of the US Army’s ill-fated mission in Somalia in 1993. Prior to filming, Hugh spent a week at the US Rangers notorious boot camp in Georgia along with his fellow cast members, Ewan McGregor, Jason Issacs, Tom Sizemore and Josh Hartnett. He then went on to film the crime thriller ‘‘Tempo’’ directed by Eric Styles, staring opposite Melanie Griffith and Rachel Leigh Cook.

November 2002 Hugh returned to the small screen with his role in the BBC’s adaptation of George Elliot’s emotionally intense, ‘Daniel Deronda’ and then went on to spend several months on location in Ireland, filming ‘‘Ella Enchanted’’, directed by Tommy O’Haver.

In the second half of 2003, Hugh returned to Ireland to take on the role of Galahad in Jerry Bruckheimer’s ‘‘King Arthur’’. Antoine Fuqua directed this epic drama, which dealt with the history and politics of Arthur’s reign in 5th Century Britain, and Hugh starred alongside the cream of today’s British talent, including Clive Owen, Keira Knightley and Ray Winstone.

In July 2004 Hugh travelled to Rwanda to take on the lead role in Michael Caton-Jones’ ‘‘Shooting Dogs’’ playing Joe Connor, a volunteer teacher in a Rwandan school that becomes a UN retreat position. Hugh’s next role was that of Essex in Elizabeth I, co-starring Helen Mirren as Queen Elizabeth I and Jeremy Irons. The project reunited Hugh with the director, Tom Hooper, and was shot during June and July 2005 in Lithuania. From there, Hugh went to Bucharest to work on ‘‘Blood and Chocolate’’, directed by Katja von Garnier co-staring Olivier Martinez and Agnes Bruckner.

He will next be seen in Lajos Koltai’s ‘‘Evening’’ with Vanessa Redgrave, Claire Danes and Toni Collette. FILMOGRAPHY

2007 THE JANE AUSTEN BOOK CLUB Dir.Robin Swicord 2007 EVENING Dir Lajos Koltai 2007 SAVAGE GRACE Dir.Tom Kalin 2007 BLOOD AND CHOCOLATE Dir. Katja von Garnier 2006 BASIC INSTINCT 2: RISK ADDICTION Dir. Michael Caton-Jones 2005 BEYOND THE GATES a/k/a SHOOTING DOGS Dir. Michael Caton-Jones 2004 KING ARTHUR Dir. Antoine Fuqua 2004 ELLA ENCHANTED Dir. Tom Haver 2003 TEMPO Dir. Eric Styles 2001 BLACK HAWK DOWN Dir. Ridley Scott 2003 THE SLEEPING DICTIONARY Dir. Guy Jenkin Cast

Julianne Moore Barbara Baekeland

Stephen Dillane Brooks Baekeland

Eddie Redmayne Antony Baekeland

Elena Anaya Blanca

Unax Ugalde Black Jake

Belén Rueda Pilar Durán

Hugh Dancy Seth Crew Director Tom Kalin Writer Howard A. Rodman

Based on the book’’Savage Grace’’ by Natalie Robins & Steven M.L. Aronson

DOP Juanmi Azpiroz Production Designer Victor Molero Edited by Tom Kalin John F. Lyons Enara Goicoetxea Costume Designer Gabriela Salaverri Haute Couture Wardrobe Didier Ludot Sound Juan Borrell Bela da Costa Jaime Fernández Original Score Fernando Vélazquez Producers Iker Monfort Katie Roumel Pamela Koffler Christine Vachon Executive Producers John Wells Temple Fennell Johnathan Dorfman Hengameh Panahi Stephen Hays Peter M.Graham II Howard A. Rodman Co-executive Producers Elvira Morales Christian Baute Co-Producers Alberto Aranda Xavi Granada Yulene Monfort Tom Kalin Production Monfort Producciones Killer Films Celluloid Dreams Productions In association with ATO Pictures 120 dB Films A Contraluz Films Videntia Frames