DP A LE COMPLEXE.indd 1 18/04/11 17:01:47 THE BEAVER SUMMIT INTERNATIONAL PUBLICITY CONTACTS: DP A LE COMPLEXE.indd 2 18/04/11 17:01:47 Summit Entertainment and Participant Media Present in Association with Imagenation Abu Dhabi An Anonymous Content Production THE BEAVER French title : LE COMPLEXE DU CASTOR Starring MEL GIBSON JODIE FOSTER ANTON YELCHIN JENNIFER LAWRENCE, CHERRY JONES Written by KYLE KILLEN Directed by JODIE FOSTER Produced by STEVE GOLIN KEITH REDMON ANN RUARK Executive Producers JEFF SKOLL MOHAMMED MUBARAK AL MAZROUEI PAUL GREEN JONATHAN KING SUMMIT ENTERTAINMENT 1630 Stewart St. - Ste. 120 - Santa Monica, CA 90404 Tel: +1 310 309 8400 - Fax: +1 310 828 4132 - Website: http://www.summit-ent.com SUMMIT INTERNATIONAL PUBLICITY CONTACTS: JILL JONES: e: [email protected] - Tel: 310.309.8435 MELISSA MARTINEZ: e: [email protected] - Tel: 310.309.8436 ASMEETA NARAYAN: e: [email protected] - Tel: 310.309.8453 DP A LE COMPLEXE.indd 3 18/04/11 17:01:48 SYNOPSIS 3 DP A LE COMPLEXE.indd 4 18/04/11 17:01:48 SYNOPSIS Two-time Academy Award® winner Jodie Foster directs and co-stars with two- time Academy Award® winner Mel Gibson in The Beaver – an emotional story about a man on a journey to re-discover his family and re-start his life. Plagued by his own demons, Walter Black was once a successful toy executive and family man who now suffers from depression. No matter what he tries, Walter can’t seem to get himself back on track…until a beaver hand puppet enters his life. 3 DP A LE COMPLEXE.indd 5 18/04/11 17:01:48 PRODUCTION NOTES A FAMILY STORY In her career as a director, Jodie Foster has developed a reputation for her adept ability to share universal themes of family and family dynamics through the specific experiences of the characters in her films. At the time that producer Steve Golin was searching for the perfect helmer for THE BEAVER, several major Hollywood directors were contacting him, eager to get involved. But the director that Golin was most interested in was Foster, as her two previous directorial efforts, LITTLE MAN TATE and HOME FOR THE HOLIDAYS, demonstrated that her skills behind the lens were exactly what this story needed. “Jodie called about the project, she came in and we discussed it,” Golin says. “She was very compelling, so passionate about the material. She showed an amazing affinity for the script. I was really impressed by her, intrigued by her grasp of the story and the possibility of her directing. “I read the script for THE BEAVER and loved it, but there was another director involved at the time,” says Foster. “Even though there was a lot of really interesting work to be done on the script, it was such a raw and beautiful first movie for a first time writer that I kept saying to everybody, ‘listen, if anything happens, call me up.’ And that’s exactly what happened, where a hole opened up.” One aspect of the story that had particular resonance for the producer was the way it dealt with issues of family. “At heart, despite all the strange twists and turns THE BEAVER is a family drama, the story of a father and son coming together, that tells in very direct terms how a fractured family finds a way to heal itself. It doesn’t happen in the normal way it usually happens in films but in a deeply imaginative and original way.” “Jodie comes from a very strong acting and character background, and she had a terrific, insightful take on the characters and what they were going through. And she told me she was familiar with people who had suffered from depression 4 5 DP A LE COMPLEXE.indd 6 18/04/11 17:01:48 and how it affected their lives, and the lives of those around them. “Previously on the movies I produced, the directors came out of a music video or commercial background with a visual bent on things. It was fascinating for me to hear what someone who took things from a character-related point of view, from an acting and emotional point of view, had to say about the material. After talking to Jodie I understood that this was the approach for the story, and that she was the person to direct the film.” THIS IS THE STORY OF WaLTER BLACK The idea for Walter Black, the chronically depressed toy executive who rediscovers life by speaking through a beaver hand puppet first took shape in the mind of award-winning screenwriter Kyle Killen. Killen, raised in Texas but educated at the USC Film School in California, originally conceived of the tale of Walter Black and the beaver as a short story. “It was something I decided to write when my wife became pregnant with twins and we moved back to Austin,” Killen says. “But instead of becoming a short story it expanded into hundreds and hundreds of pages of prose, at which point it seemed wise to make it into novel. In the end though, I decided to write it as a screenplay.” There’s no doubt that the story of Walter Black found its perfect expression as a screenplay. When Killen gave the finished script to his agent the result was praise from everyone who read it. “This, despite the offbeat nature of the story,” Killen says. “I was surprised. And delighted.” In Hollywood, THE BEAVER screenplay made the rounds, and word about its merits spread quickly. By the time it won first place on the 2008 Black List survey as one of the best un-produced screenplays of the year several companies had expressed interested in it. But by now the script had landed on the desk of Steve Golin, founder of Propaganda Films who today heads Anonymous Content. Golin, well known for taking a chance on offbeat material, having produced BEING JOHN MALKOVICH and ETERNAL SUNSHINE OF THE SPOTLESS MIND, responded immediately to THE BEAVER. He decided to produce it. 4 5 DP A LE COMPLEXE.indd 7 18/04/11 17:01:48 “I was so taken with it, it’s a fantastic screenplay,” Golin says. “Granted it’s a pretty outrageous concept, unique really, about a guy who has a break with reality and winds up relating to the world through a beaver hand puppet. But it’s a concept that, oddly enough, works. “Walter Black, the central character, is someone who has hit absolute rock bottom,” Golin says. “He’s gotten to a place where he has no coping mechanism left, and when everything else fails him, absolutely everything, he is saved by the beaver hand puppet.” Walter finds the beaver puppet in a dumpster outside a liquor store where he usually tanks up on booze and winds up wearing it on his left arm. Emerging from what had seemed like a terminal stupor, he begins speaking through the hand puppet, at first to himself, then to everyone else. Through the beaver, Walter begins to turn his life around. He reconnects with his family, and revives the fortunes of his ailing toy company. But it all comes at a price. “Even with the central conceit being very much out there, so to speak, I was comfortable with it,” says Golin. “I’ve had experience with this kind of material and I felt this screenplay would make a compelling film.” Having Foster on board as director was a big step in the film going forward. The next hurdle was to find the actor for Walter Black, an extraordinary, original, ‘outside the box’ character. Golin knew that it would take a star to play him, not just because of the depth and complexity of the role, which could be a tour de force for any actor, but for logistical reasons as well. “These kinds of pictures that fall beyond the realm of conventional storytelling are very, very difficult to get going,” Golin says. “They’re difficult to get made even with stars but almost impossible without them. We needed a star for the role but we all felt confident that we would be able to get one because the material was unique, really strong. “Almost immediately Jodie had the idea of giving the screenplay to Mel Gibson. She had a relationship with him dating from MAVERICK, the film they made together in 1994. They had been friends ever since.” Foster was very much aware of what a terrific actor Gibson is, and knew that he had a great comic sense. “Walter Black and the beaver had to be somebody who could fully understand and communicate comedy and tragedy at the same time,” says Foster. “I’ve been friends with Mel for over 15 years and we’ve had many, many long discussions about life and so it was a natural place to go.” “Jodie called me up and asked if I would help her out,” says Gibson. “And of 6 7 DP A LE COMPLEXE.indd 8 18/04/11 17:01:49 course, I love her to death and I wanted to work with her again and I liked the material so off we went.” “I thought it was a great idea but a long shot,” Golin says, ‘because Mel hadn’t done this kind of film before. But Jodie submitted the script, and two or three days later he told her he wanted to do it. And at first I thought he was kidding, it was just one of those things I didn’t think was possible.” But it was.