UNIVERSAL PICTURES Presents
In Association With RELATIVITY MEDIA
A FORWARD PASS / MISHER FILMS Production
In Association With TRIBECA PRODUCTIONS and APPIAN WAY
JOHNNY DEPP
CHRISTIAN BALE MARION COTILLARD BILLY CRUDUP STEPHEN DORFF STEPHEN LANG
Executive Producer G. MAC BROWN
Produced by KEVIN MISHER MICHAEL MANN
Based on the Book by BRYAN BURROUGH
Screenplay by RONAN BENNETT and MICHAEL MANN & ANN BIDERMAN
Directed by MICHAEL MANN
– 1 – CAST Agent William Rorer ...... KURT NAEBIG (In Order of Appearance) Agent Hugh Clegg ...... JOHN HOOGENAKKER Agent Harold Reinecke ...... ADAM MUCCI Walter Dietrich ...... JAMES RUSSO Doris Rogers ...... REBECCA SPENCE Harry “Pete” Pierpont ...... DAVID WENHAM May Minczeles ...... DANNI SIMON Charles Makley ...... CHRISTIAN STOLTE Customer at Steuben Club ...... DON HARVEY “Red” Hamilton ...... JASON CLARKE Helen Gillis ...... SHANYN BELLE LEIGH John Dillinger ...... JOHNNY DEPP “Baby Face” Nelson ...... STEPHEN GRAHAM Turnkey ...... JOHN JUDD Tommy Carroll ...... SPENCER GARRETT Homer Van Meter ...... STEPHEN DORFF Charles Winstead ...... STEPHEN LANG Ed Shouse ...... MICHAEL VIEAU Clarence Hurt ...... DON FRYE Guard Dainard ...... JOHN KISHLINE Gerry Campbell ...... MATT CRAVEN Jim Leslie ...... WESLEY WALKER Porter at Union Station ...... LAURENCE MASON Earl Adams ...... JOHN SCHERP Cop Eyman ...... RANDY STEINMEYER Viola Norris ...... ELENA KENNEY Deputy ...... KRIS WOLFF Toddler on Farm ...... WILLIAM NERO, JR. Sheriff Lillian Holley ...... LILI TAYLOR “Pretty Boy” Floyd ...... CHANNING TATUM Reporter #1 ...... DONALD G. ASHER Melvin Purvis ...... CHRISTIAN BALE Reporter #2 ...... ANDREW C. STEELE Agent Carter Baum ...... RORY COCHRANE Reporter #3 ...... PHILIP MATTHEW POTEMPA Agent Warren Barton ...... MADISON DIRKS Photographer ...... BRIAN MCCONKEY Police Chief Fultz ...... LEN BAJENSKI Robert Estill ...... ALAN WILDER Sport ...... ADAM CLARK Warden Baker ...... DAVID WARSHOFSKY Carol Slayman ...... CAREY MULLIGAN Louis Piquett ...... PETER GERETY Oscar Lieboldt ...... ANDREW KRUKOWSKI Herbert Youngblood ...... MICHAEL BENTT Harry Berman ...... CASEY SIEMASZKO Judge Murray ...... JOHN LISTER Martin Zarkovich ...... JOHN MICHAEL BOLGER Sam Cahoon ...... JIMMY CARRANE Anna Sage ...... BRANKA KATIC Guard Bryant ...... JOSEPH MAZURK Grover Weyland ...... PETER DEFARIA Deputy Blunk ...... JOHN FENNER MAYS Teller ...... JONATHAN MACCHI Edward Saager ...... RICK UECKER Angry Cop ...... JEFF SHANNON Reporter ...... CRAIG A. SPIDLE Farmer ...... MICHAEL SASSONE Other Jr. G-Men ...... JASON T. ARNOLD Barbara Patzke ...... EMILIE DE RAVIN ANDREW BLAIR Officer Chester Boyard ...... BRIAN CONNELLY Harry Berg ...... MARK VALLARTA Senator McKellar ...... ED BRUCE Jacob Solomon ...... DAN MALDANADO J. Edgar Hoover ...... BILLY CRUDUP Joe Pawlowski ...... SEAN ROSALES Harry Suydam ...... GEOFFREY CANTOR Emil Wanatka ...... STEPHEN SPENCER Clyde Tolson ...... CHANDLER WILLIAMS Doctor ...... PATRICK ZIELINSKI Hoover Reporter #1 . . ROBERT B. HOLLINGSWORTH, JR. Agent Ray Suran ...... GARETH SAXE Hoover Reporter #2 ...... DAVID PAUL INNES Agent Ralph Brown ...... GUY VAN SWEARINGEN Hoover Reporter #3 ...... JOE CARLSON Jimmy Probasco ...... JEFF STILL Hoover Reporter #4 ...... BEN BROWN Freddie Barker ...... LANCE BAKER Billie Frechette ...... MARION COTILLARD Doc Barker ...... STEVE KEY Alvin Karpis ...... GIOVANNI RIBISI Polly Hamilton ...... LEELEE SOBIESKI Torch Singer ...... DIANA KRALL Captain O’Neill ...... GERALD GOFF Doorman at Gold Coast ...... DUANE A. SHARP Special Agents ...... DAVID CARDE Gilbert Catena ...... DOMENICK LOMBARDOZZI AARON WEINER Frank Nitti ...... BILL CAMP Agent Sopsic ...... KEITH KUPFERER Phil D’Andrea ...... JOHN ORTIZ Other East Chicago Cops ...... TURK MULLER Agent Sam Cowley ...... RICHARD SHORT TIM GRIMM Agent Julius Rice ...... RANDY RYAN Irene the Ticket Taker ...... MARTIE SANDERS Agent John Madala ...... SHAWN HATOSY Ella Natasky ...... ROBYN SCOTT
– 2 – Aerial Coordinator/Pilot ...... CRAIG HOSKING Art Director ...... WILLIAM LADD SKINNER Stunt Coordinator ...... DARRIN PRESCOTT Assistant Art Director ...... KERRY SANDERS Stunts Driving Instructor ...... ROBERT NAGLE Set Designers ...... DAVID KRUMMEL Mr. Depp’s Stunt Double ...... THEO KYPRI DAVID TENNENBAUM Stunts ...... BRIAN DUFFY JEFF B. ADAMS, JR. JAMES LOGAN KAREN FLETCHER TRUJILLO JAMES PALMER ROBERT WOODRUFF WADE ALLEN KEVIN DEPINET JEREMY FRY SCOTT MATULA HANK AMOS Graphic Designers ...... MARTIN T. CHARLES MAX DANIELS PHILLIS LEHMER SUZANNE PRESCOTT Art Department Coordinators ...... JENNE LEE TRACEY RUGGIERO ANDREW ROSAS DAILYN MATTHEWS Art Dept. PAs ...... TOM CASTRONOVO NANCY MCCRUMB TRAVIS WITKOWSKI JENNIFER BADGER Set Decorator . . . . . ROSEMARY BRANDENBURG SDSA DAVID J. ADAMSON Assistant Set Decorators . . PATRICIA SCHNEIDER SDSA RICK LE FEVOUR SUMMER EUBANKS TOM LOWELL Leadmen ...... JASON BEDIG JIMMY HART TROY BORISY JASON LEE HUETT Drapery Foremen ...... JORY ALVARADO JOEL KLAFF CREW On-Set Dresser ...... JON NICHOLSON Set Dressers ...... JENO DELLICOLLI Directed by ...... MICHAEL MANN JOHN F. DONAHUE Screenplay by ...... RONAN BENNETT AND TOM OSMAN MICHAEL MANN & ANN BIDERMAN DAVID SAMO Produced by ...... KEVIN MISHER DAVID RYAN MICHAEL MANN MARQUEE RENO Executive Producer ...... G. MAC BROWN Gang Bosses ...... BRYAN RAPEY Based on the Book by ...... BRYAN BURROUGH PAUL RYAN Director of Photography . . . . . DANTE SPINOTTI ASC AIC MARK RODRIGUEZ Production Designer ...... NATHAN CROWLEY Researcher/Clearances ...... AMANDA FERNALD Edited by ...... PAUL RUBELL ACE Buyers ...... CAROLINE PERZAN JEFFREY FORD ACE KAREN FRICK Costume Designer ...... COLLEEN ATWOOD TANJA DESHIDA Co-Producers ...... BRYAN H. CARROLL KIM MERLIN GUSMANO CESARETTI Set Dressing Coordinator ...... CLIFF ZIMOWSKI KEVIN DE LA NOY A Camera Operator ...... LUKASZ BIELAN Music Composed by ...... ELLIOT GOLDENTHAL B Camera/Steadicam Operator . . ROBERTO DE ANGELIS Casting by ...... AVY KAUFMAN CSA C Camera Operator ...... JOHN GRILLO BONNIE TIMMERMANN 1st Assistant A Camera ...... JAMES APTED Unit Production Manager ...... JULIE HERRIN 1st Assistant B Camera ...... DOMINIC NAPOLITANO First Assistant Director ...... BOB WAGNER 1st Assistant C Camera ...... CHRIS CUEVAS Second Assistant Directors ...... DAVID KELLEY 2nd Assistant A Camera ...... KRISTEN ECCKER ALLEN KUPETSKY 2nd Assistant B Camera ...... PETER CARONIA Music Supervisors ...... BOB BADAMI Video Control ...... DAVID CANNING KATHY NELSON Digital Imaging Technician ...... TED VIOLA Visual Effects Supervisor ...... ROBERT STADD Camera Loader/Utility ...... JEFF TOMCHO Associate Producer ...... MARIA NORMAN Camera PAs ...... HUNTER WHALEN Supervising Art Director ...... PATRICK LUMB MAGGIE CHIEFFO
– 3 – Script Supervisor ...... ALICIA ACCARDO MICHAEL D. GIANNESCHI Script Coordinator ...... MARK BLECHA Prop Assistant/Second Armorer . . . . HOWARD FANNON Still Photographer ...... PETER MOUNTAIN Prop Assistant ...... DAN DONATO Gaffer ...... ROBERT E. KRATTIGER Prop Dept. Coordinator ...... CLARA ALCOTT Best Boy Electric ...... LONNIE GATLIN Armorers ...... HARRY LU Electricians ...... DAVE LUKASIK VINCENT FLAHERTY JEREMY LONG TERRY ATCHINSON JERRY TRAN BILL GUIETTE RONALD DRAGOSH Special Effects Supervisor . . . BRUNO VAN ZEEBROECK SAM BERTONE Special Effects Coordinator ...... DON PARSONS TOM CANTRELL SPFX Foremen ...... MARC BANICH Electrician/Dimmer Operator ...... GLEN MAGERS FRANK KRENMULLER Rigging Gaffer ...... JOHN FRIDAY Shop Foreman ...... KEN VAN ORDER Rigging Best Boy ...... CHRIS MULSOFF Coordinator/Foreman ...... STAN PARKS Rigging Electricians ...... DENNIS HUGHES Snow Coordinator ...... YVONNE STURM DICK OAKES Snow Maker Foreman ...... ARON PETERSON JOE LEWIS Snow Maker ...... KELLY LAUFENBERG JOSEPH SIKORA SPFX Technicians ...... BRUCE STRONG NOAH BANKS CHAD BAALBERGEN LARRY HAMMER DANIEL SOKOLOWSKI MARK MAJCHER DAVE BARKER RON LEAHY HEATH WINN SUNNI ALI POWELL JEFF MILLER Generator Operators ...... BILL BARNES JOEL HOBBIE RAY POPE JOHN J. RIGDEN TOM BIANCHO JOSEPH H. GILMARTIN Lighting Technician ...... ROBERT ARON BROWN KELLY NOLAN Key Grip ...... MICHEL BARRERE ORLANDO IRIZARRY Best Boy Grip ...... DAN DUGGAN RICK HILL Dolly Grips ...... RAYMOND OCHOA RYAN EVANS JOHN HUDECEK HEATH WYNN Grips ...... TIM JIPPING Costume Supervisors . . CHERYL BEASLEY BLACKWELL WILSON MYLANDER JENNIFER JOBST E.J. HUNTEMANN Key Men’s Costumers ...... BARRY KELLOGG CHRISTY TADDEO JONNY PRAY JOSEPH CZERW Key Women’s Costumer ...... AMY L. ARNOLD Rigging Key Grip ...... JAMES ROORDA Key Costumer ...... GINA PANNO Rigging Best Boy Grip ...... JIM HARTNETT Costumers ...... ANDREW STEIN Rigging Grips ...... CHARLIE JIMENEZ CHRISTOF ROCHE-GORDON ED DONOGHUE JB GEROLIUM ROBERT KRZEMINSKI VANESSA KING ROBERT GOMEZ NANCY CAVALLARO Sound Mixer ...... ED NOVICK BETH KOENIGSBERG Boom Operator ...... BRIAN ROBINSON GILLIAN WATERMAN Utility Sound ...... JIM GAUDIO Costume Buyer ...... STELLA CHRISTY COTTINI Video Assist ...... DAVID PRESLEY Costumer to Mr. Depp ...... MARINA MARIT Video Utility ...... BRANDAN DENNEHY Key Set Costumer ...... DONNA O’NEAL Video Production Assistant . . . . . CHRISTINA BELLEDIN Set Costumers ...... AMANDA MCLAUGHLIN Sound Technician for Mr. Depp ...... KEENAN WYATT CLAIRE HEDLUND Property Master ...... KRIS PECK LAURA KAMINSKI Assistant Property Masters ...... BRAD GOOD JEANNIE VANKO
– 4 – JAY CHENG DANIEL WILSON AMBER JORDYN MARK HAR SHELLI NISHINO Locations Dept. Coordinator . . . . . SHARON LOMASNEY Assistant Costume Designer . . . . CHRISTINE CANTELLA Location Scouts ...... ADAM BOOR Costume Dept. Coordinator ...... IREC KRISKE GEORGE CONSTAS Head Agers/Dyer ...... REBEKA L. ROBERTS RAUL R. ESPARZA III Men’s Cutter/Fitter ...... MICHAEL J. SLOAN Location Assistant ...... NICHOLAS JAMISON Women’s Cutter/Fitter ...... DALE WIBBEN Location PAs ...... COREY GIBBONS Costume PAs ...... VICTOR SOTO JULIA RENNER TRACY REUTER MATT CENTER DANI PHELPS PHILIP MERKER ERIC DRURY Production Coordinators ...... BILLY BONIFIELD SERRITA WALKER JEREMY BEIERMANN ADRIAN CORTES Asst. Production Coordinators ...... SARA ELLINGEN Dept. Head Makeup ...... JANE GALLI KENNETH YODER Key Makeup Artist ...... KAREN MCDONALD Consultants ...... ALSTON PURVIS Makeup Artist to Mr. Depp ...... PATTY YORK BRYAN BURROUGH Makeup Artist ...... DEBORAH DEE Tactics & Weapons Advisor ...... MICK GOULD Add’l Makeup ...... LISA JELIC-WATSON FBI Tech Advisors ...... ROYDEN R. RICE AIMEE LIPPERT DALE SHELTON ALMA IZQUIERDO Chicago PD Gambling Unit Advisor ...... DON HERION CLAIRE MOORES Chicago PD Tech Advisor ...... NICK NICKEAS DARIA WRIGHT Technical Advisors ...... MICHAEL CHAPMAN DEBRA JAMES JOSEPH J. SCALISE HELEN MARCHFIELD TARAN BUTLER JESSICA WILLIAMS LEN HOROWITZ KARISA DELUCA DON CAPEHART LATRICE EDWARDS CHIC DANIEL LAUREN MARCHFIELD Researchers ...... BRANDON WALSTON VICKI VACCA REBEKAH BURGESS Dept. Head Hair ...... EMANUEL MILLAR MICHEAL SZALAY Key Hairstylist ...... AGNES GIBICAR Dialect Coach to Ms. Cotillard . . . . TANERA MARSHALL Add’l Hairdressers ...... LINDA R. RIZZUTO Dialect Coach ...... SUSAN RUMOR CAROLYN SCHRAUT-BARCZAK Dialect Coach to Mr. Bale ...... FRANCIE BROWN DENISE BAKER Travel Coordinator ...... SYNDEY HUYNH EADRA BROWN Assistant Travel Coordinator ...... ANOUK FRÖSCH KELLY ZIPPERER Asset Coordinator ...... QADREE HOLMES PAM GETAUTAS Production Secretary ...... PJ FISHWICK ROSALIND JONES-CROSBY 2nd 2nd Assistant Director ...... ERIC RICHARD LASKO SALLY RYAN Office Production Assistants ...... AMY KRAMER TOM TERHAAR DEREK ASHBAUGH VIVIAN GUZMAN DREW FULTON LES JENKINS HUNTER ADAMS Hairstylist to Ms. Cotillard ...... SUSAN GERMAINE JONELLE CASTILLO Wig Maker ...... BOB KRETSCHMER KEITH NEUBAUER Supervising Location Manager . . . JAMES MCALLISTER SARA SCHWARTZ Location Managers ...... PATRICK MULDOON KIRK MASON JULIE HANNUM MATT ROOZEN MARIA K. CHAVEZ RYAN NEEDHAM Assistant Location Managers ...... MARK MAMALAKIS MICHAEL SHANE ABBOTT MARTIN HUDSON CRAIG MALTBY
– 5 – JACQUELINE MANCIAS Background Picture Car Co-Captains . . KRISTEN SIMCIK MATT THOMAS DAVID LIND AALIYAH WILLIAMS Dance Choreographer ...... FATIMA ROBINSON NATHANIEL STUTZ Assistant Choreographer ...... CRISTIAN OVIEDO Set Production Assistants ...... CHRISTIAN LABARTA Casting Associates ...... LEEBA ZAKHAROV CLAIRE WIEGAND LOIS DRABKIN JEFF OVERFIELD CONOR DOOLEY JOHN QUILICO Casting Assistant ...... JASON FISCHMAN MIKEY EBERLE Chicago Casting ...... JENNIFER S. RUDNICKE CSA MOUSY MCCALLUM MICKIE PASKAL CSA NATHAN PARKER Additional Casting ...... KIM TAYLOR-COLEMAN CSA STEPHEN BOZZO, JR. L.A. Casting Associate ...... ROBYN OWEN TREVOR TAVARES L.A. Casting Assistant ...... HELEN GEIER TYLER VENTURA Extras Casting ...... JOAN PHILO Construction Coordinator ...... MICHAEL DIERSING DARLENE HUNT Chicago Construction Coordinator . . GLENN A. STEVENS Extras Casting Associates . . CLARE MORRIS CROWLEY Carpenter Foremen ...... TERRY BAUGHMAN RACHEL KOMAR MICHAEL P. MORRIS WARREN STERN SECOND UNIT Labor Foreman ...... MICHAEL T. HOHE Construction Foremen ...... RICHARD ECKOLS 2nd Unit Directors ...... MICHAEL WAXMAN THOMAS WHITE BRYAN H. CARROLL Propmaker Foreman ...... MIKE BUNCH Director of Photography ...... GARY JAY Construction Foreman ...... STEVE HELM Add’l 2nd Unit Director of Photography . . . . NILES ROTH Standby Painter ...... VINNIE JAE 1st Assistant Director ...... MICHAEL WAXMAN Paint Supervisor ...... GARY CLARK 2nd Assistant Directors ...... KWAME AMOAKU Paint Foremen ...... JOHN H. SCHULZ TRACI LEWIS FREDDIE MIKELS Sound Mixer ...... BLAIR SCHELLER FRANK DAMBRA Boom Operator ...... JAMES J. HEITZ Head Painter ...... PAUL STEVEN SCHULZ Utility Sound ...... MIKE CAPULLI Paint Gangboss ...... AL BROADBENT Video Assist ...... KEVIN BOYD Sign Painter ...... RONALD O. COY Art Director ...... CRAIG JACKSON Plaster Foremen ...... JOHN WIKA Asst. Production Coordinator ...... TALIA LEONE DOUG MILLER Production Associate ...... KARL MCMILLAN Construction PAs ...... ERIK DELL Set Production Assistants ...... SENICA BILLINGSLY LEE RACHEL FOLEY D. DSOUL WILLIS JOHN RIEPENHOFF MIKE PATREVITO Standby Greensman ...... PEDRO BARQUIN RYAN YOUNG Greens Coordinator ...... JEFF BROWN 1st Assistant Camera ...... KEITH POKORSKI Picture Car Coordinator ...... R. BLAINE CURRIER 2nd Assistant Camera ...... ZACHARY GANNAWAY Background Picture Car Coordinator ...... Digital Imaging Technician ...... NICHOLAS KAY HOWARD BACHRACH Loader/Utility ...... STEPHANIE DUFFORD Railroad Coordinator ...... ARTHUR MILLER Gaffer ...... TIM MARSHALL Transportation Coordinator ...... BILLY HOGAN Best Boy Electric ...... CHRIS HUDECEK Transportation Captains ...... DANNY MAXWELL KEVIN WISER ANTHONY BELMONTE Lamp Operators ...... REGAN HUDECEK JAMES CAWLEY MATT LECRONE Transportation Co-Captain ...... JOE PAOLETTI Key Grip ...... MIKE LEWIS DOT Captain ...... TEDDY LARKOWSKI Best Boy Grip ...... JOHN ROBERTSON Transport Manager/Dispatch ...... BRIAN PAWLOWSKI Dolly Grips ...... MARK PURKART DOT Manager ...... JOSEPH ZARAGOZA CHRIS RYERSON
– 6 – Grips ...... ANDY LOSTUMO Medics ...... JAMES REEM CHRIS MURRAY JAMES YORK SETH THOMAS JIM O’LEAR Property Master ...... MIKE BLAZE THOMAS SULLIVAN Script Supervisor ...... MARY TALLMAN JEFF FIEDLER Transportation Captain ...... JIMMY HOGAN PATTI PATTEGALE Craft Service Foreman ...... DARRYL JOHNSON PETER NYCZ Caterer ...... PJ HAINES Craft Service ...... CHRIS WINN Production Accountants . . . . . ANAMARIE C. GONZAGA ERIC WINN DOUG MORENO J.D. MCCARTHY 1st Assistant Accountants ...... BOYSIE JEREZA Caterer ...... HAT TRICK JOAN ZULFER Additional Editors ...... CHRISTIAN WAGNER 2nd Assistant Accountants ...... BEATRICE CHISHOLM HANK CORWIN ACE BRETT YOUNG-FOUNTAIN DAVID ROSENBLOOM ACE DEBORAH A. MEGEL STEVEN ROSENBLUM ACE JANA LUNDY 1st Assistant Editors ...... KIRAN PALLEGADDA JOSH R. FIELD BRIAN SCOTT OLDS JOSHUA LOIKO LESLIE WEBB JUNIE KIM JACKSON YU MARK KURZWEIL Assistant Editors ...... ADAM KIMMERLIN NICK CARRANZA RICH CONKLING MIKA SAITO ALAN MCCURDY Payroll Accountants ...... KIMBERLY AGUIRRE HEATHER MULLEN TIMBER KISLAN VFX Editors ...... JEREMY BRADLEY Post-Production Accountant ...... JAY ROBERTS KEN BLACKWELL Construction Accounting ...... LESLIE A. TOKUNAGA Post-Production Supervisors ...... Accounting Clerks ...... DEBBIE BROCKMAN ERICA HILLER CARPENTER JOE BRUNORY ROB YAMAMOTO NICOLE BASILE Post-Production Coordinator ...... MAGGIE CHIEFFO Accounting PAs ...... KATHRYN MALM Editorial PAs ...... GENE LEWIS, JR. KELLY FARLEY SARA PLANO SARAH R. CZAJKOWSKI KORTNEY RUBOTTOM SCOTT SKILLINGS JOSH LEE Sound Mixers ...... KEVIN O’CONNELL Unit Publicist ...... DAVE FULTON BEAU BORDERS Writer’s Assistant to Mr. Mann ...... LARA WOOD Supervising Sound Editors ...... LAURENT KOSSAYAN Assistants to Mr. Mann ...... JULIANA GUEDES JEREMY PEIRSON CONOR SIMPSON Dialogue/ADR Supervisor ...... HUGH WADDELL STEPHEN BOZZO, JR. Dialogue/ADR Editors ...... THOMAS JONES DIXIANA RUBIO JENNIFER RALSTON MPSE BRANDAN DENNEHY MIKE HOPKINS Assistant to Mr. Misher ...... SARAH EZRIN RUSSELL FARMARCO Production Associate ...... KIM SUROWICZ DAVID BACH Assistant to Mr. Carroll ...... RACHEL WINN CAMERON STEENHAGEN Assistant to Mr. Cesaretti ...... NATHAN BELL Asst. Dialogue/ADR Editor ...... MARC DESCHAINE Assistant to Production ...... HOLLY LEE 1st Assistant Sound Editor ...... JOEL DOUGHERTY Assistants to Mr. Depp ...... CHRISTI DEMBROWSKI Assistant Sound Editors . . . . . CARMEN FLORES TANIS STEPHEN DEUTERS TERRY GARCIA NATHAN HOLMES STEPHANIE BROWN Assistant to Ms. Cotillard ...... MARDIE ANDERSON JACOB RIEHLE Assistant to Mr. Dorff ...... LISA ALSOP ERYNE PRINE
– 7 – ETHAN HOLZMAN Recorded & Mixed by ...... JOEL IWATAKI Sound Effects Editors ...... JOHN JOSEPH THOMAS Additional Score Mixing ...... FRANK WOLF BRYAN O. WATKINS Additional Engineering ...... ANGIE TEO JAMES MORIOKA FRANK WOLF BRUCE TANIS DAMON TEDESCO SANDY BERMAN BRANDON MASON Stage Engineer ...... JEFF BERLIN Music Programming ...... JACOB SHEA Mix Technician/Recordist . . . . BRIAN D. MAGERKURTH RICHARD MARTINEZ Recordist ...... TIM GOMILLION Music Recorded at ...... SONY FOX Re-Recording Engineers ...... BILL STEIN MANHATTAN CENTER TOM LALLEY WARNER BROS. Supervising Foley Editor ...... THOM BRENNAN Music Mixed at ...... THE VILLAGE RECORDERS Foley Editors ...... PATRICIO LIBENSON Music Contracting ...... GINA ZIMMITTI BOB BEHER SANDRA PARK Foley Artists ...... JOHN ROESCH Music Preparation ...... ERIC STONEROOK MUSIC ALYSON MOORE Music Coordination ...... JULES CAZEDESSUS Foley Mixer ...... MARY JO LANG SHINNOSUKE MIYAZAWA Sound Effects Recordists ...... JOHN P. FASAL Digital Motion Picture Services ...... LASER PACIFIC ERIC POTTER HD Location Service Technician . . . THOMAS OVERTON ADR Mixer ...... CHARLEEN STEEVES HD Dailies Operator ...... BRIAN HOMER ADR Recordist ...... DAVID LUCARELLI Account Service Representatives ...... ANDRE TREJO Post Sound Operations ...... KIM WAUGH ANNA DI NUOVO STACEY ROBINSON CHAD GUNDERSON Music Supervisor ...... BRUCE FOWLER Digital Intermediate by ...... COMPANY 3 Supervising Music Editors ...... BOB BADAMI Executive Producer/Colorist . . . . STEFAN SONNENFELD STEVE DURKEE Online Editor ...... ROB DOOLITTLE Music Editors ...... PHILIP TALLMAN DI Producer ...... NICK MONTON CURTIS ROUSH Producer ...... MISSY PAPAGEORGE KATRINA SCHILLER Digital Intermediate Technologist ...... MIKE CHIADO TODD KASOW Main Title Design ...... RESEARCH STUDIOS JOE E. RAND End Crawl ...... SCARLET LETTERS CHRIS BROOKS Negative Cutter ...... PAUL TANZILLO, JR. Assistant Music Editors ...... MARIO VITALE Color Timers ...... KURT SMITH BARBARA MCDERMOTT KENNY BECKER Music Consultants ...... ZACH COWIE Film-Out ...... EFILM JESSIE MANN Film Equipment & Support by . . . . FLETCHER CHICAGO BECCA MANN Specialty Hi-Def Equipment by ...... PACE KURT MANGUM Camera Systems by ...... PATRICK FERRIS SONY CINEALTA F23 DIGITAL CINEMA FRED SOKOLOW Camera & Dollies by ...... Music Produced by ...... TEESE GOHL CHAPMAN/LEONARD STUDIO EQUIPMENT, INC. Conductor ...... JONATHAN SHEFFER Visual Effects Assistant Coordinator ...... BEN MARKS Orchestration by ...... ROBERT ELHAI Visual Effects Production Assistant . . . . . LAUREL BECK ELLIOT GOLDENTHAL Special Visual Effects by ...... ILLUSION ARTS, INC. MARK BAECHLE Visual Effects Supervisors ...... TEESE GOHL SYD DUTTON AND BILL TAYLOR ASC JEFF TOYNE Visual Effects Producer ...... CATHERINE SUDOLCAN
– 8 – Compositing Supervisors ...... FUMI MASHIMO JIM LEONARD VAN LING GARY PAWLOWSKI 3-D Artist ...... ANDREW TUCKER LINO STAVOLE Digital Artists ...... JOHNATHAN BANTA AJ VENUTO CASEY CANNON Art Dept...... CHRIS CERA Production Coordinator ...... COLLIN FOWLER ALEX DIAZ Visual Effects by ...... VFX COLLECTIVE STEVE KATZ DAVID S. WILLIAMS, JR. DEREK KROUT ADAM KOWALSKI MIKE LACHIMIA Visual Effects by ...... HAMMERHEAD JASON PINSKER Visual Effects Supervisor ...... JAMIE DIXON DIRK ROGERS Co-Visual Effects Supervisor . . . . . MICHAEL KENNEDY PATRICIA URIAS 3-D Lead ...... TODD PERRY STEVE HARTMAN Compositor ...... DAN MELLITZ Hair Dept...... JACK BRICKE VFX Producer ...... DAN CHUBA ANNELIESE BOISE Visual Effects by ...... INVISIBLE EFFECTS MARK BOLEY Visual Effects Supervisor ...... DICK EDWARDS Visual Effects by ...... WILDFIRE VISUAL EFFECTS SOUNDTRACK ON DECCA RECORDS VFX Supervisor/Senior Artist . . FORTUNATO FRATTASIO VFX Producer ...... LAUREN RITCHIE “GUIDE ME O THOU GREAT JEHOVAH” Compositor ...... HOLLY HORTER Sung by members of the Indian Bottom Association, Visual Effects by ...... PIXEL PLAYGROUND Old Regular Baptists VFX Supervisor/Compositor ...... DON LEE Courtesy of Smithsonian Folkways Recordings VFX Producer ...... KIM LEE Compositors ...... JOHN RENZULLI “TEN MILLION SLAVES” CORY LEE Written and Performed by Otis Taylor Tracking ...... DEVIN FAIRBAIRN Courtesy of Telarc International, a division of DAVID BRYANT Concord Music Group, Inc. Visual Effects by ...... LOWRY DIGITAL Project Leads ...... RYAN GOMEZ “CHICAGO SHAKE” Written by Don Nelson, Harry Garfield, RENEE DUNHAM Kevin Kaska, Bruce L. Fowler ALEXIS ROSS Performed by The Bruce Fowler Big Band Internal Producer ...... MORNINGSTAR SCHOTT Makeup Effects ...... KNB EFX GROUP “BALLROOM BOUNCE” Special Makeup Effects ...... GREG NICOTERO Written by Kevin Kaska HOWARD BERGER Performed by The Bruce Fowler Big Band Shop Supervisors ...... MIKE DEAK SHANNON SHEA “BYE BYE BLACKBIRD” On-Set Supervisor ...... JAKE GARBER Written by Ray Henderson, Mort Dixon Designer ...... JOHN WHEATON Produced by Elliot Goldenthal, Teese Gohl Performed by Diana Krall Sculptors ...... ANDY SCHOENBERG Courtesy of Verve Records GLEN EISNER JOEY OROSCO “KING PORTER STOMP” KEVIN WASNER Written by Ferdinand “Jelly Roll” Morton Mold Makers ...... BARRY CRANE Performed by Benny Goodman and His Orchestra JOE GILES Courtesy of Bluebird/Novus/RCA Victor BRIAN GOEHRING By arrangement with Sony Music Licensing
– 9 – “AFTER THE SHOOTING” “THE LAST ROUND UP” Written by Gustavo Santaolalla, Johan Soderqvist Written by Billy Hill From the Original Motion Picture Performed by Gene Autry Things We Lost in the Fire Courtesy of Columbia Records Courtesy of DW Studios L.L.C. By arrangement with Sony Music Licensing
“LOVE ME OR LEAVE ME” In association with Dentsu Inc. Written by Walter Donaldson, Gus Kahn Performed by Billie Holiday featuring Teddy Wilson True Detective® is a registered trademark of Lee and His Orchestra Caplin/Picture Entertainment. Courtesy of Columbia Records By arrangement with Sony Music Entertainment The Etude Music Magazine used by permission of the Theodore Presser Company. “THE MAN I LOVE” (Live From Carnegie Hall) Written by George Gershwin, Ira Gershwin Newspaper courtesy of the Chicago Tribune. Performed by Billie Holiday All rights reserved. Used with permission. Courtesy of The Verve Music Group Under license from Universal Music Enterprises Billboard magazine was used with permission of Nielsen Business Media, Inc.
“NASTY LETTER” National Tea Co. food store signage courtesy of Written and Performed by Otis Taylor Loblaws Inc.
“AM I BLUE?” Manhattan Melodrama licensed by Warner Bros. Written by Harry Akst, Grant Clarke Entertainment Inc. and Turner Entertainment Co. Performed by Billie Holiday and Her Orchestra Stock photos courtesy of Corbis. Courtesy of Columbia Records By arrangement with Sony Music Entertainment Stock photos courtesy of the Chicago History Museum. Used with permission. “CLOSE YOUR EYES” Written by Desmond Carter, H.M. Tennent Stock photos courtesy of the Arizona Historical Society. Performed by Al Bowlly, Lew Stone and His Band Used with permission. Courtesy of Decca Music Group Limited Under license from Universal Music Enterprises Stock footage courtesy of the WPA Film Library.
Stock footage courtesy of Thought Equity Motion. “DARK WAS THE NIGHT, COLD WAS THE GROUND” Performed by Blind Willie Johnson Courtesy of Yazoo Records/Shanachie Entertainment Corp. IN MEMORY OF CHUCK ADAMSON
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– 11 – (MICHAEL MANN Logo)
Credits as of 6/15/2009
– 12 – Legendary Depression-era outlaw John Dillinger (JOHNNY DEPP) speeds away after a robbery in Public Enemies.
No other filmmaker has explored the psyches of his lasting dramas have brought to the screen a series people caught in extreme circumstances with the of tough, iconic figures embodied by the most com- dominating consistency and cinematic power of manding actors of our time. MICHAEL MANN. For three decades, Mann has Now, in his most ambitious and timely project to remained one of cinema’s most compelling film- date, the seminal gangster saga Public Enemies, makers, and his level of artistry has created an Michael Mann directs one of our most gifted contem- indelible influence on the medium. From Thief, porary actors (JOHNNY DEPP of Pirates of the Manhunter, Ali and Heat to The Last of the Mohicans Caribbean series, Sweeney Todd) in the story of the and The Insider, as well as Collateral and Miami Vice, fast and dangerous life of John Dillinger.
– 13 – his girlfriend Billie Frechette (Cotillard) to Americans who were looking for a symbol to divert them from their everyday hardships. They found it in the man who took from the banks the monies they felt the banks had wrongly taken from them. But while the adventures of Dillinger’s gang—later including the sociopathic Baby Face Nelson (STEPHEN GRAHAM of Gangs of New York, Snatch) and robber/ kid- napper Alvin Karpis (GIOVANNI Dillinger escorts girlfriend Billie Frechette (MARION COTILLARD) to the dance floor. RIBISI of Cold Mountain, Lost in Translation)—thrilled many, Hoover In the film, Mann teams with Depp to examine planned to exploit the outlaw’s capture as a way to the man whose criminal exploits captivated a elevate his Bureau of Investigation into the national nation besieged by financial hardship and ready to police force that became the FBI. He made celebrate a mythic figure who robbed the banks Dillinger America’s first Public Enemy Number that had impoverished them and outsmarted the One and sent in Purvis, the dashing “Clark Gable of authorities who had failed to remedy their hard the FBI,” to snare him. times, who inspired the first nationwide war on However, Dillinger and his gang outwitted and crime, who led a band of accomplished armed outgunned Purvis’ men in wild chases and robbers on a cascade of dazzling heists and shootouts. Only after importing a crew of lawmen improbable breakouts, and whose dashing manner from the Dallas bureau and orchestrating epic and charisma entranced not only a special woman betrayals—from the infamous “Lady in Red” but an entire country: legendary Depression-era (BRANKA KATIC of Big Love, The Englishman) to outlaw John Dillinger. Chicago crime boss Frank Nitti (BILL CAMP of For the epic action-thriller, Mann directs Depp, Reservation Road, Deception)—were Purvis, the CHRISTIAN BALE (The Dark Knight, Terminator FBI and their new crew of gunfighters able to close Salvation) and Academy Award® winner MARION in on their prey. COTILLARD (La Vie en Rose, A Good Year) in the Drawn back to the very city where his obsession story of Dillinger, whose well-choreographed bank with both Frechette and bank robbing began, robberies made him the number-one target of J. Edgar Dillinger, for once and for all, ended this pursuit by Hoover’s (BILLY CRUDUP of Watchmen, The Good Purvis. And when all was said and done, the entire Shepherd) fledgling FBI and its top agent, Melvin country learned that with the death of one of its Purvis (Bale). heroes came the birth of a legend. No one could stop Dillinger and his gang. No Completing the principal cast are a talented jail could hold him. His charm and audacious jail- group of seasoned actors and up-and-coming breaks endeared him to almost everyone—from performers, including JASON CLARKE (Death
– 14 – Race, Rabbit-Proof Fence) as Dillinger ally John “Red” Hamilton; RORY COCHRANE (Hart’s War, A ABOUT THE PRODUCTION Scanner Darkly) as Purvis’ good friend and fellow A COMMON ENEMY: agent Carter Baum; STEPHEN DORFF (World Trade Center, Cold Creek Manor) as Dillinger gang Dillinger Inspires the Production member and unemotional killer Homer Van Meter; STEPHEN LANG (Gods and Generals, Fire Down “There was no hint of hardness about him, no Below) as Special Agent Charles Winstead; JOHN evidence save in the alert presence of armed policemen ORTIZ (Fast & Furious, Miami Vice) as high-level that he had spent his formative years in a penitentiary. crime lord Phil D’Andrea; and DAVID WENHAM He had none of the sneer of the criminal... (300, The Lord of the Rings franchise) as the Looking at him for the first time...he rates as the authority-hating Dillinger gang member Harry most amazing specimen of his kind ever seen outside “Pete” Pierpont. of a wildly imaginative moving picture.” Produced by KEVIN MISHER (The Interpreter, —Chicago Daily News reporting on Dillinger at Lake The Rundown) and Mann, the film was written by County Jail news conference, January 1934 RONAN BENNETT (Lucky Break, Face) and Michael Mann & ANN BIDERMAN (Primal Fear, Though many essays, books, songs and films have Copycat). It is adapted from the book “Public told fascinating stories from the Great Depression, Enemies” by BRYAN BURROUGH. Michael Mann has long been interested in examining Joining Mann behind the camera is a crew of long- this turbulent era through the experience of a criminal time and new collaborators, including two-time who became a folk hero for a generation. For Academy Award®-nominated director of photography Americans in the early 1930s, who watched their life DANTE SPINOTTI (Heat, The Last of the Mohicans, savings vanish and became jobless and hungry, they The Insider), production designer NATHAN CROWLEY found a hero in a man who robbed and challenged the (The Dark Knight, The Prestige), two-time Oscar®- winning costume designer COLLEEN ATWOOD (Manhunter, Memoirs of a Geisha, Chicago), editors PAUL RUBELL (Collat- eral, The Insider) and JEFFREY FORD (Breach, Street Kings) and Oscar®- winning composer ELLIOT GOLDENTHAL (Heat, Frida). The executive producer for the film is G. MAC BROWN (The Special Agent Melvin Purvis (CHRISTIAN BALE) and FBI director J. Edgar Hoover Departed, You’ve Got Mail). (BILLY CRUDUP) discuss the war on crime.
– 15 – Hoover, a titan of American history. These three were in a dance of power and death.” Soon after his release from prison until late June 1934, Dillinger embarked upon a whirlwind bank-robbing spree across the Midwest that attracted fervent nationwide attention, especially from J. Edgar Hoover and his nascent Bureau of Investigation. To track and capture
DEPP as Dillinger. Dillinger, Hoover assigned a young, square-jawed agent banks that caused the collapse and the government named Melvin Purvis, whose profile actually inspired that could not fix it: John Herbert Dillinger. cartoonist Chester Gould in creating the look for Dick Mann, who had previously written a screenplay Tracy. But Dillinger and his men proved to be much about the era—about the famed train robber and bank wilier than the FBI agents, who would eventually bring robber Alvin Karpis—explains Dillinger’s appeal: down such gangsters as Pretty Boy Floyd (CHAN- “Dillinger, probably the best bank robber in American NING TATUM of Fighting, upcoming G.I. Joe: The history, only lasted 13 months. He was paroled in Rise of Cobra), or their boss could ever imagine. May of 1933, and by July 22, 1934, he was dead. As they honed their techniques, Dillinger and his Dillinger didn’t ‘get out’ of prison; he exploded onto crew used a number of strengths to their advantage: a the landscape. And he was going to have everything hardness hewn by years in prisons th ‘ and get it right now.” at were as lawless as they, the latest in automatic “In assaulting the banks,” the director continues, weaponry, a fragmented public safety system that had “and outwitting the government…to people battered not yet been nationalized, state-of-the-art Ford V8 by the Depression, it’s as if he spoke for them. He was getaway cars and the knack for riding the wave of anti- a celebrity outlaw, a populist hero.” banking sentiment from the very public whose banks While no time frame in either Dillinger’s or nemesis they plundered. Melvin Purvis’lives could be considered particularly ordi- While they could easily argue with his methods, nary, the filmmakers were interested in a very specific few who saw the newsreels during Saturday matinees window as they imagined Public Enemies. “It was this 14- would disagree that someone was finally “sticking it” month run of Dillinger’s life that opened a window for us to the fat cats who they felt had destroyed their lives. into a confluence of forces that were at work during this Time and again, the outlaw embarrassed govern- period of American history,” says producer Kevin Misher. ment at every level and escaped from seemingly “There was a nexus between John Dillinger, perhaps one impossible situations, including a breakout of his crew of the more famous Americans of the 20th century; from Indiana State Prison in September 1933, an escape Melvin Purvis, the underanalyzed G-man; and J. Edgar from the Lake County Jail in Crown Point, Indiana, in
– 16 – March 1934 and an evasion of Purvis at the Little Eventually, Dillinger’s luck ran out at the Biograph Bohemia travel lodge in northern Wisconsin in April Theater in Chicago on July 22, 1934. As the screening 1934. And while his men never hesitated in the use of of Manhattan Melodrama ended and he left the movie violence, the often chivalrous Dillinger could be theater, law enforcement officials—under the direction counted upon to give money back to citizens during a of Agent Purvis and with the help of a Dillinger traitor bank robbery and not curse in front of female hostages. called the “Lady in Red” (Chicago madam Anna When it comes to the law and lawless, Mann Sage)—put him to rest with a slew of bullets. understands and appreciates that truth is stranger than His legend only grew. fiction. Dillinger and his pursuers’ story was just the For grisly souvenirs of their hero, devastated fans inspiration he was looking for in his next project. of the “Jackrabbit” dipped handkerchiefs in the pool “Their mobility and use of technology made them left by his blood, and thousands lined up at the almost invincible,” he says. “This was happening at a morgue to view his body. From curious onlookers to time when massive forces conspired against lawmen, everyone wanted a piece of the legacy. Dillinger: what Hoover built with the FBI—the first Dillinger’s primary antagonist, Melvin Purvis, national police force, the first interstate crime bill, the received the lion’s share of the credit. And none use of very progressive, modern technology and data were more unnerved by Purvis’ accolades in the management. They were doing what is routine in law celebration of Dillinger’s demise than J. Edgar enforcement now, but what had never been done Hoover. Continues Misher: “Dillinger was so before in this country.” famous that when he was killed, Purvis became Battling a doubtful Congress about the efficacy of ‘The Man Who Shot John Dillinger,’ even though he his newly formed FBI, Hoover grew furious that was not the man who pulled the trigger. As a result, Dillinger was becoming a folk hero to American citi- Hoover started to resent the fame and acclaim that zens, while his schooled and polished agents were flub- Melvin Purvis, G-man, had in the United States and bing cases. Many of his colleagues saw the head of the drummed him out of the FBI.” bureau as an inexperienced, puffed-up suit and didn’t trust his methodology. In a frustrated effort to escalate the pursuit by Purvis and his agents, Hoover enlisted the aid of a Western lawman, Special Agent Charles Winstead, and two of his associates to track Dillinger. That, coupled with such orders to arrest relatives, girlfriends and associates of the criminals (in the FBI’s efforts to get tough on crime), did the trick. While eluding the law, the bank robber had traveled across the country with girlfriend Billie Frechette, spending money in lavish quantities and rubbing elbows with the elite of Florida. Purvis gives orders to his field agents.
– 17 – Press gather to see Dillinger as he is transported by the police.
Three-quarters of a century later, Dillinger’s said that he had been interested in Dillinger for a long status as a legendary criminal is cemented. From the time and that Dillinger reminded him of some people classic image of his crooked smirk as he draped his from his past. He had Dillinger in him; that’s something arm around one of his admiring captors, to his status I sensed. Everybody has these dark currents inside of us, as one of Chicago’s most famous residents, the dapper but to be able to reach down in a movie and plumb those Dillinger remains iconic. And no one would be more depths and bring that up…that’s courageous.” inspired by him than a man who grew up less than Depp explains his long interest in the gangster: 160 miles from Dillinger’s boyhood home of “Funny enough, when I was a little kid, there was a long Mooresville, Indiana: an actor named Johnny Depp. period where I was fascinated with John Dillinger. No particular explanation why, I just was; he struck my THE LAW AND THE LAWLESS: fancy somehow. But looking back on that initial interest in Dillinger and the fact that it’s carried through for the Casting the Film majority of my life, it was his character. It was who he was as a man…back at a time when men were really “One rule I learned from Walter Dietrich: men. He was, for good or ill, exactly who he was, Never work with people who are desperate.” without any compromise whatsoever.” —John Dillinger For Mann, the challenge of preparation is “…trying to make 1933 come alive. And be alive When deciding upon the actor who would just the way it’s alive for you right now in 2009. portray the principal outlaw, Mann turned to a And that meant not just how things looked, but performer known for immersing himself in his roles. how people thought. How men courted women in He found the complex character he needed for his 1933. How ex-convicts thought about life and their interpretation of John Dillinger in Johnny Depp. fate in 1933. What the material world meant to “Deep in the core of Johnny there’s a toughness,” those who were hungry and denied. The despera- commends Mann. “When we started talking about it, he tion on the streets.”
– 18 – In preparation for the shoot, Mann, who had Hoover. “There may have been no satisfaction for decided to film in some of the actual locations where Purvis to pursue Dillinger,” he adds. “In my interpre- the story took place—like the Crown Point Jail, tation, I felt that by the time they got him, Purvis must Little Bohemia and the Biograph—was able to have believed he had to compromise himself and his provide Depp with the actual clothing and personal own values so much that he was questioning who was articles of Dillinger. the loser here.” Depp was able to spend time in some of the haunts As does Depp, Bale engages in extensive frequented by the “Gentleman Bandit” and handle research into the characters he plays. For Public weaponry the man had used. Also informative were his Enemies, he and Mann took an investigative trip to personal experiences. “I read many books on him, but FBI headquarters in Quantico, Virginia, and spent aside from all the research, more of it had to do with an time with Melvin Purvis’ son, Alston. Because there instinct and understanding of the man,” Depp notes. “ I was no recorded sound available of the senior Purvis’ related to John Dillinger like he was a relative. I felt he voice (he died in 1960), Bale chose to use Alston’s was of the same blood. He reminded me of my stepdad southern drawl as his accent for the action-thriller. and very much of my grandfather. He seemed to be one The Welsh actor stayed in his character’s voice of those guys with absolutely no bull whatsoever, who throughout production, and his dedication had a lived at a time when a man was a man.” big impact. Producer Misher explains: “When The actor continues: “I think Dillinger had some Alston Purvis came to visit the set, we were at the idea of what he was doing. I believe he had found Biograph Theater where Dillinger was shot. Alston himself and was at peace with the fact that it wasn’t said it was the greatest night of his life, because it going to be a very long ride…but it was going to be a was like watching his father come back to life. To significant ride.” have a son of the character who an actor is playing From his rise as a golden boy of the FBI to his say there’s no other actor on Earth whom he could need to get his hands dirty if he hoped to catch see play his father…that’s quite a testament to the Dillinger, Purvis was just the complex part that actor’s performance.” Christian Bale was eager to tackle. The actor was particu- larly interested in the conflict he believed existed within Purvis. “He had such accolades in the press as a hero and was regarded so highly,” offers Bale, “but I think Purvis was very conflicted about the direction that the Bureau was taking in its effort to become efficient.” Bale extended his feelings about that conundrum to Purvis’ capture of Dillinger and the ruthless tactics pushed by Purvis confronts Dillinger in a jail cell.
– 19 – Dillinger plans a wild night with Billie.
To understand Billie Frechette, Mann spent a good learn about the world from which the gangster’s deal of time uncovering the history of the woman who girlfriend came. There, Cotillard met with became the singular love of Dillinger’s life. “I tried to members of Frechette’s extended family and figure out the life of Billie: what she was about, what discussed the life and primary love of their she was doing and how she got by in the Depression,” ancestor. She was quite moved by what she learned he states. “She worked as a hatcheck girl at The about the woman…as well as about the man for Steuben Club; she was an ambitious young woman whom Frechette went to jail and never betrayed. “It from a small town making her way in Chicago. What was very emotional,” she relates. “When you live also is very significant is her upbringing. As a a passion, a love like that, you will not turn your Menominee Indian, she was very much a second-class back at all the fear that comes from any situation citizen, an outsider.” to be with a man who’s a gangster.” Marion Cotillard, who won an Oscar® for her “The skills of Marion are extraordinary. The brilliant portrayal of chanteuse Edith Piaf in La Vie commitment, the absolute total commitment to the en Rose, was cast by Mann for the part. “After I saw moment. How deep and thoroughly she would live the La Vie en Rose, we met. That was it,” says the director. truth of a small gesture, a glance,” says her director. As part of her preparation, Mann asked her to Her on-screen Dillinger was one of many on meet with a variety of gangster wives, girl- set moved by her performance. “I was profoundly friends, strippers and bar girls to listen to the impressed by Marion’s commitment to Billie,” women’s stories of unfailingly standing by their commends Depp. “She took so much care in often-violent men. “He wanted me to understand playing her properly and giving Billie her fair the feeling of being a convict’s wife and not shake. Marion worked unbelievably hard on the knowing exactly what the next day would bring,” accent and was profoundly committed to the part. explains Cotillard. I like her very much, both personally and as As Frechette was French and Native American, someone to get in the ring with.” the actress spent extensive time with a dialect For the supporting players in the world of coach and visited the Menominee reservation to Dillinger, Purvis and Frechette, Mann chose an elite
– 20 – international cast. Serving as two of Dillinger’s GANGSTER HISTORY: primary henchmen are Australians David Wenham and Jason Clarke, who play Harry “Pete” Pierpont Designing and Lensing Public Enemies and John “Red” Hamilton, respectively, while British “You wanted to know where he is, you dumb flat- actor Stephen Graham portrays infamous psychopath foot? You walked right past him on State Street. You Baby Face Nelson. were too scared to look around. He was at the curb in Rounding out Dillinger’s immediate crew and that black Buick.” known crime associates are Americans Stephen Dorff —Billie Frechette as incorrigible clown/unemotional killer Homer Van Meter; John Ortiz as high-level crime lord Phil The biggest challenge facing Mann was turning D’Andrea; Giovanni Ribisi as train robber/kidnapper 21st-century America back into the world of the early Alvin Karpis; Channing Tatum as the aptly named 1930s. As there were some 114 different sets to dress Pretty Boy Floyd; Stranger Than Fiction’s CHRIS- for the film, the art department was kept occupied TIAN STOLTE as calm killer Charles Makley; and well before principal photography began. In addition 21’s SPENCER GARRETT as Baby Face Nelson’s to his crew’s work on developing sets, Mann felt it wingman, Tommy Carroll. was important to lens at as many of the actual loca- For fellow Chicago gangsters and girls, Mann tions as possible. As Dillinger and his crew traveled brought on board War of the Worlds’ JOHN across the Midwest during their bank-robbing spree, MICHAEL BOLGER as corrupt East Chicago cop so would this production. Martin Zarkovich; Bill Camp as Al Capone contem- porary Frank “The Enforcer” Nitti; Miami Vice’s DOMENICK LOMBARDOZZI as Nitti henchman Gilbert Catena; Changeling’s PETER GERETY as Chicago gangland mouthpiece attorney Louis Piquett; Branka Katic as Madam Anna Sage, better known as Dillinger betrayer the “Lady in Red”; and 88 Minutes’ LEELEE SOBIESKI as Anna Sage’s “girl” Polly Hamilton. On the other side of the law are Billy Crudup as the young front man for the newly formed FBI, J. Edgar Hoover; Rory Cochrane as Melvin Purvis’close ally and fellow agent, Carter Baum; Stephen Lang as Western Agent Charles Winstead; Disturbia’s MATT CRAVEN and Miami Vice’s DON FRYE as, respectively, Western Agents Gerry Campbell and Clarence Hurt; Alpha Dog’s SHAWN HATOSY as FBI Agent Medala; Barefoot to Jerusalem’s JOHN HOOGENAKKER as Agent Clegg; Taken’s DAVID WARSHOFSKY as Lake County Jail Warden Baker; and Lost’s EMILIE DE RAVIN as bank Purvis prepares to capture Dillinger and his men outside of the Little hostage/Dillinger convert Anna Patzke. Bohemia Lodge.
– 21 – Before Dillinger’s daring escape in Sher- iff Lillian Holley’s (Six Feet Under’s LILI TAYLOR) personal automobile (after he carved a wooden gun out of a washing board), the Lake County Jail briefly saw him as a reluctant guest. Of the location, production de- signer Nathan Crowley elaborates: “The front portion, which was Dillinger recovers from his wounds at the Little Bohemia. Sheriff Holley’s house, was pretty much dete- A keen historian, the writer/director gives an riorated, while the back part, which was the jail, was example of just how easy it was for Dillinger and his rusted and corroded. We didn’t have to make anything crew to get away with it all as they robbed. “Indiana up, which was fantastic. It had the real corridors and State Police had 27 officers for the whole state of the real geography.” Indiana,” Mann offers. “Law enforcement was local, One of the most notorious photographs ever taken underpaid, poorly supplied, and they didn’t talk to of Dillinger was shot at this jail. The gangster offered anybody else. They didn’t know what was going on in a wry smile while leaning on the shoulder of District the next county, unless it was anecdotally in a bar or Attorney Robert Estill (Prison Break’sALAN WILDER); in a café. If you’re a crew of bank robbers, you could it was a photo that would sabotage Estill’s burgeoning commit a bank robbery in Indiana, go across the political career. Because many photographs of the jail border into Illinois and be home free. There was no (especially the common areas) were taken during the law against interstate crime and no federal police famous press conference, Crowley’s team was able to force at all.” accurately duplicate the area. As there were no existing images of the interiors of the cells themselves, DILLINGER’S HAUNTS even more imagination went into their dressing. Though in various states of repair, several of the At the Little Bohemia Lodge in spring 1934, actual sites visited by Dillinger are still around today. agents from the Chicago and St. Paul offices of the Fortunately, the production was allowed use of the FBI surrounded Dillinger and his gang, only to be structures for three of his iconic showdowns with the outfoxed once again. Along with the notorious Baby law: the Lake County Jail in Crown Point, Indiana; Face Nelson, Homer Van Meter and Red Hamilton, the Little Bohemia Lodge in Manitowish Waters, Dillinger had just held up a bank and fled to Wisconsin; and the Biograph Theater on Lincoln northern Wisconsin to hide out. A violent gunfight Avenue in Chicago, Illinois. ensued in which one innocent local man was killed;
– 22 – additionally, FBI Agent Carter Baum was killed by man, the Dillinger gang was toting around heavy Nelson. During production of the film, the team weapons while holding onto the sideboards of cars lensed at the Little Bohemia 74 years to the week during their escapes from the banks. They were that Dillinger evaded the feds. simply tough young men, she explains. The Alpine guesthouse is a tourist spot that now On the other hand, she shares that the FBI agents operates as a restaurant, and it took some work to were law school graduates with both proper training recreate the era. From replicating the gangsters’ and athletic abilities, but they were simply not raised rooms and planting shrubbery about the grounds, the as ruggedly as the criminals in Dillinger’s gang. design team was fastidious in making the Little Those men had a definite advantage in pure physi- Bohemia look as it did during Dillinger’s heyday. cality and endurance. “We were able to shoot not just in the actual place It was quite meaningful for the actor who played where this happened, but in his actual room,” reveals Purvis to work in the same places that his character Mann. “As you can imagine, there’s a certain kind of did. Christian Bale particularly felt that in the woods magic, a kind of resonance, for Johnny Depp to be near the Bohemia. “When you use the real location, lying in the bed that John Dillinger was actually in. you have a reverence for it,” offers Bale. “It’s incred- When he puts his hand on the doorknob and opens the ibly helpful to stand in the same spot and know you’re door, it’s the same doorknob that Dillinger put his in the same woods—just sitting silently for awhile— hand on and opened.” as the man you are portraying. This was where he was All of the Dillinger gang successfully escaped from actually fired upon and fired back.” the Little Bohemia, and the event became an unfortunate History buffs offer some context to the defeat that black mark in the FBI’s history. The current Little almost got Purvis fired. In defense of the FBI’s unsuc- Bohemia still hosts a variety of signs and relics from cessful efforts at the lodge, producer Misher says: the Dillinger shoot-out, in- cluding bullet holes, broken windows and even some of the gang’s luggage that it didn’t have time to retrieve upon its hasty exit. It was, as Mann puts, “a dark day for J. Edgar Hoover and the FBI.” Melvin Purvis’ assistant during this period, DORIS ROGERS LOCKERMAN, was helpful in putting both the people and times in perspective for the cast and crew. According to the 92-year-old Locker- Purvis leads the shootout at the Little Bohemia.
– 23 – public relations, made him pop- ular and charismatic, and he hid out in public. There were people who spotted him, saw him, and they didn’t turn him in.” Until the “Lady in Red.” But first, a bit of backstory. Anna Sage was an eastern Euro- pean immigrant who ran a brothel and was in trouble with the immigration department of the federal government. In an effort to avoid deportation, Sage
Dillinger comforts Billie. tipped off Purvis and the FBI that Dillinger would be attending “There was danger. They were walking into a blind the gangster movie Manhattan Melodrama (starring alley with people who are very capable with their Clark Gable and Myrna Loy) at the Biograph on this hands and weapons. That’s the divide between particular evening. As the point person in the whether Melvin Purvis was capable or not. The film treachery, Sage became known as the “Lady in Red” answers it. He ultimately led the charge that got John when she stood outside the theater. Curiously enough, Dillinger and resulted in the task at hand being she was wearing an orange outfit, but the artificial accomplished: mission accomplished.” lighting made her dress look red. That moniker would The most famous of the actual sites recreated for forever be associated with a duplicitous woman. the film is the Biograph Theater on Lincoln Avenue As Dillinger walked out of the theater with then-girl- in Chicago. According to Crowley, this street “had friend Polly Hamilton on one arm and Sage on the other, the biggest facelift. The street is now gentrified, and Purvis lit a cigar to alert the many law enforcement there have been masses of changes since the 1930s. personnel that the criminal was in sight. Within seconds, The finished street was an amalgamation of research Dillinger knew something was amiss and pulled his gun, and design.” but it was too late. He was shot three times and fell dead A combination of period streetcars, cobblestone- in an alley a few feet from the movie house. lined roads, numerous 1930s storefronts and automo- As the team reconstructed events, Mann was most biles gave an eerie and realistic look back in time to exacting. He explains the process: “We rebuilt the the sweltering evening of July 22, 1934: the night street front of the Biograph. We engineered it so that John Dillinger was betrayed by the “Lady in Red” and we were able to stage exactly where Dillinger was gunned down by Purvis’ men. when he died—the same square foot of pavement that No one was more shocked by this turn of events than he died on—so that when Johnny looked up he saw Dillinger himself. While he knew his run was not indef- the last thing Dillinger saw. That means a lot to an inite, he had no idea his life would end so soon. Mann actor and to a director…to find yourself in those envi- explains why the gangster felt comfortable mingling in ronments where you can suspend your disbelief and the open: “Dillinger’s natural charisma, his savvy about give yourself the magic of the moment.”
– 24 – The film’s lead agrees. He couldn’t help but be SHOOTING IN CHICAGO wowed by his surroundings at the Biograph. During his spree, Dillinger was a frequent visitor “Everywhere you looked, it was 1934,” notes Depp. to Chicago; therefore, a number of scenes were “It was pretty incredible to be standing in front of filmed there. Most of the office scenes, as well as the Biograph Theater. As far as you could see, it was various apartments, were accurately depicted in 1934…from the roads to the building storefronts Chicago. The production went to several of the same to the marquee lights. Every detail was accounted neighborhoods to capture the look and feel. For for. I salute Michael for that. His attention to example, the arrival of the Dallas field agents was detail is unparalleled.” staged at Chicago’s train terminal, with an actual period steam engine train used for the shoot. Crowley ROBBERIES IN WISCONSIN shares: “We shot some big streets in Chicago to get Other Public Enemies locations included a num- some scale to the big city.” ber of towns and cities in Wisconsin, including It was crucial to Mann and his five-time collabo- Columbus, Milwaukee, Madison, Darlington, Oshkosh rator, cinematographer Dante Spinotti, to lens a and others. For the shoot, both Mann and Crowley drama set in the ’30s while not making it seem as if kept a close eye out for period structures and streets it’s a period piece. The director explains: “What I try that could be transformed into 1933–’34. to do in Public Enemies is avoid anything that feels In the cases of Oshkosh and Columbus, filming like the convention of a nostalgic filter, of making took on a more expansive approach; complete blocks things looking old. If you’re alive on Tuesday of downtown areas were redressed for the shoot. All morning of March 17, 1934, things are very imme- of the work was accomplished with the cooperation diate; they’re right in your face. It’s a cold, rainy day, of the respective cities’ managers and property and it’s in Chicago and it’s in color. It seems to be very owners. While the filming schedule was much longer in these locales, potential logistical problems were kept to a minimum. The production designer elaborates: “Dillinger raided banks in small towns, so we needed some small places that hadn’t been modernized or had big chain stores that would be hard to take out. Columbus is very proud of its historic downtown area, and we turned the clock back on it. That meant everything: cobblestones, traffic lights, signage and facades. “We had 30-odd stores to deal with in Columbus, so we were really looking for a place that was willing to help and wanted us there,” Crowley adds. Similarly, an elaborate bank heist was staged both inside and outside of a building in Oshkosh. Because the scene involved a getaway, several storefronts were dressed accordingly. Purvis and his agents move in on Dillinger at the Biograph Theater.
– 25 – Director MICHAEL MANN and JOHNNY DEPP as John Dillinger on the set of Public Enemies. vibrant, and not a lot has changed. That took me to actors have to look properly correct when they end up imagining being right there and then.” in their close-up, which is recorded by a camera on the While in Chicago (and throughout the course of close-up while another camera is getting the reverse production) Spinotti and Mann used multiple HD close-up on the other actor or actress.” cameras for almost every scene they shot. This equip- ment included four of Sony’s new HDC-F23s and the XDCAM-EX1s. DP Spinotti offers: “There’s a combi- THE ARM OF THE LAW: nation of a handheld, very close approach to the faces Training for the Film of the actors, all shot with long lenses. But in the same setup, we really captured at least one side of the scene. “I am afraid our ‘type’ cannot get the job done. That offers a real-time immediacy and a sense of Without qualified help, I would have to resign this witnessing whatever is happening, which was a very appointment. I am leading my men to slaughter.” important part of the way we shot this film.” —Melvin Purvis This sense of immediacy extended to their thoughts on lighting scenes; it was just as important to light the One of the key elements to maintaining accuracy for environment as it was the specific actors. Spinotti elab- Public Enemies was the ongoing cooperation of the FBI orates: “We always kept in mind an extreme realism of during production. From BETSY GLICK, based in the the situation. We wanted to represent, in an aggressive, national headquarters, to agents DALE SHELTON and real way, what the time was and what the scene is. So, ROYDEN R. RICE from the Chicago bureau, the FBI we lit the whole scene, but we rarely lit the shot. The was instrumental in the making of the film. The bureau
– 26 – helped in documenting many of the facts of the Dillinger tional bull’s-eye-type stance, more of a target-shooter- case, as well as other activities, such as supplying period type stance. That, as all tactics have, has evolved over furniture and file cabinets for an FBI set. the years.” Weapons expert Shelton met Mann and members of Misher was duly impressed that Dillinger’s crew the crew when they came to the FBI’s Chicago bureau was able to maneuver so easily with such heavy for a tour of the weapons vault. The agent was on the set weaponry. For this production, he knew the actors almost daily to ensure the integrity of the FBI-related playing these roles had a tough road ahead of them to scenes, as well as to work with the production’s armorers make the gunfights look realistic. He explains: “If on the period firearms. Mann also cast him as an FBI you look at the guns that Dillinger and his gang were agent in a number of scenes. carrying around, these Tommy guns with big drums, According to the agent: “From the accounts I’ve read, they were very heavy. Some were about 80, 90 Hoover’s ideal definition of an agent would be someone pounds. And they’re holding onto the sideboards of who was clean-cut, physically fit and able to shoot straight cars while they’re hightailing it out of town after when they needed to. They were also able to work long robbing a bank.” hours and have interpersonal skills so they could interview Depp proved to be a quick study during pre- people to get information that was needed.” production. “For the most part, I was carrying a 1921 With tactics and weapons advisor MICK Thompson submachine gun and a couple of .45s in GOULD, Mann had the actors portraying FBI agents the film,” the actor provides. “I had a lot of prepara- and gang members training in firearm handling, tion. I’ve been shooting guns since I was about 5 or 6, period-car driving and other relevant activities. The so I had a pretty strong advantage in that area. performers’ roles were very physical and included Primarily, I was firing the Thompson and a couple of much running, scaling of bank desks and carrying of .45s.” He coyly adds, “When you’ve got a beast like heavy, unwieldy firearms. that strapped to you and you’re emptying magazines, While Depp and Bale had previously trained in the a 50-round drum, it’s a good feeling.” use of weaponry for other films, they soon realized that the shooting techniques needed for Public Enemies differed drasti- cally. Explains agent Shelton: “During that time period, when you were shooting with a handgun, you would use one hand only. It wasn’t even thought of to use two hands. That didn’t occur until the 1940s, when it was decided that it was a much more stable shooting platform to use two hands instead of one. In addi- tion, your stance was completely different. It was more of a tradi- CHRISTIAN BALE as Special Agent Melvin Purvis and director MICHAEL MANN on set.
– 27 – JOHNNY DEPP as John Dillinger and director MICHAEL MANN on set.
Bale also received solid information from the HAIR & MAKEUP, COSTUMES authorities about what his character would and AND CAR DESIGN wouldn’t do. He says, “My experience with the FBI guys included a fascinating day going around “Create informants, Agent Purvis. Suspects are to Quantico with Michael and seeing many of the be interrogated ‘vigorously.’ Grilled. No obsolete notions actual weapons used in incidents with Dillinger. We of sentimentality. We are in the modern age, and we picked their brains and discussed modern practices are making history. Take direct, expedient action. As versus the olden days and what they knew of Purvis. they say in Italy these days... They gave us incredible help during filming in ‘Take off the white gloves.’” Chicago, and some actually dressed up to play char- acters in the movie.” —J. Edgar Hoover He was not, however, the only one who received an education about Dillinger and his archrival. “I Other production departments that helped to re- found that we were actually telling them a lot of infor- create the environment of the 1930s were hair and mation about Purvis,” Bale adds. “In their FBI makeup, costumes and picture cars. These aesthetics records, so much of his history had just been erased.” were particularly important to Mann, as he wanted to underscore how Dillinger left prison after almost a decade in a gray existence behind bars and entered another world. When he arrived in Chicago, the gang-
– 28 – ster found a life that was impossibly colorful and offers: “Dillinger had an intoxication with life that he inviting. He wanted everything. Now. had been denied in prison, and he had to have every- “The circumstances were so elevated, compared thing…right now. He was sophisticated. He had a to what Dillinger had just come from,” offers Mann. sense of what was current, in terms of wardrobe and “His existence, the conditions, were so rough and the dress, in manners of speaking. We know this because authoritative administration officials were so brutal. of photos from the period and letters he wrote to his To be on the street in ’33 and suddenly have clothes nieces and sister.” and cars, and living life at all, it would seem crazy. He Two-time Oscar®-winning costume designer was having such a good time today, why even worry Colleen Atwood was charged with creating looks for about tomorrow?” the large cast—from Dillinger’s dapper suits and Frechette’s intricate costumes to Purvis’ perfectly HAIR & MAKEUP AND COSTUMES tailored wear. Due to the devastating economy of the Great Depp offers of his experience working with the Depression, the period hairstyles were more about industry legend: “Colleen Atwood is someone whom necessity than fashion. EMANUEL MILLAR, the I’ve had the pleasure to work with on and off for the hair department head, relates of the era: “People last 20 years, and she’s just a complete wizard. She’s were giving haircuts in Central Park, five cents for just amazing. With any character you have a very a shave and a haircut. A man just wanted to clean strong idea of who it is, especially with someone like up the back of his head around his ears, put on his John Dillinger. With Colleen, you don’t have to say a hat and go. They weren’t really thinking about word; you walk into a room, and she’s already got you moustaches and beards. In the ’30s, you didn’t see a decked out.” lot of facial hair. People just wanted to cut and go.” Marion Cotillard shares of Billie’s look imagined Still, Depp used a variety of physical enhance- by Atwood: “When you see pictures of her, the way ments to help his performance, including a razor cut her hair is done, you realize Billie was simple. She in the back of his head and an occasional moustache had a taste for being pretty, of course, but we found to mirror the one Dillinger sported. her clothes with simplicity, something beautiful…not Fortunately, the production had images of Billie too poor, not too rich.” Frechette from which to imagine Cotillard’s signature look. JANE GALLI, the makeup department head PICTURE CARS who also worked on the actress’ transformation, Some of the most stunning visuals in the film notes, “Because Billie was a hatcheck girl, we’ve include the period automobiles. Picture car coordinator given her period makeup without making her look BLAINE CURRIER and his captain, HOWARD glamorous. But back then, the women always did BACHRACH, conducted an elaborate search for cars in their nails, eyebrows and lips, no matter what.” Galli the Midwest (and around the nation) that could be used adds that red was a big color for both nails and lips at for the production. the time, but interestingly, kissing went out of style. Currier explains that Public Enemies ended up Lipstick was quite expensive, and women didn’t want with more than 20 hero cars that were featured promi- it to come off. nently, while between 1,000 and 1,500 other vehicles Dillinger was anything but plain, and his taste for were used in the background. Though a lot of period the finer things in life extended to his wardrobe. Mann cars were square in shape, another style would have to
– 29 – do. “Michael Mann loves the rounded, curve style Universal Pictures presents—in association with that was used from 1933 to ’35,” says Currier. Relativity Media—A Forward Pass/Misher Films The engines in the automobiles were in transition, production—in association with Tribeca Productions and that allowed Dillinger to make more than one and Appian Way—A Michael Mann Film: Johnny famous getaway. Currier explains: “The V8 Flathead Depp in Public Enemies, starring Christian Bale, engine, which came out in 1932, was made famous in Marion Cotillard, Billy Crudup, Stephen Dorff, 1933 by two gangsters: Clyde Barrow and John Stephen Lang. The music is composed by Elliot Dillinger. Both of them wrote letters to Ford Goldenthal; the music supervisors are Bob Badami expressing their love of the car. Whenever they could and Kathy Nelson. The costume designer is Colleen use them for getaways, they could outrun the cops and Atwood; the co-producers are Bryan H. Carroll, everyone else.” Gusmano Cesaretti and Kevin de la Noy. Public Not everyone was fortunate enough to get to drive Enemies is edited by Paul Rubell, ACE, and Jeffrey them. Offers Bale: “The FBI didn’t have many cars Ford, ACE; the production designer is Nathan because they didn’t have the manpower to get them Crowley. The director of photography is Dante for all the men. Often, they had to ask people to Spinotti, ASC, AIC; the action-thriller is based on borrow their cars. It’s just ridiculous the situations the book by Bryan Burrough. The film’s executive that these men were in and the problems they had to producer is G. Mac Brown. Public Enemies is overcome. When they were driving to Little Bohemia, produced by Kevin Misher and Michael Mann. The two of the cars broke down. They had to get the other screenplay is by Ronan Bennett and Michael Mann & agents to jump on the running boards in the middle of Ann Biderman. The film is directed by Michael Mann. the freezing night. They were barely clinging on, and © 2009 Universal Studios. www.publicenemies.net their fingers were frozen by the time they arrived.” The public’s fascination with this general era, and John Dillinger in particular, has not waned over the past several decades, as documentaries, news pro- grams and myths continued to emerge. Throughout the nation, people can still satisfy their appetite for the public enemies of the 1930s by seeing actual Dillinger automobiles on display, as well as other more macabre items of the times.
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– 30 – Depp’s other screen credits include David ABOUT THE CAST Koepp’s Secret Window, Robert Rodriguez’s Once Upon a Time in Mexico, Albert and Allen Hughes’ JOHNNY DEPP (John Dillinger) most recently From Hell, Ted Demme’s Blow, Lasse Hallström’s received his third Academy Award® nomination for romantic comedy Chocolat, Julian Schnabel’s Tim Burton’s Sweeney Todd: The Demon Barber of Fleet Before Night Falls, Sally Potter’s The Man Who Street, and won a Golden Cried, Tim Burton’s Sleepy Hollow, Roman Globe Award for the role. Polanski’s The Ninth Gate and Terry Gilliam’s As Captain Jack Sparrow, Fear and Loathing in Las Vegas. Depp reprised the role for a Hailed as the best actor of his generation for his third time in Pirates of the performance in Mike Newell’s Donnie Brasco with Al Caribbean: At World’s End, Pacino, Depp has also starred in Jim Jarmusch’s Dead after Pirates of the Caribbean: Man and in Jeremy Leven’s Don Juan DeMarco, in Dead Man’s Chest earned which he starred as a man convinced he is the world’s more than $1 billion, making it greatest lover, opposite actors Marlon Brando and the third largest-grossing Faye Dunaway. movie of all time. He received his first Academy Award® It was his compelling performance in the title role nomination, as well as a Golden Globe Award nomina- of Tim Burton’s Edward Scissorhands that established tion, a British Academy of Film and Television Arts Depp as one of Hollywood’s most sought-after talents (BAFTA) Award nomination and a Screen Actors Guild and earned him a Golden Globe Award nomination Award for his portrayal of Sparrow in Pirates of the for Best Actor. He was honored with another Golden Caribbean: The Curse of the Black Pearl. Globe Award nomination for his work in the offbeat Depp has earned both critical and popular acclaim love story Benny & Joon, directed by Jeremiah S. for his unique work in a variety of memorable feature Chechik. Depp reunited with Burton for the critically films. In 2005, he collaborated with Burton on acclaimed Ed Wood and his performance garnered Charlie and the Chocolate Factory, for which he him yet another Golden Globe Award nomination for received a Golden Globe Award nomination for Best Best Actor. Actor in a Comedy or Musical, and Tim Burton’s Other films inclu Corpse Bride, which received an Academy Award® sse Hallström’s What’s Eating Gilbert Grape, nomination for Best Animated Film in 2006. In 2004, Emir Kusturica’s Arizona Dream and John Badham’s Depp starred opposite John Malkovich and Samantha Nick of Time. Morton in Laurence Dunmore’s The Libertine, as Depp began his career as a musician, joining a 17th-century womanizing poet John Wilmot, the Earl rock group named Kids, which eventually took him to of Rochester. Los Angeles. When the band broke up, he turned to Depp received his second Academy Award® acting and earned his first major acting job in A nomination, as well as a Golden Globe Award nomi- Nightmare on Elm Street. He went on to earn roles in nation, Screen Actors Guild Award nomination and several films including Oliver Stone’s Academy BAFTA nomination for his role as J.M. Barrie in Award®-winning Platoon. Depp then won the role Marc Forster’s Finding Neverland, in which he starred that would prove to be his breakthrough, as under- opposite Kate Winslet and Freddie Highmore. cover detective Tom Hanson on the popular FOX tele-
– 31 – vision show 21 Jump Street. He starred on the series AcademyAward® winner MARION COTILLARD for four seasons before segueing to the big screen in (Billie Frechette) is interna- the lead role of John Waters’ Cry-Baby. tionally renowned for her Depp starred and made his feature directorial unbridled commitment to her debut opposite Marlon Brando in The Brave, a film art, challenging herself with based on the novel by Gregory McDonald. Depp co- each new role. wrote the screenplay with his brother D.P. Depp. In November 2009, Depp will next be seen in Terry Gilliam’s The Cotillard will co-star in Rob Imaginarium of Doctor Parnassus, as The Mad Hatter Marshall’s Nine. Originally in Burton’s Alice in Wonderland and in The Rum created for the stage, the Tony Diary, based on Hunter S. Thompson’s first novel, for Award-winning Nine is a director Bruce Robinson. He also lends his voice to musical adaptation of Federico Fellini’s 81/2. Cotillard Gore Verbinski’s Rango. portrays wife Luisa to Daniel Day-Lewis’Guido, a film director who must find harmony in his relationships Born in Wales, CHRIS- with the many women in his life, including his wife, TIAN BALE (Melvin Purvis) mistress, muse, agent and mother. Additional cast for the grew up in England and the film includes Nicole Kidman, Penélope Cruz, Kate United States. He made his Hudson, Dame Judi Dench and Sophia Loren. film debut in Steven Cotillard recently completed production on Karim Spielberg’s World War II epic Dridi’s The Last Voyage of Lancaster, based on the Empire of the Sun. epistolary novel “The Last Flight of the Lancaster” Bale’s work to date and set in the 1930s. In the film, she portrays a includes Henry V, The Portrait woman who goes on a journey to find her husband of a Lady, The Secret Agent, after his plane disappears in the Sahara. The Last Metroland, Velvet Goldmine, All the Little Animals, Voyage of Lancaster is produced by French produc- American Psycho, Shaft, Captain Corelli’s Mandolin, tion company Gaumont. Reign of Fire, Laurel Canyon, The Machinist, Batman She will soon begin production on Christopher Begins, The New World, The Prestige, Harsh Times, Nolan’s Inception, a contemporary sci-fi action-thriller Rescue Dawn, 3:10 to Yuma, The Dark Knight and set within the architecture of the mind. Cotillard will Terminator Salvation. play opposite Leonardo DiCaprio, co-starring as his Next up, Bale will star in The Fighter, with wife, with a cast that includes Ellen Page, Cillian Mark Wahlberg. Murphy and Joseph Gordon-Levitt. Warner Bros. is set to release the film on July 16, 2010. Recently, Cotillard became the second French actress to win an Oscar®, and the first to win an acting award for a performance in the French language. The praise came for her riveting portrayal of legendary French chanteuse Edith Piaf in the film La Vie en Rose. Of her performance, The New York Times film critic Stephen Holden wrote, “Cotillard gives the most aston-
– 32 – ishing immersion of one performer into the body and and Kate Hudson, and in the acclaimed Waking the soul of another I’ve ever encountered in film.” For her Dead, with Jennifer Connelly. He also starred in role, Cotillard also received a BAFTA for Best Leading Dedication, opposite Mandy Moore, and in Robert Actress, a Golden Globe and a César Award, as well as DeNiro’s The Good Shepherd, alongside Matt Damon a Screen Actors Guild Award nomination. and Angelina Jolie. In 2005, Cotillard received a César Award for her He made his motion picture debut in Barry supporting performance in A Very Long Engagement, Levinson’s Sleepers, opposite Robert DeNiro, Brad Pitt in which she starred opposite Audrey Tautou. and Jason Patric. He was featured in Woody Allen’s Cotillard’s additional credits include the successful Everyone Says I Love You and starred in Pat O’Connor’s French Taxi film series; Ridley Scott’s A Good Year, Inventing the Abbotts. Crudup played the leading role in in which she starred opposite Russell Crowe; Tim the critically acclaimed Without Limits, the story of Burton’s Big Fish, in which she starred opposite legendary long-distance runner Steve Prefontaine. He Ewan McGregor; Love Me If You Dare, in which she also starred in The Hi-Lo Country, with Woody starred opposite Guillaume Canet; and the French Harrelson. For the role, he won the National Board of film Innocence. Review Award for Breakthrough Performance. Born and raised in Paris, Cotillard studied drama Equally successful on the stage and screen, at Conservatoire National Supérieur d’Art Drama- Crudup won a Tony Award for Best Performance by a tique in Orléans. Featured Actor in a Play for his role in the Broadway production of The Coast of Utopia, which opened in BILLY CRUDUP (J. Edgar Hoover) was most October 2006. In 2005, he was seen in Martin recently seen playing Dr. McDonagh’s The Pillowman, for which he received a Manhattan in the smash-hit Tony Award nomination for Best Leading Actor in a adaptation of the graphic Play. Crudup also starred in The Elephant Man at novel “Watchmen,” for direc the Royale Theatre, for which he received a Tony tor Zack Snyder. Award nomination for Best Performance by a Leading Crudup was seen in the Actor in a Play. He made his Broadway debut as third installment of Mission: Septimus Hodge in Tom Stoppard’s Arcadia, directed Impossible, for director J.J. by Trevor Nunn, for which he won several awards, Abrams, and Trust the Man, including the Outer Critics Circle Award for with Julianne Moore. He Outstanding Debut of an Actor and a Theatre World starred in Columbia Pictures’ comic-fantasy Big Fish, Award. He was also honored with the Clarence for director Tim Burton. He also starred in Charlotte Derwent Award from the Actors’ Equity Association Gray, opposite Cate Blanchett, and World Traveler, for Outstanding Broadway Debut. with Julianne Moore. Prior to that, Crudup starred in Crudup has appeared on Broadway in William the critically acclaimed Jesus’Son, opposite Samantha Inge’s Bus Stop and in the Roundabout Theatre’s Morton, Holly Hunter and Denis Leary, which earned production of Three Sisters, which earned him a him a Best Actor Award from the Paris Film Festival Drama Desk Award nomination. and an Independent Spirit Award nomination. He was Crudup also appeared in Oedipus, with Frances also seen in Cameron Crowe’s Academy Award®- McDormand, starred in the New York Shakespeare winning Almost Famous, with Frances McDormand Festival production of Measure for Measure at the
– 33 – Delacorte Theatre in Central Park and starred in the His additional credits include Entropy and Blood off-Broadway run of The Resistible Rise of Arturo Ui, and Wine, with Jack Nicholson, and he starred oppo- opposite Al Pacino and Steve Buscemi. site Harvey Keitel in City of Industry. Dorff starred as Crudup received his master of fine arts from New the fifth Beatle, Stuart Sutcliffe, in Iain Softley’s York University and also attended the University of Backbeat and as the notorious Candy Darling in I North Carolina at Chapel Hill. He resides in New Shot Andy Warhol. York City. Chosen from more than 2,000 young men from around the world, Dorff auditioned and won the coveted STEPHEN DORFF (Homer Van Meter) is one of role of P.K. Newborn in John G. Avildsen’s The Power the most respected actors in of One in 1992. For his performance, he was awarded Hollywood, having worked the ShoWest Male Star of Tomorrow Award from the with some of the most promi- National Association of Theatre Owners. nent directors in the business. Dorff is currently shooting STEPHEN LANG (Charles Winstead), a veteran the Focus Features drama actor of great distinction, is Somewhere, written and equally at home on stage and directed by Sofia Coppola. screen. His many Broadway Set at the historic Chateau appearances include an Marmont, the film centers on acclaimed performance as the a bad-boy actor (Dorff) who is forced to examine his original Col. Nathan Jessup life when his 11-year-old daughter pays him an unex- in A Few Good Men; Death of pected visit. He is also shooting the Sony Pictures a Salesman, with Dustin comedy Born to Be a Star, starring as Dick Shadow, a Hoffman; The Speed of Dark- legendary porn star, opposite Christina Ricci. ness; John Patrick Shanley’s Produced by Adam Sandler, the story is about a boy Defiance; and the title role in Hamlet at the who finds out his parents were porn stars. Roundabout Theatre Company. Dorff can also be seen in the upcoming inde- Lang’s multiple nominations and awards include pendent feature Black Water Transit for director Tony the Lucille Lortel Award, the Jeff Award, the Helen Kaye. Based on the novel, the film follows the diver- Hayes Award, the Outer Critics Circle Award, the gent agendas of criminals, cops and lawyers as they Drama Desk Award and the Tony Award. His solo collide over a shipment of illegal firearms and a play, Beyond Glory, has had sold-out engagements in double homicide. Washington, D.C., Chicago and New York City and Dorff recently starred in the feature film Felon, has toured all over the globe for thousands of which he produced. Other credits include Oliver American troops. For Beyond Glory, Lang received Stone’s World Trade Center; Lee Daniels’ the Chairman’s Medal for Distinguished Service from Shadowboxer; the Disney thriller Cold Creek Manor, the National Endowment for the Arts. directed by Mike Figgis; Scott Kalvert’s street-gang His work on the screen includes leading roles in drama Deuces Wild; and the John Waters comedy Last Exit to Brooklyn, Tombstone and Gettysburg and Cecil B. DeMented. Dorff won an MTV Movie Award a MovieGuide Grace Award-winning performance as for his role as the villain in Blade. Lt. Gen. Thomas “Stonewall” Jackson in Gods and
– 34 – Generals. Recent projects include the Grant Heslov feature The Men Who Stare at Goats as well as the ABOUT THE FILMMAKERS role of Colonel Quaritch in James Cameron’s highly anticipated sci-fi epic Avatar. MICHAEL MANN (Directed, Co-Written and Lang previously worked with Michael Mann on Produced by) has earned Manhunter and was a series regular on Mann’s classic numerous honors for his work television series Crime Story. as a director, writer and producer, including four Academy Award® nomina- tions for The Insider and for producing The Aviator. A Chicago native, Mann is recognized for his ground- breaking and cinematically captivating dramas, including Thief, Manhunter, The Last of the Mohicans, Heat, The Insider, Ali, Collateral and Miami Vice. In the mid-1970s, Mann began a career as a televi- sion writer, and worked on Police Story, the first episodes of Starsky and Hutch and the series Vega $ , which he created. In 1979, he directed and co-wrote his first dramatic movie-of-the-week, The Jericho Mile, which starred Peter Strauss. It garnered four Emmy Awards and a Directors Guild Award for Outstanding Directorial Achievement in Movies for Television. In 1981, Mann made his theatrical film debut with Thief, a crime story that starred James Caan, Tuesday Weld, Willie Nelson and James Belushi, and was nomi- nated for the Palme d’Or Award at the Cannes Film Festival. In 1983, he followed that film with The Keep, which starred Gabriel Byrne, Scott Glenn and Ian McKellen. In 1986, he directed Manhunter, based on the first of Thomas Harris’ Hannibal Lecter books, “Red Dragon,” and featuring William Petersen, Joan Allen and Brian Cox as Lecter. Throughout the 1980s, Mann continued to work in television with the revolutionary series Miami Vice and the acclaimed Chicago and Las Vegas drama Crime Story, which starred Dennis Farina. In addi- tion, he produced the 1990 Emmy Award-winning
– 35 – miniseries Drug Wars: The Camarena Story and the More recently, Mann wrote, produced and directed 1992 Emmy Award-nominated sequel Drug Wars: The the big-screen version of Miami Vice, which starred Cocaine Cartel. Colin Farrell, Jamie Foxx, Chinese actress Gong Li and In 1992, Mann directed, co-wrote and produced Naomie Harris. He also produced The Kingdom, The Last of the Mohicans, which starred Daniel Day- directed by Peter Berg and starring Jamie Foxx, Jennifer Lewis and Madeleine Stowe. He next directed the Garner and Jason Bateman. In 2008, Mann was a 1995 film Heat from his original screenplay. The film producer on Hancock, also directed by Berg, starring depicted the taut relationship between an obsessive Will Smith, Charlize Theron and Jason Bateman. detective (Al Pacino) and a professional thief (Robert DeNiro) and also starred Jon Voight, Val Kilmer, Tom RONAN BENNETT (Screenplay by) was brought Sizemore, Ashley Judd and Amy Brenneman, the up in Belfast, Ireland, and now lives in London. latter two having their first major roles in the film. Bennett’s film credits include Face (1997), which In 1999, Mann earned Oscar® nominations for starred Robert Carlyle and Ray Winstone; Lucky co-writing, directing and producing The Insider, Break (2001), a prison escape comedy directed by which starred Russell Crowe and Al Pacino. Based Peter Cattaneo; and The Hamburg Cell (2004), on Marie Brenner’s Vanity Fair article, the film tells directed by Antonia Bird, about the men who planned the true story of Jeffrey Wigand, a tobacco-industry and carried out the 9/11 attacks. executive who blew the whistle on the tobacco His television debut was Love Lies Bleeding industry, and 60 Minutes producer Lowell Bergman’s (1993), directed by Michael Winterbottom and which conflict with CBS. starred Mark Rylance. This was followed by A Man In 2001, Mann took audiences into the heart and You Don’t Meet Every Day (1994), Rebel Heart struggles of Muhammad Ali in Ali, which starred Will (2001) and the eco-thriller Fields of Gold (2002). Smith and Jon Voight, both of whom received Oscar® He wrote all eight episodes of the landmark BBC nominations for their performances. In 2002, Mann series 10 Days to War, which starred Kenneth Branagh, produced Robbery Homicide Division for CBS, Stephen Rea, Toby Jones, Harriet Walter, Art Malik and which starred Tom Sizemore. Juliet Stevenson, and was broadcast in March 2008 to In 2004, Mann directed Collateral, which mark the fifth anniversary of the invasion of Iraq. starred Tom Cruise and Academy Award® winner Bennett is the author of five novels, including the Jamie Foxx. Mann earned numerous awards and hugely acclaimed “The Catastrophist” (1998, short- nominations for this film, including the David Lean listed for the Whitbread Novel Award and the Award for Best Achievement in Direction at the International IMPAC Dublin Literary Award) and 2004 BAFTAs. “Havoc, in Its Third Year” (2005, winner of the Hughes Also in 2004, Mann produced the Howard & Hughes Irish Novel of the Year, long-listed for the Hughes biopic The Aviator, directed by Martin Man Booker Prize and short-listed for the International Scorsese and starring Leonardo DiCaprio and Cate IMPAC Dublin Literary Award). His latest novel, Blanchett. This film led the 2005 Academy Awards® “Zugzwang” (2007), was serialized for 30 weeks in The contenders with 11 Oscar® nominations, including Observer in 2006 and has just been published in paper- Best Picture. Blanchett won an Oscar® for Best back (Bloomsbury USA). It was short-listed for the Performance by an Actress in a Supporting Role for Hughes & Hughes Irish Book Award in 2008 and has her portrayal of Katharine Hepburn. been translated into 14 languages.
– 36 – He has written short stories and plays for BBC radio, Misher’s next film Swingles, starring Cameron and his memoir “Fire and Rain” (BBC Radio 4, 1994) Diaz, will be directed by Zach Braff and released by won The Gold Award from the Sony Radio Academy. He Paramount Pictures. He has a number of projects in has been a regular contributor to The Guardian, The active development, including an adaptation of Frank Observer, The Independent on Sunday, London Review Herbert’s “Dune,” to be directed by Peter Berg; It’s of Books, Los Angeles Times, New Statesman and many Kind of a Funny Story, to be directed by Ryan Fleck other publications, writing on topics as various as the (Half Nelson); The Day I Turned Uncool, starring peace process in Ireland, the imprisonment of children Adam Sandler; and The Last Duel, to be directed by in modern Britain, the wars in Iraq and Afghanistan, the Martin Scorsese. contemporary novel, chess and food. Misher, born and raised in Queens, New York, Among the projects Bennett has in development earned a degree in economics from the Wharton are Darkness at Noon, an adaptation of Arthur School of the University of Pennsylvania. His first Koestler’s famous novel for Portobello Pictures/UK job in the entertainment industry was at HBO in New Film Council; Prince of the Marshes (working title) York, where he served as a financial analyst for then- for Canal +/Plan B Films; Cherub: The Recruit, an CEO Michael Fuchs. He soon relocated to Los adaptation of the best-selling young adult novel for Angeles and landed at the international talent agency Sarah Radclyffe Productions/BBC Films/HanWay ICM, initially as a mail clerk and then as an agent’s Films and to be directed by Chris Smith; Reading in assistant. His talent for identifying possible film proj- the Dark, an adaptation of the 1996 Man Booker ects, apparent even then, convinced legendary execu- Prize short-listed novel by Seamus Deane, to be tive Mike Medavoy to hire Misher as a creative directed by Tom Collins; Top Boy, a feature-length executive at Tri-Star Pictures. film for Portobello Pictures/BBC Films set in Misher ascended the ranks quickly and, during his contemporary Hackney (Greater London); and A six years at the studio, oversaw numerous productions, Most Wanted Man, an adaptation of John le Carré’s including Donnie Brasco, which was directed by Mike novel, produced by Simon Channing Williams. Newell and starred Al Pacino and Johnny Depp. In 1996, Misher moved to Universal Pictures, ANN BIDERMAN (Screenplay by) is an Emmy where he became president of production at age 33. Award-winning writer of episodic television and During his tenure, while Universal enjoyed unprece- motion picture screenplays. She won an Emmy Award dented success, Misher supervised production of for her work on NYPD Blue and is the creator and some of the studio’s most successful features. These executive producer of NBC’s Southland. included Out of Sight and Erin Brockovich, as well as Biderman’s feature film credits are Smilla’s Sense four that remain among that studio’s most profitable of Snow, which starred Gabriel Byrne and Julia and continuing franchises: the series of films Ormond; Primal Fear, which starred Richard Gere spawned by The Mummy, Meet the Parents, The Fast and Edward Norton; and Copycat, which starred and the Furious and The Bourne Identity. Sigourney Weaver and Holly Hunter. Misher left Universal in 2001 to form Misher Films. His first project was the hit follow-up to The KEVIN MISHER (Produced by) develops and Mummy franchise, The Scorpion King. His subse- produces motion pictures via his Los Angeles-based quent production for Universal was The Rundown, production company Misher Films. which starred Dwayne “The Rock” Johnson, Seann
– 37 – William Scott and Christopher Walken. Next, he Nabisco” (co-authored with John Helyar) and, most produced the political thriller The Interpreter, recently, “The Big Rich: The Rise and Fall of the directed by Sydney Pollack and which starred Nicole Greatest Texas Oil Fortunes.” Kidman and Sean Penn, and Fighting, which starred Burrough is a three-time winner of the prestigious Channing Tatum and Terrence Howard. His next Gerald Loeb Award for Distinguished Business and release will be Case 39, a suspenseful horror film Financial Journalism. starring Renée Zellweger for Paramount. DANTE SPINOTTI, ASC, AIC (Director of G. MAC BROWN (Executive Producer) has had a Photography) has been nominated for two Academy long and distinguished career in film production. Based Awards® for his work on Michael Mann’s The Insider in New York City, he has worked for more than 30 years and Curtis Hanson’s L.A. Confidential. producing some of New York’s finest films, such as Spinotti was born in Tolmezzo, Udine, in the Last Exit to Brooklyn (Uli Edel), Light Sleeper (Paul northeastern Italian region of Friuli. He began his Schrader), Scent of a Woman (Martin Brest), In & Out career at RAI (Italian television) and, prior to that, (Frank Oz) and You’ve Got Mail (Nora Ephron). He has spent one year in Kenya as a cameraman and assistant enjoyed relationships with creative forces Warren to his uncle. Beatty, Steve Kloves, Beeban Kidron, Sidney Lumet, In 1985, producer Dino Lasse Hallström and James Toback. urentiis offered him a chance to work in the In the last few years, Brown has continued to team United States for the first time, with Mann on the up with some of the best directors of our time. He feature film Manhunter. He also worked with Mann produced Adrian Lyne’s Unfaithful and executive on The Last of the Mohicans and Heat. produced Sydney Pollack’s The Interpreter and Among his extensive film credits are Flash of Martin Scorsese’s multiple award-winning The Genius, Deception, X-Men: The Last Stand, Pinocchio, Departed. Brown then went “down under” to produce Red Dragon, Bandits, The Family Man, Wonder Boys, Baz Luhrmann’s epic Australia. The Quick and the Dead, Nell and several others. Brown is currently producing Sofia Coppola’s Spinotti had also garnered numerous television new film Somewhere, due for release in early 2010. credits in Italy and has worked on hundreds of commercials both in Italy and in the United States. BRYAN BURROUGH (Based on the Book by) is considered one of the nation’s leading journalists. A NATHAN CROWLEY (Production Designer) is special correspondent at Vanity Fair for the last 17 a two-time Academy Award®-nominated production years and formerly a reporter at The Wall Street designer, most recently recognized for his stunning Journal, Burrough has earned a reputation for achievement constructing Gotham City for the block- infusing his writing with a sense of mystery, humor buster The Dark Knight. Having previously re- and humanity. He has written on a wide variety of designed the Batmobile with director Christopher subjects, from Hollywood to NASA and from murder Nolan on Batman Begins, Crowley embraced the new mysteries in Israel to tracing the Bush Adminis- film’s challenges by creating and inventing the high- tration’s path to war in Iraq. powered, two-wheeled Batpod to thrilling use. He has written five books, including the No. 1 Descending from a line of architects, Crowley best seller “Barbarians at the Gate: The Fall of RJR studied the discipline at Brighton Polytechnic in
– 38 – England before moving to the U.S. to embark on his S1m0ne, xXx, The Cell, Blade, The Island of Dr. Moreau, film career. Excited by the prospects of bringing Ruby Cairo, The Stone Boy and The Final Terror. worlds to life, Crowley designed the sets for Steven Rubell has extensive television movie credits and Spielberg’s Hook and John Carpenter’s Escape From was nominated for Emmy Awards for Andersonville and L.A. before moving up to art director on such films as My Name Is Bill W., which he shared with John Wright. Braveheart and Mission: Impossible II. Insomnia marked Crowley’s first collaboration JEFFREY FORD, ACE (Edited by) was born in with Nolan as production designer, which was Novato, California, and attended the University of followed by Batman Begins, the hugely successful Southern California School of Cinema-Television. relaunch of the iconic Batman franchise. The duo He began his filmmaking career in 1994, working reteamed on The Prestige, which garnered as an editorial assistant on James Gray’s debut feature Crowley his second Academy Award® nomination, film, Little Odessa. He went on to work as an assis- to go along with the second of his three Art tant editor on several feature films, including the Directors Guild award nominations. A veritable Academy Award®-nominated As Good as It Gets for genius with using practical locations, he was able editor Richard Marks and director James L. Brooks. to transform the streets of Los Angeles into sump- Ford’s first feature as editor was The Yards for tuous Victorian England for the tale of dueling director James Gray, which premiered in competition magicians. For The Lake House, which starred at the Cannes International Film Festival in 2000. He Sandra Bullock, Crowley took the extraordinary edited Teddy Bears’ Picnic for Harry Shearer, One glass structure from sketches to completion in a Hour Photo for Mark Romanek, Hide and Seek for scant 10 weeks, with the titular figure winning an John Polson, The Family Stone for Thomas Bezucha Award of Merit from the Structural Engineers and Street Kings for David Ayer. He also edited Association of Illinois. Shattered Glass and Breach for director Billy Ray. In between films last year, Crowley lent his time Ford lives in Los Angeles with his wife and son. designing the “Superheroes” gala exhibition featured at the famed Metropolitan Museum of Art’s BRYAN H. CARROLL (Co-Producer) began his Costume Institute. career in the editorial department where he contributed to a number of blockbuster films. Most PAUL RUBELL,ACE (Edited by) has been nom- recently, he has been working in a producing capacity. inated for Academy Awards® twice, and both were for For more than a decade, Carroll has maintained a films directed by Michael Mann. In 2000, he shared close working connection with Michael Mann that his nomination for The Insider with William began on Ali, on which he served as associate pro- Goldenberg and David Rosenbloom, and in 2005, he ducer. That relationship continues today, and Carroll’s shared his nomination for Collateral with Jim Miller. co-producing credits include Mann’s Miami Vice and Most recently, Rubell edited the feature films the director’s television series Robbery Homicide Hancock, which starred Will Smith, and Transformers, Division. He has performed second-unit director which starred Shia LaBeouf and Megan Fox. He duties on Public Enemies and Collateral. recently edited Transformers: Revenge of the Fallen. In 2007, Carroll served as executive producer of Other film credits include Miami Vice, The Island, the documentary Skid Row and associate producer of Peter Pan, The League of Extraordinary Gentlemen, the feature film Redline.
– 39 – Early in his career, Carroll worked as the visual effects World War II drama Saving Private Ryan, on which editor on Titanic and as an editor on Major League: Back he served as the associate producer. In addition, he to the Minors and The Phantom. As an assistant editor, has been the unit production manager on such hits as Carroll’s numerous credits include Predator, Die Hard, Ali, Titanic, Braveheart, Mission: Impossible and Free Willy, Mr. Holland’s Opus, Coyote Ugly, City Mission: Impossible II. His film work also includes Slickers and The Haunting, to name a few. serving as the production supervisor on The Power of Carroll is a recognized expert in the technical aspects One and as the location manager on such films as The of filmmaking, and focuses on the use of cutting-edge Ghost and the Darkness, Black Beauty, The Secret technologies and tools in creative storytelling. Garden and 1492: Conquest of Paradise. De La Noy has also worked as an assistant director on a wide For more than 25 years, GUSMANO CESARETTI range of features and is currently producing Warner (Co-Producer) has worked on a variety of projects with Bros.’ Clash of the Titans. Michael Mann as well as other top directors. Cesaretti has worked as a producer, second unit director, visual COLLEEN ATWOOD (Costume Designer) has consultant and still photographer throughout the course been the recipient of numerous awards from around of his career. the world, including two Academy Awards®, an Some of his film credits include Miami Vice and Emmy Award and a BAFTA. Sueño as a co-producer; Collateral, Ali, The Insider Atwood’s film credits include the upcoming films and Heat as associate producer; The Last of the The Rum Diary, Nine and Tim Burton’s Alice in Mohicans and Manhunter as second unit director; and Wonderland. Previous films include Sweeney Todd: The Thief as special photographer. Cesaretti worked with Demon Barber of Fleet Street, Mission: Impossible III, director Tony Scott on Domino and recently worked Lemony Snicket’s A Series of Unfortunate Events, Big with director Marc Forster on Quantum of Solace. Fish, Planet of the Apes, The Mexican, Sleepy Hollow, Cesaretti is a native of Italy and has lived in the Mumford, Beloved, Fallen, Gattaca, That Thing You United States since the 1970s. Do!, The Juror, Little Women, Ed Wood, Wyatt Earp, Philadelphia, The Silence of the Lambs, Edward KEVIN DE LA NOY (Co-Producer) most recently Scissorhands, Married to the Mob and numerous others. served as executive producer on Warner Bros.’ Atwood has also had the opportunity to work with blockbuster The Dark Night, which starred Christian such great musicians as Tony Bennett, Sting, My Bale, Heath Ledger, Morgan Freeman and Michael Chemical Romance and Christina Aguilera. She Caine, under the direction of Christopher Nolan. He recently worked with Ringling Bros. and Barnum & also served as executive producer on Blood Bailey Circus. Diamond, which starred Leonardo DiCaprio, Jennifer Connelly and Djimon Hounsou, under the Composer ELLIOT GOLDENTHAL (Music direction of Edward Zwick. He previously collabo- Composed by) creates works for orchestra, theater, rated with Zwick as the unit production manager on opera, ballet and film. He will next score Julie The Last Samurai. Taymor’s film adaptation of The Tempest, which stars De La Noy’s producing credits also include Helen Mirren, Russell Brand and Djimon Hounsou. Richard Donner’s sci-fi thriller Timeline, which he In 2003, he was honored with the Academy co-produced, and Steven Spielberg’s award-winning Award® and a Golden Globe Award for Best Original
– 40 – Score for Frida, which starred Salma Hayek as enig- Emmy Award. To date, Othello has been performed matic Mexican artist Frida Kahlo. A double Oscar® at the Dorothy Chandler Pavilion, The Kennedy nominee that year, Goldenthal also received an Center, Den Norske Opera & Ballett in Oslo and the Oscar® nomination for Best Original Song for Opéra National de Paris in Paris. In October 2009, the “Burn It Blue,” performed by Caetano Veloso. The Joffrey Ballet will showcase Othello in nine score was released on the Decca/UMG label and was performances in Chicago. on Billboard’s World Music and Latin charts for more Goldenthal has composed music for more than a than 40 weeks. Last year, Goldenthal was nominated dozen theatrical productions, including Juan Darién: for his third Grammy Award for co-producing the A Carnival Mass, directed by Taymor and first soundtrack album for Across the Universe, for which produced in 1988. Juan Darién opened the season at he also composed the original score. the Vivian Beaumont Theater at Lincoln Center in In 2006, Goldenthal’s original three-act opera 1996, winning rave reviews, four Drama Desk Awards Grendel, directed by Julie Taymor, premiered at the and five Tony Award nominations, including Best Los Angeles Opera, becoming one of the most Musical and Best Score. successful productions in the opera’s history. It had its Among his many film scores are Heat, Titus, east coast debut as the centerpiece of the Lincoln Batman Forever, A Time to Kill, Drugstore Cowboy, Center Festival in New York and was added to the Alien3 and the Neil Jordan films Interview With the Los Angeles Opera’s permanent repertoire. Golden- Vampire and Michael Collins, receiving Oscar® thal was named one of the two finalists for the 2006 nominations for both. Additionally, he has been nomi- Pulitzer Prize in music for his work on Grendel. nated for two Golden Globe Awards, three Grammy Goldenthal’s large-scale symphonic piece “Fire Awards, two Tony Awards and three Chicago Film Water Paper: A Vietnam Oratorio,” a commemorative Critics Association Awards. In 1998, he received the tribute created for the 20th anniversary of the Vietnam Los Angeles Film Critics Award for Best Original War and commissioned by the Pacific Symphony, was Score for his work on The Butcher Boy. released in April 1996 on Sony Classical Records and featured soloist Yo-Yo Ma. It debuted at the Pacific —public enemies— Symphony and was later performed in critically acclaimed performances at Carnegie Hall and at The Kennedy Center, with Seiji Ozawa conducting the Boston Symphony Orchestra. In 1995, Goldenthal was commissioned by the American Ballet Theatre to create a new three-act ballet of Othello, which debuted at the Metropolitan Opera in May 1997. Othello was co-produced by the ABT in partnership with the San Francisco Ballet and was choreographed by the world-renowned Lar Lubovitch. In June 2003, PBS’ prestigious arts series Great Performances broadcast a two-hour special of Othello filmed with the San Francisco Ballet, and Goldenthal’s original score was nominated for an
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