Media Kit

Contact:

Arnold Pander Producer / Writer

SELFLESS Blueline Productions, LLC

818 SW 3rd 1121, Portland, Ore. 97204 arnoldpander@comcast.net

323-459-5211 www.selflessthemovie.com

www.panderbros.com

Jacob Pander – Director / Writer Arnold Pander – Producer / Writer

“The Pander Bros. are no strangers to edgy media.”

WIRED magazine

“A power duo of creativity.” SOMA magazine

Widely known for their work as critically-

acclaimed comic book creators and

illustrators, filmmakers, and visual artists,

the Pander Bros. are making their feature

film debut with “Selfless.” The provocative

drama was directed by Jacob Pander and

produced by Arnold Pander from their

own original screenplay.

While still in their teens, the Pander Bros.

helped forge the independent comics

revolution with their high-style artwork

that pushed the boundaries of the medium

on such breakout series as GRENDEL:

Devil’s Legacy and Triple X. The

legendary artists behind 65 books to date,

their portfolio includes three graphic

novels, ten series, and 15 stand-alone

issues for such major publishers as

Marvel, DC Comics and Dark Horse.

They’ve also served as the creators and

writers of Batman: City of Light and

Batman: Apocalypse Girl, among others.

The Panders Bros.’ work in film includes

15 music videos (seven of them for Palm Pictures); the concept for Gus Van Sant’s “Runaway” video for

Deee-Lite; the award-winning cult classic, “The Operation”; the feature-length documentary, “Painted

Life”; and a series of shorts.

The sons of prominent Northwest painter Henk Pander, who emigrated to the U.S. from the Netherlands

in the 1960s, and a mother who received her masters degree in fine arts, the brothers were encouraged to

explore their creativity from the time they could hold a crayon. As kids, they were back-stage regulars at

Portland’s landmark Storefront Theater, where their father designed installations and stage sets. By their

preteens, Arnold was consumed with drawing ‘superheroes’ and Jacob, though equally gifted with a pen

and brush, was already plotting out his first movie, inspired by such late night TV serials as “Flash

Gordon.”

Their first 8mm film, “War is Hell,” was directed by Jacob at age 12, and starred Arnold, 10, as an

ambushed soldier. (To his teacher’s horror, Jacob poked holes through the film stock to create the

illusion of gun fire flashes.) Their first 16mm film, “Time Gate,” two years later, found Arnold stranded in

an apocalyptic future. Their first pen-and-paper collaboration, around the same time, was the comic

strip, Gamma World, which ran in their high school newspaper. Their first after-school jobs were in the

Future Dreams comic book store (Arnold) and at a local art house theater (Jacob).

Indeed, it was as a result of Arnold leaving one his drawings behind at Future Dreams, when he quit the

job, that their first big break came only a year out of high school. Popular comic book author Matt

Wagner spotted it and had Comico sign them to create the covers and inside illustrations for his

GRENDEL: Devil’s Legacy series. Overnight, they went from “selling Christmas cards out of our shoulder

bags” to being able to afford a trip to the family homeland when it was over. The 12-issue series set a new

sales record for an independent comic book (on a par with Marvel and DC Comics), merited nominations

for the coveted Eisner and Manning Awards, and scored the industry’s top fans-choice award for the duo.

While working on the 4-issue mini-series,

Ginger Fox, for Comico, the brothers spent

much of the next two years in Amsterdam,

developing their own monumental work,

Triple X, published by Dark Horse Comics in

the mid-1990s.

The futuristic 7-issue series and its 1997

graphic novel were hailed by critics on both

sides of the Atlantic. Among them, Huh

Magazine in the U.K. called Triple X “a global

comic book piece de resistance…It reads like

an illustrated James Bond novel…The

brothers’ previous work inspired a bunch of

well-deserved acclaim, but nothing quite

matches the cinematic scope utilized

throughout XXX. This ain’t your typical

comic. It actively engages the reader in the

story, making it something of an interactive

comic adventure.” Spin magazine labeled it “a

wild agitpop thriller,” and Anodyne declared:

“When it was all said and done, Triple X

challenged people’s perceptions of what comics could be.”

Among other notable projects, the Pander Bros. created the groundbreaking “Secret Broadcast” comic

book/companion audio CD tribute to renegade radio. Designed to function as a soundtrack to its

published counterpart, the album featured tracks from such artists as reggae-rapper Jamal-Ski, DJ and

musician Zeb, hip hop electronica artist Supersoul, and producer/songwriter Mark Pistel. With the Dark

Horse mini-series,

Exquisite Corpse, the

first comic book

designed to be read

in any order, they

were thrust into the

middle of an

international

controversy, when it

was banned in

several countries.

After studying 16mm

filmmaking at the

Northwest Film &

Video Center and

serving as an

apprentice editor on the 35mm feature, “Shadow Play,” Jacob launched his professional career in the

1990s with a series of shorts infused with rebellious humor. Among them, “The Spirit of 76” featured

painter and sculptor Tom Cramer, whose volatile and unpredictable interview style keeps the viewer on

constant edge as the artist probes the meaning and American zeitgeist of the early 1990s ; “Media Hijack”

was a 20-minute visual narrative blending repurchased media images and sound; and “The Other Side of

the Tracks” chronicled a day in the life of three heroin addicts.

Then came the 1995 cult classic, “The Operation” (directed by Jacob, co-written and created with artist

Marne Lucas, and co-produced by Arnold) – which took first place at the New York Underground Film

Festival, 2nd place at the Chicago Underground Film Festival, as well as honors at festivals in Berlin and

Copenhagen. Shot in infrared video, the erotic short was also screened at the London Institute for

Contemporary Art and included in a tour of shorts to Europe and Japan.

Film Threat noted that “The Operation” was “the most unusual, inspiring and crowd-pleasing piece” in

the NY Underground Film Festival, confirmed by Film Threat Video: “Without a doubt, the most

innovative film screened at the Fest was Jacob Pander’s ‘The Operation.’ Although only 10 minutes long,

it had created a huge buzz before its 11:15 screening on Saturday night. So much in fact that we were

forced to witness its debut from the projection room. But it was worth it… Pander never expected the

reaction he has gotten from ‘The Operation,’ but film festivals as mainstream as Toronto’s are asking for

copies.”

Calling it “simultaneously sinister and erotic,” Wired described “The Operation” as “the kind of video that

can rewire your neural net.” And Northwest Film & Video Festival judge Dan Ireland told Willamette

Week: “It’s like a 16mm version of going over Jupiter in ‘2001: A Space Odyssey’!

In 1992, Jacob was hired by

Frontier Records to shoot his

first music video, “Light in

You,” for Dharma Bums, which

received extensive play on

MTV. Among the others, the

brothers conceived, directed

and produced Hitting Birth’s

“Drive On,” the winner of the

Oregon Cascade Award, and

the half-hour concept film,

“Suck it and See,” for Palm

Pictures, which featured such

international electronic artists

as Howie B., Fantastic Plastic

Machine, Spacer, and DJ Miku.

In 2002, Jacob’s “Painted Life” provided a riveting look into the creative process behind his father’s

internationally-celebrated work in still lifes. Filmed over a period of seven years and funded in part by a

grant from the Oregon Arts Commission, the feature-length documentary became an official selection of

the Northwest Film Festival and was screened at Seattle’s prestigious Fry Art Museum.

Long fixtures on Portland’s cultural scene, the brothers co-founded the landmark FUSE Gallery during

the 1990s. Patterned loosely on Andy Warhol’s Factory, the non-profit collective of art studios was a

showcase for eclectic, artist-driven dance, theater, and alternative music and film events. Among them,

Gus Van Sant premiered his short film, “God Bless America,” written by and starring William S.

Burroughs.

As fine artists, they also frequently exhibit at one of the city’s leading venues, the Mark Woolley Gallery.

Jacob has also shown in New York – when a collaborative media installation he produced with noted

experimental filmmaker Steve Doughton, featuring music by acclaimed electronica artist Aphex Twin, was

mounted at the Mary Ann Boesky Gallery in Soho.

The Oregonian

“They are among the best-known and most successful comic book artists in Portland. Since they burst onto the scene in the early ‘80s, fresh out of high school and filled with ideas, the Pander brothers have made their mark on the city’s cultural life. They’ve designed rock posters, opened experimental galleries and teamed with their father, renowned painter Henk Pander, to decorate Tri-Met’s Cultural Bus. But it’s comic books that have won the Panders a loyal audience.”

Willamette Week “Dilettantes usually produce art that's mediocre at best and awful at worst. For

proof, look at Hollywood actors such as Keanu Reeves and Bruce Willis, who

have made lamentable stabs at rock stardom in their spare time. Portland

painters Arnold and Jacob Pander already seemed like notable exceptions; last

year, the brothers delivered a critically-acclaimed graphic novel, Triple X, Jacob

won the 1995 New York Under-ground Film Festival with his short "The

Operation," and they've made visually arresting music videos for now-defunct

bands the Dharma Bums and Hitting Birth. Recently, the Panders successfully

teamed in another guise, as record producers. ‘Secret Broadcast,’ an ode to free

radio, is the first notable compilation of electronic music to come out of

Portland.”

Production Notes

Dylan Gray, a rising young star in the trendy ‘green’ architecture movement, is flying high from winning a prized high-rise commission when he unwittingly plants the seeds of his own destruction during a chance encounter with a deadly stranger. While waiting to board his plane home to Portland, Dylan sketches an unflattering caricature of fellow passenger Wesley Stone to impress an attractive flight attendant. As Dylan soon learns, the stranger he brazenly ridiculed is a master at stealing identities. And he’s just made Dylan Gray his next target…

“Dylan is a symbol to

Wesley of why he can’t

succeed,” says director

Jacob Pander, who with

his brother and frequent

collaborator Arnold, wrote

the screenplay for

“Selfless.” So Wesley sets

out to steal Dylan’s

identity with the attitude,

‘Okay, if I can’t win, if I

can’t make it myself in the

world, then I’m going to

get back to what I know – which is stealing identities. I’m going to basically become this

successful person, instead of trying to do it on my own.”

When Wesley succeeds, adds Arnold, also the film’s producer, “Dylan becomes the hunter trying

to track down this person who is now doing great, because he is basically nobody now. He has to

ask himself, how far will I go to get back my identity?”

At the interior of this

deeply-intense film is a

startling glimpse at how

identity theft can be more

devastating than any

other non-violent crime

on individual victims. The

frightening reality is that

more than 10 million

people in the U.S. alone, according to the Federal Trade Commission, have discovered that their

personal information has been stolen to open fraudulent credit accounts or in some other way

used to commit a crime. Indeed, nearly half of all consumer complaints filed with the FCC each

year are now identity-theft related.

While identity theft is central to the story, the film is also about “self-identity,” says Jacob. “What

if you were Dylan, and you’ve invested everything of yourself into building a phenomenal career

and you’re now being treated like a god? If your identity was stolen, and it destroyed your life and

career, what would happen if your sense of ‘self’ was so wrapped up in your outward identity.

Would you cease to exist?” Arnold adds, “Who would you become?”

For Josh Rengert, the actor who portrays him, “I see Dylan as a creator and a visionary who not

only imagines the grandness of his architectural ideas, but he has assembled an equally-grand

sense of himself.”

Indeed, like many self-obsessed

young professionals today,

Dylan’s ego is fused to his

personal successes, says Jacob.

“We see him as an archetype of

the current zeitgeist. He’s

steeped in art and the creative

world, but he’s ultimately a

selfish go-getter.”

Dylan could easily pass as a

prototype for the so-called

‘Creative Class’ – that sector of

the working population identified by social scientist Dr. Richard Florida as the innovators who are

instrumental to driving today’s global economies.

In fact, the inspiration for Dylan’s appearance and lifestyle came right out of the city’s now-

famous Pearl District, a Soho-like amalgam of converted historic warehouses and sleek new high

rises like the building Dylan lives in. The Pander brothers can still remember the moment the

character popped into focus. “When we were writing the script, a friend of ours invited us to this

gathering of top furniture designers from around the Northwest. So we show up at this place.

Everyone was picking up a vodka tonic and walking around. You see guy after guy with the little

sweater and the short hair and the little black glasses. Everyone is like fully groomed, totally

designed. It was like being in a room full of Dylan’s! So that became sort of this archetype for our

guy.”It’s no coincidence that Portland, Oregon – where the story is set and shot – is not only at

the forefront of ‘green’ cities (even its city buses run on biodiesel fuel), it ranks as a major hub for

the creative class in fields like advertising, architecture, animation and independent filmmaking.

“There’s a definite collective sensibility here behind the laid-back lifestyle and attitude that you

can design your own reality. Dylan lives in a world of his own design.”

Why did they make Dylan an architect? “Because we’re really fascinated with architecture,” says

Arnold. The Pander brothers’ fascination with architecture began with their work illustrating

comic books. Jacob would draw the physical environments, while Arnold focused on the figures.

This system allowed the characters to inhabit a complex and rich world. “We put a lot of attention

into the details and kept a cinematic edge to things. Comics have been a way for us to express our

interest in a variety of themes. Contemporary architecture was the focus of our series, Batman:

City of Light.” Arnold explains.Adds Jacob, “There’s something to be said about the architect as

‘ego’ because they need all these other elements to make their thing happen. It takes years for an

architect’s vision to be realized. The idea of a focused ego lent itself to this high-stakes discipline.”

Jacob remembers being drawn to the film, “The Fountainhead,” based on the Ayn Rand novel

about an uncompromising, visionary architect who struggles to maintain his integrity and

individualism when everyone around him is designing apartment buildings for the masses. “I saw

the film when I was very young and I said “I want to make a movie that looks like that.”

The quality of the cinematography and production design is surprising for an independent film –

yet not for anyone who knows the Pander brothers’ background. Both grew up literally steeped in

the visual arts. Their father, Dutch painter Henk Pander, is a prominent painter whose work is

shown throughout the world. Their mother earned a masters degree in fine art, and nurtured the

siblings’ talents from the time they could hold a crayon. As kids, they were back-stage regulars at

Portland’s landmark Storefront Theater, where their father designed installations and stage sets.

Both grew up obsessed with film, practically living inside local cinemas when they weren’t in

school. Fresh out of high school the duo began their own graphics and illustration partnership

branding their work as, ‘Pander Bros.’

Now, they’re both fine artists with one of the top galleries in Portland – as well as legendary

comic book illustrators and creators.

“Jacob and Arnold have a sweeping knowledge of visual mediums,” says “Selfless”

cinematographer Kevin Fletcher, a regional Emmy Award-winner who received his masters

degree in fine arts from the prestigious School of Visual Arts in New York and has worked with

Gus Van Sant, Miranda July and such corporate clients as National Geographic, Nike, HP and

AOL. “Our first conversations referenced not only movies, but music, photography and fine art.”

Music composer Keith Schreiner’s distinctively dark melodic soundscapes, reminiscent of

Bernard Herman and Tangerine Dream, comprise the foundation of the chilling score for

“Selfless.” Known to his many fans as Auditory Sculpture, Schreiner cut his teeth on a series

of experimental short films by acclaimed director Vance Malone, after spending years scoring

commercials, producing records for a variety of artists (including the cult classic Vasectomy”

remix record for Storm And The Balls), and doing session work for the likes of Sheryl Crow.

Auditory Sculpture has released three albums: “Solitary” (1999), “That Might Be You But This is

Me” (2001), “Merge” (2002), and “Sessions at East” (2006).

The other performers featured on the

soundtrack are…

Storm Large contributes the

haunting vocals to Auditory

Sculpture’s soundtrack for “Selfless.”

Large became an overnight sensation

as one of the 15 contestants featured

on the CBS primetime series,

Rockstar: Supernova, in a fierce

competition to become the lead

vocalist for a newly formed group

with Mötley Crüe drummer Tommy

Lee, former former Metallica bassist

Jason Newsted, and former Guns N'

Roses guitarist Gilby Clarke.

Following her appearances, Large’s

first single, “Ladylike,” premiered at

#5 on the Billboard hot singles chart.

Pink Martini brings its

sophisticated European sound to the

“Selfless” score as the music heard during the celebration party for Dylan Gray, after he secures

the commission for the design of a new sustainable condo high-rise. The brainchild of classically-

trained pianist Thomas M. Lauderdale and vocalist China Forbes, Pink Martini fuses a vast array

of influences spanning Cuban jazz to music hall to film scores, the group honed an exotic sound

which can be heard on their three CDs: “Sympathique,” “Hang on Little Tomato,” and “Hey

Eugene!”

The Dandy Warhols contribute a cool pop sound to the “Selfless” soundtrack with their new

song, “I Dreamt of Yes” from their forthcoming album. Often compared to the psychedelic pop of

the Velvet Underground, the Dandy Warhols have become a worldwide pop-rock sensation with

four albums and a huge following in Europe and Asia. Their wild rise to the top is chronicled in

the documentary, “Dig!”

8FM’s Kenneth James Gibson is a tour de force in the world of electronic music and as one-half

of the cutting-edge house music label, Adjunct, with partner Konstantin Gabbro of Orac records

fame.

A regular on the Los Angeles electronic music scene, I. Read’s down-tempo gems can be heard in

“Selfless” as Dylan Gray’s music of choice.

Synopsis

Dylan Gray, a young architect who’s quickly becoming a national star in the trendy ‘green’ movement, has just made the biggest pitch of his career – to design a hot new environmentally-sustainable condo tower in Seattle. As he waits to board a plane home to Portland, Dylan passes the time sketching an attractive flight attendant across the waiting room.

Meanwhile, a man in a business suit sits down next to him, talking angrily into his phone. Wesley Stone is learning for the first time that he’s been fired. What? Now wait. You’re messing with me, right? Damn, Davis. You gotta be kidding. You don’t even have the decency to tell me this in person. Where’s Erickson? Let me

talk to him... Don’t lie to me. I know damn well he’s there. Listen you creep, I’ve bent over backwards for you longer then I care to remember, and this is what I get?

Dylan receives the call every architect prays for at least once in his career. They went for it? No way! That’s incredible. I couldn't tell if it was going over, but man this is... I mean, wow, this is huge... He couldn’t be more thrilled.

Next to him, Wesley pleads into his cell, Listen, I just wanted to start over... So I fudged a little on my resume... everybody does. If I said I had a record you would’ve never hired me. Come on, let me talk to Erickson. Please... Listen. Listen! That was the past. I’m a totally different person now! No, no, wait! Come on The line goes dead. Shit!... Shit!

Distraught, Wesley turns to Dylan, expecting empathy. People like that, they don’t get it. They really don’t. You know what I mean?

Dylan doesn’t look at Wesley. He just keeps drawing, as Wesley drones on. I mean, we make a few mistakes in life and they never let us forget it! Never! You know?...It’s people like them that keep us hanging on the edge.

Wesley stares at Dylan engrossed in sketching. He stares at Dylan who watches the flight attendant leave, Wesley barks at him abruptly. Hey, I’m talking to you! Startled, Dylan suddenly realizes this stranger means him. Excuse me? he replies. Excuse me, Wesley mimics, glaring at him. Asshole.

Suddenly, Dylan’s cell phone rings. Hey, Dylan here. Hey Kara. Thank you, I just got word. The man stares at him with disgust.

A few minutes later, Dylan settles into a different seating area and pulls out his sketch pad again. As he draws, the same flight attendant he’d been drawing earlier, walks up. She asks to see what he’s working on and he flips through pages of various conceptual building designs. Impressed, she wants to see him draw something funny. How about him? She suggests, pointing at Wesley, who’s back on his phone in another heated conversation.

Reluctantly, Dylan begins drawing an exaggerated – clearly unflattering – caricature of Wesley screaming into his phone. Anne teases him, Oh, that’s mean. As Dylan’s pencil flies around the page, Anne looks up, her face suddenly turning to stone.

Wesley is standing in front of them, demanding to know what Dylan is doing. You’re staring at me like I’m some kind of freak, I can tell. He tells Dylan to give him the drawing. Dylan refuses. So help me, you tear that picture out and give it to me now! Cringing, Dylan reluctantly complies with his demand. Anne giggles, nervously. You think I’m funny? You think this is funny? Making me look like an idiot? I’ll smash your little face in. You got it?

Dylan interrupts. Hey, hey. That is really unnecessary. Look, it’s just a drawing. Okay? It’s nothing personal. Wesley furiously spits out, Nothing personal?! Then why are you drawing me?! Dylan tries to explain. I didn’t mean anything. No offense, okay?

Wesley is seething. Is that what you think I look like? What is wrong with you, man! You’re sittin’ here making fun of me… You know, for a second there, I thought you were okay. But you’re just like them, aren’t you! What makes you think you’re so special, huh? Wesley leans in close, staring into Dylan’s eyes. Who in the hell do you think you are?! Nobody, Dylan replies. That’s right, Wesley confirms. You’re nobody!

Wesley rips up the drawing and throws it at Dylan’s head, hissing: That’s right. Nobody!

Wesley returns to his seat, breathing heavily and glaring in Dylan’s direction. As he zips up his case, Wesley notices the magazine Dylan left behind. Right there on the cover is everything he needs.

As Dylan will soon learn, Wesley Stone is a master at stealing identities. And he’s just made Dylan Gray his next target.

In his self-centered lifestyle, Dylan is too consumed with his own ego-driven ambitions to take notice of the conspiracy that is orchestrated against him. By the time he senses that things are going wrong in his life, the trap catches Dylan in a cruel grip of fate. The only thing that can save

Dylan from Wesley’s deadly agenda is Dylan’s own survival instinct that takes him on a dark journey of self-discovery. A journey where he may be transformed into someone he never thought he could be .

Joshua Rengert Joshua Rengert stars in the Pander Bros.’ “Selfless” in the central role of Dylan Gray, a self-absorbed

rising star in the ‘green’ architecture movement whose identity is stolen after a chance encounter in an

airport lounge with an angry stranger.

Born in Southern California, Rengert grew up in

Claremont near Pomona. His father, a university

professor, was also a musician who played with a

young Paul Williams in the Chancellors. His mother

managed medical and dental offices and worked as a

loan officer. Despite the fact that neither parent had

ever stepped on a stage or in front of a camera,

Rengert remembers that they “always supported me

tremendously.”

He began acting in high school, inspired by what he

calls “the DIY spirit of group creativity: people who

didn't really know each other banding together to see

what happens.The dangerous unknown of creativity

is magical to me.”

Initially, Rengert was planning to study the Greek

Classics and classical guitar in college.. Instead, he

“slipped into linguistics,” ultimately graduating with

a degree from the University of California at Santa

Cruz. Trying to explain the dramatic change of

plans, Rengert says, with a laugh, “I think I just like

the word linguistics. I'm sure there are worse reasons to devote yourself to study. I loved it. Linguistics is

intellectually rigorous, and explores the mysteries of other languages and why and how people are like

they are. For me, it’s so symbiotic with creativity and performance.” In his spare time, however, he “lurked

around the theater department, taking classes and performing in plays.”

Following graduation from college in 1994, Rengert moved to Oregon. He has appeared in national

commercials for Nintendo, Vonage, Wawanesa Insurance, Marquis Spas, and Regent’s Blue Cross, among

others – as well as local spots for the Oregon Lottery. When Rengert isn’t acting, he serves as the head of

catering for one of Portland’s most popular restaurants, Papa Haydn’s.

For his latest passion – filmmaking – Rengert has co-directed and co-edited the documentary, "Breakin'

Bones,” about a Northwest wrestler named Bones Mahoney; written and edited the short film, “One Dog,”

about a young couple troubled by an maligned dog; and edited the short, "Inheritance.”

Mo Gallini Hollywood veteran character actor Mo Gallini co-stars in the Pander Bros.’ “Selfless” as Wesley Stone – a

master at identity theft who destroys Dylan’s career as a rising star in the “green” architecture movement

after a random encounter in an airport lounge.

His expanding portfolio of unforgettable

menacing villains includes supporting roles in the

blockbusters – John Singleton’s “2 Fast 2

Furious” and “End of Days” starring Arnold

Schwarzenegger – as well as the David Lynch

movie, “Mulholland Drive.”

On television, Gallini has appeared as a recurring

character on “24”; in guest-starring roles on such

series as “NCIS: Naval Criminal Investigative

Service” and “Shark”; and co-starring parts in the

television movies, “Father Lefty” and “Babylon 5:

A Call to Arms.”

The son of a Lebanese father and Cuban mother, he was born and raised in Miami, then spent two years at

the University of Florida in Gainesville before following his family to Los Angeles.

Gallini just happened to fall into the profession. “I met a friend of my sister's who was an acting teacher

and started taking classes to see what it was about. It was a very liberating experience!,” he reports. At

the same time, Gallini began to observe how desperate so many people are in L.A. to become a star, “but

aren’t willing to do what it takes – hone their craft.”

At one point, Gallini began to wonder if he had what it takes to make acting a viable career. “Once I said

yes, I dove right in and started to really believe that I could work in this towns.” His first professional

acting job came in the feature film, “Rudy,” when director David Anspaugh cast Gallaini and a friend as

Notre Dame football players. And, soon after, he was playing a tough guy on the hit television series,

“Seinfeld.”

A watershed moment, Gallini recalls, took place on the set of “End of Days.” “On my last day, I was going

to have a fight scene with Arnold Schwarzenegger. On one of the takes, we were rolling around fighting on

the floor and both getting into it – really throwing each other around. When they called ‘cut,’ I got up

from the ground and had this déjà vu moment of being back in my high school weight room 15 years

earlier, facing a poster of Arnold on the wall. And here I was fighting him! How cool!”

As “Selfless” pushes Gallini’s take on his familiar heavy archetype, another recent role allowed him to

explore other facets of his talent. Gallini was cast as a coach who mentors a troubled kid in the

independent feature, “Fuel.” "It was a very, very different role for me, after years of playing the Bad Guy!”

he says with a laugh.

October Moore A graduate of the New Actors Workshop in New York, October Moore spent two years in intensive study

with the conservancy’s three founders – legendary film and stage director Mike Nichols, Second City

founder Paul Sills, and Broadway director George Morrison.

For the Pander Bros.’ “Selfless,” she plays Janine Welles, Dylan Gray’s fiancé who becomes alarmed by the

increasingly-erratic behavior of the young architect after he lands a prized ‘green’ commission.

The daughter of a veteran voice actor and musician,

Moore began studying acting and filmmaking at a

Portland theater workshop at the age of 9. It was while

taking classes in Super-8 and editing at the Northwest

Film Academy that she realized she would never be the

next Spielberg. “I tried, but I can’t write to save my life.

I’m not a cinematographer. I am not a filmmaker in any

sense!,” she says with laugh.

During a course in theater at Portland State University,

however, Moore found her acting voice – literally, as she

would discover later. “Whether it was script analysis or

character work or improvisation, I was just ‘at home,’”

she recalls.

She spent the next couple years working to save enough

money to head to New York. Following a round of

auditions for various schools, she was one of only 60

students invited by the New Actors Workshop to hone her craft under the auspices of their elite faculty.

Among them was the Oscar-winning director Mike Nichols, who at the time was filming “Angels in

America” for HBO. “He was very, very direct. He’d say, ‘If you don’t want to live and breath this, go now.

Don’t be a fool. This is a ridiculous business to try to survive in,” Moore says.

Indeed, as she would discover, making it in New York was going to take possibly years. “I was so naïve

when I moved there! I thought, ‘Somebody just has to see me. I’m a star.’” So Moore finally packed up

and headed back out West, with the intention, surprisingly, of chucking acting entirely.

Instead, she fell into a couple of commercials. It got her thinking about her father’s long and successful

career doing voice-overs. And she decided to ask him to mentor her into the profession. “I said ‘Dad, I

want you to teach me everything you know.’ But it wasn’t like he said, ‘Oh, great! My kid wants to do this!’

He put me through the wringer!’” she chuckles. To continue to refine her technique, she has also taken

workshops and studied with a nationally-recognized coach.

These days, when she’s not acting in independent films or shooting spots for clients like 24 Hour Fitness,

Comcast or Regence Blue Cross, Moore is projecting into a microphone. “The thing about the voice work

that’s so exciting is that I can compete in the national market from anywhere. I do things like malls in

California and banks in Florida. But you’ll also have people reading for Oregon spots who are in, say,

Chicago. It’s not regional-specific anymore!”

Moore’s next move? To Los Angeles. “I feel I’m not only ready, I now live and breathe auditions.”

Jen Hong A trained modern dancer who regularly performs professionally around the Northwest, Jen Hong makes

her feature film debut in “Selfless” in the dual roles of Anne Lau and Yu-ling Lau – Mandarin Chinese

sisters separated at birth.

Like her characters in “Selfless,” Hong’s parents

overcame extreme hardships in their native Taiwan in

order to immigrate to the U.S.. “My parents’ journey is

pretty interesting,” Hong says. “They both trained in

the sciences and attended National Taiwan University,

which is considered the ‘Harvard of Asia.’ My mom was

almost given away because her family was poor and she

was a girl and not a boy. Even more incredible, my

dad’s siblings never finished grade school. So my

parents are still a pretty big deal there.”

After arriving in the states, Hong’s mother obtained a

Master’s degree in Zoology and became a researcher at

the City of Hope cancer research institute in Los

Angeles. Her father ultimately earned a Doctorate in

Chemical Engineering, then a Post-Doc at UC Berkeley.

Hong was born in the Bay Area, before the family

moved to Southern California, when her father joined

the Jet Propulsion Laboratory in Pasadena.

Not surprisingly, Hong would turn out brainy as well, making it possible for her to attend Reed College in

Portland, ranked one of the top ten liberal arts universities in the country. Although she would ultimately

follow her passion for dance, Hong earned a B.A. in Chinese Literature “out of a real desire to understand

my parents and where I come from. They were always pushing me towards math and science, but I was

always interested in art and literature,” she says.

While at Reed, Hong was awarded the prestigious Watson Fellowship, a one year independent study grant

that allowed her to pursue an interest in African-based dance in West Africa and Brazil.

And, while she had little formal training prior to attending Reed, Hong had no problems launching a

dance career. “Pretty much straight out of college, I began working with Keith V. Goodman/Dance

Gatherer,” she says. “I have danced with various choreographers in Portland--Tere Mathern for a number

of years, and Minh Tran the longest. Last fall I performed with Mary Oslund for a show at the U of

Oregon.”

Nonetheless, she says with a laugh, “being a dancer certainly doesn’t pay the bills! I’ve had ‘real’ full-time

jobs and I’ve worked in restaurants. Before acting came along, I thought that being a pastry chef was

perhaps my calling. I was a pastry assistant for Jehnee Rains (a former pastry chef at Alice Waters’ Chez

Panisse) and have actually had desserts I made pictured in Food & Wine magazine.”

CAST

Dylan Gray JOSHUA RENGERT Wesley Stone MO GALLINI Janine Welles OCTOBER MOORE Anne/Yu-Ling Lau JEN HONG Sjef TIM BLOUGH Tessa LAURA DUYN Cory MICHAEL TEUFEL Kara ANNA FRAZIER The Air Marshal C. W. JENSEN Detective Harrison VICTOR MORRIS

Detective Adams SAM CAMPBELL Homicide Captain JERRY CARLTON The Lawyer JEFF GORHAM Bank Manager GREG FORAN Anne/Yu-Ling Body Double ANNA YOUNG Flight Attendants TAMARA GILLIS KIMBERLY HOWARD Businessman MICHAEL CHAMBERS Mr. Deckland PETER GLASS Mom at Airport ELLE POINDEXTER Street Hobo with Dog BRUNO & CHONKA Sleeping Security Guard BEN HAYDEN

CREW Written by The Pander Brothers Directed by Jacob Pander Produced by Arnold Pander Executive Producer W. Glen Boyd Producer John Pearson-Denning Associate Producers Stephanie Tichenor Heather Harlow Director of Photography Kevin Fletcher Casting Lana Veenker Casting Assistant Lori Lewis Art Director Benjamin Hayden Production Manager Stephanie Tichenor Production Supervisor Greg McMickle Locations Heather Harlow

1st Assistant Director John Pearson-Denning 2nd Assistant Director Susan Funk Script Supervisor Yona Prost Sound Mixer Eric Goldstein Morgan Hobart Boom Operator Tyler Stephens Lead Man Rich Jones Set Decorator Alex Klaue Computer Graphics Charles Babbage Props Stephen Frankland Dave Davenport Prop Fabricator Charlotte Macdonald Prop Graphics Stephen Poon 1st Assistant Camera Moira Morel 2nd Assistant Camera Eliza Plumlee Wardrobe Marychris Mass

Wardrobe Assistant Cindy Bagby Makeup Artist Christal Slonecker Hair Stylist Alison Binford Gaffer Efrem Peter Electricians Steve Waters Giovanni Knox Matt Semchee Key Grip Tom Decuir Grip/Swing Brian Shotzbarger Bryan Thompson Set Production Assistant Adam Markle Eli Thomashefsky Scott Onder Production Interns Shaz Smith Scott Braucht Tomas Soderberg Jose Behar

Erin Moore Still Photographers Marne Lucas Frank DiMarco Caterers Flaming Carrot Artemis Craft Services Darci Robertson Sound Supervisor/Lead Mixer David Hughes Dialogue Editor Brian Jones Asst. Dialogue Editor James Greve Asst. Mixer Shane Satler Foley Richard Moore Michael Gandsey Computer Animation Gabe DeLang Compositing Mission Control