Capitol FilmsPresents

THE COMPANY

Written by Barbara TurnerStory by Neve Campbell & Barbara Turner

Directed byROBERT ALTMAN

WithNeve Campbell, Malcolm McDowell, James Franco

and the Joffrey Ballet of Chicago

Im Verleih von PresseMonopole Pathé Films Esther BühlmannNeugasse 6 Niederdorfstrasse 54Postfach, 8031 Zürich 8001 ZürichTel. 01 277 70 83 Tel. 01 261 08 57Fax 01 277 70 89 Fax 01 261 08 64miriam.nussbaumer@pathefilms.ch mail@estherbuelmann.ch

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DIRECTOR’S STATEMENT

Dancers do the impossible. And yet we all want to be them. They are that beautiful, that vulnerable, and that expressive. They are the essence of what we mean by ethereal.

Their lives, of course, are the same messy stew that we all experience, complete with the complications of families, lovers, friendships, and work.

I want The Company to show this world with all of its contradictions. Here are world-class artists who, for the most part, are poorly paid and live hand to mouth; often in very unglamorous conditions. They take immaculate care of their bodies while smoking countless cigarettes, downing endless cups of coffee and working punishing hours. Their daily reality includes bloody feet, bludgeoned ambitions, and the work itself--in all of its demanding beauty.

What thrilled me most about making this film was simply being allowed into this particular tribe of artists, dreamers and human beings. On a daily basis, and in the most impossible and dramatic terms, dancers face what we all face: biological clocks and the force of gravity telling us NO. Yet for some part of their working lives dancers literally prevail over those forces. The fact that they (like the rest of us) will all ultimately be trumped by time doesn’t diminish or compromise their efforts. It only enriches them…..and us.

I am privileged to have been allowed into the world of the dancers of the JOFFREY BALLET and privileged to have the opportunity of sharing it in this film.

Robert Altman

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ABOUT THE PRODUCTION

As an accomplished dancer since the age of six and a one time student at the National School of Ballet in Canada, Neve Campbell had long hoped to develop a film that unflinchingly portrayed the world of a ballet company, complete with the challenges, failures, and uplifting moments that every dancer faces. It was Campbell who brought her idea to Killer Films. “I was intrigued at the idea of making a movie about dance; it was something completely different for us” says Killer’s Christine Vachon about her initial meeting with Campbell. “I also liked the fact that Neve wanted to make it a very realistic view of the dance world and that she thought we were the kind of producers who would want to make that kind of film as well.”

In searching for a screenwriter, Campbell turned to Barbara Turner. Turner’s work on Georgia and Pollock convinced Campbell that Turner was the kind of writer who could put herself in an unknown world and bring it to life for a large audience. “It was a great experience working with Barbara,” notes Campbell. “She didn’t know a lot about dance when we started, but she likes to delve completely into a world and make it very honest and real, which is what I was wanted to do in this film.”

At this point the filmmakers realized that cooperation from a dance company was essential to their task. They needed to find a company that would be open to the many demands involved in making a film of this scope. For a number of reasons, the filmmakers agreed to approach the Joffrey Ballet Company of Chicago. “They are a company that continues to evolve, they are committed to a unique vision of both contemporary and traditional ballet, their dancers are fantastic, and Chicago is a terrific place to shoot a movie,” says Killer’s Pam Koffler.

“After Killer approached the Joffrey, I went to them and basically asked if I could just hang out,” says Turner. “The dancers were incredibly generous. I would sit in the studio and watch them work and then in the evening a few of us would go for dinner or drinks and I would find out more about them. Where are you from? Why dance? Why the Joffrey? How did you get here? What is your life like?”

Both Campbell and Turner spent an enormous amount of time with the company over the course of two years. Throughout the entire research and writing process, Campbell had been referring to the script as being “Altman-esque,” because she didn’t want it to be about a single character but, rather, about an entire world. “I’d say ‘Bob is the best person at doing that--creating whole worlds in his films’,” says Campbell. But she doubted that they would ever actually be able to secure Robert Altman as their director--especially following the success of Gosford Park. So the filmmakers were delighted to learn that Turner had known Altman for years.

“Barbara Turner called me and asked me to read a script that she had written,” explains Altman. After reading the script his interest was immediately piqued, but he was hesitant to take on the project, “I read it and I said, ‘This isn’t anything for me. I don’t know anything about dance.’” Altman had a change of heart, however, when he couldn’t

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get the project out of his head, “I thought, ‘Why am I avoiding this thing? Why shouldn’t I go into new territory?’ At a certain point I just decided to jump into the river.”

In addition to Campbell and a large ensemble cast, consisting primarily of dancers from the Joffrey Ballet of Chicago, the film also features Malcolm McDowell and James Franco.

Both of the actors admit that they were drawn to the project because of Robert Altman. McDowell and Altman have been trying to work together for several years. “You ask any actor, and they just love him,” says McDowell. “It’s great to work with a man who is so sure of what he wants and gives you a lot of latitude as an actor.” For Franco, coming off the success of James Dean, it was a chance to work with a legend. “I would do anything for Robert Altman.”

All of the actors put time into preparing for their various roles. For her part as a dancer in the company, Campbell spent almost two years training for the difficult dancing she would be doing in the film. McDowell spent a week following and observing Gerald Arpino, the head of the Joffrey on whom his character Alberto Antonelli ("Mr. A") is loosely based. For his part as Josh, a sous chef, James Franco spent many hours training at the chic Chicago bistro, Marché.

It goes without saying, however, that the real star of the film is the Joffrey Ballet of Chicago. Founded in 1956 by Robert Joffrey and Gerald Arpino, the New York based Joffrey was originally an ensemble of six dancers which toured the country performing a repertoire created for them by company co-founder Joffrey. Joffrey’s and Arpino’s unique American vision of dance marked a break in the traditional American approach to ballet in which touring companies of the time would primarily perform reduced versions of the classical ballets. Now nearly a half a century later, the Joffrey is world renowned for its remarkable repertory of more than 225 ballets by 85 choreographers. In keeping with its tradition of supporting American dance, The Joffrey has commissioned the first ballets of such notable American choreographers as Alvin Ailey, Laura Dean, Mark Morris and Twyla Tharp.

Campbell had an especially close relationship with the Joffrey dancers, as she worked as one of them while preparing for her dance scenes. “The dancers were amazing,” gushes Campbell. “For me it was really intimidating to step back into the dance world, after a nine year break, and start training all over again. On top of that, it was with a company of dancers who had known each other for years and were familiar with the choreography that we were going to be doing. But they were unbelievably supportive.”

McDowell, who plays the leader of the dance troupe, wholeheartedly agrees, “I honestly can’t remember ever having such a wonderful time with people on a set as with those dancers. Because they live in their own little world and it’s so demanding, they don’t really have that much time for life, so I think our coming in was a kind of lifeline to the world for them. It gave them a marvelous opportunity to get out of their routine and do something different.”

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McDowell also hopes that this film will give the dancers an even more tangible benefit, “Dance is live theatre and yet it’s never preserved except on grainy old tape. I think to have these gorgeous pieces shot for wide-screen cinema in beautiful color is something they will always treasure.”

Working with the dancers as actors presented a particular challenge for Altman. “All of the experienced actors had to adapt very quickly,” he explains. “They understood that I couldn’t have the dancers acting like actors and so the actors had to look like real people, rather than actors so everyone would blend together.” Ultimately it was a very gratifying experience for the director. “The dancers are so disciplined, it was like directing one person. I could ask for the dancers and, in a flash, forty of them would be standing there. If I made even a little adjustment for the camera and asked them to stand in a particular place, they could do it perfectly every time. And they’re not afraid. They’re used to rehearsing while looking at themselves in the mirror. And they’re natural performers. So it turns out they’re excellent actors. There’s not a weak one in the bunch.”

McDowell’s role as the artistic leader of the company is a blend of dictator, father figure and politician. “I think Mr. A. has a history of being passionately in love with both the company and with each and every one of the dancers. He’s a brilliant choreographer of course, but his time is spent less on the creative and more on the running of a company and all that that entails.” Campbell enjoyed her time working with McDowell, “His energy is just massive. He has found such a love for this company and for these dancers and for this role and it was really nice to see that excitement.”

Franco, who plays Josh, a sous chef who sweeps Campbell’s character (Ry) off her feet, describes his character as “an escape for Ry from the intensity of the dance world.” Campbell admired his willingness to jump into one of the only roles in the film not directly associated with the dance company, “James is great, really talented. It’s not a huge role, but he’s an artist and wanted to step into it for a while and I admire that.”

Campbell was also pleased about the inclusion of the “Blue Snake” ballet in the film as its finale. She had seen the ballet performed by the National Ballet of Canada years before and that memory was with her while she was dancing it within the film. “The sets and costumes were brought from Canada and when I was trying on my costume, inside were all the names of the dancers that I used to look up to at the National Ballet of Canada when I was a kid. It was an insane experience. I almost couldn’t grasp it. And then the costume fit, which was pretty great!"

Altman and cinematographer Andrew Dunne had previously collaborated on Gosford Park,” but this was the first foray for both of them into shooting on High Definition Video. The technology allowed the use of multiple cameras with extended takes of vibrant live performances that helped to create the stunning look of the dances on screen. Dunne describes it as a stimulating process. “When Bob suggested it I was thrilled, because if I was going to actually shoot in High Def, I was going to do it with Bob. He

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allows you to push things to the extreme, as opposed to a studio, which might be more restrictive. Bob’s way is just a much more exciting use of the medium.”

Dunne describes the shooting of the dance sequences as particularly thrilling. “Watching the dancers is such a spine-tingling experience for me, especially seeing it on a high definition monitor at close range. It’s like I’m living the experience through the cameras.”

Principal photography on The Company started in the fall of 2002 and was shot entirely on location in Chicago, with a crew that was primarily local. Dunne describes the experience as gratifying. “ I think Chicago is one of the greatest cities in the world and the people here make the city a very special place. I also had the best crew imaginable, it was a great group of people to work with.”

Campbell feels it will be especially difficult for her to walk away from this project, as she has had such a personal connection to it for so many years, “It’s been great to find dance again and I have to figure out a way to keep dance in my life from now on.”

Turner expects that audiences will have a visceral experience during the film, “I hope that people leave with a sense of what it’s like to be in the world of dance, to be a dancer. The fact that these people are in pain all the time, that they don’t get paid very much, that their lives involve a lot of sacrifices. But their dedication to dance is astonishing and their respect and regard for each other is extraordinary. And of course, the joy…their joy is amazing.”

For Altman, The Company represented a new style of filmmaking and he feels forever changed by the experience. “I found that I was able to approach this film in a different way than I had with any other film. It was a learning process from the first day. The further I pushed, the further I realized I could push, and delve into the truth of it. I don’t know what my next film is going to be because I don’t think I can go back and approach film the way I did before this.”

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ON SHOOTING IN CHICAGO

Since The Company involved the entire roster of the Joffrey Ballet – dancers, ballet masters, stage managers – and since Chicago also offered first class film crews, the decision to make The Company in Chicago was a simple one.

What made the film’s location experience unique, however – and key to making production of The Company possible -- was the discovery of a 23-story, empty building at 185 N. Wabash Avenue in the heart of the Loop in downtown Chicago. The building had formerly housed the Joffrey’s rehearsal studio but had been sitting empty for over a year awaiting conversion into apartments. Production needed a dance studio where it could shoot classes and rehearsals, and the Joffrey’s prior studio was ideal: it was an enormous open room with tall ceilings, large windows looking out onto Wabash Avenue, and a balcony and cat-walk from which camera and lighting equipment could be rigged.

Production re-laid a sprung floor in the studio (essential to prevent injuries to dancers as they work) and -- as the building’s re-development was still several months off -- THE COMPANY realized it had found affordable space for almost all of its needs. Several floors of the building were converted into production offices, costume shops, staging areas for camera, grip and electric – and sets: the Joffrey’s offices, dancers’ apartments, two smaller rehearsal studios – all of these were built at 185 N. Wabash. (In the final cut of the film, you can see the El rumbling by the windows of the apartment of Neve Campbell’s character, Ry. Robert Altman chose that third floor space because it provided that glimpse of essential Chicago color.)

Production’s conversion of the building had to, of course, be done quickly and on the cheap. Parts of five existing elevators were cannibalized to produce two elevator cars that worked just enough of the time. Plywood was removed from windows as high as the 23rd floor and replaced, initially, with visqueen -- tarp material -- allowing the budget to literally blow out the window at one tense moment in pre-production. Bits of found Astroturf were thrown down for rugs. Cooling and heating were hit-and-miss, and dressing rooms for the film’s principals – Neve Campbell, Malcolm McDowell, James Franco – were extremely rudimentary, as were the offices for director Robert Altman and screenwriter Barbara Turner. The smells of baking bread and of oil, vinegar and oregano from the Subway sandwich shop on the ground floor – the building’s one existing tenant when production moved in – were ever-present. The anything-goes spirit, however, of working at 185 N. Wabash was infectious – as well as affordable – and essentially made production in the middle of Chicago a possibility. The Company had a home.

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ON THE DANCING

Mark Goldweber, Ballet Master, Joffrey Ballet of Chicago

Neve Campbell is a beautiful and dedicated artist. Her discipline for getting back in shape after ten years off pointe was amazing and inspiring to the entire Joffrey Ballet. In class she made it her priority to take corrections from the Joffrey Ballet Masters and she achieved the Joffrey look in a relatively short time. Young dancers will especially enjoy and admire her performance in The Company.

"My Funny Valentine" by Lars Lubovitch is a sexy, romantic pas de deux with movement that is perfect for Neve Campbell and Joffrey dancer Domingo Rubio.

"The Blue Snake" is a big, over-the-top ballet. With its enormous cast, big scenery and vivid colors it is perfect for Altman's "anything but everyday" vision. Its choreographer Robert Desrosiers has great positive energy and a wonderful sense of humor, both of which are very evident in his ballet.

Adam Sklute, Ballet Master, Joffrey Ballet of Chicago

As a dancer in the film, Neve Campbell's main objective was to do everything exactly as a Joffrey dancer and she succeeded beyond our wildest dreams. When she came to work with us she immediately assimilated herself into the company in every way. She worked harder than anyone I know to strengthen her technique and to acquire the Joffrey style of movement. Neve asked for no special treatment and, in a word, was a joy to work with.

Lars Lobovitch's "My Funny Valentine" is a small but beautiful and haunting pas de deux. It is simple in concept but rich in feeling and direction. Its mood is one of tender intimacy and casts a spell whether an audience is watching it in rehearsal or performance.

"The Blue Snake" by Robert Desrosiers is a phantasm of color, light and ideas. With its amazing fantasy characters and underlying metaphysical meaning, it heralded a whole genre of dance theater that is much more common nowadays. Funny and quirky, it was also a tremendous challenge to the entire company.

Charthel Arthur, Ballet Mistress, Joffrey Ballet of Chicago

In everyway, Neve Campbell epitomized the Joffrey dancer. She is exceptionally talented physically and mentally for both classical ballet and contemporary works. She was very focused in all her work and immersed herself in every respect in the demands of a professional dancer and the daily life of a Joffrey dancer.

Choreographer Lar Lubovitch's romantic pas de deux "My Funny Valentine" shows off actress-dancer Neve Campbell's many talents perfectly. This gentle, yet also dynamic and sexy piece couples her beautifully with Joffrey dancer Domingo Rubio.

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Robert Derosier's high-energy ballet "The Blue Snake" reminds one of "Alice In Wonderland" with its use of mysticism, colorful creatures. With its bizarre giant, wild red monkeys, spinning dancers and sleek zebras, Altman brings a feast to his audience's eyes.

Gerald Arpino, Founder and Director, Joffrey Ballet of Chicago

Robert Altman really directs the way I choreograph. He allows the artist/actor/dancer to be part of the process in every way. But he always knows , just as I do, the exact moment/frame/movement that he wants to capture in order to project his vision and goals.

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CAST

RY NEVE CAMPBELLALBERTO ANTONELLI MALCOLM MCDOWELLJOSH JAMES FRANCO

HARRIET BARBARA ROBERTSON

EDOUARD WILLIAM DICKSUSIE SUSIE CUSACK

RY’S MOTHER MARILYN DODDS FRANKRY’S FATHER JOHN LORDAN

STEPMOTHER MARIANN MAYBERRYSTEPFATHER RODERICK PEEPLESJUSTIN’S MENTOR YASEN PEYANKOV

The Joffrey Dancers

ALEC DAVIS ROBERTSONDEBORAH DEBORAH DAWNJOHN JOHN GLUCKMANJUSTIN DAVID GOMBERTSUZANNE SUZANNE L. PRISCO DOMINGO DOMINGO RUBIONOEL EMILY PATTERSONMAIA MAIA WILKINSFRANKIE SAM FRANKETRINITY TRINITY HAMILTONJULIANNE JULIANNE KEPLEYVERONICA VALERIE ROBINDANA DEANNE BROWN MICHAEL MICHAEL SMITH COLTON MATTHEW ROY PRESCOTT

The ChoreographersLAR LUBOVITCH

ROBERT DESROSIERS

The Ballet Mistresses

CHARTHEL ARTHURCAMERON BASDEN

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The Ballet Masters

MARK GOLDWEBERPIERRE LOCKETT

ADAM SKLUTE

The CompanyHEATHER AAGARD

MICHAEL ANDERSONERICA LYNETTE EDWARDS

JENNIFER GOODMANSTACY JOY KELLER

CALVIN KITTENPETER KOZAK

BRITTA LAZENGAMICHAEL LEVINEBRIAN MCSWEEN

ELIZABETH MERTZMASAYOSHI ONUKISAMUEL PERGANDE

WILLY SHIVESERIN SMITH

KATHLEEN THIELHELMMAURO VILLANUEVA

YUKARI YASUI

The Apprentices

TRISTAN ALBERDABOBBY BRISCOE

ORLANDO JULIUS CANOVAANGELINA SANSONE

JACQUELINE SHERWOODJESSICA WYATT

STAGE MANAGERS MICHAEL ANDREW CURREY KATHERINE SELIG

COMPANY PIANIST PAUL LEWISPHYSICAL THERAPIST JULIE O’CONNELLPRODUCTION MANAGER GEORGE DARVERISTOAST MASTER MARC GRAPEYBRIDEGROOM KEITH PRISCONEO WAITRESS EMMA HARRISON

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NEO BOUNCER DWAYNE WHITMOREBARTENDER DANNY MCCARTHYBARFLY ROBERT BREULERGRANT PARK CELLIST LARRY GLAZERGRANT PARK PIANIST MARK HUMMEL

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ABOUT THE CAST

NEVE CAMPBELL (Ry)

One of the most accomplished actresses of her generation, Neve Campbell has made an indelible impression on audiences with her work in both major motion pictures and on the small screen. Currently on location, Campbell is starring in When I Will Be Loved for director James Toback. Most recently she completed Churchill: The Hollywood Years, starring opposite Christian Slater for director Peter Richardson. Campbell has received numerous awards and award nominations for her work including three nominations (one win) for the MTV Movie Award for Best Female Performance for Scream (nomination 1997), Scream 2 (win 1998) and Scream 3 (nomination 2000) and a Blockbuster Award for Favorite Actress – Horror for Scream 2.

Lost Junction (2002)Made In Canada, Volume 1: Best of the CFC (2002)

Investigating Sex (2001)Bogeyman: The Killer Compilation (2001)

Scream 3 (2000)Panic (2000)

Drowning Mona (2000)Predators from Beyond Neptune (1999)

Three to Tango (1999)Hairshirt (1998)

The Lion King II: Simba's Pride (1998)54 (1998)

Wild Things (1998)Scream 2 (1997)Scream (1996)

The Craft (1996)The Canterville Ghost (1996)

Love Child (1995)The Dark (1994)

Paint Cans (1994)The Passion of John Ruskin (1994)

Baree (1994)

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MALCOLM MCDOWELL (Alberto Antonelli) Since catapulting to the screen as "Mick Travis", the rebellious upperclassman in Lindsay Anderson's prize-winning sensation IF... Malcolm McDowell has created a gallery of iconographic characters. The list includes Alex in Stanley Kubrick's A Clockwork Orange; Mick Travis in "O Lucky Man!" and H.G. Wells in Time After Time. Younger audiences have been captivated by his tyrannical Soran in Star Trek: Generations and his Machiavellian "Mr. Roarke" in Fantasy Island . Malcolm McDowell was born in Leeds, Yorkshire and acted in several British regional repertory companies before joining the Royal Shakespeare Company. For his motion picture work, the American Cinematheque honored him with a retrospective in June 2001.

Inhabited (2003)Tempo (2003)

Time After Time. Star Trek: Generations

I Spy (2002)Between Strangers (2002)

The Barber (2001)Dorian (2001)

The Void (2001)Just Visiting (2001)

Island of the Dead (2000)Gangster No. 1 (2000)

Y2K (1991)My Life So Far (1999)

Love Lies Bleeding (1999)Beings (1998)

The Gardener (1998)The First 9 1/2 Weeks (1998)

2103: The Deadly Wake (19979The Big Brass Ring (1997)

Star Trek: Generations ( 1997)Hugo Pool (1997)

Amanda's Game (1996)Asylum (1996)

Mummy: Tomb of the Pharaoh (1996)Where Truth Lies (1996) Yesterday's Target (1996)

Kids of the Round Table (1995)Sharks of the Red Triangle (1995)

Wing Commander IV: The Price of Freedom (1995)Fist of the North Star (1995)

Tank Girl (1995)Dangerous Indiscretion (1994)Exquisite Tenderness (1994)

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Fatal Pursuit (1994)In the Eye of the Snake (1994)

Wing Commander III: Heart of the Tiger (1994)Star Trek: Generations (1994)Cyborg 3: The Recycler (1994)

Milk Money (1994)Night Train to Venice (1993)

Bopha! (1993)Happily Ever After (1993)

Vent d'est (1993)Chain of Desire (1992)

Tsareubijtsa (1991)Disturbed (1990)

Jezebel's Kiss (1990)Maggio Musicale (1990)

Schweitzer (1990)Class of 1999 (1990)

Moon 44 (1990)Buy & Cell (1989)Il Maestro (1989)Mortacci (1989)

Sunset (1988)The Caller (1987)

Tin Soldiers (1984)Cross Creek (1983)Get Crazy (1983)

Blue Thunder (1983)Britannia Hospital (1982)

Cat People (1982)Look Back in Anger (1980)

Tigers Are Better Looking (1979)Time After Time (1979)

Caligula (1979)The Passage (1979)

Hardcore (1977)Voyage of the Damned (1976)

Aces High (1976)Royal Flash (1975)

O Lucky Man! (1973)A Clockwork Orange (1971)

The Raging Moon (1970)Figures in a Landscape (1970)

If (1968)Poor Cow (1967)

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JAMES FRANCO (Josh)

James Franco’s breakout performance in the title role of James Dean, the TNT biopic directed by Mark Rydell earned him career-making reviews. For his portrayal, he won a Golden Globe for Best Actor in Motion Picture made for Television, and was nominated for an Emmy and Screen Actors Guild Award, both in the Best Actor in a Television Movie or Miniseries categories. Recently he appeared opposite Robert DeNiro in City By The Sea and in Spider-Man, directed by Sam Raimi.

City by the Sea (2002)Sonny (2002

Blind Spot (2002)Mother Ghost (2002)

You Always Stalk the Ones You Love (2002)Deuces Wild (2002)Spider-Man (2002)

Mean People Suck (2001)Some Body (2001)

If Tomorrow Comes (2000)Whatever It Takes (2000)Never Been Kissed (1999)

THE JOFFREY BALLET OF CHICAGO

The Joffrey Ballet, founded in 1956 by Robert Joffrey and Gerald Arpino, is one of the world's leading ballet companies. The Joffrey has long been recognized as a pioneering force whose innovations have influenced dance companies across the nation. It is a company that is both classically based and cutting-edge, artistically disciplined and infectiously spirited, internationally significant and uniquely American.

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ABOUT THE FILMMAKERS

ROBERT ALTMAN (Director)

A visionary and fearless director, Robert Altman has surprised, entertained and challenged audiences with vibrant, freewheeling films that stretch the boundaries of the medium. Altman began his career making industrial and documentary films at the Calvin Company in his native Kansas City, and then moved on to direct television in the sixties. In 1970, his black comedy M*A*S*H was an international hit and he was on his way to a long and distinguished film career. His box office hit, The Player, won Best Director at the Cannes Film Festival. For the films Short Cuts and, most recently, Gosford Park, Altman received his fourth and fifth Academy Award nominations for Best Director.

Gosford Park (2001)Dr. T & the Women (2000)

Cookie's Fortune (1999)The Gingerbread Man (1998)

"Gun" (1997)Jazz '34 (1996)

Kansas City (1996)Pret a Porter (1994)

Short Cuts (1993)The Player (1992)

Vincent & Theo (1990)"Tanner '88" (1988)

Aria (1987)O.C. and Stiggs (1987)Beyond Therapy (1987)

Fool for Love (1985)Secret Honor (1984)

Streamers (1983)Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982)

HealtH (1982)Popeye (1980)

A Perfect Couple (1979)Quintet (1979)

A Wedding (1978)3 Women (1977)

Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)Nashville (1975)

California Split (1974)Thieves Like Us (1974)

The Long Goodbye (1973)Images (1972)

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McCabe and Mrs. Miller (1971)Brewster McCloud (1970)

MASH (1970)That Cold Day in the Park (1969)

Countdown (1968)Nightmare in Chicago (1964)The James Dean Story (1957)

The Delinquents (1957)

BARBARA TURNER (Writer)

Barbara Turner has received critical recognition for her work including a Writers Guild nomination for her adaptation of Petulia, the Christopher Award for Eye of the Sparrow, and an Emmy nomination for The War Between the Tates. She has also been a Humanitas Award Finalist for Widow and Out of Darkness. In 1994, Turner produced her screenplay Georgia in concert with her daughter Jennifer Jason Leigh and the film’s director Ulu Grosbard. The film won the 1995 Montreal Film Festival’s grand Prix of the Americas and a Best Actress award for Leigh. Leigh was also honored for her performance from the New York Film Critics Circle, and costar Mare Winningham received an Oscar nomination for Best Supporting Actress. Turner’s credits include Pollock, based on Jackson Pollock an American Saga, by Steven Naifeh and Gregory White Smith. Ed Harris. The film garnered Oscar nominations for Ed Harris (who directed and starred) and Marcia Gay Harden, and a supporting actress win for Harden. In completion is a script for HBO on the life of Elizabeth Kubler Ross, which will star Susan Sarandon. Turner is also set to direct her script Beautiful View, a psychological thriller starring Jennifer Jason Leigh and Campbell Scott.

ANREW DUNN, B.S.C. (Director of Photography)

As a cinematographer, Dunn’s many feature film credits include Robert Altman’s Gosford Park, Andy Tennant’s Sweet Home Alabama and Ever After; Kevin Reynolds’ The Count of Monte Cristo; Stephen Frears’ Liam; Henry Selick’s Monkeybone; Griffin Dunne’s Practical Magic and Addicted to Love; Nicholas Hytner’s The Crucible and The Madness of King George (for which he won the British Society of Cinematographers’ [B.S.C.] Best Cinematography Award and received a BAFTA Award nomination); Gillies Mackinnon’s A Simple Twist of Fate; Mark Herman’s Blame it on the Bellboy; and David Hare’s Strapless. Dunn has also worked with directors Richard Eyre and Mick Jackson. He received a BAFTA Award for his cinematography on the Jackson-helmed telefilm Threads, and the duo later collaborated on the telefilm Life Story (a.k.a. The Race for the Double Helix) as well as the features Chattahoochee, L.A. Story, The Bodyguard and Clean Slate. Dunn received another BAFTA Award for shooting the Eyre-directed telefilm Tumbledown, and the two also worked together on the telefilms The Absence of War and Suddenly Last Summer (the 1992 adaptation starring Maggie

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Smith of Gosford Park). In 1996, Dunn was honored with the (London) Evening Standard Technical Achievement Award.

JOSHUA ASTRACHAN (Producer)

Joshua Astrachan joined Altman’s Sandcastle 5 Productions in 1996 and was Co-producer on Altman’s critically acclaimed, Oscar nominated, Gosford Park. Prior to working for Altman, Astrachan was an Associate Producer on John Walsh’s independent film Ed’s Next Move, which was part of the American Spectrum at Sundance in 1996 and subsequently released by Orion Pictures. Previous to his work in film, Astrachan was a co-founder and artistic director of New Arts, a not-for-profit production company that developed and presented new plays by American writers in New York City.

VAN DYKE PARKS (Composer)

Van Dyke Parks' recording career began with Warner Bros. in 1966 after a brief stint as lyricist for Brian Wilson of the Beach Boys. His critically-acclaimed discography is as follows: “Song Cycle” (67); “Discover America (71); “Clang of the Yankee Reaper” (76); “Jump!” (82); “Tokyo Rose” (90), “Orange Crate Art” with Brian Wilson (95) and “Moonlighting: Live at the Ash Grove” (97). He also pioneered the audio/visual department at Warner Bros., which produced music videos for record promotion. While at Warner Bros. he co-produced the debut albums of Randy Newman and Ry Cooder. Subsequent production efforts have included albums by Arlo Guthrie, Earth Wind & Fire, Little Feat, Phil Ochs and calypso performers Mighty Sparrow and the Esso Trinidad Steel Band. He recently co-produced the self-titled debut album by Rufus Wainwright for Dreamworks he has collaborated with such diverse artists as Kula Shaker, Fiona Apple, U2, Sheryl Crow, Smashing Pumpkins, Bruce Springsteen, Bonnie Raitt, Carly Simon, Bryan Ferry, Ringo Starr, Sam Phillips, Tim Buckley, the Rembrandts, Rickie Lee Jones, Toad the Wet Sprocket, Roy Orbison, Crosby, Stills and Nash, Natalie Cole, Harry Nilsson, Jennifer Warnes, Syd Straw and Stan Ridgway. His film credits include “Shadrach”, “Bastard Out of Carolina” “Wild Bill” “Private Parts” and “Casual Sex” for Ivan Reitman, “Popeye” for Robert Altman and “The Two Jakes” and “Goin’ South” for Jack Nicholson

GARY BAUGH (Art Director)

Gary Baugh began his career as a theatrical designer in Chicago where he designed over 60 productions for such companies as The Steppenwolf Theatre, St. Nicholas, Wisdom Bridge, Northlight and Second City. He later moved into film as a set designer (Backdraft, Only the Lonely, Dennis the Menace, Curly Sue), Assistant Art Director (Groundhog Day, Ritchie Rich, A Family Thing, The Relic), Art Director for the TV

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series The Untouchables (42 episodes), EZ Streets (pilot) and feature films The Babe and Hoodlum. As Production Designer he designed the films To Sir With Love II, Children on Their Birthdays, the CBS series Early Edition (84 episodes) and ABC’s What About Joan (21 episodes). In 2002 Gary was the Art Director on MGM’s Barbershop, HBO’s Normal and Production Designer on Robert Altman’s most recent film “The Company”.

PAM DIXON (Casting Director)

Pam Dixon graduated from the University of Southern California. She was Senior Vice President and Head of Talent for ABC Television in Los Angeles.A few years later, she became a Production Vice-President at Paramount Pictures under Michael Eisner. After several years as a motion picture executive, Pam startedher own casting company. For the last several years, Pam has been an independentcasting director. During this time she has cast numerous features: City Slickers, BabyBoom, The Moderns, Goldeneye, The Craft, The Mask of Zorro, The Moderns, Afterglow, Cookie’s Fortune, Angels in The Outfield, The Playboys, Music Box, Much Ado About Nothing, and The In-Laws . She has been fortunate to work with many talented directors such as Robert Altman, Alan Rudolph, Paul Schrader and Martin Campbell.

GERALDINE PERONI (Film Editor)

Beginning with Vincent and Theo, Peroni began a steady creative collaboration with Robert Altman that includes The Player (for which she received an Academy Award nomination), Short Cuts, Ready to Wear, Kansas City, The Gingerbread Man, and Dr.T and the Women. Among Peroni's other credits are the HBO series The Wire, Rose Troche's The Safety of Objects, Jesus' Son, Tim Robbins' The Cradle will Rock and Nora Ephron's Michael.

DAVID LEVY (Producer)

David Levy began his film industry career at International Creative Management (ICM),the world’s largest talent and literary agency. At ICM, he worked closely with motion picture department head Sam Cohn. He left ICM to work in independent film production and embarked on a rewarding collaboration with Robert Altman (whom he had met as one of Cohn’s clients), that has spanned over two decades and continues to this day. He has associate-produced The Player, Short Cuts, and The Gingerbread Man; co-produced Cookie’s Fortune and Dr. T and the Women; and produced, with Altman and Bob Balaban, Gosford Park.

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KILLER FILMS (Producer)

Founded in 1995, Killer Films is the New York-based production company that is partially funded through a unique partnership with John Wells Productions. Killer is responsible for more than two dozen films including Boys Don’t Cry (1999 AcademyAward Winner for Best Actress Hilary Swank), Happiness, Velvet Goldmine, Kids, Safe, and Hedwig and the Angry Inch. Last year, Killer released One Hour Photo starring Robin Williams (one of the highest grossing specialized releases, domestic and internationally, of the year) and Todd Haynes’ Far From Heaven starringJulianne Moore and Denis Quaid. Featured on more than 50 critics' Top Ten Lists, Far From Heaven was the best-reviewed film of 2002. Far From Heaven was nominated for three Golden Globes, including Best Actress, and four Academy Awards, including Best Actress and Best Original Screenplay. Killer is currently in post production with A Home at the End of the World starring Colin Farrell.

CAPITOL FILMS (Producer)

Founded in May 1989 by Sharon Harel and Jane Barclay (and joined by Hannah Leader in 1994), CAPITOL FILMS has evolved into one of Europe’s most formidable international film production, financing and sales companies.

Since its formation, Capitol has financed and executive-produced nearly forty feature films; and accumulated a library of over 90 titles. Capitol has enjoyed recent international box office and critical success with its Academy Award winning production, ‘Gosford Park’ directed by Robert Altman, Woody Allen’s ‘The Curse of the Jade Scorpion’, Francis Ford Coppola’s American Zoetrope ‘Jeepers Creepers’, David Cronenberg’s Cannes competition entry ‘Spider’ and Terry Zwigoff’s critically acclaimed sleeper hit ‘Ghost World’. Among Capitol’s notable library titles are Terence Davies’ The House of Mirth; Edward Yang’s award-winning Yi Yi; Pat O’Connor’s Dancing at Lughnasa; Brian Gilbert’s Wilde; Alan Rickman’s The Winter Guest; and Roman Polanski’s Death and the Maiden.

DARBEE LABS

Darbee Labs is changing the face of film production with Darbee Vision, a post-production process that gives digital high definition masters an unprecedented visual richness and puts audiences in the center of the action. Robert Altman’s The Company is the first feature film to be processed using DarbeeVision, and the filmmakers are elated with the results. “DarbeeVision takes away the flatness that’s so typical of video, and makes hi-def look even better than film,” says Altman. “I wouldn’t have shot in hi-def without it.”

More than a sharpening filter or image corrector, The DarbeeVision formula extracts much of the same information the human brain does when we look around. It pre-

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emphasizes those parts of the image that tell the brain how round objects are, how they are separated in depth, what their details are, and which objects are worthy of attention. Darbee Labs uses an automated network of computers to apply the DarbeeVision formula, pixel by pixel, to the image. “We digitally transformed The Company’s hi-def masters using DarbeeVision prior to the film-out of the movie for theatrical release,” explains Darbee Labs founder Paul Darbee. “The result is a clear rich dimensional image that takes hi-def to the next level.”

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CREW

UNIT PRODUCTION MANAGER/LINE PRODUCER KARYN McCARTHY

FIRST ASSISTANT DIRECTOR JAMES GIOVANNETTI, Jr.

SECOND ASSISTANT DIRECTOR RICHARD LEDERER

CAMERA OPERATORS ROBERT REED ALTMANPETE BIAGI

SCRIPT SUPERVISOR DRUCILLA CARLSON

KEY MAKEUP ARTIST JAMIE WEISS

KEY HAIRSTYLIST AGNES GIBICAR

PRODUCTION SOUND MIXER PETER GLOSSOP

ART DIRECTOR CRAIG JACKSON

LOCATION MANAGER NOEL OLKEN

PRODUCTION ACCOUNTANT CHRISTI TIDMAN

SUPERVISING SOUND EDITOR ELIZA PALEY

RE-RECORDING MIXER MICHAEL BARRY

ARTISTIC MANAGERTHE JOFFREY BALLET OF CHICAGO HARRIET ROSS

EXECUTIVE PRODUCERS S.R.O. ENTERTAINMENT AGSTEFAN JONASJONAS MCCORD

ASSOCIATE PRODUCER LOWELL DUBRINSKY

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1ST ASSISTANT CAMERA PETER KUTTNERDON CARLSON

2ND ASSISTANT CAMERA CHAD ERICKSONDANIEL SCHROER

ADDITIONAL CAMERA CREWS:OPERATORS TED LICHTENHELD

GEORGE KOHUTRUSSELL FINE

1ST ASSISTANT CAMERA DAVE MORENZDEAN SIMMONSROB CARLSON

2ND ASSISTANT CAMERA GREG JACKSONPETE PICCHIETTI

DIGITAL IMAGING TECHNICIAN RYAN SHERIDANDIGITAL UTILITY DAN SCALZOSUPER TECHNO LEAD MARK WOODSSUPER TECHNO 2ND KEITH POKORSKIREMOTE HEAD TECHNICIAN DAN URBAINSTILL PHOTOGRAPHER MATT DINERSTEIN

PRODUCTION COORDINATOR KATE AMERASSISTANT PRODUCTION COORDINATOR JENNIFER BYRNE

ASSISTANT TO ROBERT ALTMAN AND DAVID LEVY BRETT TYNEASSISTANT TO JOSHUA ASTRACHAN SARAH KLEIN

ASSISTANTS TO BARBARA TURNER TODD HELBINGALLISON McKENZIE

ASSISTANT TO NEVE CAMPBELL ARONA MARTINASSISTANT FOR KILLER FILMS MEGHAN WICKER

PRODUCTION SECRETARY JEREMY BEIERMANNKEY OFFICE PRODUCTION ASSISTANT SARA ELLINGENFACILITIES COORDINATOR C. DAVID JONESBUILDING SECURITY LISA GILLESPIE

NICHOLAS CARRANZA

2ND SECOND ASSISTANT DIRECTOR JEN DEIGLKEY SET PA THOMAS NICOLLSET PA JOSIAH VILMAN

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BOOM OPERATOR SHAUN MILLS CABLEPERSON RONALD WRIGHT

COSTUME ASSISTANT JULIE YRJANSONSET COSTUMERS HEATHER POLLOCK

PATRICK CAULFIELDGRETCHEN GAINGINA PANNO LIZZIE COOK

GAFFER RICK THOMASBEST BOY ELECTRICIAN CHRIS GLOMPRIGGING GAFFER ANTHONY LULLORIGGING ELECTRICIAN TIMOTHY JIPPINGELECTRICIANS CORTLAND BOYD

JOSEPH LYONSVINCE CORDEROBILL WAUERDONNA McLAIN

KEY GRIP MIKE LEWISBEST BOY GRIP ROBERT KRZEMINSKIKEY RIGGING GRIP JAMES F. ROORDADOLLY GRIPS MARK PURKART

JASON STORANDTGRIPS CHRIS FRERES

CHRISTOPHER GLASGOWFERNANDO BRIONES KOREN SALAJKACHRIS RYERSONRICHARD BONDJOHN HUDECEKFRED FOLMER

ART DEPARTMENT COORDINATOR BENJAMIN NOWICKI

SET DECORATOR KAREN BRUCKASSISTANT DECORATOR MERJE VESKI LEADMEN TROY BORISY

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MICHAEL V. NICHOLSON SET DRESSER JON NICHOLSONSWINGS CY MATTHYS

MATTHEW TUFANOBRYAN RAPEY

PROPS MASTER WILLIAM DAMBRAASSISTANT PROPS MASTER DAVID CHAMERSKI

1ST ASSISTANT EDITOR MAY KUCKRO2ND ASSISTANT EDITOR HEATHER GOODWINADDITIONAL EDITOR AFFONSO GONCALVES

POST PRODUCTION SUPERVISOR SARAH CONNORS

POST PRODUCTION ASSISTANT K. TARO HASHIMURA

SUPERVISING MUSIC EDITOR ANNETTE KUDRAKMUSIC EDITOR CARL SEALOVESUPERVISING DIALOGUE EDITOR JAC RUBENSTEINSUPERVISING ADR EDITOR GINA R. ALFANOSOUND EDITORS WILLIAM SWEENEY

TONY MARTINEZDAN KORINTUS

SUPERVISING SOUND ASSISTANT ERIC MCALLISTERASSISTANT SOUND EDITOR AJAE CLEARWAYAPPRENTICE SOUND EDITOR ERIC STRAUSSERADR ENGINEER TIM BUTLER

FOLEY SUPERVISOR ANDY MALCOLMFOLEY ARTIST GORO KOYAMAFOLEY ASSISTANT STEFAN FRATICELLIFOLEY RECORDING MIXERS DON WHITE

RON MELLEGERSFOLEY RECORDING ASSISTANTS REBECCA WRIGHT

ANNA MALKINSTEPHEN MUIR

FOLEY RECORDED AT FOOTSTEPS POST PRODUCTION SOUND INC.

AUDIO POST COORDINATORS MALAIKA LANGA

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CAROL MINTZMIKE HOWELLS

DOLBY SOUND CONSULTANT STEVE F.B. SMITHDTS SOUND CONSULTANT JOHN KEATING

CHICAGO CASTING TENNER, PASKAL, & RUDNICKERACHEL TENNERMICKIE PASKALJENNIFER RUDNICKE

BACKGROUND CASTING AMBASSADOR TALENT

ADR VOICE CASTING BRUCE WINANTLOOPERS UNLIMITED

1ST ASSISTANT ACCOUNTANT ADRIENNE SWANPAYROLL ACCOUNTANT CARRIE OVIATTACCOUNTING ASSISTANT RENEE KITTERMAN

LOCATION ASSISTANTS CARRIE GOODMANAMY CLARK

CONSTRUCTION COORDINATOR TYLER OSMANCONSTRUCTION FOREMAN TROY OSMANCARPENTERS TIM OSMAN

TOM OSMANJOE GILMARTINJOHN KENNY III

HEAD PAINTER JOHN SCHULZPAINT FOREMAN ALAN BROADBENTSTANDBY PAINTER PAUL SCHULZSIGN PAINTER RON COYPAINTERS FRANK DAMBRA

DANIEL SARICH

SPECIAL EFFECTS COORDINATORS JOHN MILINACRODMAN KISER F/X

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TRANSPORTATION CAPTAIN TEDDY LARKOWSKICO-CAPTAIN MIKE DEALCO-CAPTAIN JIM MODZELEWSKI

CRAFT SERVICE FOREMAN JEFFREY HURTASSISTANT CRAFT SERVICE DAVE HANSEN

PRODUCTION INTERNS CHRIS GOBERBRIAN CRISTILIA ROLDAN SARAH K. FOERSTERSARA NUDELMANCANDACE WIRTNELL TAYLORKARL DONDLINGERJOSHUA MINERDAN SCHILLER

FOR THE ORIGINAL SCORE:SUPERVISING ORCHESTRATOR CHRISTOPHER KLATMANADDITIONAL ORCHESTRATIONS ANDREW KINNEY

MARK GASBARRO

ENGINEERING/SCORING MIXERS TIM BOYLELESLIE ANN JONES

SYNTHESIZER PRE-LAY IRA INGBERCONTRACTOR (LOS ANGELES) JOHN ROSENBERGCONCERTMASTER (LOS ANGELES) PETER KENTMUSIC COPYING WAYNE KISER

KRONOS QUARTET DAVID HARRINGTON, VIOLINJOHN SHERBA, VIOLINHANK DUTT, VIOLAJENNIFER CULP, CELLO

WITH MICHAEL BURR, BASSW

FOR KRONOS: JANET COWPERTHWAITE

MUSIC PRODUCER FOR DANCE:MY FUNNY VALENTINE,LA VIVANDIËRE

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AND TRINITY ARNIE ROTH

SOLO PIANO REDUCTIONS PERFORMED BY PAUL LEWIS

THE BALLETS

TENSILE INVOLVEMENTChoreography by Alwin NikolaisMusic, sets, and costumes by Alwin NikolaisLighting design by Kevin DreyerAfter Alwin NikolaisSponsored by The Marvin and Elaine Gottlieb Family Foundation

Music created for synthesizer by Alwin NikolaisCourtesy of ProArts International

SUITE SAINT-SAËNSChoreography by Gerald ArpinoMusic by Camille Saint-SaënsArranged for dance by Elliot KaplanCostumes by A. Christina GianniniLighting Design by Kevin Dreyer after Thomas SkeltonSponsored by Michael, Lynn, Andrew & Julia Belsky

Featured Music Selection: Pas Redoublé, Op. 86Performed by the Budapest Philharmonic OrchestraConducted by Allan LewisCourtesy of Allan Lewis

In rehearsal for the pas de deux: Minuet from Septet, Op. 65 in E-flat MajorPiano reduction performed by Paul Lewis

TRINITY

LIGHT RAINChoreography by Gerald ArpinoMusic by Doug Adams and Russ GauthierCostumes by A. Christina GianniniLighting Design by Kevin Dreyerafter Thomas SkeltonSponsored by Shelley MacArthur Farley

Featured Music Selection: RabekinWritten by Russ GauthierUsed by arrangement with BMI – Gypsy Wind MusicPerformed by Light RainCourtesy of Magi Productions

MY FUNNY VALENTINEChoreography by Lar LubovitchMusic by Richard Rodgers and Lorenz HartArranged by Marvin LairdLighting Design by Kevin DreyerSponsored by Marion & Terence Martin My Funny Valentine used by arrangement with Williamson Music and Chappell & Co.Performed by Marvin Laird and Clay Ruede

CREATIVE FORCEChoreography by Laura DeanMusic by John ZeretzkeCostumes by Laura Dean and Rebecca ShouseLighting Design by Kevin Dreyer

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Choreography by Gerald ArpinoMusic by Alan Raph and Lee HoldridgeLighting Design by Kevin Dreyer

Featured Music Selection: Summerland by Lee HoldridgeUsed by arrangement with Rosetta Stone MusicConducted by Arnie RothFeaturing the Chicago Children’s Choir

LA VIVANDI È RE PAS DE SIXChoreography by Arthur Saint-Léon; transcribed by Ann Hutchinson GuestMusic by Cesare Pugni and Jean-Baptiste NadaudLighting Design by Kevin Dreyer

Featured Music Selection: Third VariationPerformed by the Czech National Chamber Orchestra Conducted by Arnie Roth

WHITE WIDOWChoreography by Moses Pendleton and Cynthia Quinn of MOMIXMusic by Angelo Badalamenti and David K. LynchCostume by Cynthia QuinnLighting Design by Kevin Dreyer

The World SpinsPerformed by Julee CruiseCourtesy of Warner Bros. Records Inc. By arrangement with Warner Strategic MarketingPublished by Universal Music Corp. on behalf of Anlon Music Co. / Songs of Universal, Inc. on behalf of OK Paul Music

Sponsored by Patty Perkins Andringa

Featured Music Selection: Ray One Performed by John Zeretzke and M.B. Gordy IIIBy arrangement with Zeretzke Music

STRANGE PRISONERSChoreography by Davis RobertsonMusic by Mark O’Connor and J.S. BachSet Design by Keith PriscoCostumes by Rebecca ShouseLighting Design by Kevin Dreyer and Keith Prisco

Featured Music Selections: Appalachia Waltz by Mark O’Connor Used by arrangement with Mark O’Connor MusicSuite for Unaccompanied Cello, No. 1, BWV 1007 in G Major, V. Menuet by J.S. BachBoth performed by Yo-Yo MaCourtesy of Sony Classical

THE BLUE SNAKEChoreography by Robert DesrosiersMusic by Van Dyke ParksSets and Costumes by Jerrard SmithLighting Design by Kevin DreyerSponsored by Lisa Gold

THE JOFFREY BALLET OF CHICAGO

EXECUTIVE DIRECTOR JON H. TEEUWISSEN

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COMPANY MANAGER JAN WATSONASSISTANT TO THE ARTISTIC DIRECTOR TOM MULVIHILLPRODUCTION MANAGER KEITH PRISCOLIGHTING DIRECTOR KEVIN DREYERMASTER CARPENTER TODD MIELCARZMASTER ELECTRICIAN CJ BARTASSISTANT ELECTRICIAN ROB BRADYPROPERTIES MASTER JEFF KOLACKSOUND ENGINEER NICHOLAS GIBSONWARDROBE SUPERVISOR REBECCA SHOUSEWARDROBE ASSISTANT KATHERINE ISHAM

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THE MUSIC

MY FUNNY VALENTINEWritten by Richard Rodgers and Lorenz Hart

Used by arrangement with Williamson Music and Chappell & Co.

Performed by Elvis Costello

Performed by Lee WileyCourtesy of Candid Productions

Performed by Chet BakerCourtesy of Capitol/Blue Note Records

Under license from EMI Film & Television Music

Performed by Kronos QuartetOrchestration by Christopher Klatman

based on the arrangement by Marvin Laird

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NOCTURNE B-MOLL OP. 9, NO. 1Written by Frédéric ChopinPerformed by Ida CerneckaCourtesy of APM

NO NAME, NO SLOGANWritten by Allen Jourgensen, Paul Barker, Chris Connelly, Richard Kirk and Steve MalinderPerformed by Acid HorseCourtesy of Spurburn Music

HOP, SKIP & DANCEWritten by Jack TrombeyPerformed by Jack TrombeyCourtesy of DeWolfe Music

AULD LANG SYNEArrangement by Tony KinseyCourtesy of FirstCom Music Inc.Used by arrangement with Zomba! Music

DAMAGE ADDICTWritten by Martin Atkins, Chris Connelly, Lee Fraser, Geordie Walker and Jah WobblePerformed by The Damage ManualCourtesy of Invisible Records

BALLABILE DES PAYSANS ET DES PAYSANNES From LES RUSES D’AMOUR, Op. 61by Alexander GlazunovPiano reduction performed by Paul Lewis

LOWDOWN THING OR TWOWritten by William ArnoldPerformed by Billy Boy ArnoldCourtesy of Alligator Records

SOMETHING ABOUT THE NIGHTWritten by Eytan MirskyPerformed by Eytan MirskyUsed by arrangement with Mirsky Mouse Music Administered by Bug

ALL GOOD GIRLSWritten by Christie – Marcus Performed by Die WarsauCourtesy of Fiction Songs/TVT Records

PAINTINGS OF DANCE DISPLAYED AT THE JOFFREY STUDIO PETER HURLEY

CAMERA RENTAL PROVIDED BY PANAVISION

ADDITIONAL CAMERA SUPPORT AND DAILIES TRANSFERS FLETCHER CHICAGO

CRANES ESSANAY STUDIO & LIGHTINGPANAVISION REMOTE SYSTEMS

GATWOOD CRANE SERVICE, INC.

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TECHNOCRANE MARK N. WOODS CINEMATOGRAPHYLIGHTING EQUIPMENT ESSANAY STUDIO & LIGHTING

GREAT WEST ELECTRICAL SUPPLYNORTHERN LIGHTING AND POWER

EDITING EQUIPMENT ORBIT DIGITAL LLC

LEGAL SERVICES SLOSS LAWPAUL BRENNANJACKIE ECKHOUSEJENNIFER GAYLORD

INSURANCE SERVICES PROVIDED BY AON / ALBERT G. RUBEN CO.LAURA COMERFORD

DARBEEVISION MICHAEL ALTMANDON DALEYED MARSHALL

DIGITAL INTERMEDIATE BY:EFILMDIGITAL COLOR TIMER STEVE BOWENDIGITAL INTERMEDIATE PRODUCER HILDA SAFFARIVP OF TECHNOLOGY BILL FEIGHTNERVP OF BUSINESS DEVELOPMENT MICHAEL COOPERDIGITAL COLORIST ASSIST BEN ESTRADAIO MANAGER TOM BRISTOW

LABORATORY COLOR BY DELUXECOLOR GRADER MIKE STANWICKTITLE DESIGN AND VISUAL EFFECTS BY BIG FILM DESIGNDESIGNER/VFX SUPERVISOR RANDY BALSMEYERDIGITAL ARTISTS J. JOHN CORBETT

JON MAICHEL THOMASAMIT SETHI

SOUND RE-RECORDED AT SOUND ONECATERING BIG DELICIOUS PLANET

CHARLIE TROTTER’SBANKING FINANCE PROVIDED BY SOCI´ET´E G´EN´ERALECOLLECTION ACCOUNT MANAGEMENT BY FINTAGE HOUSECOMPLETION GUARANTY PROVIDED BY INTERNATIONAL FILM GUARANTORSPAYROLL SERVICE CAST & CREW PRODUCTION

PAYROLL INC.SECURITY MPSI

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SPECIAL THANKS

THE CHICAGO FILM OFFICETHE ILLINOIS FILM OFFICETHE FOUR SEASONS CHICAGOLAURA CSOKAMARC REALTYROSA HAMMERQUISTPATRICIA HOWARDJAY RUBINHAL WILLNERJULEE CRUISEM. STEVENS INC.BODY WRAPPERSBYMARISAADRIENNE LANDAULEE-KAY JEWELERSCANALI

MAYOR RICHARD M. DALEYBILL KURTIS & DONNA LaPIETRAAMERICAN AIRLINESSUSAN MINER & PREMIER RELOCATIONDONNA CHORNEY & 1 WEST SUPERIORKRISPY KREME DOUGHNUTSNAVIGANT INTERNATIONALBAXTERKIT WOODSBLOCH INC.MIRELLACAPEZIOHARMONIEBALTOGSNATALIE DANCE WEAR

THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES OF AMERICA AND OTHER COUNTRIES. ANY UNAUTHORISED REPRODUCTION, DISTRIBUTION OR EXHIBITION OF THIS MOTION PICTURE OR ANY VIDEOTAPE VERSION THEREOF OR ANY PART THEREOF (INCLUDING THE SOUNDTRACK) MAY RESULT IN SEVERE CIVIL AND CRIMINAL PENALTIES.

FILMED ON LOCATION IN CHICAGO, ILLINOIS.

SOUNDTRACK AVAILABLE ON SONY CLASSICAL

2003 THE COMPANY PRODUCTIONS AG & CO. KG

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