The Glass Castle Production Notes

For additional publicity materials and artwork, please visit: http://www.lionsgatepublicity.com/theatrical/theglasscastle/

Rating: PG-13 for mature thematic content involving family dysfunction, and for some language and smoking Running Time: 127 minutes U.S. Release Date: August 11, 2017 For more information, please contact: Meghann Burns Emily Bear Christine Richardson Lionsgate Lionsgate Lionsgate 2700 Colorado Avenue 530 Fifth Avenue 530 Fifth Avenue Suite 200 26th Floor 26th Floor Santa Monica, CA 90404 New York, NY 10036 New York, NY 10036 P: 310-255-3999 P: 212-386-6867 P: 212-386-6874 E: meburns@lionsgate.com E: ebear@lionsgate.com E: csrichardson@lionsgate.com

THE GLASS CASTLE LIONSGATE Official Site: http://www.TheGlassCastle.movie Publicity Materials: http://www.lionsgatepublicity.com/theatrical/theglasscastle/ Facebook: https://www.facebook.com/GlassCastleFilm Twitter: https://www.twitter.com/GlassCastleFilm Instagram: https://www.instagram.com/GlassCastleFilm Hashtags: #TheGlassCastle Genre: Drama Rating: PG-13 for mature thematic content involving family dysfunction, and for

some language and smoking

U.S. Release Date: August 11th, 2017 Running Time: 127 minutes Cast: Brie Larson, Woody Harrelson, Max Greenfield, Sarah Snook, and Naomi

Watts Directed by: Destin Daniel Cretton Screenplay by: Destin Daniel Cretton & Andrew Lanham Based upon: The book by Jeannette Walls Produced by: Gil Netter, p.g.a., Ken Kao SYNOPSIS Chronicling the adventures of an eccentric, resilient and tight-knit family, THE GLASS CASTLE is a remarkable story of unconditional love. Oscar® winner Brie Larson brings Jeannette Walls’s best-selling memoir to life as a young woman who, influenced by the joyfully wild nature of her deeply dysfunctional father (Woody Harrelson), found the fiery determination to carve out a successful life on her own terms. Lionsgate presents, a Gil Netter/Lionsgate production. Screenplay by Destin Daniel Cretton & Andrew Lanham. Directed by Destin Daniel Cretton.

THE GLASS CASTLE

About The Production

“That’s the magic of storytelling — if one person is w ill ing to be brave and tell their story, then that allows other people to be honest. I think there’s incredible value in coming to

terms w ith your story, and I hope that the telling of my story w il l encourage other people to revisit their own.”

--Jeannette Walls

Every family has a story, but none quite like that of renowned celebrity gossip columnist Jeannette Walls –

and yet Walls’s acclaimed memoir, The Glass Castle, connected with millions of readers. In the book, Walls

unveiled the deeply guarded secret she’d long kept of her childhood: a wildly gothic coming-of-age amid poverty,

disaster, rebellion and estrangement from society. Yet perhaps most amazing about Walls’s book, harrowing as it

was, is its sense of deep family love, a love as vast and magical as her parents were strange and inexplicable. It

allowed her to turn her youth into a grand adventure and an empowering journey towards redemption. Careening

from hunger and crisis to starlit nights of enchantment, Walls found all the light and darkness of the world.

The book burst onto the literary scene and spent seven years on the bestseller list, captivating readers

with its gripping story of a nomadic clan living by their parents’ passionately held if reckless rules. At the heart of

its allure was Walls’s determination to survive, to get out and make her own life, but without letting go of the

complicated affection she felt for two parents whose wildness was at once full of wonderment and a catastrophe.

Walls’s book was the opposite of a lurid tell-all. Instead it was a love story, one full of cracked hearts, broken

promises and unseen need, yet also one that dug to the bottom of how sustaining and transcendent love can be,

no matter who you are or where you are from.

The story already played like cinema: a fairy tale spanning a life lived in cars and shacks to the heights

of New York publishing. It’s something co-screenwriter and director Destin Daniel Cretton keyed into as soon as

he read it. But Cretton, who broke out with the much-admired indie Short Term 12, also saw the story as

relatable by anyone who has been both troubled and enlivened by their family.

“Destin, from the beginning, saw all the light, the happiness, the joy and the lessons, and he brought

that,” Jeannette says. “He hasn’t whitewashed anything. He hasn’t left out the bad things. They’re all there. His

script captured exactly what I tried to do with the book: to show the beauty and the ugliness, the bright and the

dark of my childhood.”

Cretton explains his affinity for the book: “This is such a personal story to Jeannette, when I

read it, it felt incredibly personal to me, too. My upbringing was not as crazy as hers, but I related to her

exploration of love and its many facets and the way that families can have both beautiful times, and

difficult, scary times. It felt real and relatable and so cathartic. It’s one of those stories that makes you

feel more connected and not so alone in the world.”

He and co-screenwriter Andrew Lanham also saw it as a story of a highly successful, seemingly

settled woman, the adult Jeannette, who must return to the muck and mire of her family history in order

to reconcile her future. “We focused in on the idea of a young woman who is filing through her

memories, trying to make sense of her life so far, and to finally make peace with the past and her

parents. Ultimately, it is the story of a woman learning to love and accept herself,” says Cretton.

Cretton found Walls’s ability to openly wonder about her parents’ truly extreme behavior, yet still

have overwhelming compassion for them, especially powerful, and something he had to underline the

entire production. “Every page of Jeannette’s book shows another side of these incredibly complicated

characters and their relationships to each other. One moment you're falling in love with a character, but

then they do something to make you hate them, and then you turn the page and love them again. It’s all

so deeply human."

For Walls, Cretton had hit upon the one idea she felt had to come out of any screenplay adaptation: that

her family, disorderly and difficult as it might be, reflects as much as any our universal human urge to hold tight

to our loved ones no matter how much it tests us. Since publishing her book, she has found that many more

people than she even imagined took that to heart.

“One the many blessings of having told my story in the book is that people not only get it, they

sometimes get it even more than I do,” says Walls. “There are so many people out there with stories that, while

not identical to mine, share something essential in common. In telling this story of both great hardships and great

abundance, I not only reconnected with this childhood that I tried to pretend did not exist for a long time; I also

connected with other people.”

Another person Walls’s story hit home with is Oscar® winner Brie Larson (Best Actress, Room, 2015), who

portrays her as a young woman in The Glass Castle. Says Larson: “This is a story about family, about how you

become the person you are and about accepting the fact that people don’t always love you in the way you need

but you can forgive them. It’s very rare to be able to watch someone like Jeannette move from childhood into

adulthood, seeing all the missed connections and moments that were misunderstood, and then to see her have

the chance to regain some of what was lost. I really wanted to do right by her and her story.”

As time has passed, Walls feels even more strongly that the raw beauty of love can be found in nearly

ever family, and every family has a story to tell. “Some people have accused me of being overly optimistic, but

that’s how we survive our tough times, looking for the joy, because otherwise it might kill you,” she concludes.

“That is why we tell stories. If we can share with one another the lessons of our survival – how on earth did you

get through that? – then everyone feels they can get through it, too. If people leave the theaters thinking about

their own family, I’ll be ecstatic.”

THE STORY BEHIND THE STORY

Jeannette Walls had been working for many years as a New York columnist before she revealed her

remarkably off-the-wall origins to anyone. She had come to learn by then that the heightened trials and

tribulations she faced growing up were light-years outside the mainstream.

Her parents, Rex and Rose Mary Walls, fiery free spirits disdainful of all institutions from employers to

schools, didn’t want it any other way, though their children would suffer mightily at times from their derelict

ways. Walls spent her early years literally on the road, rootlessly wandering from Southwestern desert towns to

mountain campgrounds without ever calling anywhere home. Her whole family was in thrall to their father, Rex, a

devilishly charismatic, sometimes brilliant, self-taught man who, when sober, captured his children’s imaginations,

teaching them science, showing them the world’s wonders and above all, exhorting them to embrace life

fearlessly. Their mother Rose Mary, a bohemian painter and self-proclaimed “excitement addict” was equally

charming, but even less committed to the responsibilities of caring for a family.

Both parents believed in creating their own way of life, even if it meant being materially impoverished.

When the money completely ran out and the romance of the wandering life started to fade, the family retreated

to a declining West Virginia mining town, moving into the ramshackle house that would become the alter-ego of

“the glass castle,” the amazing, solar-powered fantasy house that Rex Walls always promised he would build. As

the dysfunction of the family escalated, Jeannette and her siblings were increasingly forced to fend for

themselves, supporting one another in their ingenious bids for their own survival, and encouraging one another

to one day make their big escape.

Yet even when Jeannette did make her getaway, leaving Appalachia behind to become a writer in the big

city, she could not really cut herself off from her family. The more she pursued her own life and relationships, the

more she realized she had to come to grips with what the Walls family had been through together, all that she

had seen on the margins of American society.

That’s when Walls began writing, an event that came full circle when the adult Jeannette’s reconciliation

became the center of the film adaptation. The book’s success was extraordinary, garnering awards, selling more

than 2.7 million copies and being translated into 22 languages.

The Glass Castle first came to Destin Daniel Cretton via Oscar®-nominated producer Gil Netter (Best

Picture - Life of Pi, 2012; The Blind Side, 2009), who intuited that Cretton might be able to get inside Jeannette

Walls’s story in a way no prospective filmmaker had. Notes Walls: "There had been some early attempts at

adaptation, but it was just not working out. At one point, I was advised that my book, as written, could never be

made into a movie, that we'd have to make so many sacrifices, it would be an entirely different story. At the

time, I settled on the notion that I might be able to live with that, but I still felt that even if a screenplay was not

entirely faithful to my book, it should at least capture the essence of the book."

Unsure of how things might progress, Walls says she was waiting for a miracle. "Well, that miracle

happened for me, and it was named Gil Netter,” she says. “Gil got his hands on my book and made it all happen.

He moved mountains, or in some cases, made sure that the mountains didn’t move. He is the one responsible

for pushing this beast into existence and as it turns out, one of the most important and brilliant decisions that Gil

made was getting Destin aboard.”

Cretton wanted to approach The Glass Castle not as a story of outrageous family dysfunction, but as one

of the power of unconditional love. He didn’t see the Walls family as off-the-scale curiosities, but as sympathetic,

fascinating, somewhat broken human beings like the rest of us. “I think that’s what the most successful

storytelling does,” says Walls. “It takes down the barriers that so often we erect, thinking ‘Oh, I’m not like those

people. They’re kind of weird.’ When you take down those barriers then you get all these deep emotional

connections.”

Breaking down those barriers is why Cretton decided to start the adaptation with Jeannette in her

mid-20s, just as events push her to piece together her history, to open her scarred heart to a series of

vivid flashbacks. “That’s something I did in my 20s and it’s something lots of people do at that

age. Whether it's their first time seeing a therapist or taking that ‘Intro to Psychology’ class, it’s often a

time to look back and see how you got where you are now and how your family impacted you. Everyone

has that moment when you try figure out what made you who you are and how to reconcile the discord

in your family with the love you feel for them. That’s where we find Jeannette.”

It was always essential to Cretton that Jeannette be 100% behind the project. Walls says she trusted

him implicitly as they embarked on intense conversations about the nature of love, family, art and storytelling.

“Destin is magical,” comments Walls. “He is the kindest, gentlest, most empathetic human being I’ve met. But

you can’t let that kindness and that sensitivity fool you. The man has a mind like a steel trap. Destin sees

everything. He sees the light and dark in all things, and that was so important. I always felt this story must not

be an entirely dark story—but you also wouldn’t want to paint over the unsettling parts and make it an entirely

light story. Destin has all the skills to mix both shades.”

Cretton notes that he did not attempt to create a perfect facsimile of the Walls’s lives or of her

book, but rather present their story as a mirror of American family life. “This is storytelling, not the

documentary truth, but hopefully, by adding new dimensions to Jeannette’s story, we are creating

something fresh that can be enjoyed and embraced by a whole new group of people,” he

says. “Jeannette’s book touched so many people, and we definitely wanted to make The Glass

Castle for everyone who loves the book, but we also wanted to make this movie for the Walls family. In

a sense we set out to create a moving picture photo album of their memories. I hope it’s an honest

portrait, a moving portrait and ultimately a portrait of how complicated, yet simple and powerful, love

is.”

THE WALLS FAMLY

To bring the Walls family to life in all their quirks and contradictions, the filmmakers recruited an award-

winning cast led by Oscar® winner Brie Larson, two-time Oscar® nominee Woody Harrelson (Best Supporting

Actor, The Messenger, 2009) and Oscar® nominee Naomi Watts (Best Actress, The Impossible, 2012). For

Jeannette Walls, it was a visceral thrill to watch this ensemble re-animate her most formative memories.

“Each actor was so dedicated to getting his or her character right,” Walls says. “The questions they

asked during their research went right to the heart of things and took my breath away. Even when the actors

went off the script, it would genuinely sound like something Rex or Rose Mary would say. I was blown away by

the insight, psychological understanding and the way that these actors came to love and inhabit my family, loving

them even for all their flaws."

Jeannette:

To play Jeanette across the pendulum swing of her life would require three different actors, starting with

the adult Jeanette, who is living out her dreams in New York and engaged to be married, only to be drawn back

into her family’s powerfully strange orbit. Taking the role is Brie Larson, who recently riveted audiences as a

mother and kidnapping victim trying to raise her son while imprisoned in a tin shed in Room, for which she won

Academy Award® for Best Actress.

Larson previously worked with Cretton playing the supervisor of a group of at-risk teens in his acclaimed

Short Term 12, for which she earned an Independent Spirit Award Best Actress nomination.

“She has always been an electrifying actress,” Cretton says of Larson. “In this film, she conjured

up so much depth that it took my breath away at times. It was like watching a magician. It’s impossible

to describe how she does it because this thing just erupts from her that is not something that you can

cognitively figure out beforehand."

The way in for Larson was directly through her encounters with Walls herself. While Larson typically

does a lot of research for roles, in this case the research was a living, breathing woman from whom she could

divine the full breadth of Jeannette’s psychology and persona.

“When I took the role in Room, I spent a lot of time researching every possible angle of being in captivity

because it was a situation that I had never been part of before. But with Jeannette, I had a direct line of

communication to her—I could just e-mail her or call her with any question,” Larson describes. “One of my

favorite things that happened in our first communication was she said, ‘I want you to tell the truth and I want

you to tell your truth. This is my story, but I want you to make this your own. I want you to do whatever feels

honest to you, so I’ll tell you anything that you want. There are no questions that are too personal.’ That started

off our relationship in this really warm, trusting way.”

Walls also left Larson with the impression of someone who had found a way to take exhilarating lessons

from a sometimes harrowing childhood. “What Jeannette realized in the end is that the entire experience of

growing up with his her parents made her who she is – and not just the good stuff, but the bad stuff which is

what made her so resilient,” she observes.

Larson’s portrait of Walls takes place largely in New York, after she has left her family behind, or so she

thinks, to start her own career. “Jeannette goes to New York to heal from her past but then she realizes how

much of her family is still inside of her, even though she’s completely changed her life and is trying to push them

away. It’s still an important and core part of her,” says Larson. “I think that part is a very relatable experience.

Her situation is extreme but everybody hits that age when they feel they need to become their own person and

forge an identity separate from the constructs of their family. She pushes away from them in order to discover

herself, but then in discovering herself, it brings her back home.”

For Walls the immediate, palpable link with Larson was gratifying. “When I watched Brie in Short Term

12, I’d never felt such a connection with an actor,” Walls relates. “It was her combination of toughness and

tenderness, vulnerability and the willingness to fight—but to fight when it came to other people, not when it

came to herself. I so related to her that when she was cast to play me, I thought, ‘thank you, whatever power

just made that happen.’”

Walls continues: “The more I got to know Brie, the more I found her so smart and so fearless. She was

so determined to get to the heart of my character. She wanted to understand everything about me and my

family and she was ready to do some really deep diving to get at my inner secrets and embrace them. I found all

of that quite spectacular.”

With so many roiling and contrasting emotions to navigate, Larson was thrilled to reunite with Cretton,

who, she says, has a way of “making the unsafe feel safe.” She goes on: “Destin is the most compassionate,

understanding, sensitive person and this is the second time with him that I’ve played a character who required

me to sort of lose myself. When you do that, you have to trust that you have a team of people around you that

are going to be respectful of that vulnerability and care for you on the other side of it. And that’s exactly who he

is.”

Larson’s commitment to Jeannette moved each of her cast mates. “Brie’s work is so genuine,” observes

Naomi Watts. “The first day I saw her on set she didn’t even have any lines, but she had such powerful eyes and

such incredible expressiveness, I thought, wow, she’s magnetic. There’s something about Brie that’s just

mesmerizing to watch.”

Adds Woody Harrelson, “I was psyched when Brie came aboard. She is an old friend of mine – well, I

guess she’s a young, old friend of mine. I’m an old friend of hers. I met her first on Rampart, when she was

around 21 and already, at that time, I knew she was an incredibly brave actress. She would make choices that

were so compelling. She doesn’t settle. She works hard, and she’s great at it.”

There was equal affection from Larson towards Harrelson, which cemented a father-daughter relationship

that is both fraught and close. “Woody and his family have been an important part of my life and the family that

I’ve made now that I’ve grown older. To be able to do this role with him was a really special experience because

we already love each other so much and that brings a lot to the table. With Woody you really feel that, even

though Rex can be so tumultuous at times, there’s still this sense of love and care between him and Jeannette,”

she elaborates.

Reflecting Larson’s performance are the two younger versions of Jeannette: Ella Anderson, who plays

Jeannette as an impressionable 9 year-old, as she develops her grit to fight to keep her dreams alive, and

Chandler Head, who portrays Jeannette as a younger child.

Anderson had an especially challenging task but proved up to it. "Ella’s a very unique 11 year-old.

Her questions were so smart and there was zero difference between directing her and directing a 40

year-old. Everybody doing a scene with Ella for the first time Naomi, Woody—came up to me said they

were blown away by how talented she is.”

Says Larson of Anderson: “We really pushed each other and to be pushed by an 11 year-old is a really

powerful thing.”

Rex:

A major challenge of casting The Glass Castle was finding Rex Walls, who was many things to his family:

magnetic, philosophical, inventive and romantic, but also deceptive, neglectful and deeply damaged. The task of

holding all these qualities in one human container fell to Woody Harrelson, the two-time Oscar®-nominee also

seen this year in such contrasting roles as a human warrior in War For the Planet of the Apes and a small-town

chief of police in Three Billboards Outside Ebbing, Missouri.

Harrelson takes in the full measure of Rex, from the big, wild ideas that roiled inside him to the

alternately rousing and devastating impact he had on the children who needed more from him.

"Rex was a really interesting guy,” Harrelson reflects. “He was not perfect, by any means. He was an

alcoholic, and he clearly did questionable things as a parent. He didn’t necessarily believe in schooling and there

was just a lot about him that made life very difficult for his family. But there were also things about him that

made Jeannette’s childhood singular. His whole take on society was different from the traditional, and at times

he could be an incredibly loving guy.”

The breadth of Harrelson’s performance was exactly what Cretton was seeking. "Woody stunned

me every single day. Every day, I couldn’t wait to see what was going to happen with him. He took this

role extremely seriously and did a lot of his own research, reading through Rex’s personal journals to

absorb more of his mindset. We also had a video of Rex from a documentary, which provided more

ingredients for Woody to digest. Then, on set, he transformed into this multi-faceted, beautiful, crazy

character. He really understood that Rex could be reckless, strong-willed and mean, but he could also be

gentle, caring and hilarious. Some of the times he had with the family were like a wild ride, adventurous

and super-fun. And at other times, he was very, very vulnerable.”

Rex’s journals gave Harrelson fuller insight into the man, or at least the way he wanted to be perceived.

"It was clear that Rex had an unusual kind of mind," says Harrelson. "He wrote that he took an exam to get into

the Air Force, and the higher-ups believed he cheated because he scored off the charts. So they put a guard in

with him while he did the thing again and he proved it was real. Of course this is Rex’s version of the story, so

we can’t be sure if we’re standing on stable ground or quicksand. We know he wrote poetry, was incredibly

articulate and a real math whiz. I’d like to have met him."

Jeannette Walls also served as a fount of knowledge for Harrelson. “Woody was especially interested in

the physicality of my father, inhabiting him from the inside out,” she says. “I felt he brought a stunning level of

humanity and care to his performance. This is not an easy role. My father was somebody who was so conflicted,

with extremes of good and bad, of being helpful and being destructive, of loving desperately but then also

damaging the people he loves. How on earth do you capture that?”

Somehow, Harrelson seemed to channel Rex in his entirety, from his passionate nature to his deep-

seated cracks. Recalls Walls: “There was once scene I watched on set where Woody was just staring at a

drafting table, but when I saw him I gasped. The gestures, the posture, the look in his face – ‘my gosh,’ I

thought, ‘he has resurrected Rex.’ I felt really fortunate that Woody so deeply seemed to understand the pain,

the hurt, the love and the beauty of this incredibly complicated man.”

Certainly, Harrelson is no stranger to being true to himself. Jeannette remembers talking to his

daughter one day and hearing her say, “My daddy doesn’t follow the rules either.” Walls elaborates: “Maybe

that’s one of the reasons that Woody could relate to my dad. He’s much more in control than my dad was, but

he’s not someone conventional, either. And they both share a love of the environment.”

Much as Harrelson enjoyed the more freewheeling, inventive aspects of Rex, he also honed in on the self-

doubt and repressed emotions that ignite his demons. "Rex has a wild and sometimes cruel side to him, but I

believe it’s rooted in things from his childhood that he never dealt with. The way Woody plays him, the more you

understand him and the more compassion you have for Rex. The story does not apologize for the bad things Rex

did, but I think that there is a level of empathy that you can still have for him. Many people have someone like

Rex in their lives.”

As for “the glass castle” Rex envisions – which became the symbol of all the glimmering but dashed

promises of Jeannette Walls’s childhood—Harrelson says: "Rex infatuated his children with his dream of an

incredible solar-powered castle, but it never got past the blueprints. It could have been amazing, but that’s how it

was with Rex. He was always more a dreamer than a realizer of those dreams."

These days, Jeannette Walls sees her father’s castle as a powerful metaphor. “I’ve come to believe in a

way that Rex’s glass castle has now been built, because what it was always about was finding a place in the

world of pride,” she explains. “I also realize that in working on those plans, in always thinking, planning and

dreaming, he gave me something much more valuable than a fancy house. He gave me hopes and dreams and a

belief that I deserved something better than what I had at that moment.”

Brie Larson also views the never-materialized castle as propelling Jeannette, in part because it’s a dream

she has to chase down herself. “Although Rex is very flawed, he has an incredible mind for engineering which

leads him to design this kind of Eden he’s envisioned for the family, this beautiful paradise that is he says is going

to come one day,” says Larson. “It takes time for Jeannette to realize Rex’s glass castle is never really going to

happen—but that’s also when she realizes that she has to go out and make her own glass castle.”

Like the glass castle Rex never builds, he also gifts Jeannette a star that can’t be physically possessed –

and yet that faraway cosmic body means the world to her. "There are two points of view on Rex gifting

Jeannette a star. One is that you have a dad who’s given you nothing but a made-up story. The other is a dad

who has the unique ability to instill wonder and excitement into his daughter, despite having nothing material to

give her. Woody does an amazing job finding that balance in his performance.”

Rose Mary:

For Jeannette Walls, one person in her family stands out as the most difficult to embody: her mother

Rose Mary, a painter who was more fired up by the idea of creating a lasting working of art than protecting her

children. “She’s the one who causes the heated arguments in the book clubs. She’s the one that causes people

to yell at each other,” notes Walls. “She was a terrible mom. But some people inevitably defend Mom -- and it’s

often somebody who knows an artist.”

Taking on the challenge of Rose Mary is Naomi Watts, a two-time Oscar® nominee for her roles in 21

Grams and The Impossible, who dove into the deep end with the role, meeting personally with Rose Mary, who

now lives on Jeannette’s property with her, and trying to meet her on her own terms. "Naomi disappears into

Rose Mary," says Cretton. “Rose Mary is an artist who is more focused on her life than her children’s, constantly

upbeat, yet unable, or unwilling, to see her husband’s behavior for what it is.”

Brie Larson was awed by how far Watts was willing to go to inhabit a character who can be as anarchic

as she is spirited. “I found Naomi’s performance absolutely incredible,” she says. “It’s a really tough role because

she is sort of unhinged at times, but Naomi captures her beautifully. It’s as if the character was running in her

veins. In the arm wrestling scene that takes place when Jeannette is an adult you see her as an older woman

who can still be so childlike and she really nails that dichotomy.”

Like Harrelson, Watts wanted to embody Rose Mary’s reality fully and candidly, even knowing many will

see her as a dangerously negligent mother. “I’ve found that Rose Mary is someone who is driven profoundly by

creativity,” Watts says. “She has to paint every single day. Even when she’s not painting, she’s thinking of what

she can paint. Painting to her is like food and water are to most people. If she doesn’t paint every day, she’s

going to fall apart.”

She also anchored her performance in intensive research. “Preparation is my favorite part of creating a

character,” Watts notes, “and when you’re portraying a real-life person, especially one who is alive, you have an

extra sense of responsibility to be as honest as possible. You have to find a real connection and a sense of

empathy for that person. So I had endless conversations with Jeannette and Rose Mary and there were lots of e-

mails back and forth.”

In interviewing both mother and daughter, Watts turned up some revealing discrepancies. "I found it

intriguing that their stories of the same events could be so different. But somewhere in there obviously is the

truth, so I looked for that, and then tried to make it my own,” she explains of the process.

Jeannette Walls was stunned by how much Watts was able to assume her mother’s one-of-a-kind

persona. “Naomi worked so hard to understand this woman who is a bundle of wild contradictions. She came at

it from different angles and was relentless in getting inside, and she really got it.”

The real Rose Mary Walls was hesitant at first to be involved in the film project at all, but Watts won her

cooperation. “Initially, Mom feared the film was only going to ridicule her for who she was,” says Jeannette.

“But when she found out that Naomi Watts had been cast, she called up my older sister and asked, ‘So who’s this

Naomi Watts woman?’ And when Lori said, ‘She’s a very talented and very beautiful artist,’ that’s when Mom was

onboard."

Watts also spent time pondering the link between Rose Mary and Rex. “Both Rose Mary and Rex were

bold thinkers, with a love for life and the fire to always fight for their rights – even if they made a mess of things

in their family,” says Watts. “Rose Mary’s spirit is what intrigued Rex. She had and still has a great sense of

humor. There’s some inner wisdom in her as well. They had a tumultuous love affair which was driven in part by

a power struggle, I would say.”

That played out in Watts’s organic rapport with Harrelson. “I thoroughly enjoyed working with Woody,”

Watts says. “We both had the same aim: to find the essence of each scene and make it as truthful as we each

possibly could. As an actor, it really doesn’t get much better than that."

SUPPORTING CAST

Surrounding Brie Larson, Woody Harrelson and Naomi Watts in The Glass Castle is an ensemble who

brings to life the Walls family and members of Jeannette’s newfound life in New York.

Golden Globe®-nominee Max Greenfield (New Girl) plays the vital character of David, based on Jeanette’s

fiancé at the time, a driven New York financial advisor who has little in common with her upbringing. "David

represents everything Jeannette is not. He is the opposite of Rex. She’s stuck between these two people in her

life, trying to decide which way she’s going to go.”

Walls remembers purposely looking for someone who was 180 degrees from her father. “I loved my

father so much, but I also knew what a dangerous man he could be. I wanted the opposite. But it was also hard

to be with someone who found my family frankly weird, which increased the gulf between us.”

Says Greenfield of his take on the role: “David grew up on wealthy on the Upper East Side and only

knows a world that is polar to where Jeannette comes from. But he’s madly in love with her. He thinks she’s so

strong and powerful and he’s enamored of the way she can take control of a room when she tells a story. But

when the Walls family moves to New York and finds their way back into Jeannette’s life that is something David

really isn’t prepared for.”

Another major influence on Jeannette is her savvy, sarcastic older sister, Lori, played by Sarah

Snook, the Australian actress recently seen in Steve Jobs. "Lori is the realist of the family. From a young

age, she’s the one who saw through Rex and the one with witty comebacks to Rex’s wild claims. She

finds her peace before Jeannette and helps coax Jeannette in that direction."

Says Snook: “Lori is the first of the siblings to realize their family is way outside the norm. I like that her

eyes are open and she the first to find her own independence, inspiring Jeannette.” Sadie Sink and Olivia Kate

Rice play younger versions of Lori throughout the film.

To bring Jeannette’s younger sister, Maureen, to life, the production again engaged three

different actors: Brigette Lundy-Paine, Shree Grace Crooks and Eden Grace Redfield. “Maureen is the

one who Jeannette is always trying to protect, and when Jeannette leaves to go to New York, she has to

leave Maureen behind and this something that deeply affects both of them.”

Rounding out the immediate Walls family is Brian, Jeannette’s younger brother, portrayed from childhood

through age 20 by Josh Caras, Charlie Shotwell and Iain Armitage. In the family dynamic, Brian is the one who

uses humor as a shield for all the kids. Notes Cretton: “Jeannette and Brian were always getting into trouble and

having adventures together. Brian learns to use dry humor to deal with the heavy, dark things that are happening

in his life. He’s funny, but he would take a bullet for any of his sisters.”

THE DESIGN

To bring to life the Walls’s hardscrabble world, as well as Jeannette’s contrasting, high-flying status in

New York, Destin Daniel Cretton collaborated with a creative team that includes director of photography Brett

Pawlak (Short Term 12), production designer Sharon Seymour (Argo) and costume designers Mirren Gordon-

Crozier (Short Term 12) and Joy Hanae Lani Cretton.

All worked together to visually shift Jeannette’s world from wild to ordered as she grows up and

finds the determination to create a life beyond her family. “All of us took our main inspiration from the

arc of Jeannette’s journey,” says Cretton. “Over the course of the movie, as she begins to see the more

troubled side of her family and carve out her own life, the cinematography and the color palette

changes.”

For Cretton, Pawlak’s minimalist style was a great match for a story so full of extreme personal drama.

“Brett is not afraid to go with the most minimalistic images and he’s never overly showy. I found his choices

incredibly beautiful in their simplicity,” says Cretton. Says Pawlak: “It’s such a saturated film – with different

time periods, amazing sets and a lot of emotion – I wanted the camera to not add more saturation, but take a

step back and be very simple compositionally.”

Seymour’s sets, lovingly decayed to look neglected, helped immerse the cast in the Walls’s reality.

“Sharon created such detailed environments that the actors felt they were real and reacted to them in that way,”

says Cretton.

That was certainly true for Brie Larson, who says: “Sharon really made the book’s setting come alive,

with so many details of the Hobart house preserved, from Rose Mary’s glass bottles in the window to the way

that the stairs cave in and having Rose Mary’s paintings everywhere. Then she did the opposite in Jeannette’s

New York apartment, which is this gorgeous but very stark setting that feels a bit empty. She created the

dichotomy of the Walls family home as somewhere chaotic and messy, yet full of love, versus this New York

apartment that has all of the things that are supposed to make you happy yet somehow still feels devoid of the

things that are most meaningful.”

A fun element for Seymour was being able to use dozens of Rose Mary Walls’s actual paintings

throughout the film. Says Seymour: “The paintings offer a spectacular insight into Rose Mary as a person who is

so creative and devoted to being an artist but maybe wasn’t cut out to be a mother. The fact that we got to use

her real paintings was a tremendous asset for the film, lending a real authenticity.”

At first, there was a bit of trepidation on Rose Mary’s part about lending the production her paintings, but

she ultimately wanted her work to be showcased. Jeannette says, “She was afraid at first that people were going

to make fun of her artwork. But she liked Destin so much, she trusted him. Destin realized there is only one way

that somebody like Rose Mary Walls would paint – and because he has that passion for everything being true he

knew her paintings were important.”

A VERY SPECIAL VISITOR

During the summer of 2016, while on location in Montreal, the filmmakers invited Jeannette Walls to the

set to experience firsthand the care being poured into the re-telling of her life story. Recalls Cretton: “Having

Jeannette visit us on set was humbling and an excellent reminder of why we were making this movie—that it is

about a real family. It was so special to have her right there, on the sets we created from her book, immersed in

scenes from her life and seeing her moved to tears.”

Watching Woody Harrelson channel her father had a particularly profound impact on Jeannette. “The first

day he was on set, he had this raw exchange with Brie about her leaving home, and it just ripped my heart out.

Then I thought, ‘Well, of course, it’s going to rip my heart out, because I went through this.’” Jeannette wasn’t

the only one moved to tears by that moment. “I looked around, and half the people on set were crying,” she

recalls.

It also meant a lot personally to Harrelson to have Walls there. "Her book resonated so much with me

that the day that I met Jeannette– and this has never happened to me before—I just burst out crying,” he

confesses. “She was so sympathetic. She said that happens to her a lot, that people connect so much with The

Glass Castle that things often get emotional.”

The hope that more people will have a chance to connect to her family’s story – to connect to people

who might seem on the margins but share plenty in common with all families trying to stay afloat despite their

imperfections -- is thrilling to Walls. "The most exciting thing about seeing The Glass Castle being filmed was the

sensitivity and intelligence so many people brought to it. They took the most important and emotional moments

from the book and brought them to life in a new way. They created a story that sees all sides, the bad and the

good, and brought love to all of it.”

TALENT BIOS

Brie Larson (Jeannette Walls) won the Academy Award®, Golden Globe®, Screen Actors Guild Award®, BAFTA, Critics Choice and National Board of Review awards for her breakthrough lead performance as Ma in Room (2015), directed by Lenny Abrahamson and adapted from the best-selling book by Emma Donoghue, about a young woman and her 5-year-old son who finally gain their freedom after being held captive for years in an enclosed space.

Next up, Larson will star in Lionsgate’s The Glass Castle based on the best-selling memoir by Jeannette Walls, reteaming her with director Destin Daniel Cretton. Following she will be making cinematic history as the star of Marvel’s first female-led superhero film, Captain Marvel. Larson recently completed production on her first feature film, Unicorn Store, in which she also stars.

Most recently she starred in Warner Bros.’ Kong: Skull Island directed by Jordan Vogt Roberts, which earned $566 million worldwide and the Martin Scorsese executive-produced ‘70s crime thriller Free Fire, directed by Ben Wheatley. The latter premiered at the 2016 Toronto and London Film Festivals.

In 2014, Larson starred in Short Term 12, her first collaboration with director Destin Daniel Cretton. Her dramatic role as Grace, the director of a foster care facility, earned her Best Actress wins at the Locarno Film Festival and Gotham Awards, and a Best Actress nomination at the Critics Choice Awards. The Los Angeles Times labeled her the It Girl of the SXSW Film Festival, where it first premiered.

Larson has worked with top directors and co-stars on esteemed films, including Judd Apatow’s Trainwreck opposite writer/star Amy Schumer; Rupert Wyatt’s The Gambler opposite Mark Wahlberg; James Ponsoldt’s The Spectacular Now opposite Shailene Woodley and Miles Teller; Joseph Gordon-Levitt’s directorial debut Don Jon; Phil Lord and Chris Miller’s 21 Jump Street as the love interest to Jonah Hill; Oren Moverman’s Rampart as the defiant daughter of Woody Harrelson; Edgar Wright’s Scott Pilgrim vs. the World; and Noah Baumbach’s Greenberg as a young temptress flirting with Ben Stiller. Larson is still widely recognized for her portrayal of Toni Collette’s sarcastic and rebellious daughter in Showtime’s breakout drama United States of Tara, which was created by Academy Award®-winning writer Diablo Cody and based on an original idea by Steven Spielberg. She has appeared on stage at the prestigious Williamstown Theater Festival in the role of “Emily” in Our Town and recurred on the F/X cult favorite series, The League. In addition to acting, Larson is a writer and director. Her short film, The Arm, won the Special Jury Award for Best Comedic Storytelling at the 2012 Sundance Film Festival.

A native of Sacramento, Larson started studying drama at the early age of 6 as the youngest student ever to attend the American Conservatory Theater in San Francisco. Larson currently resides in Los Angeles, California.

Woody Harrelson’s (Rex Walls) rare mix of intensity and charisma consistently surprises and delights audiences and critics alike in both mainstream and independent projects. His portrayal of a casualty notification officer, opposite Ben Foster, in Oren Moverman’s The Messenger garnered him a 2010 Academy Award® nomination for Best Supporting Actor. He was previously nominated by the Academy Awards®, the Golden Globes® and SAG Awards® in the category of Best Actor for his portrayal of controversial magazine publisher Larry Flynt in Milos Forman’s The People vs. Larry Flynt.

Harrelson most recently wrote, directed, produced and starred in an unprecedented live feature film Lost in London, which was broadcast live into theaters nationwide on January 19, 2017. The comedy also stars Owen Wilson and Willie Nelson. Harrelson will next be seen in the upcoming untitled Hans Solo Star Wars sequel, Three Billboards Outside Ebbing, Missouri with Frances McDormand and Sam Rockwell for writer/director Martin McDonagh, The Glass Castle for director Destin Daniel Cretton, LBJ as Lyndon B. Johnson and Shock and Awe for director Rob Reiner, and the third installment of the Planet of The Apes, entitled War for the Planet of the Apes, directed by Matt Reeves. Recent releases include the films Fox Searchlight’s critically acclaimed The Edge of Seventeen, Wilson with director Craig Johnson, Now You See Me 2 for director Jon Chu, and Triple Nine for director John Hillcoat. He was recently seen in HBO’s True Detective co-starring Matthew McConaughey for which he was nominated for Emmy® and SAG Awards® in the lead actor category and a Golden Globe® Award for Lead Actor in a Mini Series. In 2012 Harrelson starred opposite Julianne Moore and Ed Harris in the HBO film Game Change for which he earned Primetime Emmy®, SAG Award®, and Golden Globe® nominations for his role as Steve Schmidt, and Martin McDonagh’s Seven Psychopaths, alongside Sam Rockwell, Colin Farrell and Christopher Walken. Other highlights from Harrelson’s film career include Rampart with director Oren Moverman, Ruben Fleischer’s box office hit, Zombieland; Out of the Furnace starring opposite Christian Bale and Casey Affleck; The Hunger Games film series; Now You See Me; The Grand; No Country For Old Men; A Scanner Darkly; A Prairie Home Companion; Seven Pounds; The Prize Winner of Defiance, Ohio; North Country; Transsiberian; The Thin Red Line; Welcome To Sarajevo; Natural Born Killers; Indecent Proposal; White Men Can’t Jump; and was recently seen as the on screen host for director Pete McGrain’s powerful political documentary Ethos. Harrelson first endeared himself to millions of viewers as a member of the ensemble cast of NBC's long-running hit comedy, Cheers. For his work as the affable bartender ‘Woody Boyd,’ he won a Primetime Emmy® in 1988 and was nominated four additional times during his eight-year run on the show. In 1999, he gained another Primetime Emmy® nomination when he reprised the role in a guest appearance on the spin-off series Frasier. Balancing his film and television work, in 1999 Harrelson directed his own play, Furthest From The Sun at the Theatre de la Juene Lune in Minneapolis. He followed next with the Roundabout's Broadway revival of The Rainmaker; Sam Shepherd’s The Late Henry Moss; and John Kolvenbach's On An Average Day opposite Kyle MacLachlan at London’s West End. Harrelson directed the Toronto premiere of Kenneth Lonergan's This Is Our Youth at Toronto’s Berkeley Street Theatre. In the winter of 2005 Harrelson returned to London's West End, starring in Tennessee Williams' Night of the Iguana at the Lyric Theatre. In 2011, Harrelson co-wrote and directed the semi-autobiographical comedy Bullet for Adolf at Hart House Theatre in Toronto. In the summer of 2012 Bullet for Adolf made its Off-Broadway debut at New World Stages. Two-time Academy Award® nominee Naomi Watts (Rose Mary Walls) has garnered several impressive accolades throughout her career. Her first Academy Award® nomination for Best Actress was for her performance in Alejandro Gonzalez Iñarritu's 21 Grams where she starred alongside Sean Penn and Benicio Del Toro. Her performance also garnered Best Actress Awards nominations from the SAG Awards®, BAFTAs, Broadcast Film Critics and Golden Satellites as well as Best Actress honors from multiple critics' associations. At the film’s premiere at the 2003 Venice International Film Festival, she received the Audience Award (Lion of the Public) for Best Actress. The film itself won the Special Distinction Award at the Independent Spirit Awards. She also earned an Academy Award® nomination for Best Actress for her role in Juan Antonio Bayona’s The Impossible, starring alongside Ewan McGregor. For

her role as a courageous wife and mother struggling to survive the aftermath of a tsunami, she also earned Best Actress nominations from the HFPA for a Golden Globe® Award, from the SAG Awards®, the Broadcast Film Critics, and she received the Desert Palm Achievement Actress Award at the Palm Springs International Film Festival. Watts also earned a SAG Award® nomination for Best Supporting Actress for her performance in St. Vincent, which she starred alongside Bill Murray. She also starred in Iñarritu's Birdman with Emma Stone and Michael Keaton. Among its many accolades, the film won the Academy Award® for Best Motion Picture as well as several other categories and also racked up an impressive number of nominations. Watts will be seen in several projects this year including David Lynch’s highly anticipated Twin Peaks reboot, Colin Trevorrow’s The Book of Henry, Netflix’s Gypsy, and The Glass Castle with Brie Larson and Woody Harrelson. She is also shooting Ophelia with Daisy Ridley. She recently starred in 3 Generations with Susan Sarandon and Elle Fanning, the boxing drama Chuck with Liev Schreiber and Elisabeth Moss, which premiered at the 2016 Venice Film Festival and screened at the 2017 Tribeca Film Festival, the psychological thriller Shut In, Demolition with Jake Gyllenhaal, which premiered at the 2015 Toronto International Film Festival, and Gus Van Sant's Sea Of Trees with Matthew McConaughey, which premiered at the 2015 Cannes Film Festival. Her other recent films include The Weinstein Company’s About Ray with Susan Sarandon and Elle Fanning, which also premiered at the 2015 Toronto International Film Festival, Noah Baumbach’s While We’re Young with Ben Stiller and Amanda Seyfried, and two of the installments in the Divergent franchise based on the popular best-selling novels written by Veronica Roth. Watts has had an impressive list of movies since her acclaimed turn in David Lynch’s controversial drama Mulholland Drive, for which she earned Best Actress Awards from a number of critics’ organizations, including the National Board of Review and National Society of Film Critics. In addition to starring in Peter Jackson’s epic remake of King Kong, her credits include Clint Eastwood’s critically acclaimed J. Edgar, starring opposite Leonardo DiCaprio; Doug Liman’s Fair Game, starring opposite Sean Penn; Woody Allen’s You Will Meet a Tall Dark Stranger, as part of an all-star cast, including Josh Brolin, Anthony Hopkins, and Antonio Banderas; Rodrigo Garcia’s Mother and Child, for which she received an Independent Spirit Award nomination for Best Supporting Actress; Tom Twyker’s The International with Clive Owen; We Don’t Live Here Anymore, which she starred in and produced; The Assassination of Richard Nixon, opposite Sean Penn and Don Cheadle; David O. Russell’s I (Heart) Huckabees, with Jude Law and Dustin Hoffman; Gore Verbinski’s The Ring and its sequel, The Ring 2; Merchant-Ivory’s Le Divorce, with Kate Hudson, Glenn Close and Stockard Channing; John Curran’s The Painted Veil, opposite Edward Norton, which was based on W. Somerset Maugham’s novel; David Cronenberg’s drama/thriller Eastern Promises, opposite Viggo Mortensen; and Michael Haneke’s thriller Funny Games. Born in England, Watts moved to Australia at the age of 14 and began studying acting. Her first major film role came in John Duigan’s Flirting. She produced and starred in the short film Ellie Parker, which screened in competition at the 2001 Sundance Film Festival. In 2005, a full length feature of the short debuted at Sundance. Among her many awards and recognitions, Watts received the Montecito Award from the Santa Barbara Film Festival in 2006 for her role in King Kong; was honored by the Palm Springs Film Festival in 2003 for 21 Grams; and in 2002, was named the Female Star of Tomorrow at ShoWest and received the Breakthrough Acting Award at the Hollywood Film Festival, both for her work in Mulholland Drive. She was also honored for her entire body of work at the 2011 Deauville Film Festival. She is also one of the faces of L’Oreal. Watts resides in Los Angeles and New York.

Max Greenfield (David) is best known for his scene-stealing character “Schmidt,” the womanizer with a heart of gold, on FOX’s Golden Globe®-nominated and critically acclaimed series New Girl. Greenfield

has earned Emmy®, Golden Globe® and Critics’ Choice Television Award nominations in the “Best Supporting Actor in a Comedy Series” category for this work on the show and TV GUIDE hails, “Greenfield has proven to be a stealth scene-stealer… It's thanks to Greenfield's lovable (but not cutesy) performance that keeps Schmidt endearing.” The show recently wrapped its sixth season and FOX announced that the upcoming seventh season will be its last.

Up next, Greenfield will star in Destin Daniel Cretton’s The Glass Castle opposite Brie Larson, Woody Harrelson, and Naomi Watts. The Lionsgate film, based off the New York Times bestselling memoir by Jeannette Walls, will be released August 11. The drama centers on a young girl who is raised in a dysfunctional family of nonconformist nomads. Greenfield plays Larson’s fiancé, David.

Later this year, he can be seen in Michelle Schumacher’s upcoming film I’m Not Here opposite J.K. Simmons and Mandy Moore.

On the small screen, Greenfield recently joined the cast of Ryan Murphy’s American Crime Story: The Assassination of Gianni Versace alongside Penelope Cruz, Ricky Martin, Darren Criss and Edgar Ramirez. The drama is set to premiere in 2018. Details of Greenfield’s role have not yet been revealed.

He was also recently seen in Ryan Murphy’s American Horror Story: Hotel. Prior to his breakout role on New Girl, Greenfield had several recurring roles in television. He starred as “Nick Pepper” on ABC’s award-winning comedy series Ugly Betty opposite America Ferrera, as Leo D’Amato in Veronica Mars and in the ABC Family series Greek, where he played a professor’s aide who sparks a relationship with a college student resulting in the first gay kiss ever seen on the family network. In addition, he starred in the lead role of the WB comedy series Modern Men. Greenfield has appeared in guest-starring roles on shows such as The Mindy Project, Happy Endings, Hot in Cleveland, Lie to Me, Castle, Raising the Bar, Melrose Place, The OC, Sleeper Cell, Gilmore Girls, and Boston Public.

Greenfield’s past film credits include Michael Showalter’s Hello, My Name is Doris opposite Sally Field, Adam McKay's Oscar®-nominated The Big Short, Veronica Mars, David Wain’s They Came Together, Ice Age: Collision Course, About Alex, Cross Bronx and When Do We Eat.

Greenfield brought his passion for producing to the small screen in 2011 with The Gentlemen’s League, which he also starred in and most recently, he produced the film Fist Fight, a comedy that was based on an idea that he developed with 21 Laps and writers Evan Susser and Van Robichaux. New Line Cinema released the film in February.

Greenfield was born and raised in New York and he currently resides in Los Angeles.

Ella Anderson (Young Jeannette Walls,) is a versatile actress known for her roles in The Boss, Mother’s Day, Unfinished Business and the 2016 Kids Choice Award winner for Favorite Kids TV Show, Henry Danger. Anderson was born in Ypsilanti, Michigan, on March 26, 2005. She got her big break at 5-years-old when she was discovered by a casting director in Detroit, Michigan. She quickly landed a part in the feature film Touchback, followed by roles in films that include The Giant Mechanical Man; Last Man Standing; The Possession of Michael King; James Franco’s directorial debut film, Bukowski; as well as Franco’s UCLA short film Miss Famous with Kristin Wiig. Anderson has social media follow of nearly 4.5 million strong across multiple platforms, thanks to her role playing Piper Hart in Nickelodeon’s Henry Danger, which is in production of its 4th season. While working on the series, she has also appeared in a long string of major Hollywood productions including, Unfinished Business with Vince Vaughn, the 2015 blockbuster comedy The Boss with Melissa McCarthy and Kristen Bell, and the Garry Marshall-helmed Mother’s Day

alongside Jason Sudeikis, Jennifer Aniston, and Julia Roberts. Her work in Destin Daniel Cretton's drama The Glass Castle alongside Woody Harrelson, Naomi Watts and Oscar® winner Brie Larson, due in theaters nationwide August 11, 2017 is unlike anything you have seen from Anderson thus far, proving Anderson can move seamlessly between comedy and drama. Ella lives with her mom, dad and twin brothers, Gabriel and Julian, in Los Angeles. She loves animals and is the proud adopted owner of 3 small dogs named Pasha, Olivia, and River. Josh Caras (Brian Walls) can next be seen in the Netflix/Marvel series The Punisher opposite Jon Bernthal. He starred in Season 5 of AMC’S hit show Hell on Whells as ‘Phineas Young,’ Brigham Young’s youngest son who leads the Mormon work crew building the railroads, and who eventually attempts to assassinate his father. Josh also starred as ‘Junior’ in My First Kiss and the People Involved, which premiered at the 2016 LA Film Festival, and as ‘Simon’ in the critically acclaimed Jackrabbit about a young computer whiz (Caras) and a hacker who, in the midst of a dystopian future, join forces to solve a mystery surrounding their friend's suicide. The film premiered at the 2015 Tribeca Film Festival.

Josh’s additional film credits include: Assassination Of A High School President opposite Mischa Barton and Bruce Willis, The Sisterhood Of The Traveling Pants 2 (Warner Bros) opposite America Ferrara, Definitely/Maybe (Universal) opposite Ryan Reynolds, Gracie opposite Elisabeth Shue and Dermot Mulroney and directed by David Guggenheim, Bottleworld opposite Anna Camp, The Melancholy Fantastic directed by A.D. Calvo, Bugcrush directed by Carter Smith (Awarded Best Short Film at Sundance Film Festival 2006), The Treatment (Official Selection Tribeca Film Festival 2006), and the independent short Big Cheat. On television, Josh has appeared on Fox’s APB, HBO’s Boardwalk Empire, HBO’s Veep, Lifetime’s hit show Army Wives, and Law & Order: SVU. On stage, Josh was featured in The Dream Of The Burning Boy opposite Reed Birney at Roundabout Underground.

Shree Crooks (Young Maureen Walls) is the star of the recent Blumhouse feature Stephanie directed by Academy-Award winning writer Akiva Goldsman. She will next be seen in the Lionsgate feature The Glass Castle in which she plays the young Brie Larson character, “Maureen.” The film was directed by Destin Cretton and will be released later this year. Shree most recently starred in the indie hit, Captain Fantastic directed by Matt Ross opposite Viggo Mortensen. The movie was released to rave reviews and was awarded the Directing Prize at the Cannes Film Festival and a SAG nomination for Outstanding Performance by a Cast in a Motion Picture. Shree starred in season five of FX’s American Horror Story as ‘Scarlett Lowe’ opposite Chloe Sevigny and Wes Bentley, and recurred on Showtime’s Ray Donovan as ‘Audrey’ last season. She’s 12-years-old and based in Los Angeles. Brigette Lundy-Paine (Maureen Walls) will next appear as Maureen in The Glass Castle opposite Brie Larson and Naomi Watts releasing in August 2017 and in Downsizing with Kristin Wiig and Matt Damon releasing in December 2017. She can also be seen next in Netflix’s Atypical about an 18-year old on the autism spectrum who is set out to find a girlfriend and a more independent life, out on August 11th, 2017. She recently wrapped production on the Paramount film Action Point with Johnny Knoxville, and Damian Harris’ Wilde Wedding. She also appeared in NikeWomen’s original online series, “Margot vs Lily – A Better For It Production” opposite Samantha Marie Ware. The original series is about two sisters with sibling rivalry when one starts their own YouTube fitness channel. After graduating from NYU Tisch School of The Arts, Brigette immediately jumped into the feature film world getting her SAG card in Woody Allen’s Irrational Man. Past TV work includes a guest lead in MTV’s One Bad Choice and a series regular role in the VEVO pilot One Night Only.

Only ten years old, Charlie Shotwell (Young Brian Walls) has a resume many 20-year-olds would be envious of. Charlie is currently filming All the Money in the World directed by Ridley Scott starring opposite Kevin Spacey. He just wrapped The Nightingale, a historical thriller set in Tasmania directed by Jenifer Kent. Charlie starred in the critically acclaimed Captain Fantastic, opposite Viggo Mortensen, where he steals scene after scene with both his humor and his heart. This August Charlie will be featured in The Glass Castle opposite Woody Harrelson and Naomi Watts, directed by Dustin Daniel Cretton. Charlie will co-star in another film released later this year, Mercy, starring Kate Mara and Ellen Page, directed by Tali Sholom-Ezer. Charlie shot and starred opposite Shia LeBeouf and Kate Mara in Man Down, directed by Dito Monteil. His foray into television got him a lead role in acclaimed director John Sayles pilot Dr. Del. This fall Charlie will take on the lead role in Broad Green Pictures' horror movie Eli, directed by Ciaran Foy. Besides acting, Charlie is a piano enthusiast, and even writes concertos, and is working on his first novel. Chandler Head (Youngest Jeannette Walls) is an up and coming seven year old actress and the youngest of four girls. Chandler's first role was granddaughter of Robert Redford and Emma Thompson in A Walk in the Woods (2015). Chandler also played Young Michelle Darnell (Melissa McCarthy) in The Boss (2016). Chandler is very excited about The Glass Castle, being part of this amazing story and making friendships and memories that will last a lifetime. Sadie Sink (Young Lori Walls) Began her professional acting career on stage in the Broadway revival of Annie. She continued her work on Broadway opposite Helen Mirren in The Audience directed by Stephen Daldry. On television, she appeared as a series regular on the NBC series "American Odyssey" as well as in guest spots on Unbreakable Kimmy Schmidt, Blue Bloods, and The Americans. Her film credits include Chuck and The Glass Castle. She will next join the cast of Netflix's critically acclaimed Stranger Things as the series regular role of Max. Born in Los Angeles, Olivia Kate Rice (Youngest Lori Walls) has been performing since she could walk. She has always had a love for entertaining. At a very early age, she would always be dressed as a character and put on shows with her brother and sister. Olivia showed interest in pursuing acting after watching her sister on TV. She started auditioning at age 7, and just recently landed her very first role in the feature film, The Glass Castle. While on set, she fell in love with the idea that she could do this every day, and is working hard to make that happen. Olivia has been in numerous musical theater productions and has done many National commercials. Olivia also enjoys modeling and recently shot the fall campaign for Guess. When not acting, Olivia is a competitive gymnast, loves animals, and enjoys the beach with her family. Iain Armitage (Youngest Brian Walls) made his acting debut in early 2016, playing the role of Ziggy Chapman in the HBO miniseries Big Little Lies based on the bestselling novel by Liane Moriarty and written for the screen by David E. Kelley. The miniseries, directed by Jean-Marc Vallee, which also stars Reese Witherspoon, Nicole Kidman, Shailene Woodley, and Laura Dern, aired in February of 2017. Iain will also appear in the independent feature I’m Not Here with J.K. Simmons and the Netflix feature Our Souls At Night, opposite Jane Fonda and Robert Redford. This summer, Iain led a workshop of the new musical, Millions, written by Adam Guettel, directed by Bart Sher, and produced by Marc Platt and Scott

Rudin. In the fall he begins starring in the CBS series Young Sheldon, playing the titular role which is being produced by Chuck Lorre and is a prequel of the hit show Big Bang Theory. Iain lives in Virginia, is a major theatre fan, huge magic buff and recently received his Blue Belt in Tae Kwon Do.

At the age of seven, Eden Grace Redfield (Youngest Maureen Walls) marks her big-screen debut with The Glass Castle. She most recently finished shooting opposite Reese Witherspoon as her daughter in the soon to be released feature film Home Again and opposite Judy Greer in the TV pilot I'm Sorry in the role of her daughter “Amelia.”

Eden is a veteran of numerous national commercial campaigns, including Apple Computers and Johnson & Johnson. A natural, she is a third-generation performer in a family of professional actors and has followed them onto the stage performing in productions such as Annie at UCLA, SantaLand at The Rogue Machine and A Fried Meat Christmas at Pacific Resident Theatre.

FILMMAKER BIOS

Destin Daniel Cretton (Director/Screenwriter) was born and raised in Maui, Hawaii, where he spent three of his summers picking pineapples in the fields near his home. He has a BA in Communications from Point Loma Nazarene University and a MA in Film, TV, and New Media from San Diego State University. Destin’s feature film debut, I Am Not a Hipster, premiered at Sundance in 2012. His feature screenplay, Short Term 12 (based on the award-winning short of the same title), was one of five to win a 2010 Academy Nicholl Fellowship from the Academy of Motion Picture Arts and Sciences. Short Term 12 premiered at the 2013 SXSW Film Festival where it won the Grand Jury Prize and Audience Award. Following its theatrical release, Short Term 12 was nominated for three Independent Spirit Awards and won the Gotham Award for Best Actress for Brie Larson. Destin’s newest feature reteams him with Brie Larson in an adaptation of Jeannette Walls’ NY Times best-selling memoir The Glass Castle. Destin has also written and directed four award-winning short films: Longbranch: A Suburban Parable (2002 Tribeca Film Festival), Bartholomew’s Song (2006 Student Academy Finalist), Deacon’s Mondays (2007 Student Academy Finalist, 2007 Angelus Winner, HBO Films Best Student Film Award), and Short Term 12, which won the U.S. Jury Prize at the 2009 Sundance Film Festival, followed by top awards at Seattle International, Aspen Shorts Fest, Independent Film Festival Boston, CineVegas, GenArt, and was short-listed for the 2010 Academy Awards®. Along with his narrative work, Destin has directed two feature-length documentaries. Drakmar: A Vassal’s Journey premiered on HBO Family in 2007, which won the Best Documentary Award at the 2006 Comic Con, and Born Without Arms, which premiered on TLC/Discovery in 2009. Andrew Lanham (Screenwriter) received his MFA in screenwriting from The University of Texas at Austin. In 2010 he won the Nicholl Fellowship in Screenwriting, as well as the Drama and Latitude screenwriting awards at the Austin Film Festival, for his script The Jumper of Maine. He is currently working on adaptations of Just Mercy, again with Cretton, and The Land of Decoration. He lives in Los Angeles with his wife and little white dog. Jeannette Walls (Novelist) has been writing professionally since 1977, when she was hired as a reporter and photographer for the weekly newspaper, the Brooklyn Phoenix. Three years later, she

attended Barnard College, where she graduated magna cum laude. During college, she worked part time for New York magazine, where she went on to write the widely-read “Intelligencer” column. She was also a writer for Esquire magazine and was an on-air and on-line reporter for MSNBC and MSNBC.com. Jeannette is the author of three New York Times bestselling books, including her memoir, The Glass Castle, which describes her hardscrabble childhood in the American southwest and a coal mining town in West Virginia. It has been on the Times bestseller list for more than 350 weeks, was named one of the top ten books of the decade by Amazon.com, has sold more than five million copies, and has been translated into thirty languages. The Glass Castle has been made into a film starring Brie Larson, Woody Harrelson and Naomi Watts, which will be released by Lionsgate August 11. Jeannette, who was born in Phoenix, Arizona, lives in central Virginia with her husband, the author and journalist John Taylor. Gil Netter (Producer) is an Academy Award-nominated producer, recognized for his work on a number of acclaimed films, best known for bringing to the screen, Life of Pi. Directed by Ang Lee from the screenplay adapted by David McGee, based on Yann Martel's novel of the same name, the film emerged as a critical and commercial success, earning over $609 million worldwide. Among its many accolades, Life of Pi was honored by American Film Institute as Best Film of the Year, nominated for three Golden Globe® Awards, including Best Picture and Best Director and won the Golden Globe® Award for Best Original Score. At the 85th Academy Awards®, Life of Pi was nominated for 11 Academy Awards® including Best Picture and won four Oscars®, including Best Director. Earlier, Netter produced the box office phenomenon The Blind Side, nominated for an Academy Award for Best Picture and garnering an Oscar® and a Golden Globe® for Best Actress for Sandra Bullock. Netter's films as a producer include Water for Elephants starring Robert Pattinson, Reese Witherspoon, and Christoph Waltz; Marley and Me starring Jennifer Anniston and Luke Wilson; Phone Booth starring Colin Farrell and directed by Joel Schumacher; Flicka starring Alison Lohman, Maria Bello, and Tim McGraw; Fever Pitch starring Drew Barrymore and Jimmy Fallon; and A Walk in the Clouds starring Keanu Reeves, directed by Alfonso Arau. More recently, Netter produced The Shack, one of the highest grossing faith-based movies ever made, starring Sam Worthington and Octavia Spencer, based on the NY Times bestselling novel about a grieving man who receives a mysterious, personal invitation to meet with God. Previously, Netter served as president of Zucker Brothers Productions, where he oversaw the production of Ghost, written by Bruce Joel Rubin and directed by Jerry Zucker, starring Patrick Swayze, Demi Moore, Tony Goldwyn, and Whoopi Goldberg. Beloved by audiences and critics, Ghost was a phenomenal commercial success, grossing over $505 million at the box office on a production budget of $22 million; nominated for five Academy Awards®, including Best Picture, Best Score, and Best Film Editing. It won Oscars® for Best Supporting Actress for Goldberg and Best Original Screenplay. Swayze and Moore both received Golden Globe® Award nominations for their performances, while Goldberg won the BAFTA, Golden Globe®, and Saturn Awards in addition to the Oscar®. Netter was executive producer of Oscar®, Golden Globe®, and BAFTA nominated My Best Friend's Wedding, starring Julia Roberts. He also executive produced films such as First Knight, My Life, Naked Gun 33 1/3: Final Insult and Naked Gun 2: The Smell of Fear. Netter's upcoming slate includes The Graveyard Book, directed by Ron Howard; Just Mercy with Michael B. Jordan attached to star and Destin Daniel Cretton on board to direct; Catherine the Great, named the number one screenplay on 2014’s prestigious Black List, written by Kristina Lauren Anderson; and for Disney, Philippa Boyens' (Lord of the Rings trilogy) adaptation of The Merlin Saga, based on the series of books written by T.A. Barron.

Award-winning cinematographer Brett Pawlak (Director of Photography) marks his fourth collaboration with Destin Daniel Cretton on The Glass Castle after lensing Cretton's Short Term 12 (2013), which opened to widespread critical acclaim at Austin’s South by Southwest Film Festival, winning the Grand Jury Narrative Feature Award and Narrative Audience Award. Ultimately, Short Term 12 went on to earn more than 40 award wins and 60 nominations from numerous film festivals and critics groups.

Earlier, Pawlak was director of photography for Cretton’s first feature film, I Am Not a Hipster, an official selection at the 2012 Sundance Film Festival, and the Sundance award-winning short film Short Term 12, which served as the basis for the feature-length adaptation.

Pawlak also served as cinematographer on H+ and the Halo franchise’s live-action narrative for 343 Industries, Halo 4: Forward Unto Dawn. H+ and Halo 4 each earned cinematography nominations at the 2013 Streamy Awards, with Halo 4 winning the prize. Sharon Seymour (Production Designer) is currently designing Todd Strauss-Schulson’s Isn’t It Romantic. She also recently designed Jon M. Chu’s Now You See Me 2. Other recent credits include Jaume Collet-Serra’s action/drama Run All Night and Spike Lee’s Oldboy. She designed Ben Affleck’s Academy Award®-winning Argo, as well as Affleck’s The Town, both of which received Art Directors Guild Award nominations. Her design work can also be seen in George Clooney’s The Ides Of March, Overture Films' The Men Who Stare At Goats, Affleck's Gone Baby Gone, Peter Berg’s Friday Night Lights, and Ben Stiller’s The Cable Guy and Reality Bites. Coming from a theater background, Seymour graduated from Ithaca College and moved to New York City. A job on George Romero’s Creepshow led her to Los Angeles and a Masters degree in Production Design at the American Film Institute. Joel P West (Composer) is a songwriter, film composer and front man of The Tree Ring and Flood Coats. Joel is known for his scores for Short Term 12, Grandma, and I Am Not a Hipster. His music has been described as “showing great emotional nuance” and "warm, richly textured, and pastoral." Joel’s work is heavily inspired by the wilderness and the wide open spaces of North America. His career spans over 10 years, with his original style being lent to the upcoming highly anticipated Destin Daniel Cretton film The Glass Castle, including an original song titled ‘Summer Storm,’ written and performed by Joel himself. This score, with Appalachian roots, is an exercise in storytelling through music and further solidifies Joel’s innate talent for speaking through sounds. Growing up on a summer camp in Oregon, Joel began to use music to “figure out” the world – to see it through the lens of sound. He started playing guitar in high school and started learning and writing songs, and soon began to explore strings and other instruments as a conduit to express himself in a way that words could not. Pair this with the fact that he was not exposed to much media as a youth and it gives way to a fascinating music writing process – one that is rooted in trying to capture a specific emotion or feeling rather than technicality. When he is not composing for film, Joel is heavily involved in music in every capacity – his band, Flood Coats, is consistently creating new music.

CREDITS

Directed by

Destin Daniel Cretton

Screenplay by Destin Daniel Cretton &

Andrew Lanham

Based upon the book by Jeannette Walls

Produced by

Gil Netter, p.g.a. Ken Kao

Executive Producer

Mike Drake

Director of Photography Brett Pawlak

Production Designer

Sharon Seymour

Editor Nat Sanders

Costume Designers

Mirren Gordon-Crozier Joy Hanae Lani Cretton

Music by

Joel P West

Supervising Sound Editors Onnalee Blank

Branden Spencer

Co-Producer Tami Goldman

Casting by

Ronna Kress

Brie Larson

Woody Harrelson

Naomi Watts

Max Greenfield

Sarah Snook

Robin Bartlett

Ella Anderson

Josh Caras

Shree Grace Crooks Brigette Lundy-Paine

Charlie Shotwell

Lionsgate Presents

A

Gil Netter / Lionsgate Production

A

Destin Daniel Cretton Film

CAST

Jeannette Brie Larson Rex Woody Harrelson

Rose Mary Naomi Watts Young Jeannette Ella Anderson

Youngest Jeannette Chandler Head David Max Greenfield Brian Josh Caras

Young Brian Charlie Shotwell Youngest Brian Iain Armitage

Lori Sarah Snook Young Lori Sadie Sink

Youngest Lori Olivia Kate Rice Maureen Brigette Lundy-Paine

Young Maureen Shree Grace Crooks Youngest Maureen Eden Grace Redfield

Erma Robin Bartlett Uncle Stanley Joe Pingue

Grandpa Walls A.J. Henderson Robbie Dominic Bogart

Mr. Thomson Chris Gillett Tiffany Tessa Mossey

Mrs. Lehocky Brenda Kamino Mr. Lehocky Vlasta Vrana

Dr. Taylor Andrew Shaver Miss Kelly Sandra Flores

Nurses Francesca Barcenas Biance Bellange Izabel Kerr

Pool Manager Darrin Baker Miss Bivens Kyra Harper

Students Sarah Camacho Alanna Bale

Welch Daily News Operators Ray Adams John Mullins

Brian's Wife Sabrina Campilii Cab Driver Ross Partridge

Stunt Coordinator Dave McKeown

Teenage Jeannette Stunt Double Marie-France Denoncourt

Rex Stunt Doubles Tyler Hall Josh Kemble

Rose Mary Stunt Doubles France Raymond Trina Siopy Young Jeannette Stunt Double Mathilde Gingras

Youngest Jeannette Stunt Double Hunter Belle Hall

Erma Stunt Double Robyn McNicol Hospital Security Guards Abdul Ayoola

Patrick Kerton Cab Driver Steven P. Park

Lori's Getaway Drivers Mike Scherer Mitch Spour

Key Stunt Rigger Martin Williams Stunt Rigger André Laperrière

Cast Stand-Ins Barbara Jesinski

Greg Tymoshenko Claudia Gosselin

Utility Stand-In Teodora Mechetiuc CREW

Associate Co-Producers Bo Shen Shixing Zhou

Music Supervisor Joseph Rudge

Supervising Art Director Nicolas Lepage Art Director Charlotte Rouleau

Key Set Decorator Suzanne Cloutier Set Decorators Manon Thomas

Sébastien Thivierge Assistant Set Decorators Joëlle Pobjoy

Léa-Valérie Létourneau

"A" Camera Operator /

Steadicam Operator François Archambault, S.O.C. First Assistant "A" Camera Gary Pachany

Second Assistant "A" Camera Roch Boucher "B" Camera Operator Sylvaine Dufaux

First Assistant "B" Camera Nicolas Marion Second Assistant "B" Camera Eric Aubin

Video Assist Vincent Gouin DIT Leon Rivers-Moore

Data Wrangler Yann Mongrain Camera Utility Romain Kelfa

Still Photographer Jake Giles Netter Underwater Camera Operator Emmanuel Behier-Migeon OLODRIVE Projection System Anatol Treba

Merik Martin Pelletier

Additional Editor Joi McMillon

Assistant Editor Daniel Morfesis Post Production Assistant Ashley Jones

Associate Producer Jennie Lee

Visual Effects Supervisor and

Producer Ray McIntyre Jr.

Script Supervisor Christine Lalande

Production Sound Mixer Claude La Haye Boom Operator Francis Péloquin Assistant Sound Ilyaa Ghafouri

Key Grip Kenneth MacKenzie

Best Boy Grip Rémi Giroux Dolly Grip Brad MacLean

Grips Matthieu Beauchamp Benoit J. Lamarche Pierre-Luc Bouchard

Rigging Key Grip Bernard Larivière Rigging Best Boy Grip Jean-François Larivière

Rigging Grips Benoit Daoust Martin Gagnon

Libra Head Technician Daniel Moise Camera Car Operators Jesse Coull

Patrick Malo

Gaffer Eames Gagnon Best Boy Electric Pierre Daudelin

Leadperson Constant Lavallée Electricians Marc Hénaut

Daniel Goyens Truck Electric Pierre Yves Larouche

Rigging Gaffer Paul Viau Rigging Best Boy Electric Eric Lefebvre

Rigging Electricians Jean-Roger Ledoux Stephane Lefebvre

Board Operator Pierre Luc Bédard Generator Operator Réal Saulnier

Set Designer Brent Lambert

Art Department Coordinator Annie Lamarre Assistant Art Department

Coordinator Héloïse Barrette-Marcotte Graphic Designer Mathieu Verreault

Art Department Production Assistant Mary Lee Maynard

Art Department Runner Dany Lachapelle Research Assistant Elza Kephart

On-Set Dresser Daniel Carpentier

Set Dressers Joao Baptista François Archambault Vincent Morin Jason Nardella Jean-Pierre David Jean-Marc Larivière

Key Greensperson Dylan La Frenière Assistant Key Greensperson Xavier Nolet

Greenspersons Daniel Auclair Reno Hébert Catherine Bélanger Andréane Bernard

Property Master Annie Régol Assistant Props Emmanuelle Boies

On-Set Propmaster Martin Handfield Assistant On-Set Propmaster Carole Arpin

Special Effects Supervisor Louis Craig

Special Effects Floor Manager Gaspar Brabant Special Effects Technician Eliot Smith

Costume Supervisor Henri Aubertin

Key Wardrobe Mistress Françoise Labelle Assistant Wardrobe Mistresses Mari-Philippe Comeau Catherine LeBoeuf

Assistant Wardrobe Master Félix Arbour Key Dresser Catherine Gélinas

Dresser / Truck Myriam St-Louis Dressers Mathilde Lemaire-Barette

Melissa Martel

Alice Mayeux Mathilde Prud'Homme

Seamstresses Viriya Say Johanne Prévost Specialized Wardrobe Mistress Diane Daoust

Costume Buyer / Researcher Grégoire Levasseur

Department Head Makeup Artist Annick Chartier

Makeup Artist Melissa Fafard Special Effects Makeup Artist Bruno Gatien Department Head Hairstylist Michelle Côté

Hairstylist to Mr. Harrelson & Ms. Watts Michelle Johnson

Hairstylists Ghislaine Sant Jean Scarabin

Assistants Hair Gaétan Landry Mario Saint-Louis Myriam Desrosiers Marie-Josee Beaudet

Casting Associates Chelsea Ellis Bloch Emma Sands-Milsom

Extras Casting by Julie Breton

Location Manager Michèle St-Arnaud Key Assistant Location

Manager Josée Francis Assistant Location Managers Kim Beaudoin

Linda Torino Tondreau Assistant On-Set Location

Manager Bruno Lemire

Second Second Assistant Director Anik Drapeau

Third Assistant Director Stéphane Byl Additional Third Assistant

Directors Tanya Van Blokland Dominique D'Amico Yanick Di Vito Martin Doepner Genevieve Duguay Brigitte Leblanc Kaven Mac Donald Aurore Paulin Isaac Sénéchal

Child Coordinator Pascale Ouellet

Production Accountant Matthew K. Grigsby

First Assistant Accountant Michael Annett

Payroll Accountant Jeff Gladu Second Assistant Accountant Nickey Chow

Third Assistant Accountant Ali Khaleghi Post Production Accounting by Rice Gorton Pictures

Post Production Accountants Erica Kolsrud Liam Hearne

Post Payroll Accountant Bruce Wrigley Post Accounting Clerk Patrick Williams

Production Coordinator Kathy-Ann Thomas

Assistant Production Coordinator Alex Feldman Receptionist Patricia Ferris Office Clerk Ai Ming Morin

Unit Manager Didier Communaux

Assistant Unit Manager Simon Paquin Set Production Assistant Alain Caporicci

Set Runner Bernard Guay Truck Production Assistant Serge Pominville Back-Up Truck Production

Assistant Victoria Enfedaque Production Assistants Sylvain Savard

Véronique Audet Audrey Bouchard Sophie Mailloux

Swing Production Assistants Marc Desaulniers Mathieu Vaillancourt

Cable Production Assistants Pierre Demers Gaël Marie

Assistants to Mr. Cretton Macy Silverman Adrienne Rush

Assistant to Mr. Kao Emily Cheung Assistant to Mr. Drake Shane Tanny

Assistant to Ms. Larson Laura Schmidt Assistant to Mr. Harrelson Camille Dumont-Bromilow

Assistant to Ms. Watts Adrien Moscovici

Dialect Coaches Jerome Butler Rea Nolan

Studio Teacher Andrea Eisen

Construction Supervisor Martin Chalifoux Construction Coordinator François Sylvain Gagnon

Head Carpenters Marc Bacon Pierre Gagnon Richard Daoust

Carpenters Richard Berger Ronald Brown Benoit Charest

Michel Dupont Yannick Girard J-F Lapointe Lucas Lepage Richard Majeau Georges Moreault Pascal Neumann Boris Pothiier Francis Rivard Michel Thibault Michel Viens

Head Sculptor Lucie Fournier Construction Runner Luc De la Boursodiere

Head Scenic Artists Tristan Tondino

François Tougas On-Set Scenic Artist Renée Boulais

Scenic Artists Laure De Miramon Hélène Lemieux Philippe Du Berger Brent McGowan José Letourneau Michel Richard Cristiane Pravaz Jennifer Small Nathalie Brassard Sarah Lamontagne Julie LeBlanc Claudine Ste-Marie Pim Van Woudenberg

Assistant Scenic Artist Léo Caroit

Transportation Coordinator Peo Chénard Transportation Captain Philippe Gilbert

Key Picture Car Coordinator Real Hamel On-Set Picture Car Coordinator Eric Brais

Production Office Driver Alexander Blake Cast #1 Driver Michel Pelletier

Cast #2 Drivers Wesley Mitchel Harmer Spiro Tsovras

Cast #3 Driver James Sanchez Drivers Vincent Houle

Tasso Mathiopoulos Julie Marion Marc Arsenault David DuFresne Sandro Di Gioacchino André Boucley

Specialized Drivers Martin Patrice Marc-André Bergeron

Pierre Rivard André Laforest

Assistant On-Set Picture Car Denis Raymond

Caterer Crew Call Head Chef Luc Champagne

Chef to Mr. Harrelson Mikaela Reuben Assistant Chefs Frank Bognar

Outmane Lemdasni Chef Assistant Tania Chiappetta

Key Craft Service Rhiannon Colley Craft Service Assistants Josefina Draga

Christine Boileau

Set Medic Robert Harrison Set Security Michel Leduc

Rights & Clearances Cleared by Ashley, Inc.

Ashley Kravitz

Unit Publicist Gregg Brilliant NEW MEXICO UNIT

Unit Production Manager Brent Morris Second Assistant Director Sebastian Mazzola

Art Director James F. Oberlander

"A" Camera Operator Christopher Arata

First Assistant "A" Camera Nito Serna Second Assistant "A" Camera Lane Luper

"B" Camera Operator Ralph W. Watson First Assistant "B" Camera Steve Banister

Second Assistant "B" Camera Gregory Byrd Drone Pilot Tony Thompson

Aerial Camera Operator Dan Godar

Production Sound Mixer Edwardo Santiago Boom Operator Eric Shultz

Key Grip Hank Herrera Best Boy Grip George Rizzo Jr.

Dolly Grip Mark Pearce Gaffer Gregory Eichman

Best Boy Electric Diego Arroyo

Key Greensperson Michelle Davis Property Master Mark C. Hansen

Special Effects Supervisor Scott Hastings

Key Costumer Lena McIntyre Set Costumer Ali McKenna

Extras Casting by Julie Barbarito Location Manager Christian Diaz De Bedoya

Assistant Location Manager Eliott S. Davis Production Coordinator Ryan Spalding

Second Second Assistant Director Jon Baran

Studio Teacher / Welfare Worker Dia Hahn

Construction Coordinator /

Foreperson Barton Slade Set Decoration Gang Boss Cliff J. Crouch

Transportation Coordinator Michael B. Russell Caterer Reel Chefs Catering LLC

WELCH UNIT

Unit Production Manager Richard L. Fox Production Supervisor Derek Tyson

Aerial Camera Operator Nikolaus Wogen Production Sound Mixer Daniel McMullen

Dresser Rachel Jones Bellas POST PRODUCTION

Re-Recording Mixers Onnalee Blank, CAS Mathew Waters, CAS

Mix Technician Jared Marshack Sound FX Editor Hector Gika

ADR Editor Renée Tondelli Dialogue Editor Mike Hertlein

ADR Mixer Chris Navarro First Assistant Sound Editor Mark Coffey

Foley Services Happy Feet Foley Foley Artists Jeffrey Wilhoit

Dylan Wilhoit Foley Mixer Brett Voss

ADR Voice Casting by Ashley Lambert Post Production Sound

Services Provided by Formosa Group

Dolby Sound Consultant Trevor Ward

Dailies Provided by OUTPOST® - a Light Iron Service OUTPOST Systems Supervisor Aaron Kroger

Dailies Producer Dylan Damian

Dailies Operator Yann Mongrain Support Engineer Ethan Schwartz

Digital Intermediate Services

Provided by Light Iron Supervising Digital Colorist Ian Vertovec

DI Producer Christine Carr Executive Producer Paul Geffre

DI Editors Matt Blackshear Manny Dubón

DI Finishing Artist Monique Eissing DI Assists Chris Abdon

Griffith Davies DI Management Michael Cioni

Peter Cioni Amit Davé Chris Peariso

Engineering Edgar Furse Zack Howell

DI Administration Dana Blumberg Andrew Kennedy Bryce Marrero Jennifer Razon Peyton Van Amburg Main on End Title Designed by Elastic Main on End Graphic Designer David Fernandez

Main on End Photographers Edwin Daron Cline Chris Sheridan Jordan Schaps Jake Netter John Taylor Rose Mary Walls NYC Documentary Footage by Franck Goldberg

End Titles by Scarlet Letters

Visual Effects by Pixel Magic Executive Producer Ray Scalice

Production Supervisor Victor Dimichina 3D Artist David Ridlen

Compositing Artists Patrick Trahan Dan Briney Richard Landry John McConnell

Visual Effects by lola | VFX Visual Effects Supervisor Jeremiah Sweeney Visual Effects Executive

Producer Thomas Nittmann Visual Effects Producer Mare McIntosh

Lead Compositor Edson Williams

Compositors Erik Bruhwiler Jason Schaefer

Creative Executive Waypoint Entertainment Josh Rosenbaum

Additional Footage Provided

by Getty Images Stock Images Provided by Bigstock

Cameras, Lighting, & Grip

Equipment Provided by Mels Generatrice Star Simplex Serious Grippage & Light Co.

Insurance Provided by Arthur J. Gallagher (Canada) Group Susan Wallis Production Financing Provided

by Bank of America, N.A. Randy Hua Sophia Chen Completion Guaranty Provided

by Film Finances Inc. Dave Bennett

Music Editor Del Spiva Score Recorded & Mixed by Satoshi Noguchi

Songs & Additional Score Recorded by Chris Hobson

Score Performed by Nashville Music Scoring Orchestra Score Recorded at Ocean Way Studios, Nashville Scoring Consultant Celeste Chada

Music Clearance and Licensing Matt Lilley / MCL Music Services, Inc.

Score Album Available on [Milan Records logo]

“LAUGH, CRY, SING, SIGH” Written by Bill Gordon

Performed by Bill Gordon Trio Courtesy of Fervor Records

“MY WILD IRISH ROSE”

Written by Chauncey Olcott Performed by Mario Lanza Courtesy of Sony Classical

By arrangement with Sony Music Licensing

“DON’T FENCE ME IN” Written by Cole Porter

Performed by Darla Hawn

“SUMMER STORM” Written and Performed by Joel P West

“O CHRISTMAS TREE”

Traditional Performed by Mario Lanza Courtesy of Sony Classical

By arrangement with Sony Music Licensing

“OVER MY BROKEN HEART” Written by Donald Rollins Performed by Dave & Don

Courtesy of Fervor Records

“I CAN’T STOP LOVING YOU” Written by Don Gibson

Performed by Kitty Wells Courtesy of MCA Nashville under license from Universal Music Enterprises

“TWO TIME LOSER”

Written and Performed by Joe Montgomery Courtesy of Fervor Records

“MY WORLD”

Written by Donald Owens and Waylon Jennings Performed by Waylon Jennings

Courtesy of Fervor Records

“COWGIRLS GROOVE TOO” Written by Bill Gordon and Omar Tavarez

Performed by Bill Gordon Trio Courtesy of Fervor Records

SPECIAL THANKS

Rose Mary Walls Lori Walls

Jeannette Walls Brian Walls

Maureen Walls John Taylor

Veronica Walls Nikki & Morris

Dad & Mom Cretton The Cretton Sibs

Grandma & Grandpa Kawahara The Chapman Ohana

Sam Lanham Jr. Ed Evans

Cathy Jack Missy Nester

Nelson Spencer Larry Thompson

Riverview Raiders Mount View Golden Knights

Mount View High Cheerleaders The Welch Daily News Concordia University

City of Welch

New York Times © 1987 Use of the New York Post courtesy of NYP Holdings, Inc.

© Daily News, L.P. (New York). Used with permission. "Jeopardy!" courtesy of Sony Pictures Television

The NYPD name, logos and insignia are trademarks of the City of New York and are used with the City's permission.

Filmed on location at the Pueblo of Laguna

Filmed on Location in the State of New Mexico

NO. 50867

MOTION PICTURE ASSOCIATION OF AMERICA, INC.

© 2017 Lions Gate Films Inc. All Rights Reserved.

This motion picture is based, in part, upon actual persons and events. However, for dramatic and narrative purposes, the movie contains fictionalized scenes and dialogue, composite and fictitious characters, as well as time compression. Any similarity of those

composite and fictitious characters to the name, attributes or actual background of any actual person, living or dead, is entirely coincidental and unintentional.

This motion picture is protected under the laws of the United States and other countries.

Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution.

To all families who, despite their scars, still find a way to love.