- Notes provided by 20th Century Fox. -

"Are you free tonight?"
A simple enough question, but how Jonathan McQuarry (EWAN McGREGOR) answers it will change his life forever. A corporate auditor adrift in a sea of New York's power elite, Jonathan's work is his entire life. But a chance meeting with Wyatt Bose (HUGH JACKMAN), a charismatic corporate lawyer, introduces Jonathan to a decadent playground for Manhattan's executive upper crust. For these power brokers, whose eighteen-hour workdays leave no time for a personal life, there's "The List" -- a sex club, of sorts, where the right cell-phone number and four simple words ("Are you free tonight?") can lead to an evening's sexual fulfillment.
It's a world of "intimacy without intricacy," as Jonathan's first conquest (or vice versa) explains to him, and through The List Jonathan discovers a side of himself that he didn't know existed. But an affair with a ravishing and mysterious stranger known to Jonathan only by her first initial 'S' (MICHELLE WILLIAMS), will expose him to yet another world he never imagined -- one of betrayal, treachery and murder.
DECEPTION's thriller elements, and the way they are tied to its theme of solitude, intrigued director Marcel Langenegger. "It was such a great, smart script, with intriguing mind games. And Jonathan is so susceptible to such things, I think, because he's so lonely. You can really feel his loneliness."
Screenwriter Mark Bomback (Live Free or Die Hard) had first pitched DECEPTION to producer Arnold Rifkin, over coffee. "I bought it before our cups were empty," says Rifkin, who was drawn to the thriller's unconventional elements and characters. "The innocence of the story really got to me," Rifkin says. "This young man, Jonathan, leads a life of anonymity. There are thousands and thousands of people like Jonathan, people who are cut off from others, who are stuck being alone."
Producer John Palermo sees DECEPTION as something of a throwback to an earlier era of filmmaking. "I think the film is proof that thrillers can actually be character-driven stories," Palermo says, "with themes that are relevant and with characters you care about."
Hugh Jackman, who stars as Wyatt Bose, a lawyer who pulls Jonathan out of his psychological confinement, appreciated the story's new take on the sexual thriller. "I thought there was something very fresh about the script," Jackman says. "It was smart and sexy, and it takes you to a world that you never get to see. Many thrillers push credibility to the limit. But I thought that this is something that could happen; this world could exist. Because even with our cell phones and our Blackberrys people still feel disconnected and lonely, just like Jonathan. He's someone that people can relate to, and his journey in this movie is so terrific. He really comes alive."
Ewan McGregor, who plays Jonathan, agrees. "DECEPTION is a very well-crafted story, and I was really struck by Jonathan and how he's so cut off from life. That's not the usual sort of character to have at the heart of a thriller."
McGregor embraced the role because Jonathan is a very untraditional protagonist. "For one thing," he notes, "people have conversations in his space like he's not there. He's someone who's so cut off from the world, who hasn't allowed himself to feel emotional ties to people, that when he falls for 'S,' I think he falls really hard. It's quite a deep love story. In many respects, playing Jonathan was like an unpeeling. It was like playing a flower opening up -- different levels of him becoming alive."
McGregor notes that director Langenegger, too, connected with Jonathan's journey. "Marcel has talked a lot about this idea of Jonathan being born," McGregor says. "Like him becoming alive. And DECEPTION really is about the stages of that. Sometimes, through terrible experiences you can grow, and I think the nightmare of what happens to Jonathan is what allows him to come out on the other end, transformed. He's kind of set free. It's about him coming to life, really."
Life comes much easier to Jonathan's new friend, Wyatt Bose. Hugh Jackman describes the role as "a fairly Machiavellian character. He's manipulative, smart, charming, enigmatic and mysterious. Wyatt has the confidence that he owns the world. He's the kind of guy you want to be around.
Jackman, who also serves as a producer on the picture, was eager to explore the character's many facets -- even completely unexpected ones. In one scene, Langenegger recalls, he decided to give Jackman a bit of "indirect direction," and so he suggested that Wyatt should think of Jonathan as a cockroach. "Hugh took that little idea, and he used it to transform the scene," Langenegger says.
"All actors love to play shadier characters," Jackman says. "And these are parts I don't get to play a lot. With Wyatt, you're not quite sure what his motives are at any point in time, you just have the feeling that, enticing and enigmatic as he is, you probably shouldn't be going along with him. It might lead to trouble."
And so it does -- for Jonathan and for the woman known to Jonathan only as "S." "She makes bad decisions because she's with the wrong people," says Michelle Williams. "She's a gypsy and a fly-by-night kind of girl. I'd never played anybody quite like her before, so 'S' was a new challenge for me. 'S' is aggressive and confident and capable and sexual. These are all things I haven't really explored before. And then she comes into her own at the end of the film. She has a self, and she has the promise of an altering love."
Langenegger knew Williams was 'S' the first time they met. "She sat in front of me and she was just raw," he recalls. "I saw this vulnerability. She was so exposed and fragile, and yet there was so much power. On the surface, the character seems like a standard femme fatale in a thriller -- the beautiful woman who is part of some kind of plot. But I wanted to give 'S' a greater depth, add something that is not expected in a role like that. And Michelle's vulnerability is perfect for 'S.'"
Landing Williams for the part wasn't easy. " I told her, 'This is your role,'" says Langenegger. "You meet Jonathan for the first time, and you're like a teenager who's just discovered there's something called love. This is why your character is so difficult and so wonderful and so beautiful.' And then she said, 'Yeah, I'll do it.'"
One role that Langenegger didn't have to worry about casting for was the "character" of New York City. As producer David Bushell puts it: "New York plays a lead character in DECEPTION, and we all knew we had to film it here." Though parts of the film are shot in Madrid, around La Plaza Mayor and the Paseo del Prada, there's no denying that New York plays an essential part in DECEPTION.
Says Langenegger: "When we scouted for locations in, for example, offices or hotel rooms, we tried to find places that also offered a view of the city that would isolate Jonathan. I tried to find locations where we could see Jonathan in his glass box, and outside is Manhattan, the beautiful world that he has not been a part of."
To create a look that would capture the film's sensuality, thrills and unconventional characters, Langenegger and director of photography Dante Spinotti used Panavision's new Genesis digital video camera. It was a choice that initially spurred much debate -- Langenegger had wanted to shoot in film, while Spinotti preferred digital.
"It was interesting," says David Bushell, "that we had this new-school, younger filmmaker [Langenegger] who wanted to stick with film, the old technology, and this old-school, giant of his profession [Spinotti] who was all for embracing the new, digital technology." Finally, the two reached a compromise: Langenegger and Spinotti decided to split the film, roughly, into night and day. For the day, they would shoot film; for the night scenes, they shot with Genesis. (In the end, they shot some of the day sequences with Genesis as well).
Spinotti explains his preference for the Genesis camera: "What the Genesis camera does is capture the world of darkness and of night, so that we could really explore the visual world that goes from evening into the next morning."
Typically, when a scene is shot at night, the set is flooded with so much light, that it can almost resemble daylight. The Genesis camera, however, works well using only available light. "The Genesis has a much stronger sensitivity," Spinotti explains, "so it can read in the shadows much more than film does. Because of that, you can approach images in a different way. You can capture the fascination of what already exists, without having to modify it. It makes the whole film much more believable."
Again mixing the "old" with the "new," Spinotti and Langenegger used traditional Ziess lenses with the Genesis camera. When shooting with film, they used newly-developed Prima lenses. "We sort of took the edge off the digital image by using older lenses, and we tried to shoot the film image as sharp as possible, with Prima lenses, to better match the digital image," Langenegger explains. "Our general idea was to get as close as possible to the fine grain of 70mm film."
Acclaimed production designer Patrizia von Brandenstein and costume designer Sue Gandy also made significant contributions to the film's look. "The character of Jonathan works at different companies every three or four days," von Brandenstein says, "but he is never part of the life of the corporation he's visiting. So, in a sense, these offices are all the same. There are subtle differences in levels of prosperity, I suppose, but in essence it is all just the 'corporate world.' But when he discovers the wilder side of New York, through Wyatt, I wanted to show how enticing it was to him, but also that it was dangerous. So that world is full of bright, reflective surfaces and colors, but there is darkness underneath."
Gandy, too, found herself trying to convey the differences between Jonathan's two worlds. "There are splashes of red here and there, plus splashes of blue and gold. The inspiration for my clothing designs does come from Hitchcock films and film noir -- using color only where it can make a statement. Marcel showed me photographs of the city, of how he wanted things to look. Lots of steely, New York cab colors, blood colors and vibrant blues."
The result is a thriller that re-imagines the genre while simultaneously paying homage to it. "What Marcel, Dante, and the entire team, have done," says Jackman, "is give DECEPTION a moody and intimate atmosphere. It's almost dreamlike, in a way. It's incredibly sexy, and the whole film kind of seduces you. It doesn't rush you, it's not formulaic in that normal thriller way. It just kind of draws you in.
"At the same time, it is a real roller-coaster ride. It's smart, there are a lot of twists and turns, and it takes you on one hell of a ride."
ABOUT THE CAST
HUGH JACKMAN (Wyatt Bose) takes on more than one role with DECEPTION. In addition to starring, Jackman, a partner in Seed Productions, a company he founded with John Palermo and Deborra-lee Furness, serves as one of the film's producers. DECEPTION is Seed's first feature production, with many future projects already in development.
An Australian native, Jackman made his first major U.S. film appearance as Wolverine in the first installment of the X-Men franchise, a role he reprised in X2 and X-Men: The Last Stand. He again takes on the role in X-Men Origins: Wolverine, due in theaters in 2009.
Jackman will also soon star opposite Nicole Kidman in Baz Luhrmann's Australia, which opens everywhere December 2008.
Recently, he starred in Darren Aronofsky's The Fountain, Christopher Nolan's The Prestige, and Woody Allen's Scoop. In addition, he lent his voice to the animated features Happy Feet and Flushed Away. Other leading roles include Someone Like You, Swordfish, Van Helsing, and Kate and Leopold, for which he received a 2002 Golden Globe nomination.
For his portrayal of the 1970s singer-songwriter Peter Allen in The Boy From Oz, Jackman received the 2004 Tony Award® for Best Actor in a Musical, as well as the Drama Desk, Drama League, Outer Critics Circle, and Theatre World awards.
Previous theater credits include Carousel at Carnegie Hall, Oklahoma! at the National Theater in London (Olivier Award nomination), Sunset Boulevard (MO Award - Australia's Tony Award) and Disney's Beauty and the Beast (MO Award nomination).
Jackman's career began in Australia in the independent films Paperback Hero and Erskineville Kings (Australian Film Critics' Circle Best Actor award and The Australian Film Institute Best Actor nomination). In 1999, he was named Australian Star of the Year at the Australian Movie Convention.
EWAN McGREGOR (Jonathan McQuarry) is a multi-award winning actor who is recognized for both his versatility and eclectic choice of roles.
He recently starred with Colin Farrell in the Woody Allen film, Cassandra's Dream. McGregor starred as Obi-Wan Kenobi in George Lucas' second blockbuster Star Wars trilogy. His recent film work also includes starring roles in Young Adam, the romantic comedy Down With Love, Tim Burton's fantasy Big Fish, the hit animated comedy Robots, The Island opposite Scarlett Johansson, and Stay starring opposite Naomi Watts.
In 2001, he starred opposite Nicole Kidman in Baz Luhrmann's extravagant, groundbreaking film musical Moulin Rouge! McGregor was recognized with the London Film Critics Circle Award, an Empire Award, and a Golden Globe® nomination for Best Actor. That same year, McGregor co-starred in Ridley Scott's harrowing war drama Black Hawk Down.
Born in Scotland, McGregor gained his first acting experience with the Perth Repertory Theatre and later attended London's Guildhall School of Music and Drama. Six months before graduating, he won a leading role in Dennis Potter's six-part BBC series Lipstick on Your Collar, and has been working steadily ever since. In 1993 he made his feature film debut in Bill Forsyth's Being Human. The following year, McGregor earned widespread praise and won an Empire Award for his performance in the thriller Shallow Grave, which marked his first collaboration with director Danny Boyle. In 1996, he reunited with Boyle to star in the dark and disturbing drama Trainspotting. McGregor's wrenching portrayal of junkie Mark Renton brought him international acclaim and many awards, including the London Film Critics Circle, Empire, and BAFTA Scotland Awards for Best Actor.
McGregor's early film credits include Emma, Brassed Off, Little Voice and Velvet Goldmine.
In between film commitments he has returned to the stage with critical acclaim, starring in the role of Sky Masterson in The Donmar's production of Guys and Dolls in London's West End.
MICHELLE WILLIAMS ("S") starred in Ang Lee's critically acclaimed drama Brokeback Mountain. Her riveting performance as Ennis Del Mar's long suffering wife earned her a Broadcast Film Critics Association Award and an Academy Award® nomination, plus nominations from SAG, HFPA's Golden Globe, and two BAFTA nominations. In 2005, Williams was also honored by the Motion Picture Club as Female Star of Tomorrow.
More recently, she appeared in Todd Haynes' biopic on Bob Dylan entitled I'm Not There. She stars opposite Philip Seymour Hoffman in Synecdoche, New York, directed by Charlie Kaufman. Also upcoming is Shutter Island, starring Leonardo DiCaprio, directed by Martin Scorsese; Mammoth; and Incendiary, which premiered at the Sundance Film Festival.
In 2004, Williams shared a Screen Actors Guild Award nomination with her fellow actors from Thomas McCarthy's The Station Agent for Outstanding Performance by a Cast in a Motion Picture. The film had previously earned the Audience Award at the 2003 Sundance Film Festival, as well as a 2004 BAFTA award.
Williams' film credits also include Julian Goldberger's drama The Hawk Is Dying opposite Paul Giamatti and Michael Pitt, and Ethan Hawke's The Hottest State, which premiered at the 2006 Venice and Toronto Film Festivals. Williams also starred in Wim Wenders' Land of Plenty, which was in competition at the Venice Film Festival and won the UNESCO prize.
On stage, Williams received glowing reviews for her portrayal of Varya in Chekhov's The Cherry Orchard at the Williamstown Theatre Festival. Prior to that, she achieved critical acclaim for her run in Mike Leigh's Smelling A Rat at the Samuel Beckett Theatre and her off-Broadway debut in Killer Joe.
Williams' other film credits include Dan Harris' Imaginary Heroes, Richard Ledes' A Hole in One, Michael Showalter's The Baxter, Sandra Goldbacher's Me Without You, and Andrew Fleming's Dick.
On television, she starred opposite Chloë Sevigny in the critically acclaimed HBO tele¬movie If These Walls Could Talk 2, directed by Martha Coolidge. She also had a 6-year run as Jen Lindley on the WB hit television series Dawson's Creek. The series premiered in 1998 and remained one of the WB's top-rated shows throughout its run.
ABOUT THE FILMMAKERS
MARCEL LANGENEGGER (Director) makes his feature film debut with DECEPTION. Acclaimed for his distinct cinematic style, impeccable art direction and poignant storytelling in the commercial arena, the Swiss-born Langenegger is the recipient of three Clio Awards and a Cannes Gold Lion.
He directed a two-minute spot for Toyota via Circle Productions, Toronto, and Toronto agency Saatchi & Saatchi, which debuted during the Canadian broadcast of the Academy Awards. Langenegger shot a campaign for the Swiss Postal Service. He directed the spot via Chocolate Films, the company that represents him in Europe.
Langenegger attended art school and began his career as an art director and graphic designer in Switzerland. He moved to the United States in 1997 to pursue a Master's Degree in film at Art Center College of Design and, from there, he signed with Propaganda Pictures. One of his first professional assignments was a spot for Doctors Without Borders (Advico/Young & Rubicam, Zurich). The spot won a Gold Lion at the 2001 Cannes International Advertising Festival and a Gold Clio the following year. A spot that Langenegger directed for Swiss banker Migros (Advico/Young & Rubicam, Zurich) also won a Clio Award.
ARNOLD RIFKIN (Producer) is partnered with Christopher Eberts in the production company Rifkin/Eberts LLC. The company's projects include Blood and Bone and Night Train.
Previously, he produced film and television projects through his former production company, Cheyenne Enterprises LLC, whose credits included the feature films Live Free or Die Hard, Just My Luck, Bandits, Hart's War, The Crocodile Hunter: Collision Course, Tears of the Sun, The Whole Ten Yards, Hostage and Sixteen Blocks.
In television, Cheyenne Enterprises' credits include the animated series Gary the Rat on Spike TV (which featured the voice of Kelsey Grammer and was co-produced with Grammer's Gramnet), and the critically-acclaimed series Touching Evil on the USA Network, executive produced by Cheyenne and the Hughes Brothers (From Hell).
Before founding Cheyenne Enterprises, Rifkin had been a talent agent for over 20 years. He started his career at his company Rifkin-David and was a founding partner of the hugely successful Triad Artists. In 1992, Triad Artists was acquired by the William Morris Agency and Rifkin was named worldwide head of the WMA Motion Picture Department. In 1996, he ascended to the role of president of the agency, where he remained until September 1999. A few months later, in January 2000, Rifkin formed Cheyenne Enterprises with his former client of 17 years, Bruce Willis.
In addition to his work in the creative community, Rifkin sits on the Board of Directors at the American Cinematheque and serves as the co-chair of the Producers Program at the UCLA School of Theatre, Film & Television. During his tenure at the William Morris Agency, he created an internship program with Harvard MBA students, and over the last three years has lectured at Harvard's School of Business, Yale Law School, and The Learning Annex.
Raised in Brooklyn by Orthodox Jewish parents, Arnold attended the Yeshiva University program in Israel at age 16 and later attended the University of Cincinnati. The son of a fur manufacturer, Rifkin began his career in the fashion industry. He formed his first talent agency in 1976. He is married to Nikki MacGregor-Rifkin and has four children-ranging from the age of 16 months to 26 years old-and one granddaughter.
JOHN PALERMO (Producer) is a partner in Seed Productions, a venture he, Hugh Jackman, and Deborra-lee Furness started in July 2005 with an eye toward developing material for film, television, and theatre.
Seed has a first-look film deal with Twentieth Century Fox, with which it is partnered on X-Men Origins: Wolverine, starring Jackman.
In August of 2006, Seed launched Seed Australia, a Sydney-based division of the company that will produce and help finance Australian films.
Palermo started his career as the assistant to Bryan Singer on the first X-Men film, where he met Jackman. After a stint as Susan Sarandon's development executive and assistant, Palermo worked with Jackman on Van Helsing, the Broadway production The Boy From Oz, and The Fountain. He was most recently an executive producer on X-Men: The Last Stand.
ROBBIE BRENNER (Producer), after graduating with a Bachelor of Fine Arts degree in Film and Television from New York University in 1993, moved to Los Angeles to pursue a career in the movie industry. She began working for Red Ruby Productions, where she aided in the production of such films as Bullet and Fall Time. Soon after, she worked with producer Michael Obel on Nightwatch, released by Dimension Films.
Brenner then went to work for Miramax Films as a production and development executive. During her eight years there she climbed the ranks to Senior Vice President, overseeing and working on many films including On The Line, View from the Top and Serendipity. After leaving Miramax, Brenner went on to produce Haven, directed by Frank E. Flowers.
After spending two years working as a senior vice president at 20th Century Fox, where she oversaw projects such as Tender is the Night, Two Minutes to Midnight and Bandidas, Brenner was brought into Davis Entertainment as the head of their classics division. Last she was an executive producer on Aliens vs. Predator: Requiem. Currently, she is a producer on A Perfect Getaway, a thriller starring Timothy Olyphant and Steve Zahn.
DAVID BUSHELL (Producer) produced the comedy The Wendell Baker Story, written and directed by Luke Wilson and co-directed by Andrew Wilson. Bushell executive produced the critically acclaimed and award winning Eternal Sunshine of the Spotless Mind. The movie, which earned Charlie Kaufman an Oscar® for Best Screenplay, stars Jim Carrey, Kate Winslet and Kirsten Dunst, and was directed by Michel Gondry. Shortly after the filming of Eternal Sunshine, Daily Variety named Bushell one of their 10 Producers to Watch.
His ongoing commitment to bringing independent spirited content to screen has resulted in such praised work as Billy Bob Thornton's Sling Blade. Bushell produced the film, which earned Thornton an Oscar for Best Adapted Screenplay.
He has also produced Bob Gosse's Niagara, Niagara, starring Robin Tunney; Nick Gomez' Illtown, starring Lili Taylor; Hampton Fancher's The Minus Man, starring Owen Wilson; and Laurence Fishburne's Once In The Life. He was the executive producer of Bob Dolman's The Banger Sisters, starring Susan Sarandon, Goldie Hawn and Geoffrey Rush.
CHRISTOPHER EBERTS (Producer) is partnered with Arnold Rifkin in the production company Rifkin/Eberts LLC. Previously, he was founder and CEO of Ascendant Pictures, an independent film development, production, finance, and foreign distribution company. Ascendant's credits included Lucky Number Slevin, Lord of War, The Big White, Ask the Dust, Edison, The Jacket, and The Punisher.
More recent projects include Black Water Transit, Outlander, Night Train and Blood and Bone.
Prior to founding Ascendant, Eberts was CEO and President of ScreenWorks Media, where he executive produced the documentary film Prisoner of Paradise, which was nominated for a 2002 Academy Award® for Best Documentary. Other producing credits include Half Past Dead, The Watcher, Chasing Holden, and Woman Wanted.
Before forming his own production banner, Eberts was Vice President of Production at Twentieth Century Fox, where he was responsible for all phases of feature film development and production, including solicitation of screenplays and other source material; screenplay analysis and development; assignment of director, cast and other creative elements; the securing of production financing and distribution arrangements, as well as the physical supervision of all aspects of the production process. With Twentieth Century Fox, Eberts was involved in the production of My Cousin Vinny, Rising Sun, and Alien III, among others.
MARJORIE SHIK (Executive Producer) was an executive at Arnold Rifkin's film and television production company, Cheyenne Enterprises LLC. Prior to that, she worked with Rifkin while he was president of the William Morris Agency.
Shik was a co-producer on the romantic comedy Just My Luck, starring Lindsay Lohan and directed by Donald Petrie for New Regency/Twentieth Century Fox.
Born and raised in Brooklyn, New York, Shik received her degree from Syracuse University. After graduation, she went on to participate in basic training in the Israeli army and studied at Tel Aviv University.
DANTE SPINOTTI, ASC, AIC (Director of Photography) is a master craftsman whose work on such films as The Insider, L.A. Confidential, Heat, The Mirror has Two Faces, Crimes of the Heart and The Last of the Mohicans has earned him a formidable reputation.
In his native Italy, Spinotti worked with such internationally respected directors as Lina Wertmuller, Liliana Cavani and Giacomo Battiato before making his American debut with Michael Mann's Manhunter (1986), an early introduction to the Thomas Harris character Hannibal Lecter. He reunited with Mann for The Last of the Mohicans (1992), freeing his camera to accompany the trajectory of a bullet or the flight of a tomahawk, and again for the epic cops-and-robbers saga Heat (1995). Another frequent partner has been director Garry Marshall, the two teaming on Beaches (1988), Frankie and Johnnie (1991) and The Other Sister (1999). Spinotti was director of photography on two Michael Apted films, Blink and Nell (both 1994). He also filmed Brett Ratner's Red Dragon (2002), After the Sunset (2004), and X-Men: The Last Stand (2006).
Spinotti's collaboration with Curtis Hanson yielded the internationally acclaimed L.A. Confidential (1997). Rejecting classic noir approaches, Hanson and Spinotti pored over the work of Swiss-born still photographer Robert Frank, intrigued by a contemporary look and feel in his pictures that was simultaneously true to their period. After teaming with Roland Joffe for Goodbye Lover (1999), Spinotti again made the best of his locations and cast for Mann's The Insider (also 1999) and earned his first Oscar nomination. He then joined Hanson for Wonder Boys (2000), proving that dark, dreary weather is not incompatible with comedy.
He has twice won the Los Angeles Film Critics Association Award for Best Cinematography; first for L.A. Confidential in 1997 and then for The Insider in 1999.
PATRIZIA von BRANDENSTEIN (Production Designer) won an Academy Award for her work on Milos Forman's Amadeus. A long time collaborator of Forman's, von Brandenstein was art director on the director's film Ragtime and production designer on The People Vs. Larry Flynt, Man on the Moon and Goya's Ghosts.
She also designed three films for Mike Nichols: Silkwood, Working Girl, and Postcards from the Edge. Among her recent films are Ice Harvest, Shaft, The Emperor's Club, and All the King's Men and the upcoming Nights in Rodanthe.
Ms. von Brandenstein began her film career in 1977 designing the costumes for Saturday Night Fever. She started production designing on Peter Yates' Breaking Away. Other early credits include Heartland, A Chorus Line, The Money Pit, State of Grace, Tell me a Riddle and Billy Bathgate.
In 1988, Ms. von Brandenstein was nominated for an Oscar for her work on Brian De Palma's The Untouchables.
Her other credits include Sneakers, Leap of Faith, Six Degrees of Separation, The Quick and the Dead, Just Cause, Mercury Rising and A Simple Plan.
CHRISTIAN WAGNER's (Editor) numerous credits as editor include The Amityville Horror (2005), the James Bond epic Die Another Day, Man on Fire, Mission: Impossible 2, Spy Game and Face/Off. Next up for him is a new The Fast and Furious film, this one reuniting the original's stars, Vin Diesel and Paul Walker.
DOUGLAS CRISE (Editor) was editor on the independent picture The Nines, starring Ryan Reynolds, and on the critically acclaimed drama Babel starring Brad Pitt and Cate Blanchett. He has worked in various editorial capacities on Ocean's Twelve, Good Night and Good Luck, 21 Grams and Ocean's Eleven.
SUE GANDY (Costume Designer), since moving to New York from Kansas City in 1975, has done everything from making elephant blankets for Ringling Brothers to singing in cabarets.
An acclaimed costume designer, her credits include Bonneville, directed by Christopher
N. Rowley, starring Jessica Lange and Kathy Bates, plus Judy Berlin, Guarding Tess, Ngati, Bridge to Nowhere, and Queen City Rocker.
Sue started her career in 1978 under the guidance of designer Ann Roth, when she was costume shopper for The Best Little Whorehouse in Texas. Since then, she has also served as assistant costume designer on numerous highly praised films, among them Just My Luck, The Interpreter, The Hours, Two Weeks Notice, You've Got Mail, Private Parts, Guilty as Sin, School Ties, Dirty Rotten Scoundrels, and The Mosquito Coast.
RAMIN DJAWADI (Music) is the composer on the much-anticipated big-screen adaptation of the comic Iron Man. His other credits include Mr. Brooks, Ask the Dust, Batman Begins (additional music), Blade: Trinity and Pirates of the Caribbean: Curse of the Black Pearl (additional music).
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